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Lesson: Lesson #10Lesson0000090

{{#vardefine:parm1| Score0000101 }}{{#vardefine:parm2| title }}Score0000101 New piece just handed out, but performed well enough to earn a gold star. For those who also want their own gold star, pay attention to:

  • Staccatissimo (ie the wedges) is not simply just staccato. The notes are to be extremely separated and distinct. Project the notes. The piece is filled with staccatissimi, so if you don't articulate them correctly... no gold star for you.
  • Allegretto indicates an energetic piece.
  • Make sure the contrast between p and mF and F is heard. The dynamics are important here.
  • Contrast is also important between the staccatissimo notes and the phrased notes. Eg Bar 2.
  • As usual, tonal balance contrast. This is particularly important when the Right Hand has a staccatissimo, and the Left Hand is cycling through its repetitive pattern.
  • Bars 9-10. The quarter notes should be held.
  • Bars 16-27. The Left Hand should be loud, but not banging. The triads within the staccato phrases should be pleasantly loud, and not overpowering the Right Hand melody. (Yes, there are 12 staccato phrases in these bars; did you see the simile in Bar 17?)
  • Bars 16-27. Instead of playing the six notes identically, add in a downbeat. Maybe one per bar, or one per two bars if you are miserly with your beats.
  • Bar 24. Prior to this bar we were forte. Now suddenly piano. What's the word to describe this? Everybody say it at once... Contrast.
  • Bars 28-29. The offbeat emphasis should be heard.
  • Bar 36. Take an extra millisecond moment before playing the upper A. Place the A, to earn an A.
  • Finish with energy. Forte and fortissimo are strong hints.
  • How many times did we mention contrast? "That is one contrast, two contrast, three contrast, four contrast. Ah... ah... ah!"

{{#vardefine:parm1| Score0000083 }}{{#vardefine:parm2| title }}Score0000083 The Più Lento page.

  • The goal is more depth of tone. More substance. More meat.
  • More projection of the Right Hand.
  • More sustaining the tone.
  • "Please, sir, I want some more."
  • The technique to achieve more is important for Romantic Period pieces. Your fingers should be a little flatter, using more than just your finger tips. Start from above the key, and in one smooth motion play it. Hold for the appropriate amount of time, never short-changing the full value.

{{#vardefine:parm1| Next lesson }}{{#vardefine:parm2| title }}Next Lesson

  • {{#vardefine:parm1| Score0000098 }}{{#vardefine:parm2| inline }}Score0000098. Remember, flatten your hand. When flat, the comfortable angle of your wrist changes. I've found physically moving your seat about 5 white notes down makes it much easier to play the inside voice. "Try it, you'll like it."
  • {{#vardefine:parm1| Score0000023 }}{{#vardefine:parm2| inline }}Score0000023. Repeat piece. But this time, the goal is depth of tone and projection. "Twice and thrice over, as they say, good is it to repeat and review what is good."
  • {{#vardefine:parm1| Score0000101 }}{{#vardefine:parm2| inline }}Score0000101. New piece. See above for tips on how to get the gold star that you know you deserve.

{{#vardefine:parm1| Still hanging around, to bite you when you least expect it }}{{#vardefine:parm2| title }}Still Hanging Around, To Bite You When You Least Expect It

  • {{#vardefine:parm1| Score0000005 }}{{#vardefine:parm2| inline }}Score0000005. Part II, #12. You were almost bitten in this lesson!

{{#vardefine:parm1| Bonus work }}{{#vardefine:parm2| title }}Bonus Work Identify the four quotations scattered above. Try first; the answers can be found here.

{{#vardefine:parm1| Calendar }}{{#vardefine:parm2| title }}Calendar Consistently each week, the calendar seems to advance seven days forward. We now have something like:

  • April 29: Lesson 11
  • May 6: Lesson 12
  • May 13: Lesson 13
  • May 20: Victoria Day, which I believe is a holiday. I could be mistaken.
  • May 27: Lesson 14

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