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Spring Vocal Singing - '299 - Czerny's Etude for classroom and life'Edit

Comments for piano teaching & learning in Wikiversity from 'Wikimedia Commons' and 'Wikipedia' : I thought: in my piano Etudes List for teaching and learning, it should content some pieces of Czerny's, as for the educational reasonability and the succession from my own childhood to my adulthood.(Oh, thirty...)This piece was from Carl Czerny 's <Fast Etude - 299 Collection>, which has been collected for many national grading tests and piano examinations. Sorry, I forgot its number, regarding with which I would add in future. It also needs some modifications and perfections owing to my short time training. If you want me self-put it into Czerny's categories of music, I probably will give it in '1) studies and exercises' and ' 2) easy pieces for students', rather than some 'serious music' or 'brilliant pieces for concerts'. (Wikipedia introduction of Carl Czerny's list: https://en.wikipedia.org/wiki/List_of_compositions_by_Carl_Czerny) Though I think it is sound good, if performed for family-based concert or small-scale solo-parties in life, I know it is only a small river - simple for middle-up piano kids' exercising. To be honest, in my mind, Sir Carl Czerny's approach was in quite traditional & formal piano teaching methodology representing some elements of 'The Industrial Revolution'. Or, to say, he was part of ' The Industrial Revolution'. I had a very complicated and somehow a little bit conflict heart to talk about his approach. I knew it was quite important for piano kids' teaching and learning; therefore, from childhood, I was insisted on practicing it until some pieces of 718, totally throughout, 599, 849, 299 and large part of 740. However, some 'nightmares' in my own piano trainings, jumping out from his pieces. usually made my trainings in big headaches, even broke out some my 'family wars' for tutor's examinations. Currently, when I talked over them, I can forgive myself and transform them to be beautiful pearls of memory neck-chain twining around my growth. At least, without some trainings and time-after-time exercising, my hands cannot be strong like today for my loves of other composers, such as Debussy, Mozart, Bach, Chopin, Beethoven and Clementi ... I also cannot make my own classes and researches both here and my reality. Thanks, Sir Czerny in my childhood! Without depth, intensity, or wit, but always smooth and pretty and rather ear-tickling when played fast ... endless variety of patterns and endless monotony of import - Oh, it was Arthur Loesser's voice in "Men, Women and Pianos", And even, "It would be difficult to find a failure of imagination greater than that of Czerny." - Robert Schumann in the Neue Zeitschrift für Musik (New Musical Gazette) - was more explicit 'from piano kids' heart-voices'(Referenced from Wikipedia Introduction: https://en.wikipedia.org/wiki/Carl_Czerny ) I thought: some criticisms were really - some pieces have really lost their senses of aesthetics and like 'monotony machines' in patterns repeated time after time to tire fingers. That's the fact. But, in dialectics, players and piano kids have our own ideas and creativities in playing them and seeking life joyfulness. In this vision, its road has been opened in new outlooks. Like this piece I have played in sound file, I preferred it to be a impressionism painting rather than a fast-exercise of fingers (carrying impressionism approach), after your right hearing: It was divided into 4 parts, with middle two smart-handed, small-movement, and details-fuzzily creating a background - soft buds' growth from ground or on trees (Wikipedia introduction: https://en.wikipedia.org/wiki/Bud). You see, so many pictures here with beautiful imaginations we can give to this vision. Meanwhile, Bass drops gave the spring its rhythm. And especially, treble part's long-notes were forming a beautiful vocal song-line of spring - with breaths in slurs - singing beautifully throughout whole melody, until a final decreasing loudness of night-bird in sunset grow into silence and the darkness. Oh, it was a funny thing that: in this version, you can also hear life noises of my father, mother and aunt's talks, about cooking ways and how to hasten Jason's behaviours: Oh, boy, go to eat meal... go to eat meal...In my philosophy, they were oppositely building up my willing of insistence and completion of music performances, in a 'always young teenager's heart' O(∩_∩)O~ They were always part of my impressions regarding with my memories about Sir Czerny's Etudes from childhood... Every time family members were cooking there, while, I was self-exercising of Czerny's for the next weekend tutorials in a hungry feeling. I still needed to keep some good manners and make better sound effects. They were in my 'Spring Song', now after adult birthday, I am looking back to... As show above, in piano education, if we mean some pieces of Czerny's pieces some senses of aesthetics and some beautiful imageries when we were organizing our classrooms, we can try to imagine and they wouldn't be so monotony and boring as we thought before. Afterwards, textures would carry some new vitalities for life and seasons... That's my stance in solving my complex from childhood... Hopefully, it will be useful for you, thanks!

