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September 2015 PIANO PLAY-ALONG: Benda’s Sonatina in A Minor

Benda Play-Along GraphicFROM SEPT 21 thru OCT 10 (approximately), we’ll be practicing Georg Antonin Benda’s “Sonatina in A minor”  Click HERE for all the info you need to get started and learn about the purpose of the Play-Along.  There’s no sign-up, but start now by purchasing or locating your copy of the music.

On Sept. 21 I will broadcast the Play-Along Introduction LIVE from your mobile phone or tablet using the PERISCOPE app.  Periscope is booming all over the world!  You’ll see and hear me and you’ll be able to interact and ask me questions.   I’m not a techie and it took me only 5 minutes to download Periscope and follow someone to view a broadcast.

QUICK PERISCOPE HOW-TO: 

  • Download the FREE Periscope app at the App Store (Mac devices) or Google Play (Android devices). Use your cell phone# or your Twitter account to sign up.
  • Set Notifications to “ON.”  Create your account and choose your @name.  Post a photo of yourself and bio on your profile when you get the chance.
  • Search for me “@pianoprof”  and FOLLOW.  Whenever I’m about to do a broadcast, you’ll hear and see a little tweet alert on your device.  If you miss the broadcast Periscope will save it for you for 24 hours.  You can view it later, but you won’t be able to comment.  LIVE viewers can comment

THIS WILL BE THE FIRST #PIANOSCOPE on PERISCOPE! 

piano_periscope_icon_mto the best of my knowledge!

Look forward to “playing-along” with you.  Share this post with your friends, and tell them to tune in to Periscope for my #pianoscopes!

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Heller’s “L’avalanche, Op. 45, No. 2” Piano Play-Along: Post Three (Edition Comparison)

Heller Blog Post 3Thanks to all of you who held in there despite some setbacks in the Play Along schedule so far.  I hope you all enjoyed “getting in shape” with the Heller L’avalanche as much as I did.  I haven’t taught the piece in a while and think it’s time I insert it again into my curriculum.  Matter of fact, I have a young boy learning it this summer.  He was quite attracted to how it scampers about and he said it would be great for Halloween.  Hadn’t thought of that, but it would.  I find that many students are attracted to pieces in minor keys.  Have you noticed that as well?

Anyway, as promised, I will dispel some of the mysteries in the various editions of “L’avalanche”  with this post.  I am taking the Schott edition below (which is probably the most authoritative edition available; no urtext was found) and will perform a little cross-comparison with 4 other student editions on my desk.

Schott Edition

You might want to pull out your copy as you read this and make a few notes.  I think it’s easier for me to list inconsistencies measure by measure, according to a particular aspect.  Most of the editions had inconsistencies in pedaling and dynamic (accents mostly).

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Accents:

First, some editions did not include both rooftop and regular accents (horizontal).  The Schott edition differentiates between the two.

mm.1 -12:  Only the half notes have accents (rooftop).  The same is true for similar sections.

mm. 34 and 36 (50 and 52):  There are rooftop accents on the downbeats of these measures.

m. 56:  There is an accent on this downbeat, but it is a regular accent this time around, not a rooftop like before.  Found this odd, but I did see it in a couple of other editions as well.

mm. 57 – 59:  There are no accents at all on the downbeats here.

mm. 69 and 71:  Though these are forte, they are not accented.

m. 75:  A regular accent on the downbeat of the RH

m. 77:  RH has no accent here (probably due to the subito P)

Pedal:

mm. 1 – 8:  There is pedaling on the half notes with a release on beat 2.

mm. 10 and 12:  Strangely, there was no pedaling indicated for these half notes which made me curious.  Mistaken omission?  I might  pedal as in mm. 1- 8.  3 of the 4 editions added the pedal.

mm.13-14:  This is indicated to be played portato without pedal. Almost all editions added pedal here.  If I added pedal, it would only be a speck.  For sure I’d want to keep the chords from blurring together.

mm. 34-36 (and similar sections):  This section has no pedaling indicated, though many editions added a pedal for each chord of the RH.  I would probably add it for warmth and assistance with the cresc.

mm. 44 – 46:  No pedaling is indicated here, but most editions added it probably so it would match the indicated pedaling in m. 47.

mm. 69 and 71:  There is definitely pedaling indicated for each of the two chords here.

mm. 85 – 89:  Believe it or not, these last few measures should be held under one long pedal.  Some editions did include it and some removed the pedal indication entirely. It’s a 19th century thing.  I’d do it.

