It's been three and a half years since I've posted here. Where did the time go? Let's see what's happened since then...I took a side job, which became my second full-time job for about year and a half, and just didn't take piano seriously. Then Prof N took a sabbatical to take care of some personal stuff. (I stopped taking piano classes shortly after that). Prepared GMAT and apps for b-school. It hasn't been a complete waste as I learned some pieces by Bach (Prelude and Fugue in Cmajor), Brahms (Rhapsody in G minor), for a recital in May 2006. But didn't really play much between May 2006 to now, which is nearly 3 years! Last year around this time, I was starting to learn the Mendelssohn Piano Concerto #1, but that failed to launch. So negligent of me.

Lately, I've attended some piano performances and these have rekindled my interest in playing the piano again. I'm not sure how much time I can devote to piano, given that i'm a full-time MBA student and working at the same time....studies take up maybe 60+ hours a week....work maybe another 15-20 hours a week...so maybe 5-10 hours is the max that I can devote. I packed my digital piano in the trunk when I shipped my car here, but have probably touched the piano less than 5 times since I've moved here. Nonetheless, I'm pretty excited about resurrecting my piano studies and have chosen to focus on the Chopin Etudes Op. 25. So far, I've learned 6 of the 12 etudes of Op. 25 and I think learning the rest by the end of the year is doable.

My focus will be on Etude No.11 ("Winter Wind"). I had started learning this etude some years ago, but wasn't disciplined enough to get past the first couple pages. Didn't take my instructor's advice (very, very, slow practice and attention to details) as I tried to learn it as quickly as possible. Now I've realized learning the etudes is not a sports achievement, but is a very musical learning process...and I need to pay more attention to the score, the phrasing, fingering, etc. From listening/watching Martha Argerich last month, I could imagine her playing this piece without any tension in the right hand and relying more on finger legato than on the pedal. So I will start off with very, very slow practice and without pedal.

October 31, 2005

Played the Chopin Polonaise Brilliante Op.3 for Professor N. My performance of the piece was decent (B/B-). Afterwards, she commented that she liked the overall ‘style’ of my playing. The main area for improvement was in the pedaling. There were moments where my pedaling sounded more like ‘hiccups’ that slowed down the overall flow of the piece. I suspect one of the sections she was referring to was b.215-216. She recommended that I spend more some time thinking about the pedaling and how that it can help my performance/interpretation. We spent the first 45 minutes on the Polonaise Brilliante, and last 15 minutes on the Gershwin Prelude.

The Gershwin Prelude I was tricky--at least rhythmically. I learned to count sixteenth notes ("One e and a, Two e and a, etc"). I probably wouldn't have ever known about this way of counting if I wasn't taking lessons.

Chopin Polonaise Brilliante Op. 3

• Watch your pedaling! This is a polonaise (think of waltz-rhythm), so be judicious in where you decide to down-pedal and when to lift the pedal. Example: In b. 108-111, down-pedal on the first beat, lift up right before third beat, and leave un-pedaled through the third beat. Repeat this.
• There’s no fermata marking at the end of the first phrase—good to do a quasi-fermata, but don’t overdue it. Make it more subtle.
• In b.3-4, b.7-8, be careful with the rhythm.
• You play tense at times. Loosen up and let the music carry you (own observation).
• Watch rhythm in b.76. Don’t pretend there’s a fermata there.
• Don’t lose the triplets in b.78-79 (your playing sounds more like duplets).
• Watch dotted rhythms in b.88, b.91-93, etc.
• In the cantabile sections, make sure that the duet is discernible. Right hand melody and left hand notes (circled).
• Pedal according to the motivic structures, especially in b. 223-228.
• Hold down pedal from b.229 (all the way to the last note in the phrase, which is the first note of b.230).
• Pedal again for the last three cords. Hold down the last note and pedal and lift at the same time (after extended fermata).
• Read up on pedaling in Anton Rubenstein and T. Carreno’s pedal book.