No. 27 of 299: Vocal Singing of Spring Buds
Vocal & piano: Czeny's Etude 299 No.27 for boys' hands' ability, voices and their Life-long growth

Autumn wind - Warren Haupt's 'Music poem' Etude: Op.22, No.2Edit

Poem of music

Moritz Moszkowski's 'Flowing streams from Mountain' EtudeEdit

Who could easily forget his or her beautiful young teenager time? During that time, day-time seamed to be so long with many impressions of followers, prettily smiling faces and golden sunshine, for welcoming a person's cleverer brain and energetic body to explore more legends in piano-training. While, night seamed to be so short with few seconds of snores, slowly heart beats, and colourful dreams, for associating a person's tired minds and weak strength to forgive less pains from unhappy issues. Then, after they all passed by... one day, in the time tidying my manuscript-sheets for 'past days practices, solo-performances, grading tests and family tastes,,,, I have re-picked up a brilliant Étude sleeping in my memory sea for long... It is No. 11 of MoszWV72 in Quinze Études de Virtuosité, created by Moritz Moszkowski (Wikipedia introduction: (1)MoszWV72 in https://en.wikipedia.org/wiki/List_of_compositions_by_Moritz_Moszkowski; (2) Moritz Moszkowski: https://en.wikipedia.org/wiki/Moritz_Moszkowski)Sorry, Jason - my life; and sorry, my peers! The dexterity of my fingers currently cannot be compared with that young boy Jason's in Age Mirror - 13th, and our musicality, confidence, handsome face, curiosity, and new hopes to everything... But still, a willing for the recovery of life-sounds, and the renewability of the next my period called me back to listen to that boy's solo-play, after his 100% dedication in many years' training from 4 years' old and a sense of achievement from its performance in one Grand Prix... Indeed, currently, at least the sea and springs in my hometown gave me the very tenderness of water for understanding what for the melodic streams' running across larger-range textures to a wide openness of our blue.Oh, back, I can remember that story in Jason's young imagination across Western and Eastern Cultures: In his little brain, It was almost about the analogy between Mountain Steams (in nature science: https://en.wikipedia.org/wiki/Mountain_stream; https://en.wikipedia.org/wiki/Stream) and the right-hand part of its main melody (stream by stream with forces applied throughout those motifs and sometimes meandering, sometimes fast-moving, then being centralized together, storming heavily, and going to a much opened sea...). Abstracted in minds, how graceful a pure friendship has been dreamed out, again, if someone could understand those waves hidden behind Bo Ya's <High Mountain and Flowing water>, after he had to break strings of Qin (lute) and never played out any harmony after having lost his right one (Zhong Ziqi) who could be called ' To Know the tone' (Wikipedia introduction: https://en.wikipedia.org/wiki/Bo_Ya)In my heart, Bo Ya was merely waiting... waiting for a heart-to-heart learner's coming- as Zhong Ziqi's resurrections , by whom together, they could be for more impressionist brightness-beauties projected from Mountain Streams and landscapes - pretty faces of youth passengers...Oh, memories were somewhat drugs or alcohol , but somewhat light rivers, when you trapped yourselves in and drunk too much. But, Moritz Moszkowski's '72' No.1 was still there - on the other bank of life river, waiting and watching my movements in this life and leaving an A Flat Major Chord (the last second one) unclear (not on purpose) which was waiting for my modification...Hopefully, you can enjoy this unperfected edition, thanks!

Main techniques: 1. Bottom-up Pizzicatos (progressive chords), ranged from left hand to right hand, as heads leading motives' on-going. Here, a throughout force should be applied threading notes together. 2. Matching: fingering should be designed upon left hand (m.s.) and right hand (m.d.), for imitating mountain-streams' flexibility & Fluency travelling between two hands. 3. Storms-raising: scales' fast-running, from left hand and directly raising up to the highest peak, with huge strengths improving the atmosphere above 'Ocean'. 4. Averaging intervals among different fingers arpeggioed a range between matched two hands. 5. A-Flat scale's fast up-running were made by septuplet-groups rushing to the peak showing out your good-qualified techniques. 6. Fore-arm playing approach was applied to A-Flat major root chords and its transpositions. 7. Post-pedalling should be applied to link harmonic notes together and to form a pure environment of mountain-streams and their waving situation.