Dynamics:

m. 43:  No dim. here!

m. 83:  There is indeed a subito P on the downbeat.

m. 84:  most editions used 8va here for the RH, though I found one that didn’t.  Yikes. Lots of ledger lines…..

Other:

mm. 13 -16 and similar:  It’s poco meno mosso and not rit.

m. 82:  One of my editions included this measure on the final system.  Sure made it easier to read the upcoming LH quarter-note entrance on “A.”  Other editions weren’t so friendly. 🙂

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Hope this revelation into the Schott edition helped.  Will be in touch soon regarding our next summer Piano Play-Along topic.  I’m away from July 2-16 presenting at teacher conferences and workshops.  I’ll post where I’ll be and if I’m in your neck of the woods, stop by and stay “hi.”  I’d love to meet you!

 

 

 

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Heller’s “L’avalanche, Op. 45, No. 2” Piano Play-Along: Post One (Discussion Starter)

Heller Blog Post 1

Welcome to the first GET IN SHAPE Piano Play-Along!  with L’avalanche, Op. 45, No. 2 , by Stephen Heller (1813-1888).  For more information on this play-along and how to get started, click HERE.  You may join in anytime and reply with comments even after June 15, the day we all chime in with our thoughts about this gem.

A little discussion-starter here to get us going…..


 


Stephen_Heller

Stephen Heller (1813-1888)

Background:

This particular etude is probably Heller’s most popular from his sets of etudes — Ops. 45, 46, and 47, which all stem from the year 1866 when he was at the height of his career.  His etudes are actually character pieces at the intermediate level and students love to play this one because of its high energy and showy style.  Most of Heller’s etudes bear titles, though it is unlikely Heller supplied them.  Generally, publishers added them at the time of publication. Read More

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Welcome to the GET IN SHAPE Piano Play-Along!

First, thank you all for submitting your votes for a summer Play-Along topic.  The majority of folks voted on getting their fingers in shape for now, but not to worry… we’ll cover the other Play Along topics later this summer.   

FROM JUNE 1 through JUNE 15, we’ll be practicing Stephen Heller’s “L’Avalanche.”  Click HERE for all the info you need to get started and learn about the purpose of this particular Play-Along. Read More

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New PLAY-ALONG for JUNE – Cast Your Vote!

11233584_1629948270575000_6855710208367958764_oThe theme for our Piano Play-Along beginning in June 2015 will be “GET IN SHAPE!”  We’ll all practice a certain intermediate-level piece or étude for 2 weeks and then we’ll all share our discoveries and findings, and then we move on to another piece for 2 weeks, etc.  We’ll get our piano technique in good shape while intensely studying a well-regarded teaching piece.  Sound good?  The 2-week period allows everyone ample opportunity to work around vacation schedules, summer camps, etc.

Of the 5 pieces below, with which would you like to start? (for June 1 thru June 15)
1. Burgmuller’s Arabesque Op. 100/2

2. Burgmuller’s Ballade Op. 100/15

3. Heller’s L’Avalanche Op. 45/2

4. Benda’s Sonatina in A minor

5. CPE Bach’s Solfeggio in C minor.

Are you in?  Let me know by replying in the comments below and cast your vote for your preferred study piece.  I’ll reveal the winning choice tomorrow!

 

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Bartok, For Children Vol. I, Play-Along: Post Seven (Nos. 36-40 Reaction)

Here we are. The final homestretch!  How many of you made it this far, as of this writing (Feb. 28, 2015)?  Even if you’re reading this at a later date, I hope you’ve had a chance to read all 40 pieces from Vol. I and that you discovered some new and interesting aspects about Bartok’s piano writing.  I know I did.  If you haven’t yet had a chance to read the entire set, please start HERE, move along at your own pace, and feel free to comment with your own observations/questions in the Comments section below.  There’s no absolute close to a Play-Along. Jump in anytime!

