Group 3
Welcome to the latest TWO WEEK INTENSIVE on tonebase!
For the next two weeks we will be working through assignments given by Lindsay Garritson to improve your Cantabile Playing
Pianists of all levels are welcome.
More Detailed instructions coming soon!
- Sign-Up : September 11
- Course Period: September 18-October 2nd
- Class Size: ALL are welcome!
- Optional check-In via Zoom:
September 28th at 11am Pacific Time
Join Zoom Meeting
https://us06web.zoom.us/j/84812603822?pwd=DUo16MYAj50zLwbmZ1fco9PKbYh6qb.1
Assignment #1
"Singing at the Piano"
Description: How do we sing at the piano?
This is one of the most difficult yet rewarding things to achieve in our piano playing! We will look at the different technical components which go into creating a beautiful, singing sound. From transparent to rich textures, we will take sections from four pieces by Mendelssohn, Chopin, Brahms, and Ravel, and discuss the considerations required to achieve a resonant sound in each.
Introduction video: https://youtu.be/UezTgcCsp7c
C Major Scale Exercise: https://youtu.be/Ug6BnzuTIHk
1) Record a one octave C major scale very slowly (right hand alone, then left hand alone), applying the "down - up" motion with every note, listening carefully for the quality of sound in each note and using as legato a touch as possible
2) Record the same C major scale in both hands separately at a faster tempo, but applying the "down - up" motion over the entire pattern (not a separate motion for each note)
Mendelssohn Songs without Words, Op. 19, No. 1:
1) Record the melody in the right hand alone (at a much slower tempo) from the upbeat of measure 3 until the downbeat of measure 15, listening for resonance of sound, legato articulation, observing places to "breathe" between phrases; don't worry about using the fingering that you will use when playing all parts together (the focus now is quality of sound and phrasing)
2) Record just the bass line in the left hand (also at a slower tempo), start from measure 3 until downbeat of measure 15, listening again for the quality of sound, special moments of harmonic change, legato articulation; again, don't worry about the fingering in this exercise (do what promotes the most legato touch)
3) Record the melody in the right hand as well as the bass line in the left hand (outer two lines), listening to how the "voices" are interacting (the energy between the two and how the left hand functions as a counter melody), as well as indicating clearly shaping within the phrases
4) Record all parts from upbeat of measure 3 to downbeat of measure 15, again slowly, listening particularly for control in the sixteenth notes and making sure they are at a dynamic which does not overpower the clarity and resonance of the melody in the right hand as well as the bass line in the left hand
Chopin Nocturne in C minor, Op. 48, No. 1:
1) Record the "voicing" exercise: taking a C major chord in the right hand (C, E, G, C) and play the chord seven times in a row, highlighting one note at a time (middle C the first time, then the E the next time, and so forth)
2) Record the melody in the right hand alone (top note of each chord) from measure 25 to downbeat of measure 37, listening for the legato between each note, resonance, attention to shaping within the phrases; don't worry about using the fingering you will be using once you play all of the notes (use what best promotes legato in this exercise)
3) Record all notes in the right hand alone, but WITHOUT pedal, trying to connect each chord where possible from top note to top note (melody); where physically it is not possible, try to give the illusion of legato through careful shaping of the chords (small crescendi, decrescendi, etc.)
4) Record all parts, hands together in the same section, WITH pedal, listening carefully to the voicing in each chord and listening to how well you connect the sound from chord to chord
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WEEK #2 Assignment!
Brahms Intermezzo in A Major, Op. 118, No. 2:
1) Record top melody in the right hand alone from beginning to measure 16, focuses the legato touch, phrasing (important moments you are leading to and away from), adding a different "color" to the places Brahms writes dolce
2) Record the "alto" line in the right hand alone (same material), listening for the same qualities as in the first exercise
3) Record the left hand alone, listening for a richness and depth of sound, particularly in the low bass notes (think of the sound of a cello for inspiration)
4) Put all parts together, slower than the original tempo, paying attention to the quality of sound between the soprano and alto lines (thinking of them as a duet, so one part is not necessarily more important than the other); listening for the depth of the bass notes in the left hand; taking time in moments you feel are important (larger intervals, between phrases, etc.)
Ravel Pavane pour une infante défunte:
1) Record the melody in the right hand alone from beginning to downbeat of measure 8, taking special care in listening to the notes with ties, making sure the notes coming immediately after each tied note are not louder (making sure you aren't adding any sort of accent to these notes); don't worry about using the fingering you will use when playing all parts in the right hand together
2) Record the "alto" line in the right hand alone (beginning to measure 6) WITHOUT pedal, listening to evenness of staccati articulation and seeing how little you can move your hand (relying on the staccato articulation with just the fingertips)
3) Record left hand alone WITHOUT pedal (same measures), taking care to use an articulation that is slightly longer than staccato (almost as if you are adding tiny tenuto marks to each note)
4) Record all parts hands together WITH pedal (slowly), listening to the quality of your legato in the melody, evenness of staccati and softer dynamic of the"alto" line (even though it will not sound short with pedal), and a resonant sound in the left hand
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Thank you for your wonderful teaching.
I have questions upon breathing when I was playing the piano.
I wonder that it is better to check my breathing all the time?
Sometimes my teacher told me I was not breathing.
It is better to breathe through nose or mouth? Do I have to do on end of every phrasing, like the same point when I am singing?
Or that is too much?
Please advise me how to improve breathing.
I am trying to sing when I am practicing but still confused.
I am sorry I am late but I will keep practicing all of your wonderful videos.
Appreciate it.
C Major scale, Mendelssohn melody
https://youtu.be/hVCRT1PFWl8?si=6h1PolHuUdSNMa-W
Mendelssohn
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Lindsay Garritson Thank you so much!!
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Ko Hello Ko, Thank you for sharing these videos! The C major scale exercise was looking good overall, but my only comment is to go over that again just a bit slower so you can really focus on using an even more legato touch and implementing the down-up motion for each note (exaggerated only at a slower tempo in order to "feel" the bottom of the key and create a sustained, resonant sound for each note).
For the Mendelssohn, this is a lovely start! For the exercises hands separately, I also wanted to hear more legato from note to note; sometimes it helps to think about some kind of glue or something sticky that keeps us from moving too easily from note to note. One small comment for measure 6: I believe that B natural in the left hand is tied (to the eighth note B). In the recording, I heard you play it again, so just wanted to point that out!
For hands together, work even more on creating better balance between the 16ths and the right hand (very hard to do!). Right now, the 16ths are overpowering the right hand melody a little bit, so I'd recommend practicing more slowly, aiming for evenness of the 16ths, but playing them one dynamic softer than you were doing, and then the right hand melody one dynamic louder.
Good start with this!
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Lindsay Garritson Thank you so much!
I will practice them according to your wonderful teaching.
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