Chopin's Revolutionary EtudeEdit

Technique-Training and Demonstration:

Step 1:Edit
This sound file was recorded as a LIVE classroom exercising edition of Sir Chopin's Étude Op. 10, No. 12 (Chopin) - "Revolutionary Étude" (Wikipedia introduction: https://en.wikipedia.org/wiki/Étude_Op._10,_No._12_(Chopin)). You might find it's an 'immature' version among many melodies I have submitted. Sorry, its time, indeed, hasn't come, but caused by the reason that... I feard... if later... my fingers would not be so dexterous to take this life task. Before I went to UK, and evenly since my young teenager, I have been dreaming to play this Étude for long time. However, I haven't got too much personal time and practical demands. Then, things were posted later and later... untill one day I found I might need to teach one piece of Chopin's Étude to a boy, but there was no right one on hands... I began to practise. To my surprise, after three times' exercises across 3 weeks with the effective ones no more than 5 hours and without real purposes and my full energy, I got it back, especially the fast running of left hand's passages combining arpeggios, chromatic scales and some careful designed models (for connecting) together like giant tides up and down upon a 'dark lake' of heart... Jason, how would you understand this melody and its historical background, such as wars? (Wikipedia introduction:https://en.wikipedia.org/wiki/November_Uprising )I think pianists and educators didn't want to be trapped in some historical politics and ideological limits. We wanted artist freedom to understand a piece. And in addition, across cultures, history has passed leaving romantic rememberance for something in nature... Then, basic emotional elements, such as a long & lasting atmosphere of anger & sadness and a deep hopelessness from a hero's inside.... would make us understand it in some simple, no-hurt (safe) and short-time operationable ways... By bearing this idea in mind, a rough first draft through exercising has come out...Here, I need to thanks to some enlightenments from Martha Goldstein's great edition and some illustration words in this Wiki-article (Wikipedia introduction: https://en.wikipedia.org/wiki/Étude_Op._10,_No._12_(Chopin)) Sorry, there were many details without some careful deals. I hoped a much better edition will come soon in the classroomJason M. C., Han (discusscontribs) 15:59, 14 November 2018 (UTC)

Classroom-exercising: The 'emotions reaches' were deep and severe like a 'tragic hero', which feature was Jason's (me) expertise - musicality (It's also to say right hand's expressive fashion and modern piano's pedalling effect- for heavy bass-shaking was fine ) , but many details (especially left hand's Revolutionary tides & wandering) should be modified according to the techniques' requirements mentioned by Sir Chopin (Wikipedia introduction and Wiki-reading list:[ https://en.wikipedia.org/wiki/Frédéric_Chopin#Technique_and_performance_style])..., to be in a better and much more controllable situation.

Step 2:Edit
Chopin Etude Op.10 No.12 Revolutionary - JMC, Han (Modern Piano Harmony)

Salon-Performance Level: After many times of exercise in classroom, you might need a 'Salon-performance Chance' in public. Yes, a 'Music Library' preparation or Salon-Concert Attempt to some 'closed' persons would be fine... coz it has a higher dangerous degree. More 'Emotional Shocking Expressions' and some ignorance of tiny details... would help you hold the strains of playing... Some doted semiquaver notes need the tastes to highlighted, but hard... in the fast running. You also need to keep the whole view and coherence between anger & sadness and nationalism...

Home work: A comparing & contrasting report between Two Musical Princes - Golden Prince Mozart and Darkness Prince ChopinEdit

1. Golden Prince has hidden his sorrowness of growth, true heart-loveness, storming-varying-tempers and endless advanturing-dream behind a grand brilliant brighteness and an 'always sunshine-presented transparent smile from public'; while, Darkness Prince's outside fire-burning heart of the nationism was deeply downpressed under an inside dark-sea-tiding depression and some psychedelically hometown-missing sweet-gracefully soft-cloudy dying waltz-memories of common people's past (almost his childhood unconsciousness-memory of common people dancing in hometown ballrooms)...

