Portal:Piano-kids' Corner from classroom and virtually online
No Orders, Beautiful flowers were blooming from Childhood! Let us pick up your most beautiful moments...
Oh, dear piano pupils, we have seen so many beautiful landscapes, across the times and spaces. Now, firstly, getting into East- your nature and self-meditation, let us try to take the Pentatonic Scales Exercises for relaxing you 'busy heart' and focusing your attention back to piano...
- Portal:Pentatonic Impressionism (China Wu Sheng) in the view of Neo-classical Piano Techniques-training
Afterwards, we can take further great life-tasks in piano...
New era is coming... :Edit
A peacefully praying Sinfonia of Sir Bach is freshly added in the "New exam book's list' during this COVID-19 period, which you can have a relaxing hear and try (Don't worry, listening, it's enough time, you knew, 'Andatino'-Peacefully walking, to sing by hands, in a small Baroque place :
Encouragement in Italy Smart Fashion, but needs the very carefully fingering-techniques training (Long time, advanced)
Meng's Performance and Comments after learning in the reality from Jason M. C.,Han in Children's Corner:Edit
Part of Comments - 'for students' Examination Performance, Piano tutor's teaching self-reflexivity and possible some requirements of Pedalling Sound-effects with Artist Fashion of Post-impressionism' Jason M. C., Han (discuss • contribs) 04:15, 12 October 2018 (UTC)
Kim Hui's 'Under the sunshine' in Children's Corner:Edit
Comments for Kim Hui's first draft: 1. She did the second theme (associated) well 'much deeper like vocally singing out a better life in New Era under the sunshine, on a piece of small area in a rainforest'...
2. Her Korean dance (Wikipedia introduction: https://en.wikipedia.org/wiki/Korean_dance) has been done well, in which I can hear traditional drum-points in bass-part and crossing hand to tremble part.
3. I can hear Time-travelling and space-shaking to the past through a 'Dark-cave', from..., minutes 1.30-1.40... But, I think: if 'dramatically' and 'significantly' in dynamics (loudness), it would be better to show...
4. I can hear Forest's Evensong in Coda part - 'dim.' to the silence of night and a 'rit.' slowing down to the sleeping dream, and even several night-birds' dreaming voices...But, please make a much gentler taste (not so hurry up and not so strong) of those pictures. Meanwhile, I hope you can get a better & coherent control of the rhythm among different sections.
5. I knew, regarding with 'peak-parts', she had made many attempts 'drumming beats rights and keeping those connections clear'. However, still, in minutes 1.04 and 1.59, I felt it's a little bit 'rough', and needed to be handled in of the solidification... Oh, maybe, I am so severe... sorry, I should give you the encouragement.
Main comment: 'Under the sunshine' is suitable to Kim Hui's fashion and can be kept in her performance list. Her first draft and its preparation has given me an enjoyable teaching experience and many beautiful memories of life. It's fluent and vivid, expressive and dedicated. Thanks, Kim Hui! More colours and lights would be added from technique details, from her independent fingering and some traditional piano manners, meanwhile, the rhythm should be balanced well in the future. There are many developing zones of 'this painting' she can better and draw out for her future.Jason M. C., Han (discuss • contribs) 21:22, 17 October 2018 (UTC)
Kim Hui's second 'Show-Time' in classroom - Poem of Music (Piano Etude)Edit
Student's Second Performance - Poem of Music:
Comments for Kim Hui's first draft: 1. She has mainly got the technique-points, but a little bit of rough in some details, such as the minutes 0.30-0.31 - 'Tail-closing part' of a sentence - in the progression of 'Diminished Seventh Chord-Arpeggio'... However, as her first draft and the random collection from a normal classroom, I thought it's well-done. we can wish its further 'Developing Zone', in the view of piano education. 2. In 'Coda Part' of Poem of Music (Piano Etude), she was able to show a great controllability of the 'Legato' between two hands, as the pieces of falling leaves slowly flying-upon the surface of water. Sometimes, it was evenly better than mine. I hoped she could manage it in a better way. 3. She showed some thoughts of musicality... However, 'Techniques-points' still wasted much of her energy. I think the total Dynamics in physics will be improved soon. (waiting more) Jason M. C., Han (discuss • contribs) 14:53, 23 May 2019 (UTC)
'Colourful Clouds Running After Moon' impressed into the Heart of Xinyi, Hua (Hua family's Heart-sweet girl from 'Painting Imagery')Edit
Comments for the first draft of Xinyi, Hua:
