When I launched my Piano Coaching Program at PianoCareerAcademy.com (on 15th February 2012) I didn’t even imagine that this project would grow so big in less than 3 months!
Since the day of the launch, I have received hundreds of interesting piano questions from the members of my Coaching Program. These questions inspired me to design countless written and video tutorials that are now LIVE, exclusively for my online students, on the Private Members Forum!
Here is the current list of the most important tutorials (I will be updating it as often as possible):
I. Step-By-Step Practice Guides for Beginners.
1. Nikolaev’s Russian School of Piano Playing. Detailed Practice Guides:
Lesson No. 1: Getting Started. The 3 Main Piano Pillars. The Basic Playing Movements. Picking Out by Ear Easy Melodies. The Basics of Musical Notation.
Lesson No. 2: Playing one-staff pieces with one finger, non-legato. Involving the 2nd and 4th fingers ‘in the process’. Practicing pieces No. 8 – 12.
Lesson No. 3: Playing pieces on two staves, hands together (alternating pattern), non-legato. Double bar lines, repeat signs and rests. Practicing pieces No. 13-14.
Lesson No. 4: Playing with different fingers. Involving the thumb and the 5th finger. Easy dynamics and accents. Practicing pieces No. 15-19.
Lesson No. 5: Playing both hands together, portamento, with different fingers. How to play an interval? Practicing pieces No. 20-24.
Lesson No. 6: Playing on black keys. Tones and semitones. Accidentals and key signatures. Phrasing and mental anticipation. The basics of correct practice. Staccato. Practicing pieces No. 25-27.
Lesson No. 7: The structure of a piano duet. Major, minor and their character. Hand positions. Leaps and jumps. Additional staff lines. Practicing pieces No. 28-31.
Lesson No. 8:
Part I: What is piano articulation? What is legato and how should we play it? Practicing piece No. 32 – 2 legato exercises.
Part II: Using the legato articulation effect in playing pieces. Playing leaps and jumps. The main dynamic indications. Practicing pieces No. 33-36.
Lesson No. 9:
Part I: Dotted notes and their duration. Transferring a melody from one hand into the other. Practicing pieces No. 37-39.
Part II: Playing both hands together simultaneously. How to play the melody louder than the accompaniment? Practicing pieces No. 40-41.
Lesson No. 10: Continuing to play both hands together simultaneously. Learning to play a melody with the LH. Portamento practice and its benefits. Practicing pieces No. 42-45.
Lesson No. 11: What is an eighth note? Incorporating eighth notes in our playing. Discovering new types of musical phrases. Practicing pieces No. 46-48.
Lesson No. 12: Continuing to incorporate eighth notes in our playing. Learning our first animated piece. Discovering new fingering principles. Practicing pieces No. 49-51.
Lesson No. 13: Musical meter and the main metric accent patterns. What is a syncope? Improving your staccato skills. Practicing pieces No. 52-54.
Lesson No. 14: Understanding hand positions. Wrist movements during portamento in a faster tempo. Practicing pieces No. 55-56.
Lesson No. 15: The 3/8 time signature. Improving our skill of playing both hands together, simultaneously. Improving our legato skills and our phrasing. Practicing pieces No. 57 and 58.
Lesson No. 16. The Bass Clef. Practicing pieces No. 59-61.
Lesson No. 17. Practicing pieces No. 62-63. Learning our first ‘piece for dessert’. Improving our posture and key attack, our staccato skills and our phrasing.
Lesson No. 18. Practicing pieces No. 65-66. Playing intervals. Articulation effects and their meaning.
Lesson No. 19. The 3/2 time signature and its expressive purpose. Analyzing our first polyphonic fragment! The raised 7th step and the harmonic minor. What is a chord? Practicing piece No. 67 and a piece for ‘dessert’.
Lesson No. 20. The dotted quarter note. Continuing to play both hands together, simultaneously. Practicing pieces No. 68-70 and a piece for ‘dessert’ – Berkovich’s Etude on a Theme by Paganini.
Lesson No. 21. Prima Volta and Seconda Volta. Imitation and Canon. Getting acquainted with the Intoning Technique. What is ‘Fermata’? Practicing pieces No. 71-72 and a piece for ‘dessert’ – an easy arrangement of the Main Theme from Beethoven’s 5th Symphony.
Lesson No. 22. What is an Anacrusis? Discovering a new interval – the Seventh. Learning how to play in Unison. Practicing pieces No. 73-75.
