10 Top Tips To Pass Your Piano Exam

So you want to play the piano photo 5As the new term gets underway, many will be preparing for music exams at the end of the year and the aim of this post is to provide a few extra pointers and ideas for last-minute preparations.

Once the pieces have been learnt, scales, arpeggios and technical work is all in place, and the dreaded sight-reading and aural tests have finally been understood, how can students feel motivated and keep improving right up until the last moment?

Here are a few suggestions for the final four weeks before a piano exam.

  1. Start by knowing all about your piano pieces; really understand their background, the context in which they were written, and that of the composer. You might be surprised  by how this knowledge affects the way you play a piece.
  2. Ensure you can play the left hand of each piece alone (preferably from memory). Left hand practice will have a substantial impact on continuity and will hopefully stem the dreaded curse of the ‘stumble’ or hesitation.
  3. When secure, play each piece through at least once a day, from the beginning to the end without stopping, eliminating errors. It can be helpful to play through under tempo at the start of the day (and with a metronome), and then later in the day, play through at the expected speed. When playing under tempo, I would play without the sustaining pedal too, as this tunes our ears to what fingers are actually doing.
  4. A week or so before your exam, arrange two or three play-throughs. These don’t need to be formal: perhaps one at your teacher’s studio, in front of other students, and another amongst family or friends. They need to make you feel ‘on edge’ and slightly out of your comfort zone, but they shouldn’t feel terrifying.
  5. Before you play any piece through, take a few seconds to think about how you are going to begin: set the tempo, think about how the piece makes you feel, and also about the sound you are aiming to produce. This will contribute to making a confident, secure impression as opposed to a shaky, unsure opening.
  6. Aural tests can take a while to sink in and become comfortable. Listen to every genre of Classical music, so that you are well aware of stylistic trends. This will be especially useful for the last test in ABRSM exams, and it will also help to distinguish the pulse, be aware of the beat (i.e. clapping) and  enable you to sing the musical lines (you must be able to hear the lines before you can sing them, so perpetual listening will be crucial).
  7. Scales and arpeggios (or technical work) are much more fun and palatable if you can find a piano playing friend to work with (perhaps your piano teacher has students who are of a similar level to you). However, you don’t have to be the same level. Test each other on scales and arpeggios; if you have two keyboards or pianos, play the same (or different) keys one after another as a quick fire test, and you could even play them together slowly (I used to do this and really enjoyed it). It’s amazing how effective this kind of focus can be.
  8. Ensure ample sight-reading material (there are many books available for various grades, and piano anthologies can be useful too) and make sure you manage at least 10 minutes a day (depending on your level). After you’ve prepared the piece in your mind (looked at the key, fingering, hand position changes and rhythm etc.), set the metronome on a very slow beat and play along to it, resisting the urge to stop and correct yourself.
  9. Define the order of your exam. Most boards allow you to start with either scales or pieces, and it can help if you make a firm decision before you enter the exam room. I advise pupils to begin with scales – they are great for a warm-up, allowing you to become acquainted with the instrument.
  10.  The day before, test yourself by doing a mock exam (you could do it on your own, or invite a crowd!). Play the pieces, all the scales, a piece of sight-reading (one which you haven’t seen before), and go through the Aural tests (using the many apps or audio versions available). This should help settle nerves and provide a feeling of security.

Good luck!

For lots of information on piano exam preparation plus plenty more, check out my book, So You Want To Play The Piano?

For sight-reading material or for alternative repertoire, check out The Faber Music Piano Anthology, containing 78 pieces from around Grade 2 – 8, selected by me.

Image from So You Want To Play The Piano? ©Alfred Music

Weekend Competition: the winners….

lang-langMany thanks to all those who took part in my weekend competition. As always, it’s been a pleasure reading all your comments. Without further ado, the winners are:

Loraine wins The Lang Lang Piano Method Book 4

and, Jazzworkshops wins The Lang Lang Piano Method Book 5


Please send me your contact details via my contact page here on this blog.

For more information on The Lang Lang Piano Method, click here.