1. I like her treatment of the prelude part in 'Colourful Clouds Running After Moon'. It's light and soft like silky clouds up-bridging alongside moonlight towards a round moon above the dark-blue sea. However, please try to link each silky pentatonic-arpeggio weave as a smooth whole from the bottom to the top, and from the left hand to the right hand. If so, her progress will be enlarged;
2. I can hear the situation 'Colourful Clouds Running After Moon' appeared in many linking parts before and later. She was attempting to give an acceleration imitating this procedure from a slower speed to a fast one, and between two hands' echo-following from a loose density to a tight one... However, if obviously, it will be better;
3. Like 0.58 to 1.03 minutes, I can hear that in some parts, she would like to make a returning sound-boomerang (Wikipedia introduction: https://en.wikipedia.org/wiki/Boomerang) up-rising 'to the moon' and down-landing upon the sea-surface. If a small time of middle reaction was canceled out by her proficiency, we will appreciate the musical beauty in a much more advanced situation;
4. In 1.22 to 1.30 minutes, I know she would like to make a silky veil, with the colourful clouds as material, upon moon's beautiful face by her right hand. It's a little bit of pity that the controlling ability of relative loudness made she carried this willing but harder to realize. Meanwhile, this veil needed to be smooth. Oh, sorry, I am so critical... indeed, she did not bad;
5. There is a hard hurt in 1.36 minute - it's still a repetition of bass-chord though she has already attempted her best to grasp the bass large chord through left hand's opening degrees (Little girl, I knew you had tried your best. Though the momentum was great, I still need to point it out.);
6. 2.12 - 2.40 minutes is the part - 'Bright Moon up-rising above the harvest sea'. This is a grand scene which needs great forces from students' forearms and a fast reactions for some flexible connections to arpeggio-parts... Congratulations, little girl, she have got it, though it's a little bit slower. She have given out a great momentum;
7. In the Moon-tail part, she has expressed her great musicality to make moon disappear in the dawn of sea;
8. Many ornamentations she has done well, though still some need to be gently breezing in the impressionism of Chinese landscape painting.
'Pure White Dove' in Young Teenager Xinyi's EyesEdit
Congratulation to your beautifully singing of the 'Melodic lines' behind the right hand's octaves-grasping! Comments: 1. Four biggest designs appeared: around B50 (Minutes 1.36), B55 (Minutes 1.48), B58 (Minutes 1.54) and B62 (Minutes 2.01) - four Peak-currents, we'd like to throw (rit.) the 'missing notes' into the air and rotate them a little bit more slowly - like to send, wait and feel Dove's messages across the ocean in a self-holding & self-releasing intoxication. She tried her best to make them out, but not quite clearly and still need much time to grow up...
2. I liked her coda part (from B65 Minutes 2.08 to the end): She was so sure about two hands' March-doubling, as a confirmation of future and belief; or to say, she transformed her 'missing' in the melody to be a true hope of tomorrow, or someday... Evenly, I thought it's better than mine...
3. For more than half years, we have worked hard to help her link all octave-grasping pearls out of melodic lines in singing breaths. She almost got it successfully, through small breaks...
4. Some 'Spanish Dotted notes' and 'Triples-wandering', with the rhythm of Spanish Dance Habanera-Andante (Wikipedia introduction: https://en.wikipedia.org/wiki/Contradanza) can be fulfilled, but some not really... I am happy she recognized them and paid more attentions to... It's waiting time that she could perform much better.
5. Yes, I had to say: still some small faults there... The good usage of pedalling almost hide some, but... also a little bit rough... Oh, I didn't want to be a so severe teacher. Rather than, much more good wishes of her growth should be given. Okay, hopefully, she enjoyed it. Jason M. C., Han (discuss • contribs) 12:57, 4 April 2019 (UTC)
Teacher's Demonstration for standards above and Further Progress (Advanced Level):
More information and reading - articles (list) about 'Dove', please watch: https://en.wikipedia.org/wiki/La_Paloma
Malagueña Dream from a little Chinese girl - Yinuo's heart (A promise ... to piano) in a small beach-side classroomEdit
Comments for the first draft of Yinuo, Liu:
1. We can hear the impression of Flamenco rhythmic pattern (Compás) (Wikipedia introduction: https://en.wikipedia.org/wiki/Flamenco) diffusing from some simple rhythm-components of a parts in a total ABA structure of Malagueña Suite. This is what I - the tutor and the little girl -learner would like to express through three more different accompaniment bass-forms, including pizzicatos, small slurring breathes and some opposite weights..., which imitated some of Classical Guitar's handling ways. Thanks to the little girl Yinuo, you have realized most of our designs! Congratulations!