Quick-scan observations about Nos. 36-40:

  • All pieces are I (Intermediate) to LI (Late Intermediate) in level.
  • Continued use of variations form – A A’
  • Melody in the RH as usual, but two pieces incorporate melody in the LH
  • Extended range for both hands, with more LH involvement overall.
  • Continued use of chords to create a richer texture – either broken chords or 3 or 4-note blocked chords
  • Melodic figuration becomes more intricate with part-writing and voice leading concerns.
  • More virtuosity appears with dramatic differences in dynamics and tempi (EX:  extended cresc. or dim.; accelerando)

No. 36  – Drunkard’s Song

This is Nos. 34 through 36 played as a set (as intended).  Scroll to 1:03 for No. 36 only.  Effective student performance.

Impressions While Playing:  This piece is one of the faster and more aggressive pieces seen so far in the set.  It’s also one of the richest in texture, with bolder dynamics and a wide range.  There’s only one measure of “calm” –m. 14 (with rallentando).

Teaching Value:  At this writing, I’m currently teaching Nos. 34, 35, and 36 as a set to a 10-year old boy at intermediate level.  He decided to start with this piece which was the one that instantly attracted him.  Despite the controversial title, I could see how a boy would be attracted to the masculine sound of this work.  The playing involved is bold and showy and yet it’s a short work that could be mastered in a relatively short amount of time.  It requires good control of the quick, rhythmic 4-note chords (mm. 3-4) and a student would need to prep for quick hand position changes throughout.  I like the fact that Bartok included all types of accents, tenutos, plus staccato and very specific pedalling indications — a lot for the student to take in and absorb.

Take Note:  Once again Bartok utilizes his favorite variations form seen so far in many of the pieces — A A’.  I really enjoyed his re-harmonization of the tune the second time.  His use of the C9 harmony in m. 9 creates depth and much different mood with the Key of B-flat Major at the center rather than the previous G minor.  I intend to discuss Bartok’s variation in harmony as my student gets his head wrapped around the notes.  If he can i.d. harmonies (chords), it will make it much easier for him to memorize the piece.

Recommended For:  An intermediate student who likes bold, outward playing with high impact in just 20 measures of time.

Correlates To:  Faber Piano Adventures mid-Level 4 or higher (I)

No. 37  – Swine-herd’s Song

Impressions While Playing:  Another boisterous piece in the key of G minor, but it feels faster than No. 36 due to the moving eighth notes. I haven’t noticed so much quick LH work in any of the previous pieces and that was refreshing. I liked hearing the tidbits of G Major (mm. 12, 26-27) which added levity to the mostly minor mode.

Teaching Value:  I asked a couple of students (ages 9-11) what a “swine-herd” was and they hesitated and had to think on it some. I asked them about “swine” and then it all started to make sense, but admittedly they said they hadn’t heard of a swine-herd before.  I told them that Bartok must have seen several because he refers to them more than once in his piano pieces.

This is an excellent etude in quick 2-note slurred groups with a workout in doubled notes as well.  Quite tricky as the hands often move in opposed directions.  Independence of each hand is a must for efficiency in achieving the final tempo. Once again, Bartok is great at providing specifics on fingering.

Take Note:  Again Bartok uses a simple form:  LINE 1:  A + B phrases  LINE 2:  C + B’ phrases.  He then just re-iterates particular 4 mm. phrases using different harmonies.

Similar to No. 36, he incorporates a fast-moving section (Coda) for a driving close to the piece.

Recommended For:  A student who would like a short technical challenge that’s impressive, skill-building, yet short.

Correlates To:  Faber Piano Adventures Level 5 or higher (Late Int.) – due to tempo and extensive LH figuration

No. 38  – Winter Solstice Song

Impressions While Playing:  A busy, but cheerful ostinato work.  It’s commonly taught and very appealing to students because of the overall cresc./dim. contained within.  The final crescendo blast of a Coda is fun.  The tempo of 160 seems fast but the non-legato effect can be easily handled at this tempo with bounces from the wrist.  If often refer to this motion as “shaking it out of your sleeve.”

Teaching Value:  I’ve taught this piece on a couple of previous occasions.  Students are drawn to the pervasive LH ostinato and the effect of both hands “pouncing” all over the place. It’s also an excellent listening exercise as the piece gradual gains volume and then gradually decreases.  What makes it a bit intricate is Bartok’s very specific indications for accents and tenuto.  I spend most of my time getting students to realize this differences quite precisely.  And once again, variations form here with a Coda.

