Friday, October 5, 2012

Chamber Music Recital Tonight at 7 pm!

A Special Evening of Cello/Piano Music

Friday, October 5, 7:00 p.m.
Greenfield Recital Hall, The Manhattan School of Music (located on UWS at 122nd and Broadway, 120 Claremont Ave).

Program:
Beethoven 12 Variations on Handel's Judeas Maccabeus
Brahms E minor Cello Sonata
Shostakovich Cello Sonata






Admission is free







Ben Larsen, Cello
Alexis Zhu, Piano

Tuesday, September 11, 2012

What are we doing when we practice exactly?





On the most basic level, these are the things we are trying to achieve by practicing...

Advanced Pianist
1. Clarification of Ideas
2. Character
3. Control




Beginner-Intermediate
1. Sound, tone
2. Coordination
3. Comfort
4. Balance
5. Fluidity


Tuesday, December 13, 2011

Holiday Performance at Steinway Hall, NYC


This was the grand finale to our Student Holiday Recital at Steinway Hall, NYC. It was a very special night of music making and quite a showcase! Thanks to all the families and students for their hard work and beautiful performances! It is such a treat as a teacher to see how each and everyone of you has grown and developed this past semestar. See you all in the New Year!

Monday, November 14, 2011

The Working Unit

Most students make the mistake and waste countless amounts of time playing through versus practicing. They fail to realize that things need to be fixed or examined in smaller sections than what most students take on when "playing through".

A run-through/play through involves a larger unit and consists anywhere from 8 bars to an entire movement or piece. While run-throughs are necessary, by themselves, they are not a sufficient or productive way to practice and learn material. Run-throughs should take up less than half of the practice time.



The working unit, on the other hand, allows the pianist/student to focus and fully comprehend the material. Like phone numbers and clumping, the human brain can only fully comprehend so much material at a time. As such, the base of the working unit is usually 2 bars, sometimes 4 or 8, and always ends on the downbeat of the following bar. For example, a 2 bar working unit ends on the downbeat of bar 3. By practicing until the next downbeat, the pianist avoids the faux paux of ceaseless hesitations, strange rubatos when linking together complete phrases, the unnatural stopping-starting created by technical deficiencies.

Tuesday, October 18, 2011

Chopin-How to get those improvisational and notoriously difficult florid passages seamless and fluid

Thought for the Day...

We know we all struggle to make fluid those odd multi-note florid passages in Chopin which tend to go on forever. Instead of using the heavier dotted-note rhythms to make such passages even, try stopping on every note in the sequence instead.

For example - if the passage is 16 notes long, then stop on note 2, 3, 4, 5, 6, 7, 8, etc. 16. This allows you to explore the in and outs of the keyboard and naturally molds your hand shape to the unique shape of the passage, making the figures easier to shape over the underlying harmony later on.

Friday, September 9, 2011

Listening and Creating Your Own Personal Sound World

An inspiring, eye-opening lecture about how to listen given by Evelyn Glennie. This will transform your concert going experience and the way you respond to music. What every artistic teacher is trying to impart to their students...

Evelyn Glennie shows how to listen | Video on TED.com