2 0 1 3 I L M AY A P R No 71 Helping you become a better player No 7171 Helping you become a better player ping you be Helping you become a better player ping you be IMPROVE YOUR PLAYING EXPERT HOW-TOs with our ✓ Master the octave technique ✓ In-depth lesson on a Chopin étude ✓ Exercises to strengthen weaker fingers the octave technique th lesson on a Chopin étude EFFECTIVE PRACTISING How to make best use of your practice time PIECES TO LEARNPIECES TO LEARN 12 FROM BEGINNER TO ADVANCED STEP-BY-STEP LESSON ON BEETHOVEN’S FÜR ELISE Every issue, Pianist brings you 40 pages of scores to learn and a CD to listen and learn from. If your CD is missing, please see your newsagent. BEGINNER BEGINNER TRACK2 Hands ready on keys before you begin. Key of C major. Key of C major. orised TRACK 2 TRACK2 CorneliusGURLITT(1820-1901) The Hunt op 117 no 15 CorneliusGURLITT(1820-1901) The Hunt op 117 no 15 German composer Cornelius Gurlitt was a teacher as well as a composer, and wrote German composer Cornelius Gurlitt was a teacher as well as a composer, and wrote s e ve r a l vo l umes o f p i e c e s f o r s t uden t s a t va r y i ng l e ve l s . Thi s popu l a r p i e c e c omes f rom a collection called First Lessons. Play it through and you’ll immediately understand why this piece is entitled ‘The Hunt’ – you can hear the hunting horns call across the fields from the very opening, with the fourths in right hand. several volumes of pieces for students at varying levels. This popular piece comes from CorneliusGURLITT(1820-1901) The Hunt op 117 no 15 Playing tips: This piece is deceptively simple. You should try to make it sound very Playing tips: This piece is deceptively simple. You should try to make it sound very animated, forwhichyouwillneedgoodfingerarticulation.Takenoteofallthe rests, for example. Make sure to take your hands off the keys during the rests! Pedal tips: There is no need for the pedal in this short, lively piece. animated, forwhich youwill needgoodfinger articulation.Take noteof all the rests, for example. Make sure to take your hands off the keys during the rests! Pedal tips: There is no need for the pedal in this short, lively piece. P l a y i n g t i p s : Th i s p i e c e i s d e c e p t i v e l y s i mp l e . Yo u s h o u l d t r y t o ma k e i t s o u n d v e r y animated, for which you will need good finger articulation. Take note of all the rests, f o r e x am p l e . Mak e s u r e t o t a k e y o u r h a n d s o f f t h e k e y s d u r i n g t h e r e s t s ! Take a look at the technical tips within the score. Take a look at the technical tips within the score. The melody here should be slightly detached,but not Pe d a l t i p s : Th e r e i s n o n e e d f o r t h e p e d a l i n t h i s s h o r t , l i v e l y p i e c e . Ta k e a l o o k a t t h e t e c h n i c a l t i p s w i t h i n t h e s c o re . The melody here should be slightly detached,but not Hands ready on keys before you begin. Key of C major. 34 34 & Hands ready on keys before you begin. fields from the very opening, with the fourths in right hand. Key of C major. Allegro 13 34 34 & f f 34 & ? 13 German composer Cornelius Gurlitt was a teacher as well as a composer, and wrote several volumes of pieces for students at varying levels. This popular piece comes from a collection called First Lessons. Play it through and you’ll immediately understand fields from the very opening, with the fourths in right hand. Allegro whythispieceisentitled‘TheHunt’–youcanhearthe huntinghornscallacrossthe 1 Allegro a collection called First Lessons. Play it through and you’ll immediately understand whythispieceisentitled‘TheHunt’–youcan hearthehuntinghornscallacrossthe Tr y 2nd finger on the C if easier. Make a down/up motion with the RH hand, from bottom crotchet to top crotchet. staccato. 13 3 Try 2nd finger on the C if easier. Make a down/up motion with the RH hand, the C if easier. Make a down/up motion with the RH hand, from bottom crotchet to top crotchet. from bottom crotchet to top crotchet. œ œ Œ œ œ Œ œ ˙™ œ Œ œ œ œ œ œ œ œ œ œ Œ œ œ Œ œ ˙™ œ Œ œ œ œ œ œ œ œ staccato. 13 1 53 3 53 The melody here should be slightly detached, but not staccato. 5 3 Try 2nd finger on 34 34 & 13 f Pay close attention to the rests. ? f No pedal needed. ? 