7:00PM – Edna Golandsky

• Chopin Etude Op. 25 No. 2, mm. 7-8: How to play D♭ with the 5th finger in bar 7 so it doesn’t feel weak. Also, how to play the piece without getting tired.
• Chopin Etude Op. 10 No. 4, m. 3: How to coordinate the two hands particularly on the first two left-hand rolled chords.
• Schumann Symphonic Studies, Variation 3: Problems with evenness, not wanting the thumb on the way up to sound accented, not sure where to put the hands and arms to best tackle this variation.

7:15PM – John Bloomfield

• Mozart Sonata in A Minor, K. 310, first movement, mm. 59 – 61: “I find the passage very fatiguing in the hands, my wrists also get extremely tight. I try to use the pedal, but find that it then becomes difficult to keep the clarity of the different voices.”
• Chopin Scherzo No. 3 in C-sharp Minor, Op. 39, mm. 159 – 163: “How can I reduce the ‘choppiness’ of the left hand in the numerous downward sequences? I can play left hand and right hand separately and reasonably smoothly but when played together, my left hand loses the sweep of the phrase and it sounds choppy.”
• Chopin Nocturne Op. 55 No. 2, mm. 52 – 54: “How do you keep the trill going with two fingers in the accompaniment while also articulating the melody with yet another finger of the same hand?”

7:30PM – Mary Moran

• Beethoven Sonata No. 8 “Pathétique”, first movement, mm.11-20: “Allegro di molto e con brio section (especially the left hand).”
• Schumann Kinderszenen Op.15 No. 4, mm.1-3; No.8, mm.1-6: “How would you play the fingerings of Schuman’s Kinderszenen op. 15 no 4, Bittendes kind and no 8, Am Kamin. I mean basically if you play as written or what to do with the left and what with the right.”
• Joplin Maple Leaf Rag, A Section mm.1-4; C Section, left-hand stride: “Can you please discuss Ragtime technique using Maple Leaf Rag A Section. Rotations? In/Out, Grouping, Shaping? Particularly the alternation of octaves and single notes, but stride, also, if time permits.”

7:45PM – Robert Durso

• How to cross the thumb in scale playing with ease!
• Ravel Gaspard de la Nuit, Ondine: How to avoid fatigue in the opening repetitive figure.

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