Piano lesson November 7, 2005

Today’s lesson focused on 1.) J.S. Bach’s Fugue XXI (B-flat Major) in Well-Tempered Clavier Part I, and 2.) Chopin’s Nocturne in C-sharp minor.

Started the lesson with playing A-flat Major and F minor (relative) scales. One starts the A-flat Major scale on finger 3 for the right hand. For A-flat Major arpeggio, start
with finger 4 in right hand and 2 for left hand.

J.S. Bach Fugue XXI (B-flat Major) in Well-Tempered Clavier Part I

-Be more consistent in articulation of the subject–which spans 4 measures (most important point).
-Note that the staccato markings are portados.
-countersubject appears in right hand in b.5 (on the C).
-Exposition (b.1-16).
-start to hear 3 voices in b.13 (starting on d in left hand).
-first episode starts on b.17.
-when practicing this piece, think of how you would play this on a harpsichord (little to no sonority) vs. a piano.
-memorize this piece

Chopin Nocturne in C-sharp Minor, Op. 27, No. 1 (1835)

-Use right hand to play upper G sharp in first two measures to create a more consistently soft sound.
-Note the sotto voce. in b.3. (means ‘under breath”).
-Follow the pedaling per Professor N’s recommendations.
-b.6-7: Make sure the circled notes (c-sharp, b) and (b, e) are played louder than the other notes. Chopin modulates between C-sharp minor and E major here.
-b.11 mezzo voce(not in score, but Professor N recommended this). The melody should be more assertive than the one in the sotto voce.
-b.20. Make sure the inner voice is heard in right hand.
-b.21-22. Accentuate the circled notes as in b.6-7.
-Use right hand as indicated (per Prof N’s recommendation) in b.27, 28 (same logic as in b.1-2).
-In Piu mosso (little motion) section, make sure the audience is aware of the left hand’s presence. Accent the first notes of in these measures in left hand. The left hand notes
in this section should be more evocative or “filled with pathos”.
-Apply more rhythmic stability in the agitato section, especially with the left hand. Your left hand seems to get lost with the rhythm.
-Experiment with the con anima section. Make sure it sounds more cheerful than anxious/agitato.
-memorize the piece.

For next week, prepare the same scales as this week and have the Gershwin piece learned. Also, work on memorizing the second and third movements of the Mozart
Sonata in C-Major.