A simplified version of 25/8; the begging dog hand position for 25/8 and 10/7; resting points and some hope for 10/2; the left hand as helper in 10/; trying to play 10/8 in tempo (not necessarily at tempo) and with great articulation; organizing a practice session.
Archives for posts with tag: Etudes
An episode of mostly talking and just a bit of playing. Lots to think about from last week’s lesson, and a plan for next week.
Listening to the inner cheerleader and judge; walking the line between freedom/expression and control/accuracy; remembering an inspiring lady; getting ready for a lesson; a triage order for the places in the etudes that need the most help, including a desperately wounded 10/2; a nice surprise about 25/3 and 25/3.
Warning: this episode is more rambling than usual, and contains some fairly awful and geeky singing. The results of gardening; a pep talk to kids; trying to make the practice room feel like the stage, my lifelong quest to improve my focus; a strategy (from this book) to work on accuracy and rhythm in 25/4; a confession about scales; a plan about jazz involving a place and a book; some serious theory geekery, including how I teach sonata form (see above warning about the singing).
Putting play into practice; two silly things I did this week, including putting words to 25/4 (with different versions for different editions); a new approach to 10/1 and 10/2.
Trying to concentrate with a toddler; a couple of tricks from backstage; wrestling with articulation and pedal markings in 25/4; permission from Chopin’s TA.
The very first listener question, the answer to which involves babbling about harmonies in 25/1 in possibly excruciating detail. The importance of mapping and landmarks, and a cautionary tale. This week’s practice strategies for 10/2, 25/4, and 25/7. Also: a rule about performing and caffeine.
An attempt at 10/2; the left hand of 25/4; some thoughts from the MTNA conference (including how Menahem Pressler talks about legato); how to practice an orchestral part.
Thoughts on the difference between practice and rehearsal; the exact physical motions of 10/2 in way too much detail; a theory geek moment in 10/4; two promises about next week’s practice.
Play It Again Swig 