Lesson No. 23. Learning how to play with two different articulation effects simultaneously. Practicing pieces No. 76-77.
Lesson No. 24. Introducing sixteenth notes (semiquavers). Accents – notation, manner of execution and expressive purpose. Practicing pieces No. 78-80.
Lesson No. 25. Your first meeting with thumb crossings. Acquiring speed and dexterity – learning the basics. Practicing pieces No. 81-83.
Lesson No. 26. Rests and their expressive meaning. Getting acquainted with hand crossings. Practicing pieces No. 84-85.
Lesson No. 27. Continuing to incorporate 16th notes in various rhythmical patterns. Beginning to master 5-finger positions. Acquiring evenness, dexterity and speed. Practicing pieces No. 86-88.
Lesson No. 28. Incorporating dotted eighth notes in our playing. Practicing our first ample piano duet – piece No. 89.
Lesson No. 29. Practicing three pieces for ‘dessert’: Vivaldi – Spring. Handel – Water Music. Offenbach – Can-Can.
Lesson No. 30. Beginning Book 1 Part 2! Crescendo, diminuendo and fermata. Our first meeting with the sustain pedal. Practicing pieces No. 90 and 91.
The Benefits of Playing with One Finger at a Time (starting with the 3rd), by Alternating the Hands, in Practicing Easy Pieces for Beginners.
Using Horizontal Wrist Navigation for Making a Smooth Legato. Connecting Several Notes on a Single Arm Movement (example – Piece No. 66 from Nikolaev’s Russian School of Piano Playing).
II. Musical Analysis and Practice Tips of Specific Pieces.
1. Group Study: Bach’s Minuet in D Minor, BWV Anh. 132. Detailed video+written+graphics practice guide.
2. Bach’s Minuet in G Minor, BWV Anh. 115. Practice tips: dynamic plan, phrases, articulation and ornaments.
3. Playing with a rounded hand shape. Practice tips for Bach’s Minuet in G Minor, BWV Anh. 115.
4. Bach – Invention No. 1. Analysis and Practice Tips. The Benefits of Slow Detailed Practice.
6. Bach – Invention No. 14 BWV 785. Voicing Recommendations for the Coda.
7. Bach – Prelude & Fugue in C# Minor BWV 849 from WTC vol. I. Detailed Analysis: structure, concept, expression, performance.
8. Emphasizing the Themes in Polyphonic Music – the Needed Key Attack (example: Fugue in C# Minor BWV 849 from WTC vol. I).
9. Bach – Prelude & Fugue in E Major BWV 854 from WTC vol. I. Expression and Articulation Recommendations.
11. How to Perform Hand Crossings in Bach’s Gigue from Partita No. 1? The basic rules of hand distribution and stem notation.
12. Bach-Siloti – Prelude in B Minor. Musical analysis.
13. Graupner – Bourree in D minor. Practice tips.
14. Kuhlau’s Sonatina in C Major, op. 55. Detailed musical analysis (general concept, form, structure, phrases, dynamics etc.) and many practice tips.
15. Scarlatti – Sonata in E Minor, K. 198: Detailed musical analysis and practice tips.
16. Clementi – Sonatina op. 36 No. 3: practicing the beginning of the 2nd half (1st mov.).
17. Anon – Allegro in F. Practice tips.
18. Haydn – Sonata in D Major, No. 61 (Hob. XVI 51). Ornaments. Hand coordination – triplets vs 16th notes.
19. Haydn – Sonata in D Major, No. 61 (Hob. XVI 51). Which articulation effects are more appropriate for bars 29 and 42-43?
20. Mozart – Andante in D. Practice tips.
21. Mozart – Sonata No. 13 in Bb Major, K 333. Pedaling Recommendations for the 2nd Movement.
22. Mozart – Piano Concerto No. 12 in A Major, K414: How to Perform the Trills? The Rule and the Exceptions.
23. Beethoven – Sonata op. 10 No. 1, 1st movement. Form Analysis. Recommendations for Creating Convincing Dynamics.
24. Beethoven – Sonata op. 10 No. 2, 2nd movement. Mastering the LH in bars 30-35. Practice and pedaling tips.
25. Beethoven – Sonata op. 13 Pathetique, 1st movement. Detailed practice tips for the RH intervals and the LH octave tremolo.