Gershwin Prelude No. 1 (1927):

• Write in bar notations.
• To count 16th notes, count “1 e & a, 2 e & a, …”.
• The most challenging aspect of this piece is the rhythm. Write down how you would count for every measure (except for the measures with only triplets).
• Pay attention to the dynamics (accented notes, where ff juxtaposed with f.
• Follow the pedaling. Try to figure out why Gershwin put the pedal markings where they are. In the first two pages, the pedaling seems to help punctuate the accented first beat/note of each measure. By accentuating the first beat, the ear expects a repeat of an equally strong beat in the second beat, but because it’s a rest, creates a type of syncopation. Why do some measures contain no pedaling?
There is more pedaling on the second and third pages.
• In Section A’, there’s an accent on the fourth sixteenth note—adding more syncopation—along with a pedal marking on this offbeat.
• In your Section “C”, understand the structure and pedal marking.
• What to make of the measures that contain triplets? Do these seem out-of-place? What’s the intent?
• What to make of b.36, b.41, etc?

I'm sort of confused. Last week, Dr. N commented on my playing of the Chopin Etude Op. 25, No. 7 (C-sharp minor). She recommended that I not use as much rubato in the piece or else the piece will lose 'its momemtum'. However, I remember a couple months ago where she raved about Pollini's recording of the Etudes. But listening to the Pollini recording (of this piece), Pollini probably uses more rubato although he builds momentum by driving forward (with tempo and rhythm) in certain sections of the piece. I know my instructor has a penchant for steady, metronomic rhythms for a piece, but I think I'm gonna have to respectfully disagree with my instructor on this aspect, only because this is Chopin. If there's a composer who demands rubato (at least a moderate amount), it's him.

this week's lesson notes

Monday was the last day of the Spring semester. Kind of sad because there won't be
piano lessons during the summer. However, I'm excited about the homework that my
professor assigned me. It's quite a load! (at least for me it is)

1. Bach Preludes and Fugures (pick one prelude and fugue).

2. A Debussy Prelude

3. Prokofiev Visions Fugutive (selections)

4. Rachmaninoff Prelude in G Major

5. Mozart Sonata in C Major (K309)

6. Add more color (i.e., pedaling) to Mendelssohn's Spinning Song. Practice slowly
to make everything sound even. Also, work on Songs without Words, No. 2 "Regret", and focus on tonal continuity and phrasing. Make sense of the phrase structures/patterns.

7. Continue working on Beethoven's C minor Piano Concerto (review the first
movement, cadenza, and start studying the second movement).

8. Review some Chopin.

this week's lesson notes

Played Mendelssohn's Spinning Song for Dr. N. Tempo was a bit slower than what's indicated, but that's ok because I started learning this piece last week. Dr. N advised to keep my hands lower to the keyboard to prevent finger tapping sounds. Played the piece through without any pedal. Dr. N suggested places where I could use some pedaling and pointed out areas that really need to be played with legato.

She reminded me to practice slow, medium, and fast.

Afterwards, I played for her Mendelssohn's Songs without Words No. 2 (Regret). Afterwards, she remarked that it was lacking some tonal continuity and that the phrasing could be improved. She recommended places where crescendos and diminuendos should occur. But she stressed the idea of 'putting words in the melody': "I'm going to Publix to buy a tangerine." (from Rebecca Penneys at her Masterclass) into a melodic phrase. But every word is important or else it will lose its meaning.

Then played the Beethoven Piano Concerto No. 3 First movement-starting from the Development section until right before the cadenza. Watch your 2's against 3's as it sounds 'fudged'.

Also, start thinking about summer plans. Dr. N recommended some 20th century pieces to go along with some earlier works. Bring books.

Oh yeah, next week's lesson will be extended (be there at 3:30p).

this week's lesson notes

Played Mendelssohn's Spinning Song for Dr. N. Tempo was a bit slower than what's indicated, but that's ok because I started learning this piece last week. Dr. N advised to keep my hands lower to the keyboard to prevent finger tapping sounds. Played the piece through without any pedal. Dr. N suggested places where I could use some pedaling and pointed out areas that really need to be played with legato.

She reminded me to practice slow, medium, and fast.

Afterwards, I played for her Mendelssohn's Songs without Words No. 2 (Regret). Afterwards, she remarked that it was lacking some tonal continuity and that the phrasing could be improved. She recommended places where crescendos and diminuendos should occur. But she stressed the idea of 'putting words in the melody': "I'm going to Publix to buy a tangerine." (from Rebecca Penneys at her Masterclass) into a melodic phrase. But every word is important or else it will lose its meaning.

