Group 1
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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C major chord practice highlighting notes - YouTube
Marina gave some very good advice in group 2 for this.
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Richard George Littlewood Well done, Richard, and thank you for sharing this! Very good. I would recommend actually practicing these without pedal (I mentioned this in one of my comments to Kim), as it's a bit easier to listen for clarity and evenness without the pedal's added resonance. In your right hand, I was not hearing the voicing of the second finger as clearly as I wanted, whereas the other fingers were a bit clearer. Left hand was also good overall; continue to focus on clarity in the fourth finger. Always a tricky finger!
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I am so sorry, but it turns out that my plate has been too full entirely for the past week, both musically and at work, and next week is going to be even worse. I won't be able to follow through with this lovely TWI, unfortunately, and have to bow out at this time. It has been very interesting to look at everyone's work with the first few exercises, though!
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Hi--enjoying the forum, everyone's work, & Lindsay's comments. I have played this Mendelssohn a bit before, but approaching it this way, I see a lot to work on from doing more of this kind of practice and listening. Thanks!---
C major scales
https://www.youtube.com/watch?v=zU48XC3jYx0
Mendelssohn
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pyarin77 that was beautiful
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KBEdwards thank you & on yours, great work
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pyarin77 Hi Peter, this is just beautiful playing! I really enjoyed listening to the Scale exercises and Mendelssohn. You clearly have a very good ear, and particularly enjoyed listening to how you were sensitive to the endings of phrases (rounding off the phrases in a graceful way). My only comments are very small: I wanted to hear that very first A in the melody (upbeat to measure 3) with more depth and a bit louder. Otherwise it sounded a bit disconnected to the energy you had in the downbeat of measure 3. Singing from that A is "inviting" us into the melody. I noticed when you played a B natural in the left hand (particularly in the second beat of measure 5 and third beat of measure 11) that it sounded a bit dull compared to your sound in the surrounding left hand notes; maybe this is an issue with your piano? Not a big deal, but just noticed that in case it wasn't a mechanical issue! For the melodic line in measure 12, I wanted to hear that A sharp (beat 3) also a bit louder; in the exercises and all parts together, I felt you didn't keep the line "singing" as well as it could over the course of that four-note slur (unless your edition as one slur in measure 12 and then another in measure 13!). Last thing was I thought you could play that D sharp with even more resonance in measure 14, especially because there's that crescendo leading up to it. Beautiful control of the 16th notes throughout! Again, I really enjoyed your playing.
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Lindsay Garritson Hi Lindsay, thanks so much for your insights and detailed feedback! I really appreciated your listening and attention. I reviewed and noted all your comments and see how these will all help…also, yes, there are two slurs in this edition but I will try it the other way, even if not done that way I see I could try to be more effective about keeping the singing energy going there. Re the B: I will try to sort that out (I definitely see what you mean, there are some piano issues in the lower register w voicing and such but perhaps it’s just me. not sure!) anyways… thanks again! Peter
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Brahms Intermerzzo in A Major Op 118 n2 Theme - YouTube
(edited by my daughter)
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Richard George Littlewood Thank you, Richard, I will listen soon!
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Richard George Littlewood Thank you for sharing the Brahms, Richard! I can tell you enjoy this music very much. Overall, you have a good sound. What I'd recommend is really focusing more on that top line of the right hand, listening for how each note sustains and resonates. I was missing some of this with all parts together (I know how fun it is to play everything!). Even with the very first two notes, I was wanting to hear them a bit slower and more sustained. With Brahms, everything has a bit more time than we may think! I always think of a lush orchestral sound for much of his piano music (even in a softer dynamic). It should never sound too "easy" to get from one note to the next, almost as if there's a slight stretch or glue connecting each note. A small comment for the downbeat of measure 2: I would recommend rolling that F sharp to A a little bit slower, again so it doesn't sound too "easy" to do so! In practice, you could even exaggerate the timing to really feel connected to that interval. If you haven't done so already, I would also recommend spending a bit more time on just left hand alone, really solidifying the notes and quality of sound before putting the parts together again. But, this is a good start! Thanks again for sharing. Great camera work from your daughter. :)
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Thank you for your kind words Lindsay. I do love the piece, it was new for me. I just wish I had had more time to practice it and record it properly.
I enjoyed watching all your videos. I hope you will be back again one day on Tonebase!
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