August 6, 2021

2019-2020 Young Artist Enrollment: Full Year

  • High School tests Winter 2021 or Spring 2022

  • RCM Level 10 depends on high school enrollment

LaGuardia Auditio

  1. Find requirement.

  2. When is the date?

New Orleans Virtual International Competition

  1. Fauré, Barcarolle No. 1

Final Recital

  1. Baroque

    1. *Scarlatti, Sonta

  2. Classical

    1. *Haydn, Sonata

  3. Romantic

    1. Grieg, Notturno

      1. or

    2. Chopin, Waltz

  4. Post-Romantic / 20th Century

    1. *Fauré Barcarolle In A Minor, Op. 26 No. 1

READING

  1. Beethoven Piano Sonatas, Bartok 24 Pieces, Khulau Sonatina, Bach French Suites.

    1. Start from the beginning of each book and place a bookmark / marker where you leave off.

    2. SIGHTREAD THROUGH THE ENTIRE BOOK FOR EACH BOOK.

    3. Strategically use your time by seeking out the measures with potential issues and study them first.

    4. ALWAYS PUT YOURSELF IN THE LAND OF WHATEVER SCALE YOU ARE IN.

    5. Rotate this Sightreading material (8 bars (ish) of phrases).

    6. 10 min each day.

    7. Set a timer for 30-45 seconds to study the music. Then start!

    8. Try to “DEAL” with your attitude toward Sightreading. Accept where you are and be a detective in terms of what you can do better before you try again.

    9. PLEASE DO THE EXPRESSION WHEN YOU CAN!

THEORY

  1. Level 9

    1. Theory Classes Feedback:

      1. Moving too fast through the content.

      2. Actual test was stressful

      3. Last time she did the theory course her score was lost (level 7)

      4. RCM didn’t mail your medals for Level 7 regional gold medal

TECHNIQUE

  1. Trill Practice within the Major Scale of A - Hands Together

    1. Rest for 8 seconds on each combo

    2. Go as fast as you can without compromising your form.

    3. Don’t worry about keeping both hands matched up.

  2. Hanon: No. 5 - TWO OCTAVES- work up to m.m. 120 per half note.

    1. Work your way through the circle of 5ths, going through the entire exercise in each key.

      1. Pain pain pain work work work.

      2. Pulsating body = pulsating sound. MAKE EACH NOTE EVEN IN SOUND.

      3. FINGERS CLOSE TO KEYS.

      4. PLACEMENT ON THE KEYS ACCORDING TO THE SCALE.

      5. BODY POSITION AND BALANCE

      6. BENCH PLACEMENT.

  3. RCMCP Level 10 (hold)

  4. Keep practicing arpeggios daily.

REPERTOIRE: New repertoire after August 21st

BAROQUE

  1. Sonata in G Major L 487, Domenico Scarlatti (L. 9, A) - (maybe competition piece)

    1. LH staccatos ascending - bite as you ascend!

    2. RH after repeated notes, make the last one softer

    3. Section B: trills: how do we make the second one more interested guys!

    4. Descending Octaves - can we have a surprise?

      1. Tight hands - why? We’re you relaxed?

  2. Sonata In G Minor K 426, Domenico Scarlatti (L. 9, A)

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

    1. Review at a medium tempo with your music.

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

  5. Bach, Sinfonia No. 4 in D Minor, BWV 790 (9-A)

    1. New

CLASSICAL

  1. Mozart Sonatas

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

    1. Dustin Says:

    2. ascending motiv to the pedal tone before the minor section. - more intensity

    3. broken interval section with LH melody: (before recap) - pull back to start and increase intensively to a subito piano

    4. m. 120 - fatter LH downbeats and increase intensities

    5. Katie Says

      1. pretty good

    6. Review

    7. HUGE CONTRASTS

    8. THIS IS NOT CLEAR. YOUR 16TH NOTES ARE MUSH. DETACH THEM MORE AND MAKE EVERY NOTE CLEAR.

  3. Beethoven, Sonata Op. 10 No. 1 in C Minor (No. 5) (L. 10, B

    1. MOVEMENT II: Review with Music once a week.

ROMANTIC

  1. Chopin Waltz in F Major Op. 34 No. 3 - m.m. 84 final tempo.

    1. Where’s the excitement in the opening chords? How do we create the tension to the end?

    2. Your soffits - especially at the ends of phrases need to be softer.

    3. Section C: grace note’s following notes shorter. Crisper.

    4. (ask Katie to replay this section because there was one other thing)