26. Beethoven – Sonata op. 13 (Pathetique), 2nd movement. Detailed Voicing and Phrasing Recommendations.
27. Beethoven – Sonata op. 90, 1st movement. Mastering the LH in bars 55-64. Practice Tips.
28. Beethoven – Sonata op. 90, 2nd movement. Mastering the staccato chords.
29. Mastering the Alberti Bass: origins, structure, examples and practice tips for Beethoven’s Sonata op. 49 No. 2 (2nd mov).
30. Beethoven – Fur Elise. Detailed Musical Analysis: history, form, phrases, melody.
31. Beethoven – Bagatelle in D Major, op. 33 No. 6. How to perform the trill in bar 3? 2 main versions.
32. Burgmuller – Etude op. 100 No. 4, Petite Reunion. Mastering the double notes: practice tips.
33. Schubert – Impromptu op. 90 No. 1. How to play bars 5-8: staccato vs non-legato.
34. Schubert – Impromptu op 142. No. 2. How to Play the LH Trill from the Trio?
36. Schubert-Liszt – Erlkonig. Practice Tips.
37. Liszt – Benediction de Dieu dans la Solitude. Practice Tips.
38. Liszt – Liebestraum No. 3. The Cadenzas – detailed analysis and practice tips: fingering, hand positions, technical patterns and pedaling.
Part I – The 1st Cadenza
Part II – The 2nd Cadenza
39. Liszt – Orage (No. 5 from Annees de pelerinage, Suisse). Analysis and practice tips for the Piu moto section.
40. Liszt – Nuages Gris. Musical Analysis and Practice Tips.
41. Schumann’s Happy Farmer. Detailed musical analysis.
42. Schumann – Norse Song. Detailed Musical Analysis and Practice Tips.
43. Schumann’s Kinderszenen Suite No. 11. How to avoid tension in playing the fast chords?
44. Chopin – Waltz in A Minor, op. posth. Practice tips and pedaling indications.
45. Chopin – Wiosna (Polish Song op. 74 No. 2). Avoiding Wrist Tension in Playing the LH Accompaniment. Detailed Practice Tips.
48. Chopin Etude op. 10 No. 4. Written tutorial: understanding the ergonomic structure of Chopin’s works and discovering the technical ‘patterns’ and hand positions.
49. Chopin – Etude op. 10. No. 5. Practice Tips: Bringing Out the LH Melody.
50. Chopin – Etude op. 25 No. 1. Detailed analysis and practice tips.
52. Chopin’s Nocturne op. 15 No. 2: Analyzing and Practicing the Cross-Rhythms in the Doppio movimento section.
53. Chopin – Scherzo No. 1, op. 20. Practice Tips for the Final Chromatic Scale.
54. Chopin – Ballade No. 1, op. 23. Practice Tips for the Coda: understanding hand positions and support points.
55. Grieg – Butterfly (from ‘Lyric Pieces’). Detailed Practice Tips: analyzing and mastering the 5 main technical patterns.
56. Grieg – The Holberg Suite op. 40. History and Musical Concept. Practice tips for Piece No. 4 – Air: mastering the fragment with arpeggiated chords in the LH (bars 40-47).
57. Rachmaninoff – Etude Tableaux op. 33, No. 2. Practice tips: mastering the LH passages in bars 22-28; overcoming the technical and expressive challenges in the last 5 bars.
58. Rachmaninoff – Prelude op. 32 No. 5. Practice tips: mastering the main LH patterns.
59. Medtner – Canzona Serenata (No. 6 from Forgotten Melodies op. 38): detailed practice tips for bars 38-49.
60. Cecile Chaminade – Automne op. 35 No. 2. Mastering the Cross-Rhythms: Detailed Analysis and Practice Tips.
61. Ernesto Lecuona – Malaguena. Practice tips: mastering repetitive close position chords.
62. Debussy – The Girl with the Flaxen Hair. Practice tips. How to create a soft ‘impressionist’ sound?
63. Debussy – Brouillards (Prelude No. 1 from Book 2). Analyzing the Rhythm.
64. Debussy – Brouillards. Detailed Voicing and Pedaling Recommendations.
65. Debussy – Clair de Lune. Practice Tips.
67. Scriabin – Prelude op. 11 No. 10. Musical Analysis and Practice Tips: Main Expressive Tasks, Key Attack, Pedaling.
68. Poulenc – Nocturne No. 7. Voicing and Dynamic Recommendations. Analysis and Detailed Practice Tips for Bar No. 5.
69. Eric Thiman – Flood-Time. Practice Tips: structure, phrasing, dynamics and pedaling.
III. Piano Playing Basics.
1. Becoming a good pianist – the needed qualities.
4. The Correct Key Attack and the importance of wrist flexibility.
6. Pressing the Keys Vs Pushing Yourself From the Keys – 2 Ways of Perceiving the Fundamental Whole-Arm Piano Key Attack.
