June 1, 2023

2023 Final Recital

1. 1:00 pm

   1. Gershwin

   2. Debussy, Reflets dans l’eau

   3. Handel (5:50)

2. 3:00 pm

   1. Haydn (6:00)

   2. Rachmaninoff (4:23)

Interlochen Summer: June 17-23 (confirmed

1. All five 2023 recital pieces.

NOPI: July 15th

1. Mendelssohn

2023 Radda Rise International Piano Competitio

1. Participated

Bohemians Young Artists Piano Competition

1. Received Honorable Mention

Lucy Moses Competition

1. Info comes out in November.

2021 Radda Rise International Piano Competition

1. 2nd Place in Division 2: October 5, 2021

Music Teacher’s National Association

1. Compete in 2023?

New Orleans Virtual International Competition

1. Submitted. Results announced

2. Compete in 2023

🖤Prepare Hanon No. 2

1. TWO OCTAVES: C major through B major without stopping.

   1. More legato, closer to the keys, no sliding.

   2. Start at 132 after some accent or close loud.

   3. I need to hear TICKY fingers.

🖤Piano Technique Book 2008 Edition Royal Conservatory Music Development Program BOOK

1. E Major, E minor (Chords and arpeggios)

   1. No sliding

   2. Correct on the first try.

   3. 2-4 octaves.

   4. Write down your maximum tempi.

🖤Czerny op. 299 no. 12

1. No. 12 - passed m.m. 72 per half note

2. Finished: No. 39

3. No. 3, 12, 30 on deck

💜“Sightreading Pieces” in you Newzik. DAILY

1. 💚Bach, 15 Inventions

   1. On no. 5

1. 🖤Beethoven Piano Sonatas (paused at op. 27 no. 1)

2. 🖤Brahms Piano Works (Paused at p. 12)

3. Shostakovich, Children’s and Easy Pieces, Op. 69 (finished March, 2023)

4. Tchaikovsky, Album for the Young, op. 39 (finished November 3, 2022)

5. Grieg Lyric Pieces in Newzik (op. 54) (finished August 2022)

Practice Notes from May 25th Lesson:

1. No need for close-loud in passages like m. 176 LH

2. Close-loud: don’t keep pushing down into the keys after the attack.

3. Slow-motion staccato notes: think of your position approach as if you were playing it at full-speed - how would you approach the notes?

4. Take advantage of slow-motion practice by keeping your tongue and body relaxed.

5. When increasing your speed by one m.m. at a time, you be the judge of whether or not you can skip one or two speeds as you increase. This depends on the difficulty of the section. Be creative and mindful of your method and use the tools as you need them.

6. If you make a mistake in slow work, go back at least a beat and enter the section again.

Practice Instructions: June 1st

1. BEFORE YOU START ANYTHING, have a goal in mind.

2. Don’t immediately use any slow-work or speed-building tools before you know why you’re using them. Do the following:

   1. Goal

      1. Define your goal: Performance Ready Playing, All Five Pieces:

      2. How do we get there?

      3. …Create your goal. How do we do that?

      4. …Understanding where you’re piece is at, choose a section you want to work (mm. 229-249 of Mendelssohn for example).

   2. Strategy: what needs to be done?

      1. Make a plan to achieve your goal (sections as described above). How do we do that?

      2. …Play through your section at performance speed (or it’s current max) three times, observing closely what is consistently good (aligns with your goal) and consistently off / bad (what doesn’t align with your goal).

      3. Make a plan to fix athe items, using the appropriate practice tools. How do you know which tools?

      4. …decide which tools will be best according to the type issues presented in the section.

      5. Write out your plan.

   3. Tactics: how do you get it done?

      1. Decide HOW to use the specific tools in your strategy, based on the current state of your section.

      2. Create an execution plan for each tool. For example:

         1. Close-loud: 5 times in-a-row correctly or three times correctly? Which is more appropriate?

         2. Sprints: at which tempo do you need to start? Slowly, faster than the final tempo, etc..

         3. Slow-motion practice: etc..

   4. Troubleshooting:

      1. Know all of your tools:

      2. Tactical plans not working out? What do you to?

      3. …

3. Speed-building

   1. 1. Mendelssohn (starting at m.m. 72, build one speed at a time).

      2. Handel: find final tempi for each variation and mark them in the score.

      3. Haydn: (final is m.m 132)

      4. Gershwin: (final is m.m. 92)

      5. Debussy: (m.m. 52 approx at 2nd page arpeggios).

      6. Rachmaninoff: (final is m.m. 100)

BAROQUE

1. 💚Handel Chaconne

   1. Review

CLASSICAL

1. 💚Haydn Piano Sonata in E-flat Major Hob. XVI:49: I: Allegro

2. 🖤Beethoven Op. 31 No. 3 in E-flat Major

3. 💚Sonata in C Minor, Op. 10 No. 2 (No. 6) (L. 10, B)

   1. I. Allegro - Review

ROMANTIC

1. 💚Mendelssohn, Concerto in D Minor (finish by May 1st).

2. 💚Rachmaninoff, Prelude op. 23 no. 5 in G minor (4.5 min)

   1. M. 6 - dynamic shading

   2. M. 17.4 (and those alike) enter the ascending octave figure as if you’ve already been playing a beat of octaves in the same direction. Don’t prepare before you start this beat. When you finish the slur, don’t pop but don’t hold your position - just let go of the tension.