2. I really like her beautiful Cante jondo - associated 'vocal' lines by right hand which was balanced & flying above the flamenco accompaniment of the left hand when the second thematic melody began. It's a deep, profound and emotions-rich singing, almost from a beautiful Spanish girl's natural expression for the missing, the reasoning of life & Universe when facing a 'deep and far' sea. Though if the dynamics would be dramatically and the singing would be much deeper, the emotional atmosphere would be better: I thought to only a girl of her 11 years' old age, she has already attempted her best to understand those across cultures;
3. I like the middle B's fantastical view of holiday beach under the sunshine, which was almost formed by white waves from blue sea. It's relaxable, dreamful and graceful, like a girl poet's walk alongside a small sand bay... (Yinuo, you knew, if you can make the 'rit. - A Tempo' much more nature like the real tides of sea and the speed tiny faster, the progress zone will be enlarged);
4. I know in two middle long 'vocal' ornaments, she would like to show us ' the blackbirds or the nightingales of its gardens...' However, if making it much more smoothly, expressively, and flexibly, even a little bit down-slowed, her Spanish 'tasteful' fashion will be more beautiful;
Für Elise in piano boy Zhe's eyesEdit
Teacher's demonstration in classroom for better:
Student's performance in classroom:
D major Sonatina (Kuhlau) - Piano-pupil girl Mengshuang's 'Strong Willpower and Persistence'Edit
Teacher's demonstration in classroom for better:
Student's performance in classroom:
Comments and Statements: 1. Totally to say, the main melody fast-run by the right hand has kept its fluency, transparency and clearance. It's very hard in piano training for herself, owe to that her hands-shape was a little bit of 'frozen'. Thanks for your hard-working in the training. Congratulation!
2. Her musicality in this melody has also been motivated out - unrestrained and natural in the expression.
3. Left hand's accompaniment was in good triplet-treatment, but please light and dedicate a little bit... It's to say: the controllability still needs to improve.
4. Some heads of sentences and smaller phrases need to be match together between two hands in a better way - some parts, because of small ornamentations and dotted notes, weren't quite well...
5. I am very happy that you (in your 12th year of life) were willing to play out the middle 'rit. - A Tempo' in a comparison ('rit.' was slowing down the waiting, then, 'A Tempo' for the Peak expression in return). However, it was still a little bit rough (before its right time). You can try to modify it in a better view. Jason M. C., Han (discuss • contribs) 03:08, 2 August 2019 (UTC)
How to play Mozart's Classics?Edit
Work from Mozart's earlier time - Turkish MarchEdit
Teacher's Demonstration in classroom:
Sure, Ma's boy-view of Mozart's 'Turkish March'Edit
Further Comments for his first draft: 1. It's very difficult for a young boy to manage Turkish March's speed in a smooth way... He tried his best to keep it stable and unified, and almost did achieve it. (Turkish March is easily to make people play faster and faster until crazily broken. He tried to solve it by giving a slower beginning ) But, it's a little bit of too serious,afraid to touch wrong. Indeed, I heard his another time, in which he totally open himself and relax from nature... We could give him more hopes. 2. His melodic flow of scale-phrases (legato) are quite fluent and natural, which shows his scale-playing and fingering were quite great. But, a small break occurred around 1.14 to 1.17 minutes could be caused by the stiff right wrist (too tried) and no-good fingering design. He should frequently move second and third fingers in a much smarter way. To a young boy in his age, it should already be 'okay'. 3. When the theme occurred in the second time, it's better to give a dynamics-difference in contrast. My mother-Ms Song said: it's like an old story (sound) heard from a far distance to near somewhere - mysteriously. However, he gave a very tight connection, as if it was linked with the previous section. 4. He tried his best to take the Worldwide difficult challenge - 'Broken-chordal Arpeggiated-octaves' (Around 2.00 to 2.14 minutes). I gave him a 'LIKE' that he had taken this challenge which even many pianists or teachers made some 'faults' as their heart pities - You can hear the edition of Romuald Greiss' in Wikipedia and several my previous times... However, this boy achieved it after many trainings time after time... Though later half one, compared with the beginning, might be in lower distinguishing degree, he didn't make any 'breaks', which comforted my teaching way so much. Thanks, boy Sure! 5. The final problem would occur in 'Alberti Bass' (left hand) of Coda part. Coming to it, you will feel easy to give up, which required more endeavors to control your hands in narrow and elaborate dealing way. He did it good, but lost in the counting of number (B111), and further, the connection with the final 'Square-opening Dance' (a small break). other things, such as the strength, are fine in his age. 6. In addition, I am planning to add a 'Turkish Stop' by a final pedaling. I didn't know whether he could, someday. Overall, I gave him an Excellent Comment. Hopefully, he will play better after better in his growth. Jason M. C., Han (discuss • contribs) 14:13, 8 March 2019 (UTC)