Then played the Beethoven Piano Concerto No. 3 First movement-starting from the Development section until right before the cadenza. Watch your 2's against 3's as it sounds 'fudged'.

Also, start thinking about summer plans. Dr. N recommended some 20th century pieces to go along with some earlier works. Bring books.

Oh yeah, next week's lesson will be extended (be there at 3:30p).

i'm listening to an Andras Schiff recording of Mendelssohn's Songs without Words (selected)...in particular, the Spinning Song. He plays it slower than what's expected but with a lot of colors. My playing right now is very staid and I'm focusing more on hitting the correct notes and feeling out the overall shape of the piece first.

I might start practicing with the metronome again. I should figure out where to bring out certain notes.

Listened to a recording of Leon Fleischer playing the Beethoven Third Piano Concerto (with George Szell). Man, does he play it quick. Sometimes he plays things too quick, IMO, esp in the cadenza to the first movement. But still, I could learn a thing or two from his playing.

Practiced the Chopin Etude (op. 25, no. 7) a few times...bringing out the left hand melody more. I'm happy with my overall practice this week despite not having much time to practice. Will write out the fingerings and study the score for Mendelssohn's Spinning Song next week.

so far this week, i've been mostly playing Mendelssohn's Spinning Song. At first I thought that learning the piece would be really difficult, but turns out it's not. However, my professor warned that very few can pull it off [correctly]. And I could see what she's saying..you have to sound nimble yet not strained...don't want that metallic sound. I've been playing it at or near tempo (presto) for the first 2-3 pages...but I think I will slow it down (conscience tells me so) and play it at moderato to make sure everything is played correctly and clearly.

I was asked to do piano jury (where you play on stage in front of a committee of piano professors who grade you on your performance)....but b/c I'm not a degree-seeking student and the jury's at 1pm (I work full-time), it's not required. May decline this time (since I don't think I'll be approved to leave work at that time).

this week's lesson notes

Didn't play scales today. Talked a little bit about Roberta Rusk's performance (Friday evening) and critiqued her playing. Thought that she took too much liberty with the Mozart Fantasy piece. Also, her Chopin Scherzo probably wasn't her best performance. The Chopin Nocturne in C minor didn't sound like Chopin; sounded more like Debussy.

Well, anyway, I confessed that I didn't really practice the Beethoven Concerto; instead, I played a lot of pieces that weren't assigned to me, like the Chopin Preludes 1-4 and Mendelssohn Songs without Words. She then mentioned that she would like to see me play the Spinning Song. She also said that I could try learning the Ravel Sonatine..and work on the Mozart Sonata that I started last year (but set aside).

The Chopin etude (op. 25, no. 7) wasn't as good as last week's playing. I had a memory lapse somewhere near the beginning of the piece (probably distracted by people talking in the hallway), which hasn't happened before with this piece. Dr. N pointed out that my right hand melodies have improved, but my left hand melody seems muffled (by the right hand melodies). So work on bringing out the LH melody! Think of the LH in this piece as a cello or french horn.

The last half hour or so was spent sightreading a Bartok piece (one of the Bulgarian dances), the rondo (finale) of a Haydn Sonata, and a couple 20th century pieces by Robert Muzynski. Cool stuff, I must say.

Haven't posted the past few days. Not that I haven't been practicing...I have, but practicing mostly stuff that's not assigned to me. I figured I'll take a short break from the pieces that I'm working on right now. Set them aside and let 'em "marinate" (as Dr. N so eloquently puts it). I feel like the pieces I'm working on right now are still very 'raw' and I need to listen to some recordings and try out a few things (not produce a facsimile of someone else's playing, but view the piece from someone else's perspective, that's all). I'm also going to sing the melodies out in my head (and out loud when I'm in private, hehe) and work on bringing out the inner voices. Mechanically, I want to loosen up a bit and use my elbows and arms to bring out a more consistently soft sound (that doesn't sound jumbled).