Weekend Competition: The Lang Lang Piano Method & Free Teachers’ Packs

lang-langAfter the Summer holidays, my weekend competitions are back! Today’s prize presents the opportunity to win one of two volumes from The Lang Lang Piano Method series, published by Faber. The fourth and fifth books have just been released and are on offer this weekend. These publications are a continuation of the series, providing the conclusion to the method. You can find out much more about Lang Lang’s books here and you can purchase them here.

To be in with a chance of winning, please leave a comment in the comment box at the end of the post and I will select the winners on Sunday evening (British time).

Good luck!

getattachmentthumbnailFaber Music are also giving away some free Lang Lang Piano Method Teachers’ Packs (pictured above), including pencils, stickers, bookmarks and sticky notes. If you’d like a pack, simply send an email requesting one to marketing@fabermusic.com with your name and postal address.

12 Top Recommended Piano Resources for September 2016

Badge Graphics Draft 3

September brings a bumper crop of new publications and resources which I hope you will find of interest. A selection of beginner’s volumes, great little elementary pieces, anthologies and fascinating piano related books as well as a novel, which should provide reading and playing material for the new school term. Enjoy!

Beginners and Elementary

The Lang Lang Piano Method Volumes 4 & 5

lang-langEarlier this year The Lang Lang Piano Method (volumes 1, 2 & 3), written by Chinese star pianist Lang Lang, was launched by Faber, and now volumes four and five have been released. A cartoon Lang Lang appears throughout these books providing encouragement, taking young pianists step by step through every section.These books build on the learning process already established in the first three publications, introducing new keys, rhythms, extending technique through repertoire which includes original pieces and famous tunes. Find out more and purchase here.

Improv Exercises

impov-exerices-for-piano-by-elena-cobb-730x1024Created by British composer and publisher Elena Cobb, Improv Exercises For Classically Trained Beginners is a 21st century educational concept based on the belief that, in addition to regular practice, classically orientated piano lessons should also include elements of improvisation. This book deals with blues scale improvisation on the basic twelve-bar blues with only three chords, and it will bring you to a firm understanding of how to structure your approach to improvisation. You will also be able to apply this new skill to another very popular element for playing jazz –  accompanying a band without the score. Containing a Twelve-bar blues chart & formula, Rhythm exercises, Noodling exercises, Blues scale exercises on all twelve keys, Basslines and much more. Purchase here.

Piano Piccolo

heumannThis is a new collection of 111 original easy piano pieces published by Schott and collated by the excellent German composer, teacher and arranger, Hans-Günter Heumann. Including popular repertoire as well as many less known works, over 60 composers from the Baroque, Classical, Romantic, and Modern periods are featured. This books comes from the Pianissimo series, designed as an introduction to the collection, Für Elise. You can find out much more and purchase here.

Piano Train Trips


Piano Train Trips is the first book written by Spanish pianist, teacher and composer Juan Cabeza. The book includes 18 Études  and 9 Exercises with duet accompaniment, downloadable audio recordings of the pieces and play-along accompaniment for the exercises. Each étude covers a particular technique: scales, intervals, arpeggios and chords, which are all presented in an original and attractive way. They are fresh, modern and exciting pattern-based pieces. These pieces can be enjoyed by children or adult students, and are of a late elementary level. The book is available for Europe here and a digital edition can be purchased here. Soon, It will also be released  in the US by Piano Safari (pianosafari.com) and a German edition will be published by zauberklavier.de.


sonorousNew this past month,  Sonorous is an original collection of Piano Solos by Colombian pianist and educator Harold Gutiérrez. The books take students from beginner to intermediate level (Book 1), and intermediate to advanced level (Book 2) adopting the 21st century view of music education, in which enjoyment of performance is first and foremost. Each piece presented in this book has been composed as complementary material for young players and their teachers, encouraging students to perform and experience their musical achievements on stage. There are two books in the series so far, and the first is designated ‘for little hands’ with plenty of interesting melodies and technical exercises at the end of the book. You can find out much more, hear some of the pieces, and purchase here.


safari-firstA collection of 23 pieces by Irish composer June Armstrong. Intended for elementary level students, June’s music is predominantly educational with emphasis on interpretative qualities, engaging a pupil’s imagination. This is certainly evident in these works, which rely heavily on atmospheric harmonies. Safari charts the course of a day in Africa, starting with African Dawn and ending with Night Sky with Stars.  Meet all the animals along the way – gazelles, flamingos, lions, giraffes, hyenas, monkeys, elephants and many others. Pieces often use specific hand positions, suitable for less experienced players. You can hear each piece here, and find out more and purchase here.

