Got straight A’s on my juries.

Yay! Although I effed up on my scales and arpeggios… Brain fart trying to figure out relative minor

Comments sheets:

Uranker:

Bach -GREAT

Waites:

S/A- be sure about the format on these juries!

 Bach - Allemande was really good - continue to work on emphasizing the expressive quality of each voice throughout- Bourree had lots of energy and spirit, but articulation in r.h. was not always clear- remember, you always have as much time as you need to do everything!

Be careful about tension in your arms- noticed it in the Beethoven- you loosened up in the Liszt, and as a result, it was much better- I thought you also paced yourself quite well.

Debussy - very good start on this!

Congratulations to you and your teacher on the excellent progress you’ve made this year.

Asada:

Ooops - didn’t practice scales?

Bach: Work on the fuller tone on the notes you want to bring out so that the audience doesn’t have to look for them, and guess your intention (which I know you have.)

Beethoven: Great opening! Excellent rhythmical pulse. Make sure to go to G#- the (?) note- quite important. Have clear directions all the time - sometimes, not clear to us.

Liszt: Oh. I love this piece. Thank you for playing. You don’t have problem playing most of the parts. Paractice zillion times (sic) several spots that give you that problem until you feel completely comfortable. Good job!!!

Debussy: Wow! You have challenging pieces from one to another. Good thing you have great fingers! Your finger technique is impressive. Now you need to let the audience hear the music, phrasing, and feelings instead of fingers. Keep working on these great pieces!

Chou:

Scales and arpeegios - passed.

Bach- Beautifully played- your playing has taken on a more flexible and expressive quality that’s wonderful. Keep up the good work. Bourree. Try to make your running passage feel “slow” even in faster tempo- always be ahead in your preparation of sound both through inner listening and ease of physical motion. Some very nice articulate playing.

Beethoven- Solid playing. Be very careful with pedaling in fast passages with thicker texture- the pedaled sound can often be achieved with less right foot.

Liszt- You are gaining more command of this work on the keyboard. Bravo.

Debussy- Nicely done- good range of dynamics, colors, and character. An excellent jury showing fine progress!

Richey:

Scales- review g# melodic minor. It’s important both pianistically and theoretically to be comfortable in all keys- especially a talent like you, playing the level of rep you are playing! :] Make all scales a regular part of your daily routine.

Bach- Allemande- be sure you begin with an immediate sense of direction, clarity of meter. Careful not to blur too many melodic moving voices in a row- you are using a bit more pedal than you actually need in places. Musical and lyrical! I love the ebb and flow to your pacing. At times though, you are over-using rubato in my opinion, verging on romanticism. A little too much of a great idea at times! That said, this beautifully conveys your sensitivity and musical talent.

Bourrees- excellent. Try to be “in character” every moment. Avoid ever letting anything just sound (or mostly) like passage work, patterns, etc. Be in there shaping, showing us your concept of character.

Beethoven- though light, need projection and clarity of shortest note values- work on flexibility in Right arm- you tend to “lock down” on sustained octaves, etc. What I love about this is that you really have a great sense over-view (sic), and you make it look easy! Continue to work on clarity (LH probablly too loud beneath ascending RH arpeggios) and technical refinement; freedom, flexibility.

Etude- this has improved! Much cleaner and more integrated technically. Pedal doesn’t always have to be as deep… Listen for a “brightness” and clarity to smallest note values, even when pedaling. In all technical passages, regardless of which “variation” you are in, keep your eye on the musical direction… the more you place your focus there, the more integrated it will become technically. Although tempting- avoid ever playing faster than you can hear, or succeed at hearing every detail. Try not to “skim over” anything- you have more time than you think to accomplish this. well done, it’s come a long way.

Debussy- you are playing this well- I want to challenge you to eliminate any movement where you are just negotiating a passage, a figure, a gesture; let it be all music, all the time. You have that wonderful musical gift… so keep it turned on 100% of the time. See if you can discover where (and why) it “turns off”…

Big talent- great to hear you as always.

Tags: jury sheets

Jury Sheets

So, I’m transcribing the sheets so I have a record of it, so I could refer back to it. I don’t really want to save it on my computer, because it might crap out sometime soon.

Fall 2010 Jury Sheets:

Dr. Chou:

Bach - Good spirit - brisk tempo maintained throughout. Fine facility. You have the equipment to play this well- continue to refine your tonal control (greater range/variety) and conception of voicing and articulation.

Debussy - Very fine playing. Musical and enjoyable. I appreciate you working out all the shimmering arpeggios precisely. Continue to allow yourself to explore more shades of colors (including use of half pedal and half changes)

Chopin - This has grown since I last heard it! In full/forte sound, take care to plan for the best sonority. Very good conception of “big” playing with secure preparation. Keep up the great work - and outstanding first jury.

Prof. Waites:

Scales/Arpeggios - very good

Bach - Very strong and spirited performance. I think the right hand in the first section could have been projected more. Sometimes it was a little too subdued. Tempo was great and consistent throughout- I think you can do much more with shaping the left hand so that you can achieve a longer line- most important in a work like this.

Debussy - You’ve made an excellent beginning on this piece. I think you can be a little more expansive in the section before the Eb segment - watch rhythmic details and be sure that every section is harmonically informed.

Prof. Uranker:

Italian Concerto - Great

Debussy - Good work.

Ballade - Excellent.

Prof. Asada:

Bach: Good solid tempo, and I like the fact that you are paying attention to each voice, shaping and bringing it out. Well prepared.

Debussy: You produced beautiful colors in this piece. Good for you! The soft passages are quite beautiful, but when it gets louder, make sure to keep your arms free to avoid the harshness.

Chopin: You have a very good sound concept. Learn to use your arms as an extension of your fingers.

Prof. Richey:

Scales - excellent

Bach - well done! I would explore more obvious phrase shaping and perhaps a lighter approach to this. You don’t have to give forte all you’ve got- the style and texture doesn’t support it in my opinion. You can really exploit dynamic drops to p or pp to a greater degree and enjoy the accompanying change in character (you must have clear decisions about what each character is). Also avoid a quick crescendo back to mf or f. We need to enjoy the quiet end of the spectrum longer. Very solid rhythmically and even.

Debussy - Beautiful atmospheric opening! When you get to first chromatic chords, think brass choir- each voice very clear. You have a terrific poise as you play when you get to the first tricky passage in the right hand, be sure to put it in a musical context; a color, an effect, and then put our focus on left hand- guide us towards what you want us to focus on. You are musical- keep that talent 100% awake and alive in any passage that you perceive to be difficult. Avoid letting anything become a “passage”- let it be music. It will make the technical control of the passage improve instantly. There were many beautiful moments, spaciousness, colors- bravo!

Chopin - Beautiful opening. You have a lovely integration of your physical approach with your musical intentions- a “pliability” that is great: facilitates effective phrasing, pacing, voicing… at the showcase I noticed this but felt you did not apply the same physical ease to forte, fortissimo, big chords, etc. Today you are! Great job- this is much improved. In middle section- ff be sure to keep it up- loosen up your arms- you’ll actually get more “control” the more you let go! Bravo!

Reflection:

My performance definitely could have been better. I had a few mistakes, but I think they understood them as “unpreparable” mistakes. I actually have quite a lot to work with- lots of suggestions in regard to musicality. Definitely will be keeping these pieces up a little bit, then store it in the mental locker.

Tags: jury sheets