2. Techniques Outwards-channels: From the middle part of one person's musicality, the accumulated musical creativity & techniques of one person need some 'Outwards-channels' (this term 'channel' has been made in my 'Postmodernism' philosophy many years ago; meanwhile, the methodological theory of musicality-cultivation has been created through Wikiversity and Wikimedia Commons many years ago, but its diagram has been deleted by someone...) to flood and present out. We all knew, Mozart's music geniuses were all opened for himself (as Lord's son), involving vocal (even birdman peer - Papageno's ornamentation giftedness from natural spirits, such as nightingale or oriole...), symphonic, instrumental, opera-organizing, and later piano... This caused a fact: Golden Prince had have many choices, from his nature, to present his music, who just needed to 'pick up' some from others and switch their 'channels' to piano. Meanwhile, when it comes to his later piano pedagogy for life (almost 1783), we can sure 'Switching Channels' were usually associating him describe music like 'singing a song' or 'dancing a funny freedom' Dreaming after the all-around Perfection of performance, all good manners of fingers, wrists, forearms, sidearms, even face expressions, like drawing multiple-melodic lines ... can be applied, just from nature 'out' with breathes of sentence. However, from the middle - musicality, Chopin - the Darkness Prince outcome his music mainly through one pure 'channel' - the hands on piano keyboard, especially one's professional fingers to express his inside... the depressed lost sweet-dreams of hometown - romantic waltz-rotating and the hot-fire nationalism. This point might due to his physiological limitations, such as Tuberculosis and Asthma, which didn't allow him too many outdoor activities but gave him stronger 'fatal defence' in music - to be Romanticism. Therefore, Chopin treated fingers so seriously that to show his 'health' in music - yes, the 'Very Independent Fingers' should 'connect two notes' without caring the physical distance - tenth far more, or 2 octaves longer... even thumb and little fingers, after frequent trainings, can touch 'black-keys'... One main & pure 'channel' gave Darkness Prince a pair of very graceful and professional hands to dance out the 'Extreme Waltzes', not only on the keyboard but also in the heart-dreaming inside-hometown and its deep sorrowfulness of lost... Prince's 'Darkness' also reflected from his 'perfectional mature', 'extreme training', and 'professional requirement', rather than Prince's gold-heart - 'innocence', 'natural breathing', and 'adventure wondering'... This is one point - from Piano Technique - to see two Princes - Mozart and Chopin's artist difference.Jason M. C., Han (discusscontribs) 14:04, 26 August 2019 (UTC)

Sir Hanon's 'Beautiful Snowflake Pearl' Challenge - Shaking-fingering EtudeEdit

Hanon -The Virtuoso Pianist - 60th 'Shaking-fingering Exercise'

Snowflakes (Snow-flower -Wikipedia introduction: https://en.wikipedia.org/wiki/Snowflake) are radioactively growing and expanding, while your fingers are separately touching our keyboard (Two thumbs are in a middle-dropping group; meanwhile, both 3rd, 4th and 5th fingers are in the other chords-forming group). Then, your 'flower-heads' are crystalizing and blossoming in the sky. Six sections

(Sunny-rising major: 0-1.18 minutes; Cloudy-blowing minor: 1.19-1.38; Snowflakes-forming & Sunny-returning minor: 1.39-1.53; Snow-breezing & Clouds-icing minor: 1.54-2.07; Snowflakes-precipitating & lake-sinking minor: 2.08-2.47; and Sunny-Snow-Glorying major: 2.48-End)

are magically threaded together in a processing-solution towards Life's Max Meaning; and as your fingering designs are fulfilled, the hope of training build a bridge between a small yourself and a 'Pianist's Virtuoso'.

No matter what the result will be, you are true yourself in getting this exercising achievement. Thanks for your hard-working! Jason M. C., Han (discusscontribs) 12:16, 13 December 2018 (UTC)

Prelude (S. PROKOFIEV OP. 12 NO. 7) - Optional - For Piano Education from ChildhoodEdit

Prelude S. PROKOFIEV OP. 12 NO. 7 Performer Jason M. C., Han

Background Story: As always, there wasn't too much information in terms of this beautiful prelude in my childhood, since my growth and till now. Recently, through Wikipedia and information-seeking ways, I can know it's from S. Prokofiev's book <Ten Pieces for Piano>, Op. 12 (1906–13) (Wikipedia introduction: https://en.wikipedia.org/wiki/List_of_compositions_by_Sergei_Prokofiev; https://en.wikipedia.org/wiki/Sergei_Prokofiev#Formal_education_and_controversial_early_works) Beside those, I am sorry to say: regarding with its creative motivation, compositional style, concrete life event... nothing can be found in my reality and online. Our topic shouldn't just terminate here. Though without too many language-descriptions, the manuscript, my memories towards it in different life periods and the shimmering emotions it brought to my life were still there. Finding it was in the later childhood to earlier my young teenager, after I got the top level hands-training of piano-kids' and a national awarding. But suddenly, I was confused with my life-meaning and my good peer - piano. Did you recognize that I am a multiple-clever boy? Yes, that's the most part I confused with myself - many other roads (subjects), motivated by piano-training, were still opened to me that my multiple-intelligences could almost reach, and it's similar piano wasn't the most important one in that period. In other view, I didn't want to lose my most closed friend piano and the imaginations of the world it brought to me. So contradictory, the feeling was! Then, as an optional piece beside my curriculum, this melody appeared. How vivid and sunny, transparent and enthusiastic it was in life, when you are 'hands-reading' the notation ! Recently, I guess that Sergei Prokofiev used to be quite satisfied with his over-all learning progresses in Conservatory and many achievements of compositions, such as the add-ins of chromatic, dissonant and polytonality... in modernist views. He would also feel excited in travelling to Paris and London. You knew, to a young teenager, the world is so broad and curious! Get back to my time: in the final part of that time, after touching it, I began to make another optional choice - merging my love of piano into my life... positively and constructively!

