Insights

Insights are short videos on specific problem spots in repertoire of all levels. Don’t see the piece you are looking for? Members can submit requests for videos directly to Entrada.

Season 1

S1E1

Ravel: Jeux d’eau

The widely-spaced arpeggios in m. 11 are carefully considered with three-dimensional principles and practice strategies.

01:29

S1E2

Albeniz: Malagueña, Op. 165 No. 3

Timing and effortless movement help us capture the lilt and spirit of this Spanish dance.

01:40

S1E3

Schumann: Wild Rider, Op. 68 No. 8

Proceeding to a new section of a piece calls for careful and effective practice.

01:37

S1E4

Burgmuller: Arabesque, Op. 100 No. 2

The B section of this famous piece often is played poorly. Why?

01:22

S1E5

Chopin: Nocturne in D-Flat, Op. 27 No. 2

What did Chopin really mean when he used hairpins?

01:45

S1E6

Bartok: For Children, Vol. 1 No. 3

Sliding facilitates three-dimensional motion in two-note slurs.   

01:17

S1E7

Mendelssohn: Tarantella, Op. 102 No. 3

Playing fast repeated chords benefits from organizing groupings and using the vibrato technique.

01:25

S1E8

Brahms: Waltz in A-Flat, Op. 39 No. 15

Momentum and three-dimensional shaping are key to bringing this waltz to life.

02:23

S1E9

Debussy: La fille aux cheveux de lin

The large chord in m.6 presents a special pedaling challenge that is easily remedied.

00:53

S1E10

Haydn: Sonata in G, Hob.XVI:8, 4th mvt

The tremolo figure in the left hand is broken down for effective practice incorporating the basic vibrato motion.

01:44

S1E11

Rebikov: Valse mélancolique, Op. 3 No. 3

The composer’s hairpins provide clues to playing with greater sensitivity and lilt in this waltz.

01:57

S1E12

Mozart: Sonata K. 331, Rondo alla turca

The “Turkish band” figures in the left hand become effortless when we cultivate a “small” hand integrated with the vibrato technique.

01:30

S1E13

Glinka: Contredanse No. 1 “Le pantalon”

Focus on repeated notes, sforzandi, and agogic accents leads us to the elegant character of this dance.

01:45

S1E14

Liszt: Consolation No. 1 in E, S. 172

In just four measures, Liszt provides us with opportunities to interpret portato, legato, dolce, and hairpins; each marking has a meaningful effect on expression.

01:56

S1E15

Schumann: Concerto in A Minor, Op. 54, 3rd mvt

Leon Fleisher’s fingering advice is combined with the vibrato technique to produce the dynamic sweep needed at the opening of the finale of Schumann’s concerto.

01:22