Elementary to Advanced

The Faber Music Piano Anthology

faber-piano-anthologyContaining 78 piano pieces, this large volume is suitable for those from Grade 2 – 8 (elementary to advanced), and has been designed as a gift book; a luxury hardback edition featuring high-quality premium paper and ‘The Concerto’ linocut cover image by Cyril Edward Power. Published by Faber, it has been compiled by myself and will hopefully interest a variety of levels and abilities. Many pieces are very well-known penned by the great composers, but there is also a cohort of less familiar works (and composers). From late Renaissance music through to mid to late Twentieth century, piano lovers can enjoy reading through (and learning) a much-loved repertoire of core pieces. Out later this month, you can find out more and purchase here.

Intermediate to Advanced

Russian Folk Tunes

russianPublished by Schott and containing 25 traditional tunes, this book is sure to be popular with all those who appreciate and enjoy playing traditional music. A selection of melodies including Russian folk tunes, Russian Gypsy music and Russian Jewish music, as well as folk music from the Ukraine. The pieces have been edited and arranged by British bandoneonist, composer and arranger Julian Rowlands, who performs them on an accompanying CD. There is also a brief history of Russian music as well as notes on the pieces (which are also available in French and German). The arrangements are from approximately Grades 4-8 level. You can find out more and purchase here.

Blues, Boogie and Gospel Collection

bluesA new collection published by Schott, written by British jazz composer and writer Tim Richards. This volume contains 13 original works for piano by Richards and 2 arrangements (a traditional song and another by Jelly Roll Morton). There are copious interpretation, technique, theory and performance notes, accompanying each piece and a helpful CD of all the pieces (played by Tim). Chord symbols are provided to aid improvisation, and in my opinion, the volume complements other books in the series; Improvising Blues Piano, Exploring Latin Piano and Exploring Jazz Piano (all Richards’ publications). For more and to purchase click here.


The Mindful Pianist

mindfulWritten by British pianist, teacher, writer and composer Mark Tanner and published by Faber in conjunction with EPTA (European Piano Teachers Association), this book is sure to be a winner for all pianists, presenting a fresh perspective on playing and performing. Applying the concept of mindfulness to the piano, this text explores the crucial connection between mind and body: how an alert, focussed mind fosters playing which is more compelling, refined and ultimately more rewarding. It also tackles the issues encountered by pianists when practising, performing, improvising and preparing for an exam too. Drawing on the expert advice of 25 leading pianists and educationalists (I’m delighted to be amongst those mentioned!), this unique book offers a wealth of exercises and musical examples to help every player succeed in becoming a Mindful Pianist. Out later this month, you can pre-order here.

The Steinway That Wouldn’t Budge

budgeA delightful little book written by British piano tuner Peter Tryon (cousin of concert pianist Valerie Tryon) and published by Austin Macauley. This volume is essentially an autobiographical tale of a life spent tuning the pianos of those in East Anglia (in rural UK). It’s full of anecdotal tales from boyhood piano lessons and moving pianos in all kinds of situations, to ghostly tunings (my favourite stories!), there is much to enjoy in this publication. You can purchase it for kindle and as a hard copy, on Amazon here.

Moscow Nights

moscowA thick non-fiction volume written by British historian and biographer Nigel Cliff, and published by Harper Collins, this book tells the story of Van Cliburn, who, as a young pianist from Texas in 1958, travelled to Moscow to compete in the First International Tchaikovsky Competition.  An unknown pianist, Van Cliburn was not the favourite to win, indeed a Russian had already been selected, but his playing captivated the nation. The novel brings together the drama and tension of the Cold War era, with a gifted musician  whose music would temporarily bridge the divide between two dangerously hostile powers. You can find out more and purchase here.