Take Note:  Did you notice a few other details by Bartok?  — 1.  m. 5 – how he indicates the use of both RH fingers 1 and 2 for the low F.  This creates a much sturdier marked effect.  2.  The use of marcatissimo in m. 53 increasing to a ff rather than the usual marcato seen in mm. 5 and 88.  I often tell my students to beware of making too quick of a dim. on page 2.  They often arrive at m. 71 too quietly.

Recommended For:  Someone who needs needs to come out of his/her shell a bit and get creative with gradual sound build-up and decay.

Correlates To:  Faber Piano Adventures latter part of Level 4 or higher  (Late Int.) – due to the non-legato, a technique which may be unfamiliar to some intermediate-level students.

No. 39 – Untitled (Allegro moderato)

Impressions While Playing:  This is very sophisticated writing. How often do pieces start with a LH melody so low on the piano? And how often do both hands get to play the melody three 8ves apart (see m.9).  Bartok creates somewhat of a chilling effect here.  For this entire piece, he simply variates an 8-mm theme until the final Coda in m. 63, but he does so in such an interesting way each time.  How could a player ever get bored?  He even includes an accel. variation!  Yippee! Permission to rush on purpose….;-)

Teaching Value: The more I play this piece, the more I think young students would really enjoy it, but I believe it would require a very effective demo performance to sell them on the idea of learning it.  What a great piece for teaching expression, mood, character, and balance!

Take Note:  The recording above is acceptable as a demo for a student, but I do think the performer pauses a bit too often.  I also think the accel. should gradually increase and arrive right at the Presto section at tempo = 138  without any pausing.  The transition into the Presto would be much smoother and effective in my opinion.  Did you notice the 4 different tempo indications in this short work?

Recommended For:  A highly-imaginative student who would find it interesting to “dress up” a theme and bring all the variations to life in different ways.

Correlates To:  Faber Piano Adventures mid – Level 4 or higher  (I)

No. 40 – Swine-herd’s Dance

Impressions While Playing: Again, like the Winter Solstice Song above, I’ve had a few late intermediate students select this Bartok piece for study, especially after I play a demo or if they hear a recording.  It contains the same gradual cresc./dim effect through the course of the piece.  Plus a PPPP at the end.  Students love that!  The pervasive pedal tones in the LH also give the piece constant energy which makes it sound vibrant even when it’s rather quiet in dynamic.  It truly does sound like a flute in the RH and dance-like with its syncopated rhythms.

Teaching Value:  Rhythmically, this piece is a treasure. It’s filled with rhythmic variance and syncopation, but it’s the details in articulation (RH) that must be present in order to characterize the flute and Bartok is again so particular and precise about what he wants.  This is an excellent tool for getting students to plan, play slowly, and listen closely to what they are doing in the RH.  I did that this week in a lesson with a student who discovered he had ignored ALL or most of the 2-note slurs!, some of which involved  two very quick 16ths.

Take Note:  You’ll see in the notes in the back of the Boosey & Hawkes edition that this piece and the No. 37 Swine-herd’s Song are derived from portions of a folk flute tune.  In the YouTube recording above you’ll hear Bartok’s cylinder recording of the peasant flutist playing the tune.  Quite interesting…..I had not heard one of Bartok’s collected recordings before.  I plan to play this video for my student as proof!

Recommended For:  A student who likes fast finger work, but who might need to dig into details (like mine!)

Correlates To:  Faber Piano Adventures latter part of Level 4 or higher (LI)

This concludes our Play-Along for Bartok’s “For Children, Vol. I”.  Congratulations to you if you read through them all and thanks for your patience in receiving my reactions.  What a feat!  But totally enjoyable for me.  Please post your comments below.  I’d love to hear your reactions to things you’ve never realized about Bartok’s piano writing.  I have a final Bartok wrap-up which I’ll post  in few days.  Until the Play-Along!

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Bartok, For Children Vol. I, Play-Along: Post Six (Nos. 31-35 Reaction)

Thanks for your patience in receiving this set of observations.  I’ve fallen down on the job by 2 weeks!  ‘Tis the season for a multitude of piano contests, theory exams, and festivals.  I’m sure you feel the same pain from what seems to be endless preparation…..

It seems like this particular set of five pieces has taken a turn in a different direction.  I noticed some interesting characteristics in Bartok’s writing here which I haven’t observed in the previous pieces.  How about you?  More on this below.