Further Comments for his second draft: 1. As his teacher, I am very happy to hear several great designs we have made in classrooms can be achieved in the second draft, according to the background knowledge of 'Turkey March' I taught, such as the final 'Turkey Stop' (not really in modern piano, but a little bit similar) and the Bass-points-layer (simulating the military drum) beneath the long fast running scale-phrases of right hand (middle section)... Cool boy, thanks that you can remember your teacher's words! Congratulation! 2. Yes, right after the chance of Music library Report-performance in local we have made and getting back, you improved the edition's speed and fluency. You can evenly save 15 seconds, contrasted with before, which showed that your fingering & running ability of hands had been greatly improved. However, the disadvantage is that it's easier to make some small motives uneven and rough (touching wrong notes) without purpose, which needs more your careful attention and exactness about details. 3. I knew you tried your best to face the peak challenge Mozart made to all people - making broken-progression of octaves message (middle part) and hearing out its hidden melodic lines. Great! However, it's still a little bit beyond your ability that its distinction with chords-effect weren't so clear. No matter, Sure boy, more exercises, it will be better. In all, progressing soon which shows the potential, thanks to your performances1 There is still the developing zone waiting for you. Jason M. C., Han (discuss • contribs) 15:08, 25 April 2019 (UTC)
Clever Girl Jia Xin's Clever view of Sir Bach's 3-parts InventionEdit
Teacher's Demonstration for Future Development:
Jia Xin's Performance:
Comments of her first draft: 1. Totally, 3 parts are ranged in Bach's harmony, to a girl in her age - 12 years old. It's not easier to make so clear layers out. I was satisfied with this point, after heard every time; 2. I can hear piano techniques for polyphonic & counterpoint music like Bach's, such as cannon, intimation between two hands, up-climbing shoulder by shoulder, dialogues, long-notes down-pressed for different parts' SHE (sentence-head-enhancement), long-notes kept for parts' division and maintaining, fingering grouping in one hand for 2 parts, parts' continuously melting into one for the summarization, and..., Baroque ornamentation... mentioned for long. For those trainings, and further, the internalization into her own mind-analysis, we had searched information & knowledge through Wikipedia, two more manuscripts, books and other webs online, further, spent classroom time to reason, analyse, train and fix note by note for long time... In this case, I gave her hard-working a 'Like' again; 3. There would also be some problems regarding with recording pressure and her memory...: some big ones - left hand's relatively weak ability in managing two parts, small mistakes (like B18's f note played as sharp f - around 1.13 minute, B21's final g isn't raised there - around 1.23-1.24 minutes, and others...), small ornaments in a little bit of rough view and a much more graceful manner in Coda part. (sorry, to such a 12 years old girl, my suggestions could be so severe. But when listening, they are directly in my ears...) 4. She did really pay her attention to Dynamics, but please better - lighter, smarter and more obviously... 5. The speed of later part is better than the slower earlier part. Overall, I also gave her an excellent comment for her performance (Live) in classroom. For further development, she can listen to my edition and the one in 'Inventions and Sinfonias (Bach)' - Wikipedia article (I thought it's great, but I didn't like too many speed-variations in Bach's works. It's better more reasonable: https://en.wikipedia.org/wiki/Inventions_and_Sinfonias_(Bach) ) Jason M. C., Han (discuss • contribs) 07:33, 9 March 2019 (UTC)
Yixuan's piano-view (only 9 years old) of Sir Bach's 2-parts InventionsEdit
Comments from teacher: 1. Musical parts and space-dimensions were much clearer than before, which reflected the little girl Yixuan's hard-working continuously after her piano examination... 2. I can hear the heads of musical sentences which were highlighted by each hand when required. I can also hear cannon-following, doubling and countermelody which were clearly shown into her performance. It's quite necessary for students in this age - 9 years old. In certain degree, she is already a good and careful student in piano. 3. Still, the controllability and the stability of hands, especially the turn of her 3rd, 4th and 5th fingers, need to be improved, which caused some small faults, such as 0.49-0.50 minutes (Bar 22) - a recovered B in right 3rd finger, 0.54-0.55 minutes (Bar 25) - 3rd, 4th & 5th fingers of left hand, and a small disharmonic note - flatten B in the right hand - 0.32 (Bar 14)... 4. It's great that I can hear Baroque staccatos were in their graceful manners - like imperfect pearls required by its era. She almost did it... 5. Totally saying: it must be a very hard-job for a student in 9 years old to play Bach's 2-parts Invention. She bravely took up this life-task and successfully completed - this point should be affirmed. Congratulation! You can do more further... Jason M. C., Han (discuss • contribs) 02:28, 6 September 2019 (UTC)