Do Piano Exams Matter?

i-can-do-itOn returning from my holiday, I enjoyed reading Rosie Millard’s recent interesting and thought-provoking article in The Telegraph deliberating over the benefits of music exams (you can read it here). She labels herself a ‘pushy’ parent, although I don’t find her approach particularly ‘pushy’. I think her concerns are fairly natural amongst parents who want their children to succeed; indeed this approach could be applied to ballet, chess, maths and a whole host of other activities so often undertaken by children.

Many feel music exams are irrelevant, outdated and have little to do with being able to play an instrument. This view is surprisingly prevalent in some unsuspecting circles; there are piano teachers who don’t enter students for exams, believing them to be totally unnecessary. Certainly, exams are not for everyone and, as Rosie points out, they definitely aren’t for the faint hearted! Hours of work, dedication, motivation, and perseverance are necessary – and that’s just to obtain a pass! Some talent is also required beyond a certain level too.

On a personal note, I loved taking piano exams; they gave me a sense of achievement and a feeling of advancement in my playing. I took Grades 2, 5, & 8 (if my memory serves correctly!), but I found them fun. And those I teach also enjoy working towards them (I never push students to take exams).

One of the main issues amongst those who don’t favour an exam system, seems to be the limitations of the syllabus (usually irrespective of the board taken; whether ABRSM, Trinity College, London College of Music etc.); three pieces, a group of scales, sight-reading and aural must generally be negotiated and this can take time to assimilate (sometimes it can take years, depending on the student). Many students (and their teachers) would rather work at a larger group of pieces, learn a more varied repertoire, skip scales (or exercises) and never really have to be put through the trauma associated with sight-reading (or aural). I can certainly empathise with this view, especially for those who want to play for pleasure.

Playing the piano should be for enjoyment, shouldn’t it? Yes, it should. And for some this means a challenge. For those who want to improve their playing, with the intention of reaching new levels of technique and musicianship, and receive a measured view of their progress, an exam may be a great option.

Yes, the syllabus could be viewed as narrow, but then it isn’t meant to be the only course of study; the concept surrounding piano exams is to work at the exam syllabus in conjunction with a whole host of other piano material, forming a broader musical base. Moving from one piano exam to the next (without learning anything else in-between) is not a sound method of progress, as most already know.

The thing about dedicating much time and effort to just a few demanding pieces is that whilst this may seem dull, perfunctory and limited, after working at them correctly (this is vital, so please find a good teacher who can teach the necessary technique required to play everything demanded in the syllabus), students should have acquired new technical (and musical) skills. These skills can then be applied to a multitude of piano pieces, thus encouraging an increasingly higher standard of playing. For many, the whole point of an exam is to overcome or surmount new difficulties.

When there is a deadline, an impending performance and a marking system for that performance, most pupils are motivated to work. They want to go beyond that particular grade or level. That’s not to say this level can’t be achieved by not taking an exam, but they do seem to afford the fundamental carrot. And a good mark provides a very satisfying sense of achievement, as well as the motivation to continue playing.

I’ve been working with several piano professors and university faculty members over the past few months (worldwide), frequently enquiring about entrance audition standards and procedures for their respective university or conservatoire, as well as the selection process for their piano majors (a subject which fascinates me). On  asking which group of students consistently offers the highest level of playing at audition, the answer has (more often than not) been those pianists who have adhered to an examination system, particularly the British system (i.e. ABRSM, Trinity  College London, or London College of Music exams, which can all be undertaken worldwide).

The main reason for this appears to be that these students have frequently taken diplomas (which can serve as excellent preparation for a prospective conservatoire student), are used to presenting recital programmes, and have a more reliable technical grasp due to regular technical exercise practice (of which scales and arpeggios play an important part). These young piano majors intend to be professionals,  and should therefore not be compared to those who play for pleasure, however, the ideology is exactly the same; formal exams can foster a high standard of playing.

