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.
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: