Repertoire List

Piano Performance

List A

Song Name

Composer

01 |

Minuet In A minor, Partita No. 6

Krieger

02 |

Bourrée in E minor, Notebook for Wolfgang

Leopold Mozart

03 |

The Ballet, Handstücke fürangehende Klavierspieler

Turk

04 |

Lesson in C Major, The first 12 studies for the piano, Op.125, no. 3

Diabelli

05 |

Promenade in G major

Reinagle

06 |

Tempo di Menuetto in C, Op.38 no. 4

Hässler

List B

Song Name

Composer

01 |

A Boring Story, Children's Book, Op. 98 no. 8

Grechaninov

02 |

Melody, Album for the Young, Op. 68 no.1

Schumann

03 |

Study in C Major, Études enfantines, Op. 37 no. 6

Lemoine

04 |

Waltz of the Young, Practical Method for the Pianoforte, Op. 249, no. 24

Kohler

05 |

Etude, Practical Exercises for Beginners, Op. 599 no. 20

Czerny

06 |

Cuckoo, The Easiest Piano Pieces, Op. 46 no. 21

Breslaur

List C

Song Name

Composer

01 |

Game, 24 Pieces for Children, Op. 39 no. 5

Kabalevsky

02 |

Mission Impossible

Wedgwood

03 |

Toys 玩具

Chongguang Li 李重光

04 |

The Chinese Cabbage 小白菜

Yaonian Gong 龔耀年

05 |

I Learn From You 我學你

Zhongrong Luo 羅忠鎔

06 |

Dance in Canon, Mikrokosmos, Sz. 107 no. 31

Bartók

07 |

Animals Sound Fun from"Pinkfong Baby Shark Music Score"

Pinkfong Baby Shark Arranged by Carolyn Chan

08 |

Beauty and the Beast from "Really Easy Piano Disney

Alan Menken

List D

Song Name

Composer

01 |

Op. 599 no. 11

Czerny

02 |

Op. 599 no. 12

Czerny

03 |

Op. 599 no. 13

Czerny

04 |

Op. 599 no. 14

Czerny

05 |

Op. 101 no. 17

Beyer

06 |

Op. 101 no. 19

Beyer

List A

Song Name

Composer

01 |

Sonatina in G major, Easy Progressive Lessons and 4 Sonatinas

Attwood

02 |

Allegro assai in A major, Fifty Pieces for Beginners, Op. 38 no. 34

Hässler

03 |

March in D Major, BWV Anh.122

J.S.Bach

04 |

Allegro in F Major, Twelve Easy Pieces no. 2, Hob.XVII:anh.

Haydn

05 |

Study In F major, 25 Elementary Progressive Studies, Op. 176 No. 17

Duvernoy

06 |

Minuet D minor

Leopold Mozart

List B

Song Name

Composer

01 |

Study in C, Op. 340 no. 1

Mayer

02 |

Italian Song, Album for the Young, Op.39 no.15

Tchaikovsky

03 |

Waltz, Op. 46 no. 25

Breslaur

04 |

Soldier's March, Album for the Young, Op. 68 no. 2

Schumann

05 |

Study in A minor, Op. 190 no. 34

Kohler

06 |

After the Ball, Children's Album, Op. 98 no. 13

Grechaninov

List C

Song Name

Composer

01 |

Minuetto, Mikrokosmos, Sz. 107 no. 50

Bartók

02 |

The Red Headband 紮紅頭繩

Zhenya Wang 王震亞

03 |

March, Six Children's Pieces, Op. 69 no. 1

Shostakovich

04 |

Galop, 24 Pieces for Children, Op. 39 no. 18

Kabalevsky

05 |

Rush Hour Dash

Wedgwood

06 |

The Happy Female Warrior 快樂的女戰士

Guangren Zhou 周廣仁

07 |

Can You Fell the Love Tonight from "Really Easy Piano Disney

Elton John

08 |

Prinzessin Mononoke from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 599 no. 19

Czerny

02 |

Op. 599 no. 20

Czerny

03 |

Op. 599 no. 22

Czerny

04 |

Op. 101 no. 27

Beyer

05 |

Op. 101 no. 37

Beyer

06 |

Op. 37 no. 1

Lemoine

List A

Song Name

Composer

01 |

Polonaise in G minor, BWV Anh. 125

J.S.Bach

02 |

Minuet in D major, K. 94

Mozart

03 |

German Dance IX:12 no.2

Haydn

04 |

Sarabande, Suite in D minor,HWV 437

Handel

05 |

Allegro, Sonatina no. 2 in C major

Attwood

06 |

Allegro, Sonatina Op. 36 no. 2, 3rd movement

Clementi

List B

Song Name

Composer

01 |

Little Flowers, 12 easy, melodious pieces, Op. 205 No. 5

Gurlitt

02 |

Ballade, 25 Easy & Progressive Studies, Op. 100 no 15

Burgmüller

03 |

Melody, Skizzen, Op. 77 no. 5

Hoffmann

04 |

Canzonetta, 5 Seranades For The Young, Op. 183

Reinecke

05 |

Wild Horseman, Album for the Young, Op.68 no. 8

Schumann

06 |

Study in A minor, 25 Small Exercises, Op. 340 no. 2

Mayer

List C

Song Name

Composer

01 |

Country Dance, 24 Pieces for Children, Op. 39 no. 17

Kabalevsky

02 |

Spraellemanden, 6 Humoresque-Bagatelles, Op.11 no. 4

Nielsen

03 |

The Blooming Beautiful Flowers 美麗的鮮花在開放

Zhaoyi Dan 但昭義

04 |

Scherzo, Mikrokosmos, Sz.107 no. 82

Bartók

05 |

The Happy Children 快樂的兒童

Daxin Zheng 鄭大昕

06 |

The Kangding Love Song 康定情歌

Hongyi Chen 陳鴻繹

07 |

I'm Late from "Piano Score Book Volume 2 Adventurous Collection"

