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MusicEdConnect.com starts tomorrow!

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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 Five (Nos. 26 – 30 Reaction)

I’ve decided to have all the pre-college students in my studio (15 of them) work on Bartok pieces this spring.  We always have a theme for our May recital and since we’ve never had a composer for a theme, why not try Bartok?  I’d like to see how my students react to his writing.  So far, so good.  I played some examples from For Children, Book I for a couple of intermediate to late-intermediate students the other day and they had no problem selecting one that really appealed to each of them.  I’ll list all the pieces the students choose as their recital pieces in a later post.

Quick-scan observations about Nos. 26-30 :    

  • All pieces are EI to I (Early Intermediate to Intermediate)  in level.
  • Continued use of simple keysignatures, major and minor modes.
  • Bartok introduces more than one meter in a single piece (multi-meter) and uses it in 3 of the pieces.
  • Chorale style is introduced.
No. 26  – Untitled (Moderato)
 

 Impressions While Playing:  Another one of Bartok’s contemplative pieces.  A rather tender, sweet piece, yet mournful at the same time.  The minor chords in the harmony seem to promote that feeling. Read More

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Indispensables of Piano Teaching #1 – Highlighter Tape

Indispensable_  TAPE
Welcome to the new weekly series “Indispensables of Piano Teaching.”  Like me you probably have several teaching manipulatives, tools, gadgets, or maybe a reference book that you always find yourself reaching for during lessons.   I’ll be sharing one of my “can’t do without” items each week here on the blog for the next several weeks (not games or a specific activity, but an actual tool or gadget that I can’t do without). Please comment if you use any of the same tools and don’t hesitate to tell us how you use them in your studio.   And maybe later I’ll highlight one of your favorite tools!

#1 – COLORED HIGHLIGHTER TAPE

I have found more uses for this tape than I could have realized!  It’s fantastic for highlighting troublesome spots in a student’s music.  You can write on it, see through it, remove it when a problem is corrected, and then reuse it!  Students love the colors (pink, green, blue, yellow, red or purple) and I find it the MOST useful in guiding their home practice.   Read More

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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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Don’t Miss It! MusicEdConnect.com

MEC GraphicFEBRUARY 4 – 7, 2015

For the second year, 15 nationally-known presenters are all coming together, in a powerful LIVE online event, focused on one thing – getting you inspired and motivated for teaching in 2015!

The MusicEdConnect ONLINE national conference is hosted by Michelle Sisler and her team from Keys to the Imagination and she has gathered a top-tier list of experts that include Scott McBride Smith,  Leila Viss,  Jennifer Fox, Fred Karpoff and more!

How Do You Participate?  Register HERE and then VIEW LIVE on Feb. 4-7 from the comfort of your own computer or mobile device.  If you can’t make it, you get to view later on your own time (thru Dec. 31, 2015)

Any Other Benefits?  No travel expenses!  Network with other teachers around the world.  Visit exhibits. See new products. Take advantage of conference-only specials.

Cost?  Less than $130, depending on which option you choose.

COUPON CODE!  PCPT blog followers receive a $10 discount on registration NOW thru Friday, Jan. 23 at midnight! Just use coupon code: “EG1” at registration.

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SAVE $20 BY DOING THIS…..BEFORE MIDNIGHT on TUESDAY, Jan. 20!  Head over to INSTAGRAM on your mobile phone or tablet and FOLLOW me, Elizabeth Gutierrez.  Enter “@pianoprof” in the search box and you’ll find me.  Click on “Follow” and then click on the photo of the MusicEdConnect event to view your $20 discount code!  Give me a shout-out (comment) when you get there, OK?

NEW TO INSTAGRAM ? This LINK will tell you more about IG and what makes it so interesting as a social media tool.  You can download the app for FREE at the App Store.

SEE YOU at MusicEdConnect.com!

 

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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

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Saturday Morning Listening: Bartok’s Orchestral Colors

Happy Saturday and Happy New Year!  To get us all back in the spirit of listening to and playing Bartok, here are 3 excerpts for your listening pleasure this weekend.  Bartok rejected the late Romantic orchestral sounds in favor of his own palette of colors.  His orchestration ranges from brilliant combinations of rhythm, texture, and timbre to pearly threads of intertwined delicate melodies.  Enjoy!  And see you soon on the continuation of the Bartok, For Children Vol. 1 Play-Along!

1. Concerto for Orchestra (1943)

Two years before his death, Bartok was commissioned to write this concerto for “orchestra” soloist.  Consisting of 5 movements total, it is quite a showpiece highlighting the virtuosic talents of each orchestra section.  Here is the 4th movement – Interrupted Intermezzo, a rather nostalgic, sentimental work written in rondo form with some rather violent interruptions.  Note Bartok’s typical use of folk-like and pentatonic melodies, shifting meters, and irregular rhythms.