9. Wrist Movement and Its Main Functions: avoiding exaggerations when raising our wrists.
11. The ‘Cat Kneading’ Effect – a Metaphor for the Whole-Arm Action Principle. Finger Action in Pressing and Releasing a Key.
13. The Difference Between Whole-Arm Action and Separate Finger Action. The benefits of portamento practice in mastering whole-arm action.
15. The Free Fall of the Arm and the Gradual Deep Key Attack: Are These Techniques Compatible?
18. Improving Our Sight-Reading:
General Sight-Reading Principles and Practice Tips.
My Sight-Reading Experience;
Sight-Reading is Relative;
Focus, Horizontal Thinking and Mind-Fingers Coordination: a Step-By-Step Sight-Reading Guide.
19. Improving our Rhythm.
IV. Piano Posture.
3. The Benefits of a Wide Arm Position.
4. How to Avoid Tensed Wrist/Elbow Bends in Reaching Uncomfortable Positions (for example, playing with the LH above the middle C).
6. Shoulder Relaxation and its role in mastering the ‘whole arm action’ principle.
7. Is It OK to Stand Up for Playing Louder? The classical professional rule and the modern exceptions.
V. Piano Sound & Expression.
1. Between Pianissimo and Fortissimo. Improving the Piano Dynamic Range.
Episode One: The Real Dynamic Possibilities of the Piano
Episode Two: The ‘Whole Arm Action Principle’, the Correct Key Attack and Their Role in Creating a Wide Range of Dynamic Gradations
Episode Three: Weight, Speed and Height – 3 Variables that can Influence the Sound Intensity.
2. How Can We Embrace the Entire Piano Dynamic Range? Three Main Pillars.
3. How Can We Create Expressive, Gradual Crescendos and Diminuendos? Avoiding 4 Common Mistakes. A step-by-step holistic guide.
5. Emphasizing the Melody in Piano Playing. Learning How to Play with Different Sound Intensities Simultaneously.
Part I (example: Khachaturian’s Andantino)
Part II (examples: Mozart’s Sonata K545 and Chopin’s Nocturne op. 72 No. 1, E Minor)
Part III (examples: Schumann’s Happy Farmer, Chopin’s Etude op. 25 No.7, Schubert’s Impromptu op. 90 No. 3)
6. Exercises for Developing Hand/Finger Independence and Coordination: learning how to play with different sound intensities and characters simultaneously.
7. Mastering the Art of Voicing. Preparatory Exercises. Emphasizing the Melody ‘Hidden’ within Chord Structures (example – Debussy’s Prelude La Cathedrale Engloutie).
8. How to Determine which Voice should be Emphasized in Polyphonic Music? (example: Bach’s Invention No. 2).
9. Emphasizing the Themes in Polyphonic Music – the Needed Key Attack (example: Fugue in C# Minor BWV 849 from WTC vol. I).
10. What is Rubato? Origins, Meaning and Detailed Description. Creating an Expressive Rubato in Chopin’s Prelude op. 28 No. 6.
11. The 3 Main Articulation Effects: Non-legato, Legato & Staccato.
12. What is Tenuto? Notation, Manner of Execution and Expressive Purpose.
14. Understanding Combined Articulation Marks in Impressionist Music (example – Jimbo’s Lullaby from Debussy’s Children’s Corner).
16. Different Types of Staccato – depending on the artistic concept of the piece, the epoch and the style of the composer.