Sammy Fain Arranged be Lily Hong

08 |

A Town With An Ocean View from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 599 no. 27

Czerny

02 |

Op. 599 no. 30

Czerny

03 |

Op. 599 no. 33

Czerny

04 |

Op. 599 no. 34

Czerny

05 |

Op. 599 no. 44

Czerny

06 |

Op. 37 no. 4

Lemoine

List A

Song Name

Composer

01 |

Little Prelude in C Major, BWV 933

J.S.Bach

02 |

La Joyeuse Suite in D Major, RCT 3

Rameau

03 |

Allegro non tanto, Sonatina Op. 20 no. 1, 1st movement

Dussek

04 |

L'Hirondelle

Daquin

05 |

Vivace, Sonatina Op. 55 no. 1, 2nd movement

Kuhlau

06 |

Rondo, Sonatina Op. 36 no. 4, 3rd movement

Clementi

List B

Song Name

Composer

01 |

First Loss, Album for the Young, Op. 68 no. 16

Schumann

02 |

Elfin Dance, Lyric Pieces, Op. 12 no. 4

Grieg

03 |

Mazurka, Album for the Young, Op. 39 no. 11

Tchaikovsky

04 |

To a Wild Rose, Woodland Sketches, Op. 51 no. 1

Macdowell

05 |

Tarantella, Six Short Pieces, Op. 48 no. 6

Guilmant

06 |

Cantabile for piano in B flat major, B. 84

Chopin

List C

Song Name

Composer

01 |

Polka, Dances Of The Dolls

Shostakovich

02 |

Promenade, Music for Children, Op. 65 no. 2

Prokofiev

03 |

Dance of String, Paintings of Bashu no. 4 弦子舞, 巴蜀之畫, 第四首

Huwei Huang 黄虎威

04 |

The Grassland Love Song, Seven piano pieces from the Inner Mongolia Folk Song Theme, no.4 草原情歌, 內蒙古民歌主題鋼琴小曲七首, 第四首

Tong Sang 桑桐

05 |

Two Gossiping Old Women

Khachaturian

06 |

Toccatina, Op. 27 no. 12

Kabalevsky

07 |

When You Wish Upon A Star from "Jim Brickman The Disney Songbook"

Keigh Harline Arranged by Jim Brickman

08 |

Always With Me from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 599 no. 45

Czerny

02 |

Op. 599 no. 49

Czerny

03 |

Op. 599 no. 51

Czerny

04 |

Op. 599 no. 56

Czerny

05 |

Op. 599 no. 59

Czerny

06 |

Op. 599 no. 61

Czerny

List A

Song Name

Composer

01 |

Invention no. 13 in A Minor, BWV 784

J.S.Bach

Portray the somber character in a minor tonality This invention imitates the style of an Allemande, which maintains a steadily flowing tempo of 72-88 to the crotchet. The two voices frequently interact in a dialogue fashion. Waves of crescendo and diminuendo can enhance their individuality. In a fluid motion, the quavers can be played with a detached articulation. Avoid any excessively abrupt staccato attacks.

02 |

Presto, Sonatina Op. 36 no. 5. 1st movement

Clementi

A showcase of virtuosity The Presto tempo demands a rapidly flowing momentum, in the style of perpetual motion. All grace notes in the melody should be played with a crisp attack, with the two notes sounding almost together. The technique for playing triplet figurations in the accompaniment needs to combine finger movements and wrist rotation, albeit in a small degree.

03 |

Allegretto, Sonatina Op. 55 no. 2, 1st movement

Kuhlau

Lyrical melodies and legato playing Imitating the vocal line requires an understanding of phrasing. Analyze the breathing locations and then plan the necessary waves of dynamics. The right hand must project, but never produce harsh sounds. The ideal tone color is full and rounded. The finale utilizes a good amount of scale-like materials. The fingering should correspond to the respective key and hand positions.

04 |

Sonata in A major, K. 322

Scarlatti

A predecessor to the classical sonata A spirited character is created by an uplifting duple meter, in a fast tempo above 92. The homophonic texture requires the top melody to be eloquently projected at all times. Contrasts in dynamics and shifts in tonality can affect the character of the music. The cheerful feeling at the opening becomes sorrowful by the middle section.

05 |

Allegro ma non troppo, Sonata in G major, Op. 49 no. 2, 1st movement

Beethoven

Developing a sense of orchestral thinking The dynamic contrasts can be a reflection of orchestration, where “forte” and “piano” can respectively mimic “tutti” and “solo”. There is no need to play either movements in an excessively fast tempo. A comfortably flowing speed is more suitable for the dignified elegance of the music. Phrasing must be clearly understood and executed. Subtle crescendo and diminuendo can help demonstrate the directions.

06 |

Moderato Cantabile, Sonatina in F major, Op. 168 no. 1, 1st movement

Diabelli

List B

Song Name

Composer

01 |

Prelude in B minor, Op. 28 no. 6

Chopin

Imitating the beautiful sound of the cello The left hand melody should be played with a full projecting tone, whereas the right hand accompaniment remains in the background. The melody is comprised of irregular phrasing. A suitable amount of dynamic wave should be applied to each slur. Rubato is an expressive feature applicable to every phrase in this work. The amount of freedom can be determined by the emotional intensity.

02 |

Waltz, Children's Album, Op. 39 no. 9

Tchaikovsky

A spirited waltz set in ternary form The tempo of “Vivace” is highly energetic. A feeling of one beat per bar can enhance the flow and lyricism of the music. According to the unusual placement of the slurs, coordination between the hands can be tricky. Initial slow practice is strongly beneficial. The middle section in C minor contains repeated chords in the left hand that are rugged and raw.

03 |

Venetian Boat Song, Song Without Words, Op. 19 no. 6

Mendelssohn

A sorrowful song with a challenge in voicing The marking “Andante” suggests a moderate tempo, and the duple setting imitates the slow rolling motion of the paddles The chordal accompaniment can easily overpower the melody. To ensure proper balance, the right hand is required to play with a penetrating tone. To provide a sonorous tone and ensure better connection, the pedal can be used throughout the work, and changing at least twice in every bar.

04 |

Waltz, Lyric Pieces, Op. 12 no. 2

Grieg

Folk elements embedded in a waltz setting When playing a dance-inspired work, it is necessary to study all articulations in detail, and imagine the jumping, landing, and spinning motions in the choreography. The use of pedal should be limited to enhancement of harmony. An excessive amount will not only blur the melody, but diminish the effects of staccato. In the middle section, an elegant and lyrical melody is played by the left hand, while the right hand gently provides the accompaniment with a light touch.

05 |

Happy Farmer, Album for the Young, Op. 68 no. 10

Schumann

A challenge in the syncopated accompaniment The tempo is fast, full of energy with an uplifting spirit. The melodic shape should be matched by the appropriate crescendo and diminuendo. In the accompaniment, the quaver rests have a strong rhythmic impulse, and can effectively enhance the feeling of syncopation.

06 |

Waltz Sentimentale, Op. 50 no. 13, D 779

Schubert

An elegant approach to the popular dance Many of Schubert’s waltzes display a sense of nobility and elegance, rather than mere athleticism. The use of slurs, accents, and rests are indications of the choreography, which mimic stepping, landing, and jumping motions. There is no need to play this waltz excessively fast. A moderate speed will suffice.

List C

Song Name

Composer

01 |

Game, Mikrokosmos, Sz. 107 no. 105

Bartók

An experience in bi-tonality The left hand playing the black keys should be positioned on top. The right hand fingers can be flattened to create a comfortable space for easier coordination. The opening phrase is set in a two-voice polyphony, therefore each hand can be shaped individually. When playing in contrary motion, the fingering can be symmetrical among the two hands.

02 |

Sonatina, Op. 27 no. 18

Kabalevsky

Dotted rhythm in a march-like character A strong sense of pulse must be steadily maintained throughout the work, even during the rests. The integrity of dotted rhythm can easily loosen and begin to sound like triplets. The semiquavers must keep their tightness, otherwise the overall effect will be compromised. The crisp attack of the chordal accompaniment can easily overpower the melody. The right hand is required to play with a bright tone.

03 |

He The Shepherd Boy Piccolo 牧童短笛

Luting 賀綠汀

The interaction of two voices The opening section engages in a two-voice polyphony similar to the two part inventions from the Baroque period. The voices should be individually shaped. The long slurs mark the various phrase lengths, under which the notes should be played legato with some overlapping of fingers. In the middle section “Vivace”, all mordents in the right hand should be played on-the-beat (not before the beat). Both hands require very clean articulation, and be rhythmically precise.

04 |

The Red Head Rope 紅頭繩

Jing Jiang 江靜

Unique sonorities of traditional Chinese folk music The first section should portray a joyous atmosphere, with the left hand playing a staccato accompaniment and the right hand projecting a legato melody. The middle section is decidedly more lyrical, but it is necessary to distinguish the contrasting tone color between the melody and accompaniment, even when they switch between the hands. It is stylistically suitable to add waves of dynamics according to the shape of the melody.

05 |

Con moto, For Children, Sz. 42 no. 35

Bartók

Shifting time signature The music constantly switches between 4/4, 3/4, and 2/4. It is crucial to keep a steady crotchet beat throughout the work. The contrasting characters of quadruple and triple meters may suggest two types of dances: bourree and waltz. The use of pedal should be limited to legato chords only; do not blur the staccato effects.

06 |

Beans, Eight Memories in Watercolor, no.2 逗, 八幅水彩畫的回憶, 第二

Dun Tan 譚盾

07 |

The Bare Necessities from "Piano Score Book Volume 2 Adventurous Collection"

Terry Gilkyson Arranged be Lily Hong

08 |

My Neighbor Totoro from "Songs from the Studuio Ghibli Movies"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 599 no. 60

Czerny

Symmetrical rotation of the hands In bars 1-6 of this study, the two hands can utilize a symmetrical rotation technique in conjunction with the high-lift finger motions. The top note of the right hand, along with the bass note of the left hand, should both be projected. The middle section from bar 9 can portray lyricism, which contrasts with the playful character of the opening.

02 |

Op. 599 no. 62

Czerny

Brilliant top notes over steady triplet accompaniment All of the triplet figurations serve as the accompaniment, and should be played swiftly and quietly. In order to highlight the melody of the right hand, the top notes of all double-thirds and sixths need to be played with a brighter tone. Despite the suggested triple meter, a feeling of one beat per bar can enhance control at a fast tempo.

03 |

Op. 599 no. 65

Czerny

Melodic trills played with eveness of touch The trill-like figurations in the right hand requires clarity. Crisp articulation of the finger tips is mandatory. The palm of the right hand should remain steady and avoid excessive rotational gestures. The bass notes of the left hand should be sustained, despite the staccato effects on beats two and three.

04 |

Op. 599 no. 68

Czerny

Sequential fingering in fast repeated notes When playing repeated notes rapidly, using sequential fingering can enhance clarity and simultaneously reduce fatigue. The technique for repeated notes is primarily with the fingers. The wrist should remain steady and avoid any bouncing. In the middle section (bar 17-18) where the same note is repeated for two consecutive bars, using an alternate fingering 3-2-1-3-2-1 may be easier to coordinate with the left hand.

05 |

Op. 599 no. 85

Czerny

Rapid successions of various wrist rotations Utilizing the rotation of the wrist can ensure better control and accuracy. As the reach of the right hand changes in every beat, It is necessary to prepare in advance the fingering and stretch for each hand position. The left hand has a comparatively simpler texture, therefore should lead the dynamic shading of the phrase.

06 |

Op. 599 no. 91

Czerny

Double thirds played in legato The double-thirds require a legato articulation, facilitated by using sequential fingering. In order to produce smooth, rounded tones, the right hand palm should remain steady and avoid bouncing. The waltz-like accompaniment can played with a distinct articulation to provide contrast to the primarily legato melody.

List A

Song Name

Composer

01 |

Sarabande, French Suite no. 5, BWV 816

J.S.Bach

A slow dance with profound expressions The sarabande is the slow dance of the suite, with an emphasis on beauty and elegance. A suitable range of tempo can be 48-54 to the crotchet. The traditional Sarabande include series of four-bar phrases, with an emphasis on the second beat where the dancer performs a large turning motion. The right hand melody includes an abundance of ornaments. They must be played with expression and a singing tone, and never hurried.

02 |

Finale: Allegro, Sonata in C major, Hob. XVI:35, 3rd movement

Haydn

A Dance movement set in a comic atmosphere以 This movement contains a number of dance characteristics, including triple meter, symmetrical phrasing, and a plethora of articulation details. Dotted rhythm is an important motive in the theme, and should be played with tightness and precision. If the semiquaver arrives too early, then an erroneous triplet effect will occur. The middle section in C minor has a dramatic and struggling character. To create a denser texture, the accompaniment should remain a prominent role.

03 |

Allegro, Piano Sonata in G major, K. 283, 1st movement

Mozart

A textbook example of a sonata form structure The first theme utilizes a series of short slurs to create a playful character, while the long scales express great joy. The contrasting second theme is lyrical at first, and then progressing to a triumphant ending. The use of pedal should be limited to legato passages or broken chords, otherwise the sonority can be easily blurred.

04 |

Sonata in D minor, K. 9

Scarlatti

A melodious atmosphere in a homophonic setting The compound duple meter suggests a quick flowing rhythm in a feeling of two beats per bar. A suitable speed can be 56 or above. In the original score, the composer did not include any articulation markings, thus allowing the performer to interpret at their own will. The usual practice is to play legato in expressive phrases, and staccato when the character becomes more playful. The occasional ornaments in the melody should be played swiftly with an improvisational character, not too slow and static.

05 |

Andante, Sonata in G minor, Op. 49 no. 1, 1st movement

Beethoven

Beethoven sonata The sorrowful and melancholy character of the first movement is typical of the classical “sensitive style”, which demands primarily legato playing and plenty of expressive nuances. The second movement in 6/8 time should be play somewhat swiftly. The feeling of two beats per bar can enhance the playful energy, complemented by crisp staccato attacks. This movement portrays three distinctive characters: The cheerful first section in G major, the stormy second section (G minor), and the lyrical third section (Bb major).

06 |

Velocity, 18 Études, Op. 109 no. 10

Burgmuller

List B

Song Name

Composer

01 |

Moment musical in F minor, Op. 94, no. 3 (D. 780)

Schubert

A playful dance with many emotional fluctuations This work may appear to be simple, but the composer utilizes different harmonies to highlight a variety of emotions, such as the feeling of sorrowful disappointment (F minor), heartfelt delicacy (Ab major), and joyous relief (F major). The left hand must provide a bouncy accompaniment that is metronomically precise in rhythm. In order to preserve the dance momentum, all grace notes in the right hand should be played swiftly, almost rhythmically together with the melody note.

02 |

Arietta, Lyric Pieces, Op. 12 no. 1

Grieg

A challenge in voicing and tone color The work may be concise in length, but rich in emotions. The top voice portrays a singing line, therefore it is stylistically suitable to use plenty of rubato. In both hands, the outer voices are more important than the inner ones. The fifth fingers need to carry more weight, while the thumbs and second fingers merely brush the surface of the keys. Throughout the entire work, many of the phrases are two bars in length. The level of dynamic swells can be set according to the emotional intensity of each phrase.

03 |

Consolation no.1 in E major, S. 172

Liszt

Get to know the romantic miniatures by Liszt Most people’s impression of Franz Liszt revolves around his tremendously capable techniques. Many of his compositions present challenges to the player. However, this work is a demonstration of his most sincere expressions, and should never be interpreted with an exaggerated virtuosity. The tempo of this work is “Andante con moto”, which suggests a flowing pace. Key elements include the many syncopated rhythm and the use of rests. The texture of this work is primarily chordal. The top notes require a clear projection in order to highlight the melodic line.

04 |

Prelude, Op. 28 no. 4

Chopin

Expressing melancholy and sorrow through chromaticism This work is build upon a concise structure with only two phrases. The first phrase includes bars 1-12. The melody roams around two notes: B and C, and requires different tone color to showcase the gradual change in emotions from hopeful to despair. The accompaniment is almost entirely composed of blocked chords, with a descending chromatic motion embedded within. The incremental increase in harmonic complexity should be accompanied by rubato. After the dramatic climax, the feeling of hopelessness becomes ever more prominent. Near the end, the prolonged rest is a crucial moment. Any arm or body movement must be restrained otherwise the effect will be visually interrupted.

05 |

Album Leaf, Bunte Blätter, Op. 99 no. 4

Schumann

An expression of sorrow and despair This work is rich in harmony, which reflects the state of emotions. The use of minor, major, and diminished chords can respectively represent sorrow, hope, and pain. The phrasing of this work is uniformly four bars in length, and is suitable to include dynamic waves of various intensity depending on the emotions. Although the overall tempo is slow, slight adjustments in tempo can stylistically enhance the emotions.