 

2. Music for Strings, Percussion, and Celesta (1936)

One of his most complicated and demanding works for sure, written in 4 continuous movements and lasting around 30 minutes.  It’s written for 2 groups of strings and an army of percussion instruments including piano, harp, and celesta.  It’s extremely eerie  and also powerfully rhythmic.  Stanley Kubrick used a portion of this 3rd movement in the movie – The Shining.  Skip to 2:05 in the video if you’re tempted.  Recognize it?

3. The Miraculous Mandarin (1918-19)

Bartok read the scenario for this ballet in a Hungarian literary magazine and immediately set out to set the grisly tale to music.  This is probably his most agressive and spectacular orchestral score, swirling with energy and jagged rhythms and both sensuous and sinister at the same time.  The first performance of the suite was given in 1928 in Budapest under the baton of Ernö Dohnányi. The first staged performance of the entire ballet did not take place in Hungary until December of 1945, two months after the composer’s death.  Read more about the story HERE.

 

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Happy Holidays! and Update

Many apologies for not posting in almost 2 months!  I know many of you have been wondering what happened to our Bartok Play-Along.  GOOD NEWS! – it will resume the first week of January 2015 and I promise, we will indeed finish the entire set!  🙂

So where have I been?  Well….an opportunity to create some new piano materials arose and I’ve been busy writing and arranging like mad.  I am pleased to announce that I am editing and arranging piano publications for a new digital piano publishing firm , Piano Passport. There is so much coming up in 2015 that I’m ready to bust my buttons!

* View the first 4 Piano Passport publications here and read about the focus of the company:  www.pianopassport.com

* Please LIKE the Piano Passport Facebook page here, and share, share, share!:  www.facebook.com/pianopassport

* And sign up for the Piano Passport email list here.  There will be discount opportunities for subscribers.  Emails will not be shared.:


Many of you may know I’ve been an avid researcher and proponent for Latin American piano music.  Here is one of my discoveries from Brazil that is now in print via Piano Passport.  It will lift your spirits and start your toes tapping.  It’s not nearly as difficult as it sounds.  My students at the high-school level have really enjoyed it. Great rhythmic training and students never tire of it.  Enjoy!

Tango Brasileiro by Alexandre Levy

Wishing you a MERRY CHRISTMAS, HAPPY HANUKKAH, and a joyous NEW YEAR filled with beautiful music!

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Bartok, For Children Vol. I, Play-Along: Post Four (Nos. 11- 15 Reaction)

A new approach to presenting these pieces to you…. so if you’ve haven’t had a chance yet to play through these 5, you should get a good sense of what they’re all about by first listening to the video and then reviewing my reactions.  Enjoy, and let me hear your thoughts!

Quick scan thoughts:    

  •  Bartok continues to present varied tempos in these pieces and within a single piece as well.  I would classify Nos. 11,  14, 15 as late elementary in level and Nos. 12, 13 as early intermediate, taking into account tempo, coordination of the hands, detailed articulation, and especially the maturity required for expression.
  • 4 out of the 5 key areas are centered on “D,”  with the tonality being either D Major or d minor.
  • I notice “attaca” on Nos. 13 and 14.  Perhaps Bartok intended Nos. 13,14, and 15 to be performed as as set?  It would work well.
  • All the pieces are less than a minute in length, except for no. 12.  He is a master at saying a great deal in such a short amount of time.
  • Bartok continues to create much nuance and inflection through his highly specific use of dynamics, articulation, and tempi.

No. 11  – Untitled (“Lento”)

The Expressive Idea:  Sweet, tender melodic playing in a highly expressive manner.

Technical Challenges:  A student should already be familiar with the execution of part-writing in the LH (2 or more voices in the hand).  In this case, there are “tie-downs” as pictured here:

IMG_0781

Measures 9 thru 11

Playing doubled-notes legato is also required.  This is a great lesson in evocative playing and both hands get the chance to do this.  The melodies must be shaped quite expressively for a convincing performance.  Besides the hairpin cresc./dim. markings, notice the Bartok’s use of espr. and molto espr. 

Unique Aspect:  I love how Bartok incorporates a fragmented version of his main theme as his closing theme. Very clever and effective! The PP dynamic at the slower tempo will require some control.  Notice Bartok’s specific use of the pedal at the end to inform the performer of the importance of connecting the chords.

Correlated To:  Faber Piano Adventures, mid-to-late 2B to Early 3A, but keep in mind the LH stretches and LH legato technique required.

No. 12  – Untitled (“Allegro”)

Enjoy this beautiful recording of Geza Anda performing this piece (Sold!)

The Expressive Idea:  Very child-like melodic theme.  In stances like these, I ask students to describe the scene or mood implied by the innocent sound of the theme, especially as it travels here to the lower register.

Technical Challenges: The broken-chord accompaniment in both hands is unusual.  Requires strength and agility in the 4th and 5th fingers of LH and rotation technique here is a must!  In m. 28, my preference is fingers 5 and 3 for beat 1 rather than 3 and 2.  Keeping this accompaniment consistently controlled and quieter than the melody will take some work.  And I wonder why Mr. Anda leaves out the pedalling that Bartok indicated.  Personally, I think it supports the cresc. effect and creates good contrast.