17. Finger, Wrist and Arm Staccato.
18. Avoiding Staccato in Bach’s Invention No. 1
22. Piano Ornaments – Main Types and Manner of Execution according to the style of the epoch.
26. How to Create a Soft Sound in Playing Impressionist Music? Practicing Debussy’s Prelude La Fille aux Cheveux de Lin.
27. What is Slap Touch (or Carezzando-Touch)? Exploring Debussy’s Innovations in the Realm of Piano Touch and Tone.
VI. Piano Technique.
2. Scales and Arpeggios (score)
3. Maintenance of technical work – the importance of a flexible practice session.
4. Structuring our technical practice: the ‘spiral of progress’ in practicing scales.
5. C Major scale – 3 basic variations
6. How to Achieve Lightness and Speed in Playing Scales? A Step-By-Step Holistic Guide.
7. The Chromatic Scale. Rimsky-Korsakov – Flight of the Bumblebee. Practice tips.
12. Short, broken and long arpeggios + written tutorial about long arpeggio fingering.
16. Understanding Inversions of Triad Chords and Seventh Chords. What is 6, 6/4, 6/5, 4/3?
17. Detailed tutorial on:
- Basic triad chords and their inversions;
- The main functions of a tonality: the tonic, dominant and subdominant;
- What is a dominant 7th chord? Building the basic chord and its inversions;
- What is a diminished 7th chord? Building the chord and understanding its character;
- The 2 hand positions in playing diminished 7th chords;
- Building 11 arpeggios from 1 note – C (with detailed explanations);
- Building 11 arpeggios from A.
18. The Basic Principles of Piano Fingering
19. Using the Thumbs in Piano Playing – 5 Basic Secrets.
20. Three Types of Thumb Crossings. Mastering the ‘Flying Technique’ in Playing Scales
26. How to get rid of the ‘raised pinkie’ problem? Written+pictures tutorial.
27. How to Practice Octaves? Tips for Pianists with Small Hands.
28. Avoiding Tension in Playing Uncomfortable Structures: Stretches, Octaves, Chords. Step-by-Step Practice Tips. Examples: Bach’s Prelude in E Major, WTC Book 1; Grieg’s Lyric Pieces op. 65 no. 1 and op. 68 No. 5.
29. Pointing, or Placing Fingers. Two Main Types of Finger Articulation.
30. How high should we lift our fingers in playing fast passages (especially in Bach’s music)?
33. What is Jeu Perle in Piano Playing? Description, examples and practice tips.
34. The Layout of the Musical Text in Piano Playing and the wrist navigation technique.
37. Developing Expression and Technique – the method used in the Russian Piano School.
VII. Piano Practice
3. Structuring our Practice Session: when and how should we focus on certain technical or expressive aspects of a musical piece?