Brilliant Snow-ball boy (Yu) of Zhang family is praying for his father working in New ZealandEdit
(Waiting better) Could you understand how hard Sir Haydn's & Mozart's mature sonata-structuralism and Classical Countermelody (from String Quartet: https://en.wikipedia.org/wiki/Wolfgang_Amadeus_Mozart) were for the training of such a young boy or some students around this aget? Oh, looking back, I, myself, also did feel hard... However, this boy and another older piano sister did really insist on doing so. Today, they can give their own editions - very different with own personalities and natures. Another point I would like to say: It's only one week's time that this boy was fighting for 'a good hearing' of his father. Afterwards, a modified recording edition soon got out, which showed his proficiency and quality...Good boy! To be honest, reviewing the past year, in order to train Sir Haydn's melody, we researched many ways together, including mathematics... Sometimes, evenly felt hopeless... Playing from childhood, Haydn's style is quite simple to me - models, switching, sonata structure..., but to students, they didn't quite like the sense of thinking being structured... And at the very beginning, I even didn't understand why they felt difficult... Recognizing something, We began to make many games, and evenly counting out some scores for the achievement of his 'fried chicken legs'... Here, from rhythm to notation, and from melodic interaction to parts-division, I felt it's much clearer, more fluent and stable, than before... His ability of coordination has also been improved, though still some problems. I dared and felt confidential to say: it's a great edition of himself. Hopefully, he can progress further. Jason M. C., Han (discuss • contribs) 16:08, 4 April 2019 (UTC) Now, he made it much more fluent and accurate, and also played out his own fashion, though some details still need to be modified. Honestly to say, I thought somehow he got his progress in this period which we can hear...Jason M. C., Han (discuss • contribs) 03:28, 2 August 2019 (UTC)
How to play Chinese Folk tune - 'Kids' Dance' with Chinese kids' fashion? Listen to little girl Kunlu's performanceEdit
Teacher's Demonstration in classroom:
Student Kunlu's Performance in classroom:
Teacher's Comments: Totally to say: Though She can play better editions (many better ones, last winter), in this sound file, she showed the coherence, fluency, flexibility and stability ( as Chinese fork-tune required). Hearing such a smart Chinese girl playing such a fugue-cannoning song, you will feel: it's a right song designing for a right girl... I think that's one meaning of piano-performance. Though spending much time, We did also research special 'Chinese supplemental positions & Dialogues' in polyphony together, which gave us many beautiful memories... Further more, in this age, her staccatos, slurs and Tenuto have been performed quite well, which helped her to keep a unified speed to the end. Taking back a step, there must still be some small faults in classroom (without purposes) that I have to point out: such as B18's #C blowing to D a little bit, the attention didn't get back in B41 head A which made a small break, and a small mistake of 'Recovered C' rather than #C... In order to dream of its accuracy and pentatonic harmony, it's a hard-working that we have already come over many problems and mistakes... Therefore, I think she fulfilled herself and achieved many things from 'Kid's Dance'. Hopefully, she enjoys the procedure of music-carving. Jason M. C., Han (discuss • contribs) 15:07, 4 April 2019 (UTC)
Kunlu's Crystal Heart on International Children's Day - Kleine Kinder Kleine Sorgen (Little Child)Edit
Teacher's Comments: 1. The degrees of proficiency, fluency (and internal speed) have been improved, right on International Children's Day. 2. I preferred her treble part very much - so cool, pure, clean and refreshing, which reflected her crystal heart in childhood. 3. The grasping of big chords - stronger, that's great - but needs to be more accurately and deep (The word 'deep' wasn't always 'loud' and 'heavy'). Please try to understand this point. Yes, it needs to show the hardness of growth (to young teenager), but also the achievement 'to be stronger and more confident of yourself...' Jason M. C., Han (discuss • contribs) 03:32, 28 June 2019 (UTC)
Beethoven's Moonlight SonataEdit
Indeed, Beethoven left a historical challenge (difficulty) but the continuously creative inspiration to understand the techniques & musicality of all his movements, equally to all people. We can attempt different approaches and own personal life-experiences to understand them, and discuss out some possible results.