1 to t Pay close attention to the rests. Pay close attention to the rests. 1 3 Œ œœœœœœœŒŒŒŒŒŒŒŒŒŒŒŒŒ The two notes of the LH chords need equal weight. The two notes of the LH 3 chords need equal weight. œ œ Œ œ œ Œ œ ˙ ™ œ Œ œ œ œ œ œ œ œ Œ œœŒŒ œ œŒŒ ˙ ˙ ™™ œœŒŒ œ œŒŒ œ œŒŒ Œ œœŒŒ œœŒŒ ˙˙™™ œœŒŒ œœŒŒ œœŒŒ Œ œœŒŒ œœŒŒ ˙˙™™ œœŒŒ œœŒŒ œ œŒŒ ŒŒŒŒŒ Try your hardest body movements! body movements! Try your hardest not to make any big arm or Try your hardest not to make any big arm or More weight is needed on the More weight is RH and LH dotted RH and LH dotted minims. eded on the d minims. More weight is needed on the RH and LH dotted minims. More weight is needed on the RH and LH dotted minims. body movements! œ d minim 13 13 first 8 bars. 5 5 œ 3 Tr y your hardest not to make any big arm or body movements! 13 ? 13 7 No pedal needed. 4 The two notes of the LH The two notes of the LH chords need equal weight. chords need equal weight. 1 { { 7 7 No pedal needed. No pedal needed. 7 & & { { { & 4 & 4 4 ? ? ? 2 14 { { { { & { { { { { 14 ? 14 5 & & ˙™ œ Œ 2 5 Again, extra weight is needed on the RH and LH dotted minims. 2 5 3 Again,extra weight is needed on the RH and LH dotted minims. Again,extra weight is needed on the RH and LH dotted minims. 3 3 ? 13 1 4 1 4 1 4 4 4 4 1 3 Use the fingering 1-2 if you prefer. These next 8 bars (8-15) are the ‘answer’ to the first 8 bars. 4 These next 8 bars (8-15) are the ‘answer’to the f These next 8 bars (8-15) are the ‘answer’to the first 8 bars. These next 8 bars (8-15) are the ‘answer’to the first 8 bars. ˙™ œ Œ œ œ Œ œ œ Œ œ ˙™ œ Œ œ œ œ œ ˙™ œ Œ œ œ Œ œ œ Œ œ ˙™ œ Œ œ œ œ œ ˙ ™ œ Œ œ œ Œ œ œ Œ œ ˙ ™ œ Œ œ œ œ œ ˙˙ ™™ œœŒŒ œ œŒŒ œ œŒŒ ˙ ˙ ™™ œœŒŒ œ œŒŒ ˙˙™™ œœŒŒ œœŒŒ œœŒŒ ˙˙™™ œœŒŒ œœŒŒ ˙˙™™ œœŒŒ œœŒŒ œœŒŒ ˙˙™™ œœŒŒ œœŒŒ œœŒŒ ˙˙™™ œœ Œ œ œŒŒ œœŒŒ ˙˙™™ œœ Œ œ œŒŒ The phrase below must be one seamless line.We should not ‘hear’the move from LH to RH. The phrase below must be one seamless line.We should not ‘hear’the move from LH to RH. The phrase below must be one seamless line .We should not ‘hear’ the move from LH to RH. mf mf 12 12 œ œ œ ˙™ œŒŒŒŒ œ œ Œ œ ˙™ œ Œ œ œ œ œ ˙™ œŒŒŒŒ œ œ Œ œ ˙™ œ Œ œ 1 œ œ œ ˙ ™ œŒŒŒŒ œ œ Œ œ ˙ ™ œ Œ œ œ œŒŒ ˙˙ ™™ œœ Œ œ œŒŒ Drop dynamic Drop dynamic level here. level here. Drop dynamic level here. mf 2 3 1 31 31 1 3 3 5 3 5 3 5 ∑∑∑ ∑∑∑ ∑∑∑ 12 BEGINNER ery sts, 5 5 1 1 1 2 3 3 g,publicperfo r y s, 21 & 4 ? 13 21 4 Use the fingering 1-2 if you prefer. Use the fingering 1-2 if you prefer. ? 27 & & 21 4 1 3 5 5 & ? Make sure all the notes in the threenote chords have equal weight ? 1 1 3 5 27 { { & 5 27 3 5 { ?∑∑ & 5 Make sure all the notes in the three- note chords have equal weight Make sure all the notes in the three- note chords have equal weight 1 ?∑∑ ?∑∑ 5 1 3 4 1 5 5 œ Œ œ œ Œ œ ˙™ œŒŒŒŒ œ œ Œ œ œ Œ œ œ Œ œ ˙™ œŒŒŒŒ œ œ Œ œ œ Œ œ œ Œ œ ˙ ™ œŒŒŒŒ œ œ Œ œ œœœŒŒ œœœŒŒ ˙ ˙ ™™ œœ Œ œ œŒŒ œœ œŒŒ œœœŒŒ ˙ ˙™™ œ œ Œ œ œŒŒ œœœŒŒ œœœŒŒ ˙˙™™ œœ Œ œ œŒŒ 3 3 1 1 3 1 3 The RH 4th and 5th fingers are weak fingers. Aim to keep them firm and in strict time. The RH 4th and 5th fingers are weak fingers. The RH 4th and 5th fingers are weak fingers. Aim to keep them firm and in strict time. Aim to keep them firm and in strict time. 4 ˙ ™ œ Œ œ œ œ œ œ œ œ ˙ ™ œ Œ 5 5 5 ˙™ œ Œ œ œ œ œ œ œ œ ˙™ œ Œ ˙™ œ Œ œ œ œ œ œ œ œ ˙™ œ Œ 4 31 1 1 1 3 2 ∑ FREE INSIDE 40 PAGES OF SHEET MUSIC & TUTORIAL CD WORTH OVER £20 ∑ ∑ Try not to slow down at the end! Try not to slow down at the end! Lift hands at the Tr y not to slow down at the end! same time. Lift hands at the same time. 1 LH chords need equal balance again. LH chords need LH chords need equal balance again. equal balance again. œœœŒŒ œœœŒŒ ˙ ˙ ™™ œœ Œ œœ œŒŒ œœœŒŒ ˙˙™™ œœ Œ œœœŒŒ œœœŒŒ ˙˙™™ œœ Œ Lift hands at the same time. 29 Pianist 69 29 Pianist 69 29 Pianist 69 copying,hiring 1 Pi a PPi a n ist 7 1 All rightsoftheproducerandoftheowneroftheworksproduced reserved. Unauthorisedcopying,hiring,publicperformanceandbroadcasting of t hi s r e c o r d p r o hi bited. 1371 A U K PI WGP PI A U K 1371 Jonathan BISS On the freedom of being On the freedom of being an American musician an American musician USA SPECIAL The music, the pianos and the top 10 pianists in the USA Plus, the legendary Carnegie Hall £ 5 . £ 5 . £ 5 . www.pianistmagazine.com 2 5 2 5 2 5