Piano Practice & Music Theory 19-12-2020.

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Soon this year will be concluded. I am happy now, to finally advance to third grade theory.

My left hand has healed up nicely–scans reveal that I had tenosynovitis (a commonality for your musicians), which isn’t serious. The third and fourth fingers of the left are the fingers which are effected–which makes sense. These three fingers were formerly being used in the manner, where the tendon bound them together (5th, 4th, and 3rd). Pianism has led me to exercise finger independence, which has led the tendons sheaths to rub against one another. This can be rectified with time, and practice.

I’m astounded, that despite the years and years of abuse to my fingers and hands (being an artist) that they aren’t damaged. In saying that, I am truly thankful. I am thankful that it isn’t anything serious… rather, the damage is all self-inflicted from me overusing my hands against their perceivable limit, at this stage.

Pianists are like athletes, indeed.

I sincerely hope, next year… that there will be more recitals being hosted at The Conservatorium. I will attend as many, as I possibly can. I have been to a slew of musical events this year. A couple of concerts, one orchestra, and a good number of piano recitals–both solos, and concertos.

I had come to the conclusion that I love pianists the most. I look back to the beginning of this year, when I had first began this musical journey… first, I had taken viola up as a means of escaping the piano. I had established my first groundings in musical theory from that time, with the instrument–but I must say, nothing had delighted me more than the piano. With its 7 octaves. With its eccentric cast to command it. With its clear, and defined format… which leads it to be a wonderful companion to music theory.

I thank this world for its very existence. I only hope to continue further on this music journey. And I will. There is something to the piano which draws me to it… past any other instrument. It is not wonder why there is a good many of pianists consisting a huge population to The Con.

Theory:

* Finish theory sheets.
* Brush-up on musical forms, and verse in music.
* Annotate all known scales, and their relative minors for both treble and bass clefs.

Pianistic Practice:

Left hand requires more strengthening.
Left-hand requires more practice of curved, standing fingers. (Isolation Of 2nd especially.)
Left-hand requires slow practice.
Left wrist needs to be elevated above the keys, at a parallel angle to the floor.

When playing, try your best to look at your hands directly as opposed to the side mirror. The side mirror should be used to re-adjust your posture.

For LH practice. SLOWLY. PAINFULLY SLOW.

* Squeeze ball exercise (LH)
* Slow and deliberate scale exercises (LH)

* Slow and deliberate contrary motion exe, for articulations (LH & RH).

Exercise musicality. Phrasing within playing mini-slurs. The last note of a mini slur is played in the manner of a staccato. As a general rule, unmarked notes are to be played in a legato fashion.


Repertoire:

Quadrille:
Not so mechanical. Focus on phrasing, and musicality. Let it flow.

Staccatos: Allow it to be more detached.
When playing both staccato and legato simultaneously, one holds the legato note down–longer than the staccato.

Allow the LH to be steady, at all times.

March Of The Lion:
Again, focus on playing both articulations and dynamics through. Don’t focus on accents, as of yet.

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