    5. Descneding bridge into coda - how can we wee like this is winding down like something electric going out of Beverly.

      1. Katie SaysLast top note you keep getting wrong? - more than half the time?

    6. FOCUS:

      1. LH accompaniment - chords.

        1. Often needs to tilt to toward the thumb

        2. Microphone practice (LH rotating the tenuto / accent on each note of the chord).

      2. RH melodic lines

        1. Always cantabile

        2. More legato fingering / bleeding tones

        3. (m. 56 - more C and B-flat)

        4. Hands apart first with slow practice (Nocturnesque)

        5. Shape of the melody.

    7. Section C

      1. RH grace notes lighter and softer. Use your wrist to flick up to the melody note.

      2. Mm. 93-95 LH top voice in chords

      3. RH trills - beginnings and ends should be threaded together with no pauses or bumps.

        1. Practice trilling fast with slow left hands (slow motion)

        2. Use all basic practice ingredients to improve the trill

        3. Trill ON the starting note if it’s a single trill (Romantic period)

    8. Section A

      1. Opening chords: throw the weight of your arms into the keys then immediately relax.

      2. Release the tension.

      3. Subito piano, m. 5

      4. Take Time at the end or he first system.

      5. m. 30 LH top voice

      6. Trill movement (CIRCLE WRIST)

  2. Grieg, Notturno, Op. 54 No. 4 (Final Recital - on hold until mid / end of May)

    1. See red pen

      1. Katie says: All you were trying to convey was there”

    3. Bass in m. 9

    4. Soprano in m. 15

    5. m. 16 & 19 - accent start of trill.

    6. mm. 31-32 - take more time and hold pedal longer. Sing top voice.

    7. m. 57 - don’t rit. too much.

    8. M. 62 - Adagio - tempo change. Full half note value please.

    9. Last arpeggio, - Start slower and gradually speed up toward the end but wait slightly before signing the final note of da piece!!!

  3. Fauré, Barcarolle Op. 26 No. 1 in A Minor

    1. M. 8 - First ascending 16th - more depth

      1. take time on the rest in LH

      2. Crescendo more into theme 2

      3. Do not rush anything. :)

    2. Second theme

      1. LH double textures get in the way. Soften the upper note in the LH when there are two notes played harmonically.

      2. Strive for even tempo in 16th. Careful of the circled red spots.

      3. Think of inner voices connected as one voice.

    3. Jaws Transition

      1. 16th even

      2. m. 17th don’t accent any melody

      3. m. 18 pull away from the F

      4. Gradual decresecndo over next two bars.

    4. Don’t slow quite so much before the return of section A-1

    5. How are you going to end section A-1?

    6. Section C starts a bit too slow

      1. LH harmonic intervals are too loud.

      2. Even sound

    7. memory - section C - registrar change

    8. Section C - LH ghosts

    9. Section B-1 - rushed ascending 16ths.

    10. TV in melody of coda

    11. Don’t rush the last two bars

    12. MM. 111-112 rethink position of 3rd finger LH.

  4. Rachmaninoff, Prelude Op. 32 No. 12 in G-sharp Minor

CONTEMPORARY / POST-ROMANTIC

  1. Maurice Ravel (1875-1937), Prélude from Le Tombeau de Couperin M68a

Repertoire for Review

BAROQUE

  1. Johan Sebastian Bach (1685-1750)

    1. French Suite No. 4 in E-flat Major BWV 815

      1. Allemande (L. 7, A)

      2. Gigue (L. 7, A)

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

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

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

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

  2. Domenico Scarlatti (1685-1757)

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

CLASSICAL

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

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

      1. Movement III

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

    3. 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. Friedrich Kuhlau (1786-1832)

    1. Sonatina in C Major Op. 88 No. 1 (L. 7: B)

  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. Edvard Grieg (1843-1907)

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

  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)

  2. Gabriel Fauré (1845-1924)

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

  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 No. 6 Waltz (L. 7: C)

