Scales

We paused on E♭. The coordination of the two hands wasn’t there on the final sextuplet pattern. There was too much wrist movement happening in the left hand. It made the rhythm uneven and also ended up emphasizing the pattern, particularly the downbeats of each sextuplet.

Corrective measures taken:

Scales

Whenever I play piano it ends up being sotto voce, and I should also start playing dolce legato. Lighten the left hand, and in general the bass doesn’t need any help in being heard. The tenor and soprano registers need more assistance.

Scales

This time the scales were too subtle. With B, b, E, and e, he expected the scales to include heroic, loud character. So for next time, the scales need to include the full range of expression for the key.

Scales

This lesson: D, d, A, a. We paused in the middle of the full 4-scale run to discuss a few observations.

I tend to flatten the joints of the fingers of the left hand, particularly when playing soft. They should be more firm, maintaining their curve, to ensure that the key reaches down to the bed and sounds.

A program is born

The new score arrived in the mail: Wiener edition for Haydn, Hashimoto via Schirmer for Scarlatti, Barenreiter for Bach, Henle for Schumann. After listening and reading through the suggested material, I found some additional pieces to fill out the early half of my repertoire.