A visit to the old stomping grounds leads to some thoughts on competition and motivation; some insights from playing an 1860s Broadwood piano; a danger of detail-oriented practice; the plan for next week. With bits of all of Op. 10.
Archives for posts with tag: Opus 10
Articulation and timing in 10/8; plugging away at 10/2 and 10/1; simplifying 25/10 and a theory geek moment; working on 25/8; a milestone in 10/7, organizing a practice session.
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.
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.
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.
Play It Again Swig 