    2. Op. 65 No. 12

  7. J. S. Bach: Little Prelude in C Major, BWV 933 (L. 7)

  8. Granados, Cuentos de la juventud Op. 1 No. 9: La huerfana (L. 7)

  9. Mignon Op. 68 No. 36 by Robert Schumann (1810-1856) (L. 6 List C)

  10. Diabelli, Sonatina in F Major Op. 168 No. 1, movement III (L. 6 List B)

  11. Kabalevsky, Toccatina Op. 27 No. 12 (L. 6) (1904-1987)

  12. Haydn Hob.XVI No. 8

  13. Burgmuller Op. 109 No. 7 Berceuse

  14. Kabalevsky Etude in A Minor

  15. Beethoven Sonatina in F Major Anh 5 No. 2

  19. Bartok Sonatina Sz. 55: 1. Bagpipers (recital

  20. Scarlatti Sonata in C Major K 159 (recital)

  22. Clementi, Six Sonatinas Op. 36

__________________________________________

Kaufman Piano Competition: applications by March 1st

JUNIOR DIVISION 2: AGES 11-14
Preliminary YouTube Round: Up to 15 minutes of music,
Contestant's choice. (Needs to include at least one fast-paced work.)

Semi-Final Round: Up to 20 minutes
1. One Baroque polyphonic work
2. One virtuoso etude by Czerny, Clementi, Moszkowski, Chopin, Liszt, Rachmaninoff, etc.
3. One or more pieces at the participant's discretion

Finals: Up to 25 minutes
1. A Classical sonata (or first or last movement)
2. One or more compositions from the Romantic era
3. One or more Contemporary pieces, written after 1950
One work from semi-final round may be repeated.
Works from preliminary round can be performed at the semifinal or the final rounds.

Repertoire Goals

  1. Counterpoint

    1. Bach Invention No. 8

    2. Bach Gigue from French Suite…

    3. Scarlatti Sonata K…

    4. Handel Movement from Suite…

    5. Bach Invention No…

  2. Etudes

    1. Kabalevsky Etude in A Minor Op. 27 No.8

      1. Due November 8th

    2. *Burgmuller Op. 100 No. 23 Le Retour

      1. (repeated chords)

    3. *Burgmuller Op. 109 No. 1 Confidence

    4. *Burgmuller Op. 109 No. 8 Agitato

      1. Rotating balance

    5. *Burgmuller Op. 109 No. 10 La Vélocité

      1. 16th note Passage work

    6. *Burgmuller Op. 109 No. 14 Refrain du Gondolier

    7. *Burgmuller Op. 109 No. 18 La Fileuse

    8. Mendelssohn Op. 140

    9. Clementi…

    10. Czerny Op. 740

    11. Moszkowski Op. 72 No. 1…

  3. Sonatinas

    1. Clementi Op. 36 No. 4

      1. Performance Ready on November 8th

    2. Diabelli Op. 151 or 168

    3. Clementi Op. 36 No. 5

    4. Haydn Hob.XVI No. 8 or No. 7



    5. Kuhlau Op. 20 No. 1, Op. 55 No. 3, 4 or Op. 88 No. 4

    6. Clementi Op. 36 No. 6

  4. Contemporary / Modern - Late 19th & 20th Century

    1. Kabalevsky

    2. Prokofiev

    3. Debussy

  5. ROMANTIC

    1. Paderewski: Humoresque de Concert “Minuet”

  6. Contemporary / Modern - Post 1950

  1. Mendelssohn Op. 30 No. 6 "Venetian Boat-Song No. 2"

  2. Moszkowski, Vingt Petites Etudes Op. 91 No. 10, 11

2018-2019 Goals

  1. Jr. High applications - which schools?

  2. Kaufman Competition

    1. JUNIOR DIVISION 2: AGES 11-14
      Preliminary YouTube Round: Up to 15 minutes of music,
      Contestant's choice. (Needs to include at least one fast-paced work.)

      Semi-Final Round: Up to 20 minutes
      1. One Baroque polyphonic work
      2. One virtuoso etude by Czerny, Clementi, Moszkowski, Chopin, Liszt, Rachmaninoff, etc.
      3. One or more pieces at the participant's discretion

      Finals: Up to 25 minutes
      1. A Classical sonata (or first or last movement)
      2. One or more compositions from the Romantic era
      3. One or more Contemporary pieces, written after 1950
      One work from semi-final round may be repeated.
      Works from preliminary round can be performed at the semifinal or the final rounds.

    2. All application materials must be postmarked by March 1, 2019 and submitted by mail and/or email to: