Group 3
Fresh off the release of her tonebase course âInside Mozartâs Piano Sonatas,â Orli Shaham is here to help take you to the next step with your Mozart playing.
This Intensive is meant for pianists who are currently working on a movement from one of Mozartâs 18 Sonatas. Whether youâre just getting started with the âEasy Sonataâ K. 545, or are trying to polish one of his more virtuosic Sonatas, you WILL improve your improve your technique and interpretation of Mozart and Classical Sonata Form.
- Sign-Up : Thursday, November 3rd at 8 am PST
- Course Period: November 7 - 21st
- Class Size: max. 4 Groups ĂĄ 10 Participants
- Optional check-In via Zoom: Tuesday, November 15th, at 11:30am PT
Assignment 1
ASSIGNMENT: Pick a movement from one of Mozart's 18 Sonatas to focus on over the next 2 weeks. Begin applying the stylistic, musical, and technical tips Orli gives in her course lessons and assignment video (see below). Post your progress in this thread along with questions for Orli.
Video clips are encouraged but not required!
For less experienced players, you should start with the C major, K545 1st movement. Thereâs no obligation to finish a movement in 2 weeks â you might only get through a single passage, and that's okay! And overachievers are welcome to work on more than one movement.
What matters is how much you can develop your skills within whatever scope youâre comfortable with. If youâre working on a Fantasy, Rondo, Adagio, or other Mozart piece thatâs not a Sonata, thatâs fine. But we encourage you to study a movement from a Sonata as well.âInside Mozartâs Piano Sonatasâ:
https://app.tonebase.co/piano/home?tbModal=courseModal&tbModalSlug=orli-shaham-inside-mozarts-piano-sonatas
- REQUIRED: (1) Watch the âQuick tipsâ video first, and try the warm up and exercises Orli recommends before your practice sessions; (2) Watch the Intro video on the History & Style of the Sonatas; (3) Watch the 1st, 2nd, or 3rd movement video corresponding with you sonata.
- OPTIONAL: You may benefit from studying the video on âOrnamenting Mozartâ and âMozart in Minor,â to the extent that it applies to your piece.
Zoom link:
Join Zoom Meeting
https://us06web.zoom.us/j/85416214066?pwd=UkxPdGtya2FVRjA2RWxhYnRmcERFUT09
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The zoom call was a real treat, not only because such luminaries as Orli and Ben so generously shared their expertise and time, but because they also proved so approachable and entertaining. Thanks to them both.
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Michael Agreed!
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Michael Absolutely!
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Hi crew, I'm back from traveling last week and I thought I might try to squeeze in some work on K576 final movement. It's ghastly in so many ways. May I ask for some guidance on two hurdles?
1) Measures 58-62 arpeggio sequences (attached). Although I can execute the arpeggios independently, the two octave repositioning of the right hand and the overlapping note between right and left hands causes a complete circuit overload. I think it might partly be because my attention is subverted when I look to see where to place the right hand while still executing the arpeggio in the left hand. Any suggestions on how to practice this or overcome this sticking point?
Is it declassé to play the arpeggios as two triads with a hand reposition in between? After doing more complex fingerings with thumb passing etc, I wonder whether it was worth it.
2) I can't make my self happy with the interpretation of this repeated phrase (attached). I try overholding/pedaling and double dotting the first part to decrescendo, but then I can't get comfortable with how to play the final note of the phrase. I want it to go away. EDIT: I found a reasonable solution in making the F quarter note more prominent, as a destination for the first four not figure.
I'd be grateful for any thoughts. Thanks!
I may try to sneak in a video of where I'm at with this movement.
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Mozart Group 3 Dear all, Here is Orli's wonderful Zoom check-in call from last week, in case you missed it or wanted to revisit it. She also wanted to pass along this message:
It was so great to meet some of you on our Zoom call last week. I'm so glad you've all been inspired by Mozart, as I have. I hope he continues to bring you many hours of joy. So thankful for incredible music and our musical community. Happy Thanksgiving to all who celebrate!
Have fun practicing!
-Orli
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Ben Laude Happy Thanksgiving to you too
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Iâve begun my Thanksgiving by binge listening to Orliâs three volumes of Mozart sonatas. The performances are so fresh and engaging that I feel like Iâm discovering the sonatas for the first time. The improvisatory character and ornamentation confers a unique delight and new life. The color palette and variety of touch is marvelously broad. So excited that I want to pounce on my piano and work through all of them. Brava Orli, and thanks.
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As a follow-up to the zoom conversation, I thought it might be helpful to upload this illustration of the conventional anatomical/biomechanical terminology for motion of the wrist. What pianists refer to as ârotationâ corresponds to what anatomists would call âsupinationâ (rotating the palm up so it could hold soup) and pronation (pour the soup out).
If anyone wants to dive deep into the biomechanics of piano playing, look up Otto Ortmanâs definitive publications.