Unique Aspect:  In mm. 24- 27 and again in mm. 52-56 it seems as if Bartok might modulate, yet he reverts both times to C Major.  Interesting…

Measures 25- 27

Measures 25- 27

Correlated To:  Faber Piano Adventures, Level 3B or later due to the intricate finger work and opposing articulations.

No. 13  – Ballad

The Expressive Idea:  The only one of the 5 pieces with a title.  So I would ask the student in this case:  “What’s the story all about?”  Note how Bartok uses espr. markings with the melodies in both the RH and LH.  I often tell students that this is a clear clue that the narrator in this ballad is really trying to get a point across to the listener.

Technical Challenges:

  • RH control of long notes which must be played in a hushed, sustained manner.
  • Smaller hands may have trouble playing the RH of m. 12  Use pedal between the notes if needed:

    R.H. stretch in m. 12

    R.H. stretch in m. 12

  • In m. 16, play the rolled chords slowly and gently.  In the video above, you’ll hear how they sound clipped and abrupt when played too fast.

Unique Aspect:  Bartok can sure say a lot in such a short time.  Through his clever use of harmonies, you might never realize that this piece is a mere eight-measure melody repeated once.  Note his use of “attaca” at the end and no double bar.  He intended this to move right into No. 14, which is also in the key of D minor.

Correlated To:  Faber Piano Adventures, Level 3B or later; the student should be familiar with syncopated rhythms, part-writing texture, and thumb tucks,

No. 14  – Untitled (Allegretto)

The Expressive Idea:  A rather quirky piece with its fragmented melodic ideas.  It has an insistent quality as each idea is expressed more loudly than the previous.  And then it becomes calm again. I can see how this might serve as a link between two other short pieces (see “attaca” at the last measure).

Technical Challenges:  Special attention must be given to the expression and timing of this piece in all its quirkiness.  What exactly is being expressed? The dynamics and articulation are especially revealing.

Here’s a statement that appears out of the blue and not at all linked to the previous melody:

Measures 5 -6

Measures 5 -6

Unique Aspect:  I’m beginning to notice how Bartok often uses his main theme, or portion thereof, as his conclusion to a piece.

Correlated To:  Faber Piano Adventures, Level 3A or later; student should be familiar with alternating-finger staccato and dotted rhythms; a strong sense of rhythmic division is necessary and a hand span of a 7th

No. 15  – Untitled (Allegro moderato)

Of Nos. 11- 15, this one is the most often played. 

The Expressive Idea:  Lots of graceful, cheerful humor here. This piece contains the same off-beat accompaniment in the LH as in No. 5, which gives it a nice romp. However…. notice how Bartok uses a quiet dynamic (P) and leggiero for every entrance of the theme therefore informing us not to give it too much “romp.”

Technical Challenges:  Though I categorize this piece as late elementary in level, those with small hands need to beware of the use of harmonic 7ths in the LH, especially 7ths with a note within such as this one:

LH span in measures

LH span in Measures 7-8

Unique Aspects:  This piece is created simply from two 4-mm. phrases which Bartok manipulates through tempo and/or harmonization.  At this point in the Play-Along, I’m beginning to notice Bartok’s affinity for entrances on off-beats, especially in the LH.

Correlated To:  Faber Piano Adventures, mid-to-late 2B, and small hands will need to be able to reach a 7th.

No. 12 is a new favorite for me.  What’s yours?

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Saturday Morning Listening: Bartok’s Folk Melodies

Good morning!  A little listening for you to enjoy at your leisure this weekend.  Bartok collected folk songs from various regions of Eastern Europe – Hungarian, Slovakian, Rumanian, and Bulgarian.  The For Children, Vol. I, which we are playing currently, is based on Hungarian folk melodies.  Here’s are two works based on Rumanian and Bulgarian tunes.  Enjoy!

1.  Bartok’s Rumanian Folk Dances

This is a charming set of 6 dances for violin and piano that I had the pleasure of performing long ago. They are so full of character and verve and I recall the violinist and I had a fun time bringing them to life. They’re so easy on the ears, too!  Bartok wrote a version for  piano which I have taught often to students middle school age thru college.  You can pull a few from the set and create your own teaching suite.  I’ve never had a student not like these pieces.  Enjoy!

2.  Six Dances in Bulgarian Rhythm

This is Nos. 148-153 from Vol. 6 of Bartok’s Mikrokosmos, a set of 153 progressive piano pieces (1926-38).  The set is the most popular in Vol. 6 and works well for high school and college-level students.  Bartok combines Bulgarian rhythms in two, three, and four-note sets and weaves them in masterfully.  You could teach a few from the set, but it works so much more effectively as a set of six.  Lots of rhythmic appeal!

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