No exam system is (or will ever be) perfect, but in my opinion, if you or your child wishes to improve, and learn to develop the required focus, discipline and performing skills needed to do well, working at a piano exam or diploma, as part of a rounded musical education,  might be an excellent way to proceed.

For more information about the British Music Examination Boards, please visit the links below:


Trinity College London

London College of Music

Victoria College

National College of Music & Arts


 Image link

Why take part in an Amateur Competition? Chicago Amateur Piano Competition 2016

14159810_10208827420736925_173395617_nLove them or loathe them, piano competitions are more popular than ever before and there are no shortage of entrants, irrespective of standard or ability. And subjective as they are, piano contests can fire the imagination, motivating players to reach new heights in their quest for keyboard perfection.

For a professional pianist a competition has a purpose; the winner (or winners) usually has the opportunity to advance in their career, particularly when the prize consists of many concerts and recordings. However, when a competition is for amateurs, such reasoning is less clear.

Last week I spent an immensely enjoyable and rewarding four days in the US, serving as a jury member of the Chicago Amateur Piano Competition, proffering the chance to fully observe a cross-section of adult amateur pianists. Presented by PianoForte Foundation, the competition (which runs once every two years) is going from strength to strength since its inception in 2010. This year fifty-five competitors from around the world competed in this well organised event.

Proceedings kicked off on Tuesday night with a ‘Meet the Judges’ session, held at the PianoForte Foundation located on Michigan Avenue in Chicago. American pianist and composer Adam Neiman, Russian/American pianist Konstantin Soukhovetski, and myself, were interviewed by Thomas Zoells (who founded PianoForte Foundation and is owner of PianoForte Chicago, Inc) about our careers and competition perspectives. The interview was live streamed and can be viewed here. This was followed by three and a half days spent in the balcony (with my colleagues) at the main auditorium in the Sherwood School of Music (part of Columbia College), listening to two separate competitions; a two-rounder and a three-rounder.

With a gleaming Yamaha CFX instrument at their disposal, competitors were free to present whatever programme took their fancy; all performances were live streamed (and can still be enjoyed here). The first two days consisted of hearing fifty-five 12 minute programmes. This was followed (on the third day) by a whole of host of 15 minute recitals (with new repertoire) for the finalists (of the two-round competition) and semi-finalists (of the three-round competition). On the last half day, we heard five three-rounder finalists, who had all prepared a further 30 minutes of music. Many of the players have, by all accounts, demanding careers (including doctors, lawyers, and a whole host of musically unrelated jobs), whilst others were music or piano teachers; the work involved in such preparation by those with relatively little time on their hands, is both impressive and inspiring.


The standard varied considerably; there were those who had never played in public before and were eager to try out a few choice pieces, and then there were the competition past masters, who were visibly confident, self-assured and professional in all but name. It’s no easy task judging such a variety of standards, repertoire, and musical competence. We adjudicated as we might any competition; by choosing those who were interesting musically, had a certain technical grasp, and who literally ‘moved’ us. A strict points system was implemented (taking into account every aspect of a competitor’s performance from musicianship, technique and sound, through to how they presented themselves), and we wrote copious notes accompanying each performance with the aim of providing helpful feedback.

What was really fascinating (for me) was the selected repertoire. As to be expected, many kept to the well-trodden path; Scarlatti (Sonatas), J S Bach (Partitas, Suites, Preludes and Fugues), Mozart (Sonatas and Variations), Beethoven (Sonatas), Schubert (Impromptus and Moment Musicaux), Chopin (Ballades, Scherzi, Preludes, Nocturnes, Waltzes, Polonaises, (and for the brave) the Études), Liszt (Études and showpieces), Brahms (Op. 118, Op. 119 pieces and the Rhapsodies), Schumann (Arabeske and Intermezzi), Debussy (Images, Children’s Corner Suite, and Pour Le Piano), Ravel (Jeux d’eau and Ondine (from Gaspard de la nuit)), Rachmaninoff (mainly Preludes and Études-Tableaux) and Scriabin (Preludes). And a smattering of Purcell, Rameau, Moszkowski, Scharwenka, Mompou, Granados, Ginastera, Messiaen, Fauré, Medtner, Godowsky, Prokofiev, Respighi, Hindemith, Bartók, Stravinsky, Shostakovich, Rodrigo, and Kapustin.