Quick-scan observations about Nos. 31-35:    

  • All pieces are I (Intermediate) level.
  • Continued use of variations form – A A’
  • Melody in the RH mostly.
  • The LH accompaniment has a more extended range now.
  • More frequent use of chords to create a richer texture – either broken chords or 3 or 4-note blocked chords
  • Bartok incorporates more pedaling than before.
  • He continues using 2 mm. and 3 mm. phrases throughout all.
  • Noticeable use of this syncopated rhythmic motif throughout — eighth note, followed by dotted-quarter, followed by half note.

No. 31  – Untitled (Andante tranquillo)

Impressions While Playing:  I returned to this rather haunting, plaintive piece several times to give it more playings, and each time I noticed something new.  It’s the first time in this set that Bartok has used more than 2 flats in the key signature, and also the key of F minor.  The F minor tonality adds a beautiful warm color to the sad melody.  There is definitely a tranquil effect about it as indicated.  I think it’s characterized through Bartok’s simple melody, disjunct phrasing (he uses 3-measure phrases in succession), pedal effects, F minor tonality, thin textures, etc.   It has a quite a Romantic feel which you don’t normally associate with Bartok.

Teaching Value:  This is a great lesson in phrasing for an intermediate student.  The main melodic theme (mm. 1 – 12) consists of 4 short phrases, each 3 mm. in length — 3 + 3 + 3 + 3.  You don’t encounter this phrase structure often.  Did you notice how the melodies in each 3 mm. phrase always end in half notes?

It gives the piece a sense of repose and calm, yet did you notice how each measure of the 3 mm. phrase comes to a stop at the end of the measure creating additional pause?

Despite all of this “stop and start,” a performer must carry the line towards the concluding half notes in the phrases (mm. 3, 6, 9, and 12). This is also a good piece for tonal control.  Notice that most of the piece is rather quiet, with the exception of one “mf” indication in m. 21.

Take Note:  Notice how the LH accompaniment creates a blended harmonic color through the use of broken chords held with the pedal. Bartok tells exactly where he would like you to depress the pedal.  Did you also catch Bartok’s “tie-downs” in the LH?  Each LH arpeggiation begins with a quarter note which must be held down.  If it isn’t held, you don’t hear the sustained effect in the harmony.  He’s so specific about the sounds he would like, isn’t he?

Recommended For:  A more mature intermediate student experienced in varied articulations and pedalling.  And one who knows how to direct a melodic line to a destination.

Correlates To:  Faber Piano Adventures Level 4 or higher (I)

No. 32  – Untitled (Andante ) Scroll to 1:38

Impressions While Playing: You can’t help but immediately notice the wide leaps in the LH – the widest keyboard range of all the pieces thus far.  What makes the leaps even more unusual is the fact that they begin on beats 2 and 4 and work opposite of the RH.  The pedal marks look rather erraticly-placed at times.  Bartok seems to implies that you change the pedal with every double note in the LH – lifting the foot when striking and depressing once the keys are down (syncopated pedaling).  Note that later he changes it to the opposite (see mm.16 -20 for example).  Overall, the pedaling requires some detailed attention here.

Teaching Value:  Besides the pedaling, this is an excellent piece for LH security. NOTE: Keep the LH moving laterally while shifting from high and low.  It’s much more efficient and the tones will remain more calm.   This is especially helpful in keeping its activity lessened during the quieter sections (see the last line).  I also think the wide assortment of dynamic changes (every 2-3 measures!) will certainly keep a student on his/her toes!

Take Note:  Did you happen to catch the harmonic conflict between major and minor in this piece?  You notice it in the opening ( F Major and F minor), but is seems that every time Bartok strongly resolves to F Major (see mm. 12 and 24), he shifts immediately to a minor mode in the next measure.  This piece takes on many harmonic colors.  Notice in m. 13, how the new pedal point in the bass (D), plus the new harmonies, really change the mood of the melody when it is repeated.  And then again, notice how the new pedal point in m. 25 (D-flat) gives the final snippet of the melody an even darker color.

Bartok Observation: So far in several of these pieces, Bartok’s go-to form for a piece is merely a repeat or two repeats of a single melodic theme. However, with each repeat his melody is always harmonized differently, sometimes only in slight subtle ways.  Your ear may not completely catch the difference upon a first listen to a recording, but if you play it you’ll definitely notice!