3rd Movement- 'Moonlights Storming' - Techniques Analysis from Notation-reading ('Presto agitato' of Breitkopf & Hartel Company and Berlin Arts Collage also compared with Old New York Edition - as the remembrance of one monitor): Musicality: In a grandly general view, it's like...in a crazily running (very fast) race, viewed from the window, moonlights have been dismembered upon deep Lake Lucerne (many fragmental sections composed together).
For its musicality cultivation, I could give a similar sense of its situation, like in Picasso's works- such as Picasso's Guernica (Ceridwen's Creative Commons Attribution-Share Alike 2.0 Generic license)
For achieving it, a little bit of dark-moods anger and sadness faced from the unfairness and out of control could be inputted, after all technique points were trained in the dexterity. Therefore, from emotion to say, I thought the video right after getting back from UK and the lost one in Newcastle central station were better than this time.
However, I satisfied with it, right like in life and after the presentation. From this point, we can see: Beethoven, as a piano master, has super-reached too much before the time - even abstractionism and postmodernism (deconstructionism).
2nd Movement - 'a little Fantasy Moonflower blooming between two rocky layers' - Techniques Analysis from Notation-reading (Allegretto of Breitkopf & Hartel Company and Berlin Arts Collage): 1. Parts-distinguishing way can be applied to pick up the main melodic points from its background and legato them into lines. ( Notice: Here, from the historical observation, a thing needs to be clarified: Baroque-regression (back-reasoning) was usually made by classical composers (in Vienna school: Mozart, Haydn and Beethoven etc.), especially in their later years of life for calming down the dramatical emotions, and keeping Life's Reasonability. Meanwhile, from Haydn, they discussed and created classical counterpoints from symphony and string quartet together, to modify creative inspirations. Beethoven also inherited it. Therefore, when we play some in piano, we need to analyse and apply some special techniques, commonly used in classical polyphony, to pick up the main from the background, sentence by sentence, as an era-responding.)Jason M. C., Han (discuss • contribs) 03:38, 15 May 2019 (UTC) 2. Octaves-bridging and chords-connections for big hands, into their hidden melodies, are the most difficulties, which need your frequent exercises, sentence by sentence. (Painful but worthful! Finally, flexible and skillful... ) 3. Long keeping-notes, in certain parts, are important for the continuity of the tune and the texture, without broken. 4. It's better in light and tender keyboard-touching way to make melodic lines clear and 'the little flower' smile lightly. 5. 'Rondo' (ABA) formation can be applied to understand its repetitions, responding and structure.
Blue Danube is always flowing from heart and life, with the vitality as spring:Edit
Children and young teenagers, let us swim in this life-long river, to see some beautiful landscapes!
Pachelbel's Canon is always the canon (polyphonic technique) since Baroque Era, but in Modern Piano's Pop VariationsEdit
Story of teaching & learning (from Wikimedia Commons): Regarding with this piano melody, there is a long story in my heart... Oh, did you hear Mag-pie's singing (I like 'pie' in the tail of this word) in the first draft? Yes, it was attracted and landing on the tree outside my balcony... You can clearly hear it at the beginning and in the tail in my first draft... Almost, it would like to share my memory...
Long long ago, my old brother on my mother's side used to be one hero of my life and fashion... On each holiday, he was always able to find great music pieces, MTVs, transcripts , and scientific fictions, from foreign countries, such as American and Japan (Summer)... and brought & shared with me... Then, I attempted my best to exercise them into the reality, which included this song - Canon Variations from pianist George Winston... Those memories have never faded out, but in my deep sea. To now, evenly did I think Canon was from US and a POP song... After seeking the exact information in Wikipedia, I found it's Pachelbel's Canon in D and Baroque Era and German, rather than C and Modern and Pop in American... and with a 'Gigue for Violins and Basso Continuo', it's not only for piano in many parts than our 3 parts in original piano edition. However either, I still like it very much and would like call it American POP in my music world...
Then after, a male colleague in my working college said to me: Jason, on my wedding ceremony, I would like to play it for a girl... Could you give me a simple one? Then, searching online, I found a simple (middle level) notation and an original (advanced level) notation, I downloaded both, and chose the simple one for him Three months, he was able to play it from 0 level (he wasn't able to read the notation)... I thought piano would have give him a good memory of wedding...