But there were also some less familiar names; Takashi Yoshimatsu, Kosaku Yamada, Benjamin Lees, and two Chicago based composers: Margaret Bonds and Leo Sowerby. The addition of lesser known composers and Twenty-first Century music is always a welcome change, and the Japanese pieces by Yoshimatsu resonated with me particularly. They were beautiful and atmospheric, belonging to the Minimalist style which I love.

Consistency across two or three rounds proved challenging for some, and others found the sudden catapult into the spotlight, not surprisingly, a little awkward. Probably around half performed from memory. We deliberated after each round before selecting the semi-finalists, finalists and winners, but the verdict was always unanimous.

The winners, who all won cash prizes (there were three in each round (1st, 2nd & 3rd)), and those who were awarded special prizes (for particular repertoire groups), demonstrated poise and commitment through each stage. Some had studied the piano to degree level (both undergraduate and postgraduate), with one or two attending junior and evening college division music conservatoire classes. This training was certainly evident.

Firm friendships can be formed; a shared love of the piano, classical music, and a wish to develop their playing further, sometimes instigates an intoxicating camaraderie. After the competition was over, everyone I spoke to had found it a wholly memorable, exciting and satisfying experience, and one which they were keen to repeat.

This piano festival ended with three two-hour master classes each given by Adam, Konstantin, and myself, to selected competitors.

Competitions such as this demonstrate the popularity of amateur music making. Most importantly, they provide pianists with an excuse to play to fellow musicians in front of a friendly jury, receive feedback, and hopefully, discover new music and musical companions.

The Chicago Amateur Piano Competition couldn’t have taken place without careful preparation (over a two-year period) by Thomas and Darcy Zoells, Sally Olson, Giovanna Jacques and an army of volunteers. I thank them for arranging such a wonderful four days of music making and wish them luck for 2018.

Top Image © Sally Olson. From left to right: Adam Neiman, Konstantin Soukhovetski, Noah DeGarmo (2nd prize in the three round competition), Michelle Steffers (1st prize),  David Swenson (3rd prize), myself and Thomas Zoells.

Lower Image © Melanie Spanswick: judging from the balcony!

Meet the Judges Live Stream Interview

14064206_10154295173330516_9004869624879616375_nAs you may have gathered, I’m in Chicago all week adjudicating at the Chicago Amateur Piano Competition. Judging starts today, but this competition offers an impressive events roster (a fairly unique concept amongst competitions), which runs in tandem, therefore proceedings actually started last night.

Fifty-five talented pianists will play a short programme over the next two days with finals taking place on Friday (for the two-round competition) and Saturday morning (for the three-round competition). However, events kicked off last night with a ‘Meet the judges’ interview which was live streamed on Youtube. Russian/American pianist Konstantin Soukhovetski, American pianist and composer, Adam Neiman, and myself (pictured above on stage and ready to go, before the live stream event!) will adjudicate over the next few days and this interview was designed to introduce competitors to their judges and provide an opportunity to ask questions about our lives.

You can watch the whole interview (although sadly, the connection was lost at the beginning so around 10 minutes of the opening has been cut!), by clicking on the link below. You can also watch/hear every competitor on live stream by clicking on this link here. The competition starts in just a few hours, and we will be hearing around half of the competitors today. I hope you find it interesting!

The Power of Repetition

Finding the appropriate practice tool for a specific issue can, as we all know, be a matter of trial and error. When all the usual methods have been exhausted or have perhaps already been overused, it’s time to experiment with new ideas and find a fresh approach in order to nail that awkward passage.

Recently, I’ve been working with a couple of students who are both preparing Mozart’s Sonata K. 311 in D major. The first movement can be deceptive, with many rapid passages containing unforgiving twists and turns in the right hand particularly. Changing fingers at speed can be a major challenge for many, especially during the trills, which whilst look similar, in fact require different fingering depending on the succeeding note  patterns.