4. How Many Hours per Day Should We Dedicate to a Piece? The 3 Phases of Learning.
5. The ‘Magnifying Glass’ Practice Method
6. The ‘Alternating Rhythmical Patterns’ Practice Method: Is It Effective? A Few Useful Exercises.
11. How to Decipher a New Piece? A Guide for Beginners and Intermediates.
14. Can We Learn a Piece Quicker? A Step-by-Step Guide for ‘Speeding Up’ the Learning Process.
15. Should We Use the Metronome When Practicing? Identifying and Solving the Most Common Rhythmical Problems.
VIII. Piano Performance
2. Putting Together a Recital: Balancing Our Practice.
3. Getting Ready for an Exam: Increasing Our Confidence.
IX. Piano Repertoire (repertoire advice and exclusive scores)
3. What is Urtext? Should We Use Urtext or Edited Scores when Playing Bach?
5. How to Retain Old Pieces in our Repertoire? Practice and scheduling tips.
6. Nikolaev – Russian School of Piano Playing (score), levels 1-3.
7. Artobolevskaia – Piano Chrestomathy (score), levels 1-4.
8. Milich – Graded Piano Repertoire (score), levels 2-7.
9. Studying J.S. Bach’s Works – The Methodical Order. The 5 Main Steps of Mastery.
10. J.S. Bach – Polyphonic Pieces For the Intermediate Level – repertoire suggestions.
11. J.S. Bach – Inventions and Sinfonias (starting from level 4).
12. J.S. Bach – The Notebook for Anna Magdalena Bach (score), levels 1-5.
13. Bach – Little Preludes and Fugues (score), levels 2-8.
14. J.S. Bach – 6 Clavier Partitas (score), for advanced students.
15. Haydn – Arietta with Variation: charming ample-form piece (score), levels 2-4.
16. Clementi – 7 Sonatinas (score), levels 3-8.
17. Mozart-Liszt – Lacrimosa (score), advanced level
18. Gedike – 30 Easy Pieces (score), levels 1-3.
19. Schumann – Album for the Young (score), levels 1-5
20. Tchaikovsky – Album for The Young (score), levels 2-5.
21. Debussy – Children’s Corner, levels 4-8.
22. Bela Bartok – Mikrokosmos (score and practice recommendations)
23. Gluck-Sgambati – Melodie (score and practice recommendations)
24. Grieg – The Holberg Suite op. 40 (score, history, musical concept and video tutorial).
25. Etudes – Detailed Repertoire Recommendations, levels 1-8 (scores attached).
26. Burgmuller – 25 Easy and Progressive Studies (score and practice recommendations)
27. Very easy pieces for beginners, useful for developing our correct playing skills – suggestions.
28. Romantic pieces and Sonatinas for beginners (level 1) – suggestions.
29. Polyphonic pieces and romantic pieces for beginners (levels 1-2) – suggestions.
30. Playing Four-Part Pieces: Where to Begin? Repertoire Suggestions and Practice Tips for Early-Intermediate Students.
31. Sonatinas and romantic pieces for the intermediary level: detailed repertoire suggestios.
33. 4-hand pieces for intermediate level – suggestions and scores.
35. Duet Repertoire for Advanced Students – suggestions and scores.
36. Getting Familiarized with Impressionist Music – What Pieces Should We Start With? Repertoire suggestions for intermediate students.
X. Piano Pedal
2. Beginning to play with pedal. A detailed guide for beginners.
4. Mozart – Sonata K280, 2nd mov. Pedaling tips for the fragment starting in bar 9.
5. Mozart – Sonata No. 13 in Bb Major, K 333. Pedaling Recommendations for the 2nd Movement.
6. Beethoven – Rondo in C Major, op. 51 No. 1. Pedaling suggestions.
7. Chopin – Mazurka in Ab Major, op. posth. Pedaling Recommendations.
8. Tchaikovsky – In Church: detailed pedaling guide.
Debussy – Brouillards. Detailed Voicing and Pedaling Recommendations.
XI. Piano Mind
1. Piano Playing is a Lifetime Commitment!
3. Understanding a Piano Piece: detailed written tutorial.
4. The 3 ‘Layers’ of a Musical Piece: Details, Phrases and the Whole.
5. How to Understand the ‘Message’ of a Piece? A General Overview.
7. Phrasing and the Meaning of the Piece. The message encoded in classical/pre-classical music.
8. Awakening Our Creativity: Mastering the Art of Piano Improvisation
XII. Piano Theory
1. All Tonalities and their Key Signatures (easy charts posted under Lesson No. 6 for Beginners).
8. Harmony and Expression: Learning how to Decipher the Meaning Encoded in Different Harmonies and Chords Progressions.
15. What are Ample-Form Pieces? Explaining the structure of Sonatinas and Sonatas.
18. Two Types of Musical Texture: Polyphonic and Homophono-Harmonic. The Basics of Stem Notation.
19. Hand Distribution and Stem Notation. Understanding two- and three-staves structures.
20. What is a ‘performance score’? Analyzing unusual time signatures.
XIII. Piano History
1. Understanding the Evolution of the Major Musical Styles: Medieval, Renaissance, Baroque, Classical, Romantic, Modernist. Reflecting the Style of the Epoch/Composer in our Performance.
4. Musical Impressionism. Origins and main pianistic characteristics.
5. Satie’s Trois Sarabandes: History, Concept, Meaning, Expression.
XIV. Piano Teaching
3. The Structure of a Piano Lesson: Evaluating a Student
5. Wrist Movements According to the Duration of the Note: How to Explain this Concept to Beginners?
9. The Suzuki Method – the basic principles.
XV. Piano Health
2. Wrist Tension – a Mega-Cause of Hand Injuries. A Holistic Overview.
4. Workout Tutorials are Coming Soon!:
XVI. Exploring Our Instrument
2. The harpsichord, the acoustic piano and the digital piano: learning to see the ‘connecting dots’.
In order to get full access to all these tutorials and to many other exclusive piano playing tips, join my Piano Coaching Program at PianoCareerAcademy.com today – and learn the secrets of the Russian piano school! On the Private Members Forum you’ll also be able to ask me ANY piano question, anytime, and receive personalized, detailed, professional piano advice!
[b][url=http://pianocareeracademy.com/forum/index.php/topic,444.msg4224.html#msg4224]Avoiding Tension in Playing Uncomfortable Structures: Stretches, Octaves, Chords[/url]. Step-by-Step Practice Tips[/b]. Examples: Bach’s Prelude in E Major, WTC Book 1; Grieg’s Lyric Pieces op. 65 no. 1 and op. 68 No. 5.
[url=http://pianocareeracademy.com/forum/index.php/topic,558.msg5321.html#msg5321][b]Debussy – [i]Brouillards[/i][/b][/url]. Detailed Voicing and Pedaling Recommendations.