Difference between revisions of "Lesson0000084"

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(Created page with "{{Lesson |PageCategory=Lesson |CreateDate=2013/2/26 |ParentPage=Course0000007 |DenizenUsername=WikiAdmin |LessonTitle=Lesson #4 |LessonDate=2013/02/25 }} {{Title|Score0000090}} ...")
 
 
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{{Title|Score0000090}}
 
{{Title|Score0000090}}
 
* Baroque Lesson 101.  Follow the direction of the notes; upwards indicates crescendo and downwards decrescendo.  A larger gap equates to a larger change.
 
* Baroque Lesson 101.  Follow the direction of the notes; upwards indicates crescendo and downwards decrescendo.  A larger gap equates to a larger change.
** Eg. Bar 2, rising from CE{{music|flat}}GC should crescendo.   
+
** Eg. Bar 2, rising from C E{{music|flat}} G C should crescendo.   
** Eg. Bar 6, the line is rising FGA{{music|flat}}, so crescendo.
+
** Eg. Bar 6, the line is rising F G A{{music|flat}}, so crescendo.
 
* Play in one or two bar phrases.  It is often necessary to lift at the ends of bars due to fingering, but this is actually a good thing.
 
* Play in one or two bar phrases.  It is often necessary to lift at the ends of bars due to fingering, but this is actually a good thing.
 
* Don't be flat, but equally bad is to be overly dramatic.  Find a happy medium.
 
* Don't be flat, but equally bad is to be overly dramatic.  Find a happy medium.
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** Bar 15, B{{music|flat}}.  2-5-3-5-4-5
 
** Bar 15, B{{music|flat}}.  2-5-3-5-4-5
  
* Bar 32, the Mordent on the half note. Downward mordent (see the vertical slash?), with a natural underneath it.  So the notes are B{{music|flat} A{{music|natural}} B{{music|flat}}.  On the last note, slide your Finger 1 to it, to prepare for the next bar.  
+
* Bar 32, the Mordent on the half note. Downward mordent (see the vertical slash?), with a natural underneath it.  So the notes are B{{music|flat}} A{{music|natural}} B{{music|flat}}.  On the last note, slide your Finger 1 to it, to prepare for the next bar.  
 
* Bar 20 and the last bar.  The 8th notes are detached.  It adds more style, and as we know, we're all about style.
 
* Bar 20 and the last bar.  The 8th notes are detached.  It adds more style, and as we know, we're all about style.
  
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* Make the first page sound waltzy.  Give the low Left Hand beat 1 note a reasonable thump, followed by softer beats 2 and 3.
 
* Make the first page sound waltzy.  Give the low Left Hand beat 1 note a reasonable thump, followed by softer beats 2 and 3.
 
* Pedal slightly differently than marked.  Release after beat 2 (instead of beat 3).  This will help decrease blur, and increase waltzyness.
 
* Pedal slightly differently than marked.  Release after beat 2 (instead of beat 3).  This will help decrease blur, and increase waltzyness.
* In the Piu mosso (page 2) section, really try not to blur.
+
* In the Più mosso (page 2) section, really try not to blur.
* The tempo is faster than you think.  In particular, the Piu mosso part is crazy fast.  The notes are written as 8ths, but played more like 32nds.  Or 64ths.  Or 128ths, if those even exist.
+
* The tempo is faster than you think.  In particular, the Più mosso part is crazy fast.  The notes are written as 8ths, but played more like 32nds.  Or 64ths.  Or 128ths, if those even exist.
  
  
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* Mar 11.  No lesson due to March Break.
 
* Mar 11.  No lesson due to March Break.
 
* Mar 18.  Back to normal.
 
* Mar 18.  Back to normal.
 