There are  many ways to finger an ornament, but copious hand rotations, or thumbs set under or over the hand often need a different practice regime, so that fingers are literally programmed to play the pattern accurately every time. If this doesn’t happen, then hesitations or a slowing down (or destabilising) of the tempo may occur. Here’s a notorious spot for some (bars 35 – 36):

New Mozart exampleIt’s the second time this trill appears (first time is at bar 31), and the material following the ornament takes a different turn (than that after the first time), hence the unexpected finger change at the end (turning the hand over the thumb to play a 2nd finger), which can sometimes upset the flow (the following is only a suggested trill interpretation):

Mozart 1Here, I normally suggest applying many different touches (non-legato, staccato etc.), followed by different rhythms (dotted rhythms, triplet figures and the like), and a whole array of accents (I love using accents for practising purposes), as well as playing in various octaves around the keyboard (I could go on here, but you get the picture!). However, occasionally further detailed work is necessary.

This is when we turn to the repetition method. A successful ornament demands strong independent fingers; ones which will work very quickly,  cleanly, and rhythmically. If trills are becoming sluggish, slower than necessary, or notes are not fully sounding or are unequal, try the following suggestion.

The ornament must be isolated and taken out of context. Banish any sense of rhythm or pulse and just focus on the notes, working at the right hand. Start by playing the pattern in double notes. Follow this with triplets:

Mozart 2And finally you could try playing four semiquavers per note! Make sure you use the fingers with which you will play the ornament. Always practice slowly to begin with and, most importantly, free of any tension. With this in mind, you may need to ‘bounce’ the hand after each note (at first), especially at the beginning of each beat (to free the wrist), so that it doesn’t ‘lock up’.

Now experiment with accents; start with one on the first beat of every group, then on the second beat. Follow this with accents on beats 1 and 3 of every note group (for the triplet group). Add speed gradually until you can play quite fast and with a warm sound. Ensure each note is completely even tonally and rhythmically (whilst you are not yet adhering to the pulse, the notes must still be equally played). You could also try using dotted rhythms on each repetition, whether two, three or four notes are being played.

Once you’ve mastered this, return to playing the ornament as written. Lighten your finger touch and, hopefully, the practice repetitions will enable an even trill (fingering, notes, rotations) with all notes clearly articulated and fully sounding. Try now to combine the trill with the left hand.

You might require a fair amount of practice in order to become acquainted with the feeling of repeating the notes with flexibility (the wrist must always be free of tension and ideally should move after every quaver beat, albeit imperceptibly). Playing the repetitions with the left hand semiquaver pattern might also be beneficial (at very slow speeds), enabling perfect placing of each note.

Repeating notes in a pattern can be successfully applied to all tricky passages and ones which combine both hands too; if there is a unison pattern of quavers or semiquavers, this may be a useful way to help coordination. Happy practising!

Here’s Daniel Barenboim’s interpretation of Mozart’s Sonata in D major K. 311:

At The Drop Of A Hat; the winner is…

At-The-Drop-Of-A-HatMany thanks to those who took part in this weekend’s competition, to win a copy of boogie woogie piano duet, At The Drop Of A Hat, written by Pam & Olly Wedgwood. Without any further ado, the winner is….

Catherine Whitehouse

Many congratulations! Please send me your address via my contact page and I will send the book very soon.

If you would like to find out more about this week’s featured publication, you can do so here.

Weekend Competition: At The Drop Of A Hat

At-The-Drop-Of-A-HatToday’s competition features a new piano duet written by Pam and Olly Wedgwood. This dynamic duo has written an intermediate level (Grades 5-6) work for four hands in boogie-woogie style, destined to become a firm favourite with pianists of all ages, and perfect for recitals, festival performances, and lessons.

Click the link below to hear the composers perform At The Drop Of A Hat:

I have one copy for one lucky reader, so to be in with a chance of winning, just leave your comment in the comment box at the end of this post and I will announce the winner here on my blog on Sunday evening (British time). Good Luck!

If you would like to purchase, or find out more, click here.