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
---
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
-
Here are my recordings for the assignments:
C Major Scale: https://youtu.be/H8vlGokGC30
Mendelssohn Songs without Words Op19 No1: https://youtu.be/g3sN4w0o8Ic
Chopin Nocturne Op48 No1: https://youtu.be/iFcGhdj2lho
I find voicing the octave chord pretty challenging and a bit tension-inducing ... practising first with 7th chord seem to helps.
-
Priya Viseskul Hi Priya, sorry I missed this comment! Sometimes there are so many, I get lost in the threads. :D I'll see if I can post another video addressing how I would exaggerate the intent when practicing, but just to echo my comments in the Q and A, I generally would incorporate BOTH way of not exaggerating anything (not taking time so as to make sure I'm playing whatever the rhythm is correctly, and also playing the dynamics as I think they should be for the final product) and then exaggerating those elements. Specifically in terms of taking time, sometimes by really experimenting, we can get much closer to how something resonates with us emotionally, particularly in music where there is a beautiful melody or moments that we want to highlight. I will say it is hard to figure out what that balance is! I also find it very useful to record myself as I am learning a piece. Sometimes we do things that we don't like/find dramatically effective, but only truly realize it when we objectively can listen to ourselves through a recording.
-
Lindsay Garritson Thank you so much for answering it again here. It is a very helpful reminder to practise both ways and esp on the experimentation and exploring different voices/colours.
-
-
I'm starting to feel better and so am now getting started. Here is my C Major scale exercise. My teacher and I are doing something specific currently with my left hand work that I couldn't quickly reconcile with this movement, so I chose not to do the one-gesture scale in my left hand. I hope to look toward the Mendelssohn soon. Thank you!
-
Michelle R Glad you are feeling better! Looking forward to the Mendelssohn.
-
And here's my RH alone - melody Mendelssohn. My teacher encourages me to sing what I'm going to play (I spent quite a bit of time on the Schumann "Melodie" from the Album for the Young, singing one line while playing the other - if I had time, I would do that with the Mendelssohn, too), and so I thought of that exercise while trying to play this.
-
Vidhya Bashyam Thanks, Vidhya!
-
Michelle R Beautifully sung, Michelle!
-
Michelle R Nice, and singing along while playing the other hand is a good idea esp with such beautiful lines in this piece :)
-
Michelle R You are TOTALLY getting the hang of this! I love the idea of singing along. (i'd try that, but my piano is next to my husband's office and I'd scare him if I try to sing...LOL)
-
Juan Carlos Olite Priya Viseskul Gail Starr thank you so much for your kind comments, piano friends!
Gail, you're so funny - but I understand. I only sing when no one is around, though I did sing for my piano teacher...but I pay him not to laugh!
-
Michelle R well played with a lovely singing tone!
-
Natalie Peh Thanks, Natalie!
-
Michelle R Thank you for sharing this, Michelle! These exercises are looking good, and no problem about the one-gestural movement for the left hand; sometimes it's best to focus on one "idea" (what you have been working on with your teacher). The slower exercise in right hand is exactly the right movement! I would now recommend practicing it at a slightly louder dynamic, making sure ever single note resonants the same amount as well as being the same dynamic (this gets harder when one aims at a variety of dynamics). For the faster, one-gesture movement, the sound quality is good; if you haven't worked on this already with your scales, focus even more how little movement you can use when going for E natural to F natural (third finger to thumb). This is always a tricky spot for people!
-
Michelle R Michelle R Just lovely, Michelle! You have a nice legato touch here, good attention to the slurs and direction of phrasing, and an overall fluidity to the sound. So glad you've been feeling better to record this! My overall comment would be a bit similar to the C major scale (right hand), in that I'd love to hear a slightly louder dynamic/more present sound. I think what could help is to focus even more on the idea of playing to "bottom of the key." In other words, using a little more weight for each note at this tempo (it will of course feel slightly different when putting all parts together and at a faster tempo), and applying a bit more of the "down - up" motion you used in the slow scale. Again, you won't have time to do this motion for every note up to tempo, but it can be quite useful for gaining an even more resonant sound from note to note! Wonderful your teacher has encouraged you to sing. Great start to this!
-
Lindsay Garritson Thank you so much for your feedback, Lindsay! Yes, I heard the change from E natural to F natural in the scale but didn't want to record again - this it is something i'm actively working on. I'll take some time to work on the sound quality on the slower scale, as well. we were working on this today in my lesson (with arpeggios), so your observation is quite timely!
Re: the Mendelssohn - I had thought to try the Brahms this week, but I think I'll stick with the Mendelssohn and record again to see if I can apply your suggestions, and perhaps see if I can also do the left hand. My teacher is working with me on the use of arm weight, so this is a good place to apply what we've been working on in lessons.
Thank you again. I very much appreciate your insights and suggestions. Hope to see you at the Zoom meeting.
-
-
Here is my first round of posting. Great exercises for the Mendelssohn. Also did some practice with the sixteenth notes staccato. Love the piece so plan on practicing to completion.
-
Vidhya Bashyam Lovely, Vidhya. I actually used your recording to play along with to be sure I had everything correct (except for the turn, as I don't know how to do that just yet). Thank you! :-)
-
Michelle R Thanks! I have quite a bit of work to do (still choppy/uncertain hands together) but wanted to post my progress anyway. This is not an easy piece with all the voices but it is a very pretty piece. I like your idea of singing and practicing.
-
Vidhya Bashyam Great job, Vidhya! Looking forward to hearing the entire Mendelssohn later, it's one of those pieces that you love for sure.
-
Vidhya Bashyam Great job, Vidhya! I'm really loving this piece also, so we can both learn the whole thing together. Maybe when I visit?
-
Gail Starr Thanks. Sounds like a plan!
-
Vidhya Bashyam sounds lovely! This piece does suit you well. Looking forward to you playing the whole piece for us!
-
Vidhya Bashyam Can’t wait to hear you play the whole piece , Vidhya!
-
Vidhya Bashyam Hello Vidhya, Thank you for posting! I really enjoyed hearing your playing. You have a natural feel for the Mendelssohn, and I'm glad you like it enough to continue learning! The exercises looked good in both hands (you did the movement exactly right!). As for the Mendelssohn, I appreciated that with all parts, you continued to play without pedal (obviously a lot harder to make everything sound connected). My overall comment was that even without pedal, always be aware of the notes that your fingers can actually connect (e.g. fourth beat of measure 5 from the B to A natural, fourth beat of measure 8 into the downbeat of measure 9, and so forth). Sometimes I had missed the physical connection of notes/legato where it was possible to do. Your 16th notes were sounding very even, so good work with those! I'm sure the finished product once you learn the rest of the piece and up tempo will be just beautiful!
-
Lindsay Garritson Thank you for the helpful feedback!
-