Some of the pieces that I've been playing are Chopin Preludes No. 1-4. The first prelude just makes your heart flutter (but I have to work on bringing out certain notes and not overpedal--which is easy to do with this piece). The second prelude seems so out of place (sounds very dissonant.) To me, it seems so uncharacteristic of Chopin, that it's almost comical! The third pelude (vivace) is very fun to play. It's like a video game. Very addictive. It's almost like a mini-etude with the left hand. Weird thing is that my previous piano teacher (Lois Finlay--who taught me 2.5 years) had written "Oct 27" (1989?). I'm surprised I was assigned this piece back then (must've been 11) since I couldn't imagine myself playing this piece back then (or at least not as fast as what's indicated in the score--vivace). It's funny that I'm erasing the fingering that my old teacher wrote down for this piece and replacing it for my preferred fingerings.....on a sidenote, Pollini's DG recording of the preludes are my favorite, btw. Almost memorized the first, third, and fourth preludes (second prelude with all the dissonance makes it the brusselsprouts of the set). The fourth prelude is melancholy yet sensuous. It's like an adolescent coming to terms with her heartbreak (fortunately or unforunately, not that I would know what that must feel like, hehe).

I also opened up Mendelssohn's Songs without Words. Played a little bit of No.1 (must be tough to memorize this piece!) and played through the second. The switch in tone/mood of the second, three-quarters of the way into the piece is interesting. I have to think more about it. I'm going to lay on my bed to meditate more on this....

this week's lesson notes

Scales: B-flat Major, G minor (next week: F Major, D minor)

Chopin Etude Op.25, No. 7: Spent much of last week memorizing this piece. Played for Dr. N (without the score). Overall, I think she liked my playing. She indicated that she liked how I brought out the right hand as well as left hand melodies. Also, the inner voices are discernible. Which is good news.

A few areas to improve on for this week:

Opening cadenza (don't take too much time/liberty with the dotted note).

b.6, b. 50. Make sure you play the two's and against three's correctly. You tend to rush through these.

b.27. Note the retineuto. Continue working on making the top melodic notes stand out.

b.35. Use diminuendo pedal at the smorz.
b.40. Remember to use pedal in this measure. Count the beats accurately (quarter rest). And then proceed with b.41 with a "sense of purpose" (light pedal here and the opening note--b natural--should come in softly.

b.67. Make sure you lift everything for the rest (not too abruptly though). Count the rest (quarter rest) accurately.

Continue to work on using your arms to create that clean, soft sound. Make sure the top notes stand out (melody).

Beethoven Piano Concerto No. 3 in C minor--First movement

Dr. N liked where this piece was going. It's come along way, she said. A few areas to work on:

b.30. Round off these notes (you tend to play them harsh, loud). Instead, round off to make it soft.

b.162. Don't forget to bring out the slur in te first two notes. Also, don't make the staccato too short. Do a "lazy staccato".

b.200-204. Keep the left hand flat (Dr. N heard some finger tapping on the keys) to prevent 'finger tapping'.

b. C15 (make sure you hit the right hand chords clearly and without the 'metallic' sound that's unpleasant sounding).

b. C17 (right hand chord should come immediately after the A-flat. You tend to pause a bit before proceeding to the chord).
b. c18 (note where the group of fifths start (on the A...not on the E).
b. C75 (make sure to give signal for conductor/orchestra to come in). Take in a breath right before the orchestra should come in to signal).

Played about 1.25 hours today. Practiced Chopin Etude Op. 25, no. 7 and no. 12. With the 12th etude, I need to practice at different tempi--from very slow, slow, moderately slow, medium, slightly fast, fast, faster, fastest. Make sure to play every note correctly and press the keys all the way down and keep the hands flat. Pay attention to each note and watch your use of pedal!

For the Beethoven concerto, I worked on the first movement cadenza and some tricky parts in the first movement. Practice at a slower tempo and be more attentive to details!

This week's lesson notes

Scales: E-flat Major, C minor (for next week, practice B-flat Major, G minor)

Chopin Etude Op. 25, No. 7 in C-sharp minor: Make sure that the soft notes--despite the pp marking--are discernible: "You want to make sure that even the audience in the back row of Carnegie Hall can hear you." (Dr. N). Don't be afraid to project the melodic voices (despite the pp markings). Think of the left hand melody as being played by a cello.

Work on the opening cadenza. Give it shape, character, etc. Note the grace note that connects the cadenza with the opening melody in the first measure of the piece. Make sure the connection makes sense.