06 |

Andante Sostenuto, SixVChildren's Pieces, Op. 72 no. 2

Mendelssohn

List C

Song Name

Composer

01 |

Merry Andrew, Mikrokosmos, Sz. 107 no. 139

Bartók

A quasi-polyphony interaction of short motives The “scherzando” playful character is a result of crisp articulation and precise rhythm, mimicking children hopping and skipping in the playground. The opening melody is played by two hands in alternation. Later in the work, this melody is played by a single hand, which allows room for additional materials in the accompaniment. When the two voices interact, they can be individually shaped with separate articulation details.

02 |

The Little Negro, L. 114

Debussy

A showcase of great energy with fast tempo and syncopated rhythm This work is set to a five-part rondo ABABA. The A section consists of a syncopated main theme with staccato accompaniment, while the B section engages a duet between top and bottom voices. The staccato accompaniment of the A section can easily become too loud and overpowers the melody. The two hands must play at contrasting levels of dynamics. In the B section, the inner voice sporadically inserts harmonic fillings on the off-beats. These chords also need to be gentle and not to disrupt the flow of the melody.

03 |

Weed Dance, from the Ballet "The Mermaid" excerpt 水草舞, 芭蕾舞劇《魚美人》選曲

ZuqiangWu 吳祖強 Mingxin Du 杜鳴心

A gentle flow of broken chords portrays the beautiful scenery under the water Despite the abundance of semiquavers throughout the work, there are plenty of opportunities for rubato playing. If the pulse becomes overly static, then the effect will be too etude-like. The tone color should be rounded with a shimmering effect. The fingers can play with a quick attack while maintaining lightness and relaxation. In the middle section, the two hands engage in a rhythmic chase where the right hand is a semiquaver behind the left. Both hands require detailed shaping.

04 |

Sonata No. 2, the 1st Movement 第二小奏鳴曲, 第一樂章

Zhongrong Luo 羅忠鎔

A blend of traditional Chinese folk tunes and the sonata structure The first theme is a display of an energetic folk dance. The tone color should be bright while the staccato attacks are very crisp. The character of the second theme is clearly contrasted with lyricism and serenity. The interaction between the hands mimic a loving couple’s sweet conversation. The development section is concise, whereas the coda is comparatively more lengthy. The top notes in the right hand shine with great brilliance, and carry the music to a triumphant close.

05 |

Six Variations On A Ukrainian Folk Song, Op. 51 no.5

Kabalevsky

A set of variations base on a Ukrainian folk tune In opening theme is accompanied by blocked chords in the left hand. Beware of balance as the melody can be easily overpowered. As each subsequent variation becomes progressively more complex and challenging, the overall tempo should remain steady throughout. In a complex texture, it is necessary to highlight the melody using brighter tone colors. The touch of the finger tips and arm weight should be carefully adjusted.

06 |

Inner Mongolia Folk Song Theme and Variations 內蒙民歌主題變奏曲

Zhenya Wang 王震亞

07 |

Rainbow Connection from "Piano Score Book Volume 3 Adventurous Collection"

Kenny Ascher Arranged be Lily Hong

08 |

The Girl Who Fell From the Sky

Hisaishi Jō Arranged be Lily Hong

List D

Song Name

Composer

01 |

Op. 849 no. 4

Czerny

Sustain of top notes while playing with the inner fingers As the top note is held, the possibility of wrist rotation is limited. Therefore the remaining members of the chord must be played by finger action. The lyrical top melody is complemented by the secondary melodic line in the left hand. The slurs mark the length of each phrase, which can include expressive swells in dynamics.

02 |

Op. 849 no. 6

Czerny

Constantly shifting the five-note hand position When relocating the right hand positions, use the thumb as a guide as it is visually closer to the center. To ensure clarity, the five-note pattern should be played with high-lifting fingers with crisp articulation. Rolling of the palm must be avoided. In the middle where the left hand is marked “poco marcato”, the thumb carries the melodic line and requires clear projection.

03 |

Op. 849 no. 8

Czerny

04 |

Op. 849 no. 12

Czerny

Utilizing alternating fingering to play rapidly repeated notes For each group of repeating triplets, the fingering is uniformly set at 3-2-1. This is perhaps the most reliable in a fast tempo. Despite the fingering grouping of three notes, the pulse should be felt as two beats per bar. The overall character is playful with a positive spirit, never play aggressively with harsh sounds.

05 |

Op. 849 no. 13

Czerny

Practicing with a rotating motion The primary technique for the right hand is rotation. An imaginary axis is centered on the second finger, and the entire palm and forearm rotate as a whole. When playing various intervals, switching the fingering and adjusting the reach will allow better control and accuracy. To ensure clean articulation, the finger tips must engage in quick attacks. If they are too soft and weak, then the tone color will become blurred.

06 |

Op. 849 no. 16

Czerny

The two hands shifting positions simultaneous This study is focused on the two hands moving in a parallel motion. When playing the last note of each group, the jump to the next position should already be ready. The demisemiquavers in the five-note group should be well articulated by the fingers, never rely on rolling the palm. The blocked chords can be played with a plucking technique. This can create a bright tone and allow a quick release in preparation for the next position.

List A

Song Name

Composer

01 |

Sinfonia no. 15 in B Minor, BWV 801

J.S.Bach

The compound triple meter significantly intensified the motion This work demonstrates a strong momentum. All semi- and demisemiquavers must be played with clarity, as a result of the crisp articulation of the fingertips. When playing arpeggiated passages, avoid shifting hand positions frequently. If the hands relocate every three notes, the chance of error will noticeably increase. Some full-size harpsichords have two manuals. When playing cross-hand, having two levels of keyboard will prevent the hands from colliding. On the modern piano, perhaps the two hands can switch materials instead.

02 |

Fantasia in F Major, TWV 33:5

Telemann

An early exploration of developmental techniques The opening F major tonality has an uplifting spirit, but the subsequent passages travel to the sorrowful G minor and mysterious F minor, resulting in a fluctuating emotional intensity. To enhance the clean articulation, many quavers can be played detached, while the semiquavers can be more legato. The use of dynamics can positively affect the emotions, as well as highlight the ensemble nature of this work. The range between the hands may reflect various instrumentations.

03 |

Bagatelle, Op. 33 no. 1

Beethoven

A sonata-rondo form infused with lyricism and grace Many of Beethoven’s keyboard compositions have an orchestral influence. When playing staccato or legato articulation, it is beneficial to correlate the performance practice of strings or wind instruments. Typical of classical-period works, the overall tempo should remain steady throughout. However, allowing breathing space between phrases is necessary. It is important to consider the tonality when designing the fingering for the scale and arpeggio-like figurations in the various cadenza passages.

04 |

Sonata in E major, K. 380

Scarlatti

In the style of a festive fanfare This tone color of this sonata mimics those of brass instruments, including trumpet and horn. To achieve a bright color, the keys should be played with quick attacks, along with solid fingers. The two hands often engage in imitations, similar to the texture of two-part inventions. When one voice is playing the subject, the other should remain quiet. The ornaments should highlight the melody and enhance its brilliance. If they are overly dense, however, the effect can become blurred.

05 |

Fantasia in D minor, K. 397

Mozart

Interpreting the tragic emotions in a “Sensitive style” Despite the Andante tempo, stylistically this work can allow a fair amount of rubato. The level of dynamics can vary according to the range of emotional intensities. Passages marked “Presto” should be played with an improvisational quality and a high degree of freedom.

06 |

Allegro con brio, Sonata in D major, Hob:XVI:37, 1st movement

Haydn

A sonata movement with strong orchestral influence The opening theme includes plenty of staccato, short slurs, and ornaments, which strongly suggests the timbre of the woodwind instruments. From bar 9, the transition engages in a steady motion of semiquavers that are simultaneous ascending and becoming louder. The effect is practically identical to the famous “Mannheim crescendo”. In the development, not only is the melody switched to the left hand, but the tonality becomes highly unstable. The emotions are strongly intensified, with a stormy sensation when the diminished seventh chords are combined with descending arpeggios in the right hand.

List B

Song Name

Composer

01 |

June: Barcarolle, The Seasons, Op.37a

Tchaikovsky

A Ternary structure with opposing characters The opening section is set in a slow walking pace, which suggests a sense of loneliness. The melody utilizes both melodic and natural minor scales, and the emotional effects can be respectively interpreted as yearning and disappointing. The middle section in G major is more lively and flowing. The alternating pattern in syncopation reveals a playful and active character. The return to the A section presents a new polyphonic texture, now with a counter melody engaging in a dialogue with the right hand. These two voices should be individually shaped.

02 |

Nocturne no.5 in B flat major, H. 37

Field

A lyrical work set in a Binary structure The melody clearly adapts a singing style, which require a sense of direction combined with suitable rubato. The left hand accompaniment actually involves two elements: The bass notes can be connected with the pedal to form a secondary melodic line, and the middle register harmony should remain quiet to create a peaceful atmosphere. The quaver chords near the end of each section should remain smooth and quiet. The top line chromatic scale should be presented as a melody, with the same singing quality as before. These chords must not be played aggressively.

03 |

Romances Sans Paroles, Op. 17 no. 3

Faure

A romanic character piece in the style of a barcarolle The right hand part includes many short slurs. However, a long line of four bars should be considered, as a singer would carry in one breath. The barcarolle-like accompaniment mimics the waves of the water. In every bar, there needs to be a gentle swell in dynamics to portray the rocking of the boat. The emotions become more complex in the middle section, resulting in great fluctuations in rubato tempo. The rushing and slowing of the pulse has to be carefully monitored in order to achieve a natural flow.

04 |

Nocturne in C minor, Op. Posth

Chopin

A keyboard work full of melancholy Many Chopin nocturnes utilize a steady rhythm in the accompaniment, but this should not be a limiting factor in the expression of the melody. To enhance the singing quality, it is necessary to add rubato liberally. The dynamic markings of the music is not merely an indication of volume, but also the emotional intensity. For example, a passage in PP may suggest reflection, whereas FF mimics an outburst. The use of pedal is a crucial element in Romantic period keyboard music. The bass notes of the harmony can be connected by the pedal, and the rest of the accompaniment should stay relatively quiet.

05 |

Melody, Lyric Pieces, Op. 38 no. 3

Grieg

06 |

Andante espressivo, Songs Without Words book 5, Op. 62 no. 1

Mendelssohn

List C

Song Name

Composer

01 |

Golliwogg's Cakewalk, Childrens's Corner, L. 113

Debussy

A showcase of great energy by incorporating syncopated rhythm The effect of syncopated rhythm depends on the absolute stability of the pulse, as well as the precision timing of the weak beats. The accents and sforzandos on the music highlight the rhythmic impulse, and add excitement to the overall atmosphere. Therefore, a slight amount of exaggeration is welcomed. The middle section alternates between playfulness and lyricism. In addition to changing the tempo, the respective areas require contrasting finger techniques, switching between crisp and sticky attacks.

02 |

Tarantella, Music for Children, Op. 65 no. 4

Prokofiev

The execution of melodic details within a metronomic pulse The staccato double thirds serve as a rhythmic backbone of the entire work, which must remain metronomically steady throughout. The melody has a variety of articulations: legato, staccato, portamento and more. The dynamic markings are also clearly labeled. These effects must be projected clearly over the accompaniment. The precise touch of every note is crucial in this work. Therefore the finger tips must be well controlled, with support from the wrist and arm if necessary.