Recommended For:  A student who is already adept with the pedal,  and one who can dramatize the melancholic mood of this work.

Correlates To:  Faber Piano Adventures Mid – Level 4 or higher (I)

No. 33  – Untitled (Allegro non troppo) Scroll to 3:05


Impressions While Playing: This is one of the more well-known pieces from the latter part of Vol. I and odd as it is, students are drawn to it.   I played this as a child and recall how much I loved to play it over and over again.  I recall liking the wonky, gymnastic feel of the LH leaps in the opening theme and the contrast of the quiet B theme with the hands closer together (see m. 5).  But the inconclusive harmonies really catch your ear as well.  In which key is this piece, really?  I like how Bartok leaves you hanging on a PPP solitary E at the end…..huh?

Teaching Value:  The LH leaps are a perfect opportunity to practice stride-piano technique for sure.  Note how Bartok specifies accents only on the low notes.  I can already predict how students may play the chords too loudly, or worse yet, have a difficult time playing the chords on target.  Be sure to move the LH laterally from low to high rather than in an arc.  The closest distance to a target is via a straight line, right?

Take Note:  Technically this piece is only 10 measures long, correct?  The first 10 measures just repeat themselves with a different harmonization in the LH.  Easy, right?  But….learning and memorizing the two different LH accompaniments might be a little troublesome for some students since they are quite different even if mostly on the white keys.  Separating and learning the 2 different bass lines in a linear fashion should help.

Recommended For:  A student who has already had a little experience with a jumping LH accompaniment and who enjoys pieces with a gymnastic bent.

Correlates To:  Faber Piano Adventures Mid – Level 4 or higher (I)

No. 34  – Untitled (Allegretto)  Scroll to 3:56

Impressions While Playing: The opening two measures of this piece sound quite romantic in character, don’t they?  Then in m. 3, we’re back to rhythmic Bartok with vertical, strident chords played in a proclamatory style.  Though Bartok doesn’t indicate pedal, it sounds as if Mr. Jando does employ it in the recording above. I like the added, undetecteable pedaling for added resonance in this section.  The form consists of a simple A + B + A + B + A phrase grouping that is so brief it sounds like a mere introduction (hence the attacca into No. 35).

Teaching Value:  A great opportunity for double-note playing in both hands.  Sometimes the texture is 4-part and at times, 5-part.  Compare mm. 3-4 with 6-7 to notice again the subtle changes Bartok makes when repeating a melody, both in texture and harmony.  I would certainly discuss with a student how the piece shifts from a G minor opening to a feeling of E-flat major (m. 8) and then a slight resolution to E-flat minor (m. 13), only to return to G minor.  A singing soprano line in the upper fingers of the RH is a must.

Take Note:  Did you catch Bartok’s use of wide leaps in the LH here as well?  And similar to No. 32 he seems to have a penchant for this rhythm pattern:  eighth note, followed by dotted-quarter, followed by half note.

Recommended For:  A student with previous experience in 4-part texture and the ability to voice a soprano line quite clearly.

Correlates To:  Faber Piano Adventures Mid – Level 4 or higher (I)

No. 35  – Untitled (Con moto) Scroll to 4:32

Impressions While Playing:  The tempo moves along here after the attacca and Bartok retains the Key of G minor.  Again another brief piece in A + B (extended) + A + B + A form, but this time the more “romantic” theme is the B theme (mm. 3 – 9, then mm. 12-15).  The A and B themes are quite different in character from each other similar to No. 34 above, and also like No. 34, this piece ends with a poco rall. followed by two measures of a tempo which moves directly into the next attacca.Teaching Value:  If I were teaching this, I would definitely teach Nos. 34, 35, and 36 as a complete set.  It doesn’t make sense to isolate these movements.  In fact, as of this writing, I am teaching No. 36 to an intermediate student.  He loved the idea of an attacca and instantly asked to do all three after hearing them played one after the other.  I think their brevity was a plus.  Three one-page pieces for an intermediate student isn’t much to ask.

