Part 1 and Part 2.
More By Ben Yarmolinsky
There are no flats or sharps in the key signature, which tells us that this is in the key of C major which we can confirm by taking a look at the notes at the very beginning, which outline a C chord. And the tempo is laid out for us loud and clear — BPM, which is moderate or even a little fast, allegretto.
I like doing this first to uncover any patterns, which will make the whole thing easier to learn and digest. Finally, the last challenge I want to address before we get into phrasing is the left hand and right hand parts. They move in entirely different ways, which makes this a great piece for studying hand independence. Only when your hands can comfortably be independent can this piece sing out the way it needs to.
What is phrasing? If you were a vocalist who was singing this, you would take a breath at a phrase break. Phrases are meant to breath.
Again, using singing as an example, it sounds completely robotic to sing a phrase without any variation of tone or volume. The same is true on the piano. So what hand is playing the melody? We need to keep it to the background, so that the melody is able to float atop it. The best way to figure out the phrasing in this piece is to spend a little time playing hands separately, even once you know the piece quite well. When we add the left hand, our concentration will be a little more divided, so we need to make sure we put the sound of beautiful phrasing firmly in our ear, so we can hear it when playing hands together.
Children's Album: 24 Easy Pieces, for piano, Op. 39
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Syllabus - Vancouver International Festival of Russian Music
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