03 |

Selling Sundry Goods 賣雜貨

Peixun Chen 陳培勳

A Guangdong folk music build upon a ternary structure The opening section portrays a playful and light-hearted character. The melody has a distinctive rhythmic impulse, and the syncopated accompaniment creates a festive atmosphere. The running passages in the right hand part requires a high-lifting finger technique. The tone of each note should be crystal clear. At the same time, the wrist needs to remain stable and avoid bouncing vertically. The middle section expresses lyricism. In addition to playing legato, the melody can incorporate a suitable amount of dynamic shaping in each phrase.

04 |

Love Song (Sichuan) 情歌(四川)

Wanghua Chu 儲望華

05 |

Prelude, 24 Preludes, Op. 34 no. 3

Shostakovich

A peaceful atmosphere with a surprising ending The work opens in a homophonic texture, but later develops into a quasi-polyphonic setting. Not only is the theme transposed between voices, there are additional counter melodies that engage in interactions. Voicing is an important technique in playing this work. In order to highlight a certain voice, the tone color requires more brilliance by ways of firmer finger tips and a quicker attack. As the music approaches the ending, suddenly there is an outburst of extreme emotions. The tremolo in the right hand suggests terror, while the left hand repeated notes (a seventh apart) create a disturbing dissonance that resembles a mental breakdown.

06 |

Six Dances in Bulgarian Rhythm (II), Mikrokosmos, Sz. 107 no. 149

Bartók

A rugged village dance in irregular meter Many of Bartok’s compositions are inspired by eastern European folk music. The irregular pulse can be interpreted as a triple meter with the feeling of “short-short-long”, which emphasizes the ruggedness of the peasant dance. To enhance the energetic atmosphere, the use of bright tone color can be beneficial. In addition to the solid finger tips, the palm, wrist, and even elbow should all provide support. Any unnecesssary relaxation will result in a weak tone. The dynamic shading not only suggests the relative volume, but the intensity of emotions.

07 |

Let It Go from "Piano Score Book Volume 2 Adventurous Collection"

Kirsten Anderson Lopez Arranged be Lily Hong

08 |

Caproni (A Phantom Giant Aircraft) from "Studio Ghibli & Hayao Miyazaki"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 636 no. 7

Czerny

An endurance challenge for right hand in arpeggios Many of the right hand arpeggios are two octaves. Maintaining the hand shape while shifting positions can ensure better accuracy. Although the work is set in 4/4 meter, the same harmony often prolongs for two beats or more. Therefore, the technique should be coordinated so that both ascending and descending arpeggios are played in one gesture. The chromatic materials near the ending can be grouped in three notes, using 3-2-1 fingering. This can make the ascending motion more accurate and reliable.

02 |

Op. 636 no. 15

Czerny

A exercise for cascading broken chords In a compound duple setting, it is necessary to feel two beats per bar. If the tempo is not fast enough, then the effect may sound like six beats. The right hand position needs to remain at an octave reach for the majority of the work, especially during the ascending/descending passages (bars 3-4, etc). If the positions shift too frequently, then the overall accuracy may be compromised. This work portrays a simple, lighthearted character. The accompaniment does not need excessively short staccato attacks. A detached articulation will suffice.

03 |

Op. 299 no. 5

Czerny

An exercise for repeating ascending scales The majority of the ascending running passages can use the same set of C major fingering, regardless of the starting note. The preferred technique is using high-lifting finger motions rather than rotation of the palm. This way the notes can be played with better clarity and eveness. In a fast tempo, counting four beats per bar can feel rushed and breathless. Reducing to two beats per bar can help with coordination, and create an effortless feeling.

04 |

Op. 299 no. 11

Czerny

Fast finger movements in a cascading pattern The sextuplet grouping in the right hand fits the five-note hand position very well. The fingers need to attack quickly and lift off immediately afterwards, and never rely on palm rotation, otherwise the sound can easily become blurred. The final four bars of this study do require wrist rotation. The thumb should remain close to the keys, while the upper notes are played from a lifted finger position. To ensure crisp articulations, all chords in the left hand can be played with a plucking technique. This can allow quicker reposition to the next chord, and better coordination with the right hand.

05 |

84 Etudes, Opp.30 & 40 no. 7

Cramer

06 |

84 Etudes, Opp.30 & 40 no. 27

Cramer

List A

Song Name

Composer

01 |

Prelude and Fugue in C Minor, BWV 847

J.S.Bach

A toccata-style prelude followed by a three-voice fugue The tempo of the prelude should flow quickly. The dense semiquavers in both hands propels the music in a perpetual motion. The subsequent Presto section brings along a frantic atmosphere. As the music approaches the end, the Adagio phrases suggests an improvisatory feeling which demands strong freedom in rhythm. The three-voice fugue is moderately paced. If the subject is played with legato semiquavers and detached quavers, then the rest of the movement should follow the same interpretation.

02 |

Allegro, Sonata in F minor, Op. 2 no. 1, 1st movement

Beethoven

An early period work with dramatic emotions The first movement is set in a sonata form. The opening theme is inspired by the “Mannheim Rocket” motive which features an ascending arpeggio. The tone should be sharp and bright, as a result of solid finger attacks. A lyrical transition carries the music to the second theme, where the left hand mimics the cello’s tremolo. The articulation details in the right hand also resembles the bowing of a violin. The development section continues to use materials from the exposition, but modulations become more frequent and the emotions fluctuate dramatically. When interpreting the sforzandos, the general level of dynamics must be taken in to consideration. The sudden outbursts should not be over exaggerated.