Take Note:  You can’t help but notice how the B theme (the more “romantic” theme with pedal – see m. 3) is written in 3/4 time.  This adds a nice sweeping lilt to the piece after such a straightforward, rhythmic opening.  A great opportunity to teach expressive phrasing here. Again, note the LH.  The wide leaps from before have returned.  The deep bass notes and expanded range between the hands add great depth and resonance which we haven’t seen in previous pieces

Recommended For:  A student with capricious flair who can mingle whimsy with grandeur.Correlates To:  Faber Piano Adventures Mid – Level 4 or higher (I)

* I enjoyed Mr. Jeno Jando’s interpretation of these 5 pieces in the videos above.  Tasteful and poignant in his expression.  

I look forward to teaching Nos. 34, 35, and 36 as a complete set over the next couple of months.  I’ll update this post with more explicit findings as the student progresses.

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MusicEdConnect.com starts tomorrow!

MEC Vertical

MusicEdConnect.com starts tomorrow, WED., Feb. 4! Join the live sessions February 4-7, 2015 for $129 or purchase only the replay pass for $99 to access sessions on-demand at a later time.  You won’t want to miss the 15 fabulous presenters including:  Scott McBride Smith, Jennifer Foxx, Fred Karpoff, Leila Viss, and others, who will share inspiring ideas and techniques. If you attend LIVE, you can interact with the presenters and other attendees.

I am honored to be presenting among these talented people.  My session, “The Trouble with Transfers: Tips for Transitioning without Tears or Fears” will be tomorrow, WED. Feb. 4, at 1:00 Central Time.

There’s even a virtual exhibit hall!  Your conference book will contain additional freebies, codes and coupons from these exhibitors.  Click HERE and scroll down for the Exhibit Hall Preview.

REGISTER HERE!

Hope to see you there!

 

 

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Bartok, For Children Vol. I, Play-Along: Post Four (Nos. 21 – 25 Reaction)

This was an interesting set.  I noticed some characteristics that I haven’t seen or heard before in the previous selections.  Disclaimer:  Please know that I do my best to find the better YouTube renderings of the pieces from this volume.  I often don’t have much of a selection to choose from and must default to whatever I consider the best available at the time. 

Quick-scan observations about Nos. 21-25 :    

  • All pieces are EI to I (Early Intermediate to Intermediate)  in level.
  • Several of the same musical characteristics from his earlier pieces are evident here, but some of these seemed a little more unusual in tonality, tempo, or structure.
  • There is more LH involvement in this set of pieces.
No. 21  – Untitled (Allegro robusto)

Scroll to 1:29 in this video:

Impressions While Playing:  It sounds and feels “robust,” doesn’t it?  It certainly packs a punch in such a short amount of time.  Read More

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Bartok, For Children Vol. I, Play-Along: Post Three (Nos. 16 – 20 Reaction)

We’re back in action!  If you haven’t started the Bartok Play-Along as of this date (Jan. 16, 2015) – no worries!  You may certainly start here OR start studying/playing the pieces from the beginning post and work your way to this point. Please always play along at your own pace and be sure to ADD COMMENTS or ask a question about any Bartok blog post ANYTIME.  I’d LOVE to hear what your thoughts are regarding these VERY interesting gems!  

Quick-scan observations about Nos. 16-20 :    

  • These pieces are solidly EI to I (Early Intermediate to Intermediate)  in level at this point in the collection.
  • Part-writing (2 or more voices in one hand) adds to the complication.
  • Bartok continues to use a variety of tempos, simple meters, and simpler key areas in major and minor, and other modes as well.  A dash of chromaticism adds color.
  • He continues to indicate sophisticated fingering and pedaling markings to achieve an intended effect like sostenuto, legato, and so forth.
  • All 5 pieces utilize a good range of the keyboard with the hands usually an 8ve apart and at times, 2 8ves apart.
  • Bartok is quite specific about sound.  Heavy use of dynamics here,  including hairpin cresc. and dim. effects.
  • Notice the use of repeated notes in these 5 pieces, especially at the ends of phrases. Interesting.

No. 16  – Old Hungarian Tune

Impressions While Playing:  Sounds like a chant, don’t you think? The use of repeated notes and short phrases lend to that feeling.  Certainly it’s a Hungarian melody of some sort given the title, but I’m not sure if it’s a folk song (vocal) or folk tune (instrumental).  The 4-voice choral texture makes it less “pianistic” than some of the previous pieces in the set.

Teaching Value:  This would not be one of my “go-to” Bartok pieces for student performance, but it would make an excellent piece for sight reading (4 voices at once).  I hear a mix of modes here which would make it less predictable for the student who is reading the piece. Read More