Structure-analysis & Special techniques: 1. A (A1-A2)B (B1-B2)A (A1-A2-small coda), was its total structure from its horizontal view. Part and part were connected very tightly. 2. Chords-connections of thirds should better be played out the legato with slues over sentences (phrases). 3. Heads of counter-Alberti in A (in right hand) together with the rest parts should better make two layers (one for rushing-out to higher sky, the other for its engine) in full-energic & expected impressionism, associated by pedalling. 4. Staccatos (better pizzicatos), in B, should be played with both natural wrists and with an elasticity. 5. Tenth-grasping Quavers should better be taken in immediate way, which didn't break the whole melodic line. But in humanity, you can roll it a little bit, but rather than timbres noted out. (Here, in the latter A, I think, in future, I would maintain for a better sound effect) 6. Gliss. (Wikipedia introduction: https://en.wikipedia.org/wiki/Glissando) used to be one of my biggest headaches. And my teacher also used to wrote down a 'How?' That's why I pushed its recording for many years. I feared about a 'bleeding right hand' with fresh and blood fuzzed. Because of the teaching resources-limitation, finally, I researched out two solutions. One was in the middle of the sentence that I played out 'closed Gliss.' - highlighting the beginning note E; then, with the right-sides of both fourth and fifth fingers, I slid up to its fixed note E two octaves higher; then oppositely, I pressed down E again, for fixing its pitch in the function of its sentence. The other way is 'Half-opened Gliss' that I left its up-side opened which usually appeared in tail-parts of the sentence. Yes, we didn't need to emphasis E again, for its short time and self-releasing in a total way. 7. I enjoy its final chord in Ritard.-A Tempo very much that we should better gently slow down with a soft & sweet 'back-view', then recovered to its woken-up departure... (Short reference: Manuscript was imported by Central Conservatory of China, in the teaching book of <Oversea & National Standard Grade Testing Course of Piano>, 1993, 2nd Edition, Feng Zhao, pp. 88-92;Top level and family-teaching approach were suggested by UK Trinity royal music college) (Depending on those technique points above, I ranged this Russian impressionism imagery as an Etude for life-training. Etude in some advanced levels, can also have imagery feeling and artist dreams. Please see below:)

Musicality: By mazing into a shimmering stars-twinkling & colorful clouds-hanging dreamland, you can see right-hand's C major large broken chords, in the accompaniment, began to create a positive & full-energic environment, above the surface of water. Yes, your right hand was like touching the surface of water, with the full-energic expectancy. Then, short thirds, bridged into downwards melodic lines, began to grasp your thinking tentacles tenderly, and while, Timbres (Wikipedia introduction: https://en.wikipedia.org/wiki/Timbre) gently breezed your skins with a cool feeling. The continuing up-raised left melody flight your heart higher and higher, like to get throughout clouds-layers that you saw grander and grander boundaries shined under your blue sky and sun... Oh, it's also an ocean mirrored below... In the middle part, the fashion suddenly changed to be the style of Russian Romani People's (Wikipedia introduction: https://en.wikipedia.org/wiki/Romani_people), under my educational knowledge. It's very interesting and fine. But if heard carefully, you will find a little bit grey-clouds and the desire of self-realising hidden behind, which I attributed to some Romani people's wandering experiences and Sergei Prokofiev himself-'In 1910, Prokofiev's father died and Sergei's financial support ceased'. But, you knew, the vivid & positive theme has already been fixed on, how could he get away the influence of this sad mood to cover the whole melody, he chose an extreme way - Glissandos frequently (Wikipedia introduction: https://en.wikipedia.org/wiki/Glissando). And further, humor overweighed the sadness which brought lights and the expectancy back. Depending on it, he rushed out his dreaming multiple-layers glorious sky, or to say, jumped into his broad blue ocean, with a total self-releasing of unhappiness. I prefer the final Ritard. - a tempo (around 2.30 minutes) very much. It's a mysterious one having lingered silver waves in his past and prepared for the departure... Jason M. C., Han (discusscontribs) 05:02, 11 February 2019 (UTC)