Following, I found a girl felt bored about her piano examination... Then, by choosing the simple transcript and inserting into her lessons... it made my tutoring classrooms really beautiful, relaxable, magical and peaceful...
Now, I have time to play the original edition out... One long dream of my heart is going to be fullfilled... Though my hands in several points didn't make my perfectionism satisfied contrasted with before, especially the tenth-cross design between the left hand and the right hand, I knew it's my life, and fate?... I prefered to update its situations for bettering continuously... if having time...
Compared with the firstly draft, I thought the second was much down-calmed and peaceful...Somehow, I preferred the first draft, but a little bit of 'fast'... I cannot make the decision...then, kept two. However either, I still felt very happy the little natural friend - mag-pie can join... For this reason, I kept it. Hopefully, you will enjoy... Jason M. C., Han (discuss • contribs) 04:50, 16 September 2019 (UTC)
KV.265 12 Variations on Ah vous dirai-je, Maman - 'Twinkle Twinkle Little Star'Edit
'The beautiful views of Scotti-highlands' from Thompson's Book (Advanced Level) - Teaching and demonstration Edit
For its musicality and academic thoughts, please visit Wikiverty's Portal of Piano education(The Section: The beautiful views of Scotti-highlands' in a Far-land Home (Academic thoughts, musicality, literature-writing and case-realization)):
'Swan's Dream Upon the lake' - Little Girl 'Wenxin's' (Brilliant & Sweet literatures in arts ) PerformanceEdit
Wenxin's Performance: 1. Techniques-recovery: The Arpeggio-training of left hand in the accompaniment was the biggest challenge to not only a piano-child at her age - no more than 12 (In Chinese culture, Kid's first year was in mother's womb. Thereby, I asked her - how old are you, and she gave the number '13'...), to me and evenly some expertise pianists. (Camille Saint-Saëns's 'The Swan' on wikipedia or other social editions). The arpeggio-accompaniment is travelling in rich variations of tunes, which caused left hand much harder to expand, shrink and positions-change. Therefore, it spent us more than half a year to train and recover her hand's dexterity from a small failure of her piano life in the Grade Test, just like 'Princess Swan's' experience. Now, totally to say, she got an excellent situation in which children at her age can perform. Thanks to your hard-working! 2. Musicality-cultivation: Usually, she showed a very great musicality in the first page - to the minute (Approximately 1.05) - tender, expending, lyrical and expressive... However, it's really a hardness to keep it throughout the second section - a shading & wandering heart-road in the growth. The attention has to be paid too much on the exactness of left hand's arpeggio-travelling. With a pity, still, some notes were beaten wrongly. But oppositely again, we can see: Princess Swan, in her period of Darkness growth - facing Satan, turning into a dark angel and only appearing in night... She really faced a hardness and the difficulty of life, right as beating wrong notes, getting out some noises and travelling a little bit slowly and roughly in a channel. In this view, perhaps that the difficulties can be transformed- in the musical needs and with a small fashion. Congratulation, more exercises, haha! 3. Together, we gave two great designs: one is the 'Big Brightness' began from the minute (Approximately 2.03) when the main theme happens again; and the other is 'Swan's Departure like Sound of Fall-Leaves rotating upon Lake's Surface' (from minute 2.49 to the end)... She almost achieved some - the mood calmed down very much and stably progressed to further with a confidence. However, a little bit of disfluency made the impression fade, somehow. Meanwhile, a 'rit. to a tempo' turned inversely - what a pity.
Totally to say, musicality, at her age, was preciously showing in this time's performance. The hard-working of recovery and exercises, during many classes, touched my heart very much. (I knew that...) More trainings of Arpeggio-running (dominate sevenths) and its fluency can help her achieve more in the future. Wenxin, thanks to you for letting us appreciate this world-famous melody in piano.
Listen to Mother's Old Story! - A beautiful and quiet little girl's Good WishEdit
Teacher's Comments: Yiwen, Cui (Direct translation of her Chinese name - A beautiful girl who is good at the translation of art and literature, from Cui family), at the age of 10, is a quite and beautiful girl. She got a good life effect from this Chinese piano-kid's song - 'Listen to Mother's Old Story': making her family and parents happy, getting some confidences through this piano song from the examination, showing her fashion in my library concert held for piano kids... After those more above, frequent exercises, and getting her permission, I can submit this classroom-recording edition. Though in the tail I found a note lost... and some parts of her left hand might run much more fluently... , I think her emotional background of this music reached to a good level, and those polyphonic parts can be clearly heard two layers, their cannoning, and so on... Congratulation! (Words from the description in Wikimedia Commons page) Jason M. C., Han (discuss • contribs) 01:04, 8 August 2019 (UTC)
Moonlight upon Lotus Pool (Summer) - Letters-Accompaniment Improvising Chinese Pop-song with both Classical Tradition and Pentatonic ScaleEdit
Teacher's Comment: 1. I am very excited that you (only 10-years-old) understood Letter-To-Accompaniment Improvising sheet and its approach in a very fast way. 2. It's great you can use both Pentatonic Arpeggios and Tenth-Rolling-Bass-dropping in your accompaniment (You can make Tenth-rolling Bass in a more fluent view, I thought) 3. We can feel the musical scene from your musicality - In a beautiful summer night, Walking along a lotus pool, you and your family members were enjoying the moonlight and a breeze of cool wind... 4. In future, hopefully, you can improve your 'new learns' to a higher level. Jason M. C., Han (discuss • contribs) 01:04, 8 August 2019 (UTC)
Xuan, Lee's Second Attempt - Pearl of the Orient
'Mother in the candlelight' - A little girl (Siqi)'s heart-words for her mother's birthday - in the growth and in the dreams...Edit
Heart-story: Regarding with this piano-song, there is a little story about this little commons' girl: Usually, her parents were very busy in the family's restaurant... I and my mother saw she had independently managed herself well and grew up alone for many years... In this year - 2019, time was near her mother's birthday. In the KTV (a place like karaoke bar, but for small single groups of people in rooms, with TV in the middle for singing ), she heard this song - 'Mother in the candlelight' and found her parents enjoyed singing it very much. Then, she decided to play it as a gift to her mother, right on mother's birthday. It's my biggest honour to be together sight-reading the notation, making the re-designs and re-editions of this song into piano - like, Prelude, Introduction-theme 1st, theme 2nd, Development and Peak, a small Repetition and Coda... She learnt in a very fast and hard-working way that merely around one month she played it in this level. And finally, she got her heart-sweet - playing it for her mother, as a birthday gift.(Wikimedia Commons' original page, 2019)
Comments from teacher: 1. The musical emotions were very rich and expressive, especially the 'Peak-Calling for mother' (2.53 minutes - 3.53 minutes). I almost can hear 'Mum...' (or Mumu...) for many times in a kid's tear-drops and in the candlelight... by your right hand's touchable singing... 2. I liked our 'Flanger tr. Ornaments' very much (I thought it's from Mozartian). I am very happy you can put it in for soon time... 3. I am very happy in the Coda-tail, you can get my suggestion - ending by a Major Seventh Progression-Arpeggio. This point should give the thanks to my mentor - Ray. I quite enjoy its special colour... 4. Your strong and mixed left hand accompaniment must have been trained for many times. I knew it's a hard-working job, but tender and flexible a little bit... better? 5. The singing of right hand and its 'breathing' were quite natural and fine, sentence by sentence..., but the total speed is too slower than normal, which reflect the running ability of the left hand needed to improve. I knew: to your 9-years-old hands, it's a very hard requirement... However, waiting the up-grown, I have the confidence you can hands-sing it in a much more fluent way... Jason M. C., Han (discuss • contribs) 14:10, 5 September 2019 (UTC)
The Cow-boy's Flute played by a little girl piano pupil - Guo Guo (Nickname: Happy fruits)Edit
This edition has already been her best attempt, regarding with its landscape-painting style, lovely Cow-boy's Flute we can refer to Wikipedia introduction (Seeking key words 'The Cowboy's Flute' in). It's recorded as a beautiful memory of her piano-learning and her Childhood. Let us listen to her:
Clementi Sonata Op35 No. 5 (Movement 1st), played by Piano pupil Yixuan, QiaoEdit
Clementi's Sonata-Op35 No. 5 was a so long and difficult piece for students around their ninth year. Therefore, we have divided it into many small sections and taught. She learnt in progress. Meanwhile, this little and beautiful girl (She was beautifully good at dancing, somehow rather than piano.) has already attempted her best in exercising and recording. I thought it recorded her good piano-learning experiences and those memories of childhood. Regarding with further information about this work, please refer to the educational portal: https://en.wikiversity.org/wiki/Portal:Sonatinas_from_Kids%27_corner_near_heaven#Muzio_Clementi . Let us listen to her:
Little and Little, Twinkling Stars - Little Piano-Kids' PlaygroundEdit
Say 'Hello' to our 'Little Goldman'