The Insights library will continue to grow quickly as Fred creates new content in response to your and other members’ questions.
The widely-spaced arpeggios in m. 11 are carefully considered with three-dimensional principles and practice strategies.
Timing and effortless movement help us capture the lilt and spirit of this Spanish dance.
Proceeding to a new section of a piece calls for careful and effective practice.
The B section of this famous piece often is played poorly. Why?
What did Chopin really mean when he used hairpins?
Sliding facilitates three-dimensional motion in two-note slurs.
Playing fast repeated chords benefits from organizing groupings and using the vibrato technique.
Momentum and three-dimensional shaping are key to bringing this waltz to life.
The large chord in m.6 presents a special pedaling challenge that is easily remedied.
The tremolo figure in the left hand is broken down for effective practice incorporating the basic vibrato motion.
The composer’s hairpins provide clues to playing with greater sensitivity and lilt in this waltz.
The “Turkish band” figures in the left hand become effortless when we cultivate a “small” hand integrated with the vibrato technique.
Focus on repeated notes, sforzandi, and agogic accents leads us to the elegant character of this dance.
In just four measures, Liszt provides us with opportunities to interpret portato, legato, dolce, and hairpins; each marking has a meaningful effect on expression.
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.
Does sforzando only mean a “loud” note or chord?
The Vibrato Technique makes playing repeated chords easy, even in elementary-level music--and helps us inflect gestures more musically and stylistically.
Here’s a great trick for playing the problematic trill near the beginning of this famous piece.
Finger substitutions allow us to maintain legato, and the vibrato technique helps us play effortlessly and with better rhythm.
Finger staccato combined with three-dimensional elements (quiet hand, shaping, vibrato) helps project the musical character of this elementary piece with ease.
In this example, a whole-body approach includes releasing your hand after each ‘plucked’ attack and keeping it ‘small’ with quick jumps. This frees you to play jumps of any interval, rather than ‘reaching’ and keeping the hand tense. (And look for an appearance by Leo the kitten!)
In this exciting final piece of Bartok’s Three Folksongs from the Csik District, the left hand’s large rolls are challenging. This Insight focuses on how to release your hand to keep it small, so you can accompany the right-hand melody in time.
Sixteenth notes in the left hand are often played with fingers only. This passage becomes much easier when you choreograph it with three-dimensional shaping.
Integrating rotation with active fingers and three-dimensional movement is the focus of this Insight, in a highly pianistic figure that becomes commonplace in Mozart and others, in the generations after Handel composed this work.
How do we use the Vibrato Technique to help us play rhythmically? Whole-body gestures allow us to play the piano easily; in turn, our music becomes more freed.
The opening measures of this Sonata instill anxiety in many advanced pianists, right at the moment when we need to be confident and to play with good coordination. This insight offers steps to master this passage, and to apply this process to double notes encountered in other repertoire.
What is the difference between a dynamic accent and an agogic accent? How do we play accents to aid the character of the music we are playing?
Right now, there are over fifty masterclass tutorials on repertoire ranging from elementary to intermediate to advanced.
Organized by approximate level of difficulty, these pieces include: