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.