Watch your use of rubato. Limit the times your right hand and left hand play asynchronously. Don't overdo it.

b.13-16 (watch contour and melodic shape, character).

b.16-17 (slight ritenuto as you enter b.17.)

b.22, b.24 (not a triplet!--rather, an ornamentation. Play left hand notes after the second chord, not on it).

b. 26-27 (bring out the top right hand notes--in these measures, these right hand notes are playing the melody. "It's too bad that people often overlook this while learning the Chopin "Revolutionary" Etude!)." (Dr. N)

b.28 (inharmonic key change--from D-sharp to B major, seems like). Make sure your playing reflects this.

b.29-39. (Main melody is in right hand. Bring these notes out. Keep the left hand soft. May want to experiment with una corda here).

b.35 (note the smorz.)

b.51 (practice this many times over. Toughest passage in the piece to execute!). Be more judicious with the pedal in this passage. You want a clean 'spray'. )

b.62-63 (note the ritenuto and forte marking), then dim.

b.66-68 (eighth notes in first chord. Use your arms and elbows to create the clean, soft sound. You tend to 'muffle' the soft sound.)

b.68 (note the fermata. your hands should remain on the keyboard despite it no longer pressing down on the keys, while you hold down the pedal and then gradually lift up. If you take your hands off the keyboard, causes a disconnect with the audience and may invite premature applauses).

Start listening to different recordings (Pollini, Arrau, Lugansky, Perahia, etc). Also, use your arms more liberally and don't play 'tentative'. Make sure you can hum the melody in your head.

Beethoven Piano Concerto No. 3 in C minor: While reviewing the principle theme, make sure you use your arms correctly (use elbows and press down) to bring out the opening chords (you don't want to create the 'metallic' noise by banging on the keys here).

b.120 (work on playing this clearly!. Work on consistency).

b.154-159 (watch rhythm. Dr. N noticed that you tend to 'rush' here).

b.188 (make sure you play in unison with the orchestra here).

b.223 (play left hand in sync with the orchestra. The beat is on the note, F, here).

b.276 (watch rhythm. You seem to lose the orchestra at some point. Practice with the metronome).

b.292 (remember that sf is not a dynamic marking; it is really just an accent, so don't play it that loud.

Ran out of time. Will start on the Recapitulation section (section L) to the end of the First Movement (including Cadenza to first movement) for review.

Currently learning Chopin Etudes Op. 25, No. 3, 9, 11.

Polishing up Op. 25, No. 12. (will perform in late November)

Learning Mozart Sonata k309

Learn Bach Praeludium and Fugue XXI.

Four Schubert Impromptus Op. 90

First movement of Mendelssohn's G minor Concerto.

So once again, I've failed to stick with my practicing schedule. I've realized (again?) that when I'm playing more (at least 1-2 hours a day), I feel 'happier'. Maybe when I'm playing, my mind's focused on the art and not all the bullshit that's going on with this world. Life in general. That I can at least pretend that all of it is but a figment. Anyway, I've started to play again and [once again] am trying to commit to a strict practice schedule. It's true that one has no shot of improving if he doesn't practice. I've decided to learn Schumann's Kinderscenen, Op. 15. I don't see myself performing with this piece anytime soon...but I do find this piece rather intriguing. And I guess that's all that matters. Oh, and I'll start posting my practice notes on this piano blog/journal during or after each practice session.

Today, I played throught pieces 1-8 (there are 13 total) and most of them are not technically-advanced, IMO. Well, of course, the hardest part is playing it expressively--but also, of course, without overdoing it (a charge that I admit I'm guilty of at times). Interesting how the melody in No. 1 and No.4 are remarkably similar and the left hand motions are contrary between No. 1 and No. 4. The upward trajectory of the left hand in No. 1 connotes a sense of reverie (despite that being the title of No. 7--otherwise known as "traumerei" in German)...while the downward motion of No. 4 stresses trickling down of teardrops? Emphasis on the A-C-D-A...probably doesn't mean anything.

My sprained fourth finger is still bothering me...

Chopin--Etude Op. 25, No. 1

Played through this 4 times or so. Spent 25 minutes. Made some left hand notes stand out more (like Horowitz recording).

Played Liszt's Sonet del Petrarca 104 (to make sure i didn't forget it).

Chopin-- Etude Op. 25, No. 2

Started learning this piece today. Played it through 1.5 times (with both hands) and once with just right hand. Worked out the right hand fingering (left hand fingering is pretty straightforward). This piece is not that technically challenging (except you have to play at presto = 122).