 
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Latest revision as of 15:32, 26 February 2013

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Lesson: Lesson #4Lesson0000084
Course:
DateDenizen
2013/02/25WikiAdmin

{{#vardefine:parm1| Score0000090 }}{{#vardefine:parm2| title }}Score0000090

  • Baroque Lesson 101. Follow the direction of the notes; upwards indicates crescendo and downwards decrescendo. A larger gap equates to a larger change.
    • Eg. Bar 2, rising from C E G C should crescendo.
    • Eg. Bar 6, the line is rising F G A, so crescendo.
  • Play in one or two bar phrases. It is often necessary to lift at the ends of bars due to fingering, but this is actually a good thing.
  • Don't be flat, but equally bad is to be overly dramatic. Find a happy medium.
  • The Left Hand quarter notes (ie basically everything but 4 bars) are to be detached.
  • The little notes (eg Bar 2,4) are not the same as the grace notes from {{#vardefine:parm1| Score0000089 }}{{#vardefine:parm2| inline }}Score0000089. (The little notes are missing the little tie.) Grace notes are handled oddly; see notes from previous lesson. The little notes are played quickly as you would expect.
  • The Right Hand fingering is tricky in several areas. Here are the first several bars, listed by bar number and the bar's first 8th note:
    • Bar 1, C. 2-3-4-1-5-1 (ie avoid 5 on the E)
    • Bar 2, E. 4-3-2-1-2-3-5 (the little note gets 4)
    • Bar 3, F. 1-3-2-3-5-1
    • Bar 4, B. 4-3-2-1-2-3-5 (similar pattern to bar 2)
    • Bar 5, E. 4-2-1-2-4-1 (prepare for the next bar)
    • Bar 6, F. 2-1-3-1-4-1
    • Bar 7, D. 4-2-1-2-4-2
    • Bar 8, E. 4-2-5-2-5-2 (2s instead of 1s?)
    • Bar 9, C. 4-2-1-2-3-5
    • Bar 10, B. 3-2-1-2-3-5
    • Bar 11, A. 3-2-1-2-3-2 (prepare for the next bar)
    • Bar 12, D. 1-3-5-4-3-2 (smush)
    • Bar 13, G. 1-2-5-2-1-2 (or 3 instead of 5)
    • Bar 14, A. 1-5-2-5-3-5
    • Bar 15, B. 2-5-3-5-4-5
  • Bar 32, the Mordent on the half note. Downward mordent (see the vertical slash?), with a natural underneath it. So the notes are B A B. On the last note, slide your Finger 1 to it, to prepare for the next bar.
  • Bar 20 and the last bar. The 8th notes are detached. It adds more style, and as we know, we're all about style.

{{#vardefine:parm1| Score0000083 }}{{#vardefine:parm2| title }}Score0000083

  • Make the first page sound waltzy. Give the low Left Hand beat 1 note a reasonable thump, followed by softer beats 2 and 3.
  • Pedal slightly differently than marked. Release after beat 2 (instead of beat 3). This will help decrease blur, and increase waltzyness.
  • In the Più mosso (page 2) section, really try not to blur.
  • The tempo is faster than you think. In particular, the Più mosso part is crazy fast. The notes are written as 8ths, but played more like 32nds. Or 64ths. Or 128ths, if those even exist.


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

  • {{#vardefine:parm1| Score0000005 }}{{#vardefine:parm2| inline }}Score0000005. Part II, #12. Runs.
  • {{#vardefine:parm1| Score0000083 }}{{#vardefine:parm2| inline }}Score0000083. Op 64, Number 2 in the PDF.

{{#vardefine:parm1| Still hanging around, maybe }}{{#vardefine:parm2| title }}Still Hanging Around, Maybe

  • {{#vardefine:parm1| Score0000082 }}{{#vardefine:parm2| inline }}Score0000082.
  • {{#vardefine:parm1| Score0000070 }}{{#vardefine:parm2| inline }}Score0000070. The Second Movement. And the Third Movement.

{{#vardefine:parm1| At some point in the near future }}{{#vardefine:parm2| title }}At Some Point In The Near Future

  • {{#vardefine:parm1| Score0000098 }}{{#vardefine:parm2| inline }}Score0000098. If you print this now, you will have caught up to the keeners in the class. If you try to play it, you will be the keener.

{{#vardefine:parm1| Schedule reminder }}{{#vardefine:parm2| title }}Schedule Reminder

  • Mar 4. Normal lesson, but probably no cupcakes.
  • Mar 11. No lesson due to March Break.
  • Mar 18. Back to normal.

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