      1. practice the approach to feel secure on the entry

      2. Memorize how it feels to play the gesture in-context.

   3. Mm. 48-49 - secure LH notes so there are no ghosts. Fix the timing in the RH.

   4. M. 50 - no slower or faster than m.m. 60.

   5. M. 42 - don’t slow until the end of the measure to you can really enjoy the tenor in the LH. End of 45, alto should be dolce.

   6. Mm. 46-47 - clean up so we can work on the flow.

3. 💚Rachmaninoff, Prelude op. 23 no. 4 in D Major

   1. Review

4. 🖤Rachmaninoff, Prelude Op. 32 No. 12, Op. 23 No. 4 and 5

CONTEMPORARY / POST-ROMANTIC

1. 💚Gershwin: Prelude No. 1 (1.5)

   1. Review

   2. Drop wrists into ornaments.

   3. Softer softs.

2. 💚Debussy: Image, Book I: Reflets dans l’eau

   1. See markings in Newzik

CONCERTI

1. Mendelssohn D minor or G minor.

2. Saint-Seans Piano Concerto No. 2 or 5

3. Schumann, Piano Concerto in A Minor

CONCERTI

1. Haydn

   1. Concerto in D Major, Hob. XVIII:11, III, Rondo

BAROQUE

1. Johan Sebastian Bach (1685-1750)

   1. Prelude and Fugue No. 11 in F Major, BWV 856 (L. 10, A)

      1. prelude

   2. French Suite No. 4 in E-flat Major BWV 815 (L.

      1. Allemande (L. 7, A)

      2. Gigue (L. 7, A)

   3. Invention No. 4 in D Minor, BWV 775

   4. Invention No. 8 in F Major, BWV 779

   5. Invention No. 12 in A Major, BWV 783 (L. 8, A)

   6. Invention No. 15 in B Minor, BWV 786 (L. 8, A)

   7. Sinfonia No. 8 in F Major, BWV 794 (L. 9, A)

2. Domenico Scarlatti (1685-1757)

   1. Sonata in E Major, K 531 (L. 8, A)

   2. Sonata in G Major L 487, Domenico Scarlatti (L. 9, A)

   3. Sonata in E Major K380, Domenico Scarlatti (L. 9, A)

CLASSICAL

1. L. V. Beethoven (1770-1827)

   1. Sonata Op. 10 No. 1 in C Minor (No. 5)

      1. Movement II

      2. Movement III

   2. Sonata in C Minor, Op. 10 No. 2 (No. 6) (L. 10, B)

      1. I. Allegro

   3. Sonata in G Minor, op. 49, no. 1 (L. 8, B)

   4. Sonata in G Major Op 49 No. 2 (L. 8, B)

2. Muzio Clementi ()

   1. Six Sonatinas, Op. 36

      1. No. 1 in C Major

      2. No. 2

      3. No. 3

      4. No. 4

      5. No. 5

      6. No. 6

3. Haydn

   1. Piano Concerto in D Major, Hob:XVIII:11

      1. Movement 3: Rondo all’Ungarese: Allegro assai

   2. Piano Sonata, No. 53 in E Minor, Hob. XVI:34 (L. 9-B)

      1. Movement III: Presto

4. Wolfgang Amadeus Mozart (1756-1791)

   1. Sonata in C Major, K 545, Allegro (L. 8, B)

ROMANTIC

1. Johann Friedrich Franz Burgmüller (1806-1874)

   1. The Storm Op. 109 No. 13 (L. 8, Etude)

2. Frederic Chopin (1810-1849)

   1. Valse Op 69 No. 1 (L. 8, C)

   2. Waltz Op. 69 No. 2 in B minor (L. 8, C)

   3. Chopin Waltz in F Major Op. 34 No. 3

   4. Chopin, Nocturne in B-flat Minor, Op. 9 No. 1

3. Edvard Grieg (1843-1907)

   1. Humoreske in C Major Op. 6 No. 3 (L. 8, C)

   2. Notturno, Op. 54 No. 4

4. Felix Mendelssohn (1809-1847)

   1. Gondellied (Barcarole) in A Major (L. 8, C)

5. Robert Schumann (1810-1856)

   1. Album für die Jugend, Op. 68 No. 12 Knecht Rubrecht (L. 8, C)

CONTEMPORARY / POST-ROMANTIC

1. Claude Debussy (1862-1918)

   1. Children’s Corner:

      1. Doctor Gradus ad Parnassum (L. 10, D)

      2. The Little Shepherd (L. 8, D)

   2. Page d’Album (L. 8, D)

   3. Préludes, Book 2, L. 123

      1. 5, Bruyères

      2. 6. “General Lavine” - eccentric

2. Gabriel Fauré (1845-1924)

   1. Improvisation in C-sharp minor Op. 84 No. 5 from Huit Pièces Brèves (L. 9 Etude)

   2. Barcarolle Op. 26 No. 1 in A Minor

3. Sergei Rachmaninoff (1873-1943)

   1. Etude Tableaux, Op. 33 No. 7 in G Minor

4. Maurice Ravel (1875-1737)

   1. Prelude in A Minor (L. 8, D)

5. Alexander Scriabin ()

   1. Twenty-Four Preludes, Op. 11 No. 22 by (L. 8, D)

6. Sergei Prokofiev ()

   1. Op. 65

      1. No. 6 Waltz (L. 7: C)

      2. No. 12