Videos from the June 25 Online Workshop Are Now Available on YouTube!
- 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.
- 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?”
- 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.”
- 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.
This free online workshop was made possible with the help of contributions from supporters. Donations of any size are deeply appreciated and will help in the continuation of the work and outreach of the Golandsky Institute.