Group 2
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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Just at the last moment...! Here my videos of Brahms and Ravel. Thank you so much for this wonderful course.
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Juan Carlos Olite I'm glad you could post these! I will have a chance to listen in the next day finally (I don't mind that the course is technically "over"!). Looking forward.
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Lindsay Garritson Great! Thank you vey much, Lindsay!
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Priya Viseskul Vidhya Bashyam Michelle R Natalie Peh Thank you so much, my dear piano friends! We are already waiting for the next challenge, course or whatever!
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Juan Carlos Olite Thank you for the beautiful Brahms! I really enjoyed hearing you play this. A very general comment is to always be thinking about these two-note slurs (especially when it's an upbeat) as having a slight lilt; think of a string instrument with a bow, and this can help make that second eighth note a little lighter (even though we want an overall sustained sound in the Brahms). You might have already been thinking about the two-note slurs, but sometimes the impression I had was that you connected the first three notes/chords as one slur (I heard this more in the hands alone exercises). Same thing when the left hand has it in measures 2 and 3, etc. Another comment is feeling the energetic pull/connection more from note to note, specifically from the upbeat of measure 15 through 16 in the melody (C#-D#-E-D#-A-G#). Sometimes those 16th notes in between can take away from this effect, so I'd recommend practicing this particular part once or twice without them. In regard to dynamics, I would try to come down slightly more in the pp at measure 9 for the beautiful color change. See if you can create the same amount of resonance that you were getting, but just at a softer dynamic! Last comment is to see whether you can create an even more special moment in the downbeat chord of measure 6; this A compared to that of measure 2 is even more special with the harmony supporting it. Perhaps you could use even more of a tenuto articulation on this second chord (sometimes you can experiment with placing this chord/taking a little bit of time to make it sing even more compared to measure 2).
Thank you so much for sharing!
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Lindsay Garritson Thank you so much, Lindsay, for your detailed feedback and your kind attention!
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Hello Everyone and our teacher Lindsay: I have a questions regarding to the voicing C chord practice and cantabile playing . When do we have to introduce these idea or technique to students during learning piano lessons? what level we should learn this concept in our piano life? Level 8? or we can start earlier before level 8 or above ? pls share your comments here
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Yolanda Hello Yolanda! Thank you so much for your question. Very important indeed! I think it's almost never too early to introduce the concept of voicing and voicing exercises, but I would say for the exercise (and any others you may come across!), around an intermediate level is probably the best. My apologies, but I am not familiar with what Level 8 means (is this something in the UK perhaps?). I wish I could answer in relation to that, but I am not sure. I hope this helps though! Thank you for being here.
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Thank you Lindsay. I really enjoy your teaching. Playing in a cantabile style is always my weak part. Can you explain in details or demonstrate about this pls ? " Also when you play a romantic music , pls try to connect each chord possible without pedal 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 crescendo , decrescendo , etc)" this is from your quote. I am trying to understand this
another question is how to play legato or singing style if you have a piece with many octaves or large interval leap ?