03 |

Allegro con spirito, Sonata in D major, K. 311, 1st movement

Mozart

A showcase of Mozart’s innocence and playfulness The articulation of this movement combines many staccato and short slurs, portraying a scenery of children running and skipping. As with many keyboard works in the Classical period, the music displays a sense of elegance. As a result, all ends of slurs and phrases should be released gently with an uplifting gesture. When the left hand is playing the accompaniment in semiquavers, the wrist should remain somewhat relaxed to avoid overpowering the melody and blurring the texture.

04 |

Air and variations, Suite in E major, HWV 430 no. 5

Handel

The stately Aria transformed into five virtuosic variations The opening Aria also serves as the variation theme. The character portrays elegance and grandeur. A suitable tempo may be moderato or andante, which every subsequent variation should maintain. Variations 1 and 2 introduce semiquavers which flows more fluidly. The outer voices highlight the melody, which require more projection above the inner accompaniments. The last three variations feature triplets and demisemiquavers. Even if the pulse remains identical, the additional density significantly increases the momentum. To ensure clarity, the touch of the fingers tips must remain sharp, and utilizes the natural arm weight to shape the dynamics.

05 |

Sonata in B minor, K. 27

Scarlatti

A virtuosic baroque sonata in a polyphonic setting Some analysis work should be done prior to practicing. After the individual voices have been identified (based the direction of the note stems), then the contour of the melody can be traced. As Scarlatti was a virtuosic keyboard performer, one of his signature feature in his sonatas is hand crossing. This motion is almost always done on the top side, with the accompaniment staying close to the keys to allow more space. The use of dynamic contrasts can include sudden shifts, gradual waves, and terraced gradations from loud to soft.

06 |

Andante with Variations in F minor, Hob XVII:6

Haydn

A walking-paced variation in a sorrowful feeling The theme features contrasting rhythmic ideas, including the march-like dotted rhythm in the melody and the steady quaver in the accompaniment. The andante tempo should be maintained throughout the work. The contrasting the F major variations bring along a pleasant mood and a pastoral atmosphere. The rapid broken chord figuration in the right hand resembles bird calls. In the coda, the original dotted rhythm is now applied to blocked chords. The dynamic level has increased significantly with the accompaniment playing in tremolo, creating a strong sense of storm and struggle.

List B

Song Name

Composer

01 |

Impromptu in E flat major, Op.90 no. 2 (D. 899)

Schubert

A gently flowing stream of triplet quavers The opening section features an uninterrupted flow of triplet quavers, which resembles a continuous stream of the river. A rounded tone color should be played along with sensible waves of dynamics, and avoid playing mechanically like an etude. The accompaniment material may seem simple at first, but it includes certain details of articulation. For example, the dotted minim sustains a legato touch, while the crotchet may suggest a shorter attack that mimics a lilting dance rhythm. The middle section in B minor is a dramatic contrast. In addition to a significant increase in dynamics, the rhythmic emphasis on the left hand second beat creates a strong sense of struggle.

02 |

Consolation no. 3 in D flat major, S. 172

Liszt

A romantic character piece filled with dream-like romance Although this work utilizes a homophonic texture, the left hand should distinguish between the bass line melody and the harmonic fillings, allowing a spacious sonority to fill the ambience. The right hand melody is beautifully shaped, and is suitable to add rubato. However, the amount of fluctuation is actually controlled by the left hand, therefore it should not be overly steady. When the right hand melody is doubled in thirds, octaves, or even blocked chords, the top notes should project with a brilliant tone, resulted by solid fingers and quick attacks.

03 |

Intermezzo, Op. 118 no. 2

Brahms

A late period work with deep and sincere emotions Set in a ternary structure, the first section expresses deep emotions not only through the singing melody, but by the harmonic color and an abundance of rubato. The use of pedal is a fundamental element in interpreting this work. The frequency of pedal change should be in sync with the shift in harmonies. Beware of blurred sonority due to improper balance. Occasionally, there are two voices interacting in the middle section. Both melodic lines require independent shaping and rubato. Due to textural restraints, the middle voice may require even brighter tone in order to project.

04 |

Arabesque in C major, Op. 18

Schumann

Genuinely sincere emotions expressed through a rondo structure The opening section utilizes a repetitive rhythmic setting. The triple layer texture incorporates the melody, harmony, and bass line in a compact dimension. Although the phrase structure is evenly set in four bars, there is a strong need for rubato to showcase the expression and singing quality. The first minor section is comprised of many shorter phrases. The dynamics swells frequently, expressing the feelings of yearning and despair. The occasional appearance of B major may seem to bring a brief moment of hope, but the end result remains sorrowful. The second minor features dotted rhythm as a primary motive. The semiquaver must be rhythmically precise in order to portray a march-like character. Meanwhile, a singing tone is required for the treble voice.

05 |

Nocturne in E flat major, Op.9 no. 2

Chopin

An affectionate melody set to beautiful harmonic colors In order to express the most natural singing style, it is crucial to identify the breathing points of the phrase, and then incorporate suitable dynamics and rubato. The use of pedal is a fundamental part of romantic period works. For the most part, the pedal should be changed four times every bar to ensure clarity of harmonic progression. As the music approaches the end, the right hand presents a brief cadenza with a four-note repeating pattern. This passage can start at a slow tempo and gradually increase its pace, and then recede calmly at the end.

06 |

Papillon, Lyric Pieces, Op. 43 no. 1

Grieg

List C

Song Name

Composer

01 |

Three Fantastic Dances, Op. 5

Shostakovich

A modern iteration of three contrasting dances The first movement is set in a flowing tempo. The frequent use of short slurs portrays a playful character, which contrasts with the slow syncopated rhythm in the accompaniment. The arch shape of the two-bar phrasing should be interpreted as the forward and backward motions of the dance choreography. The waltz-like second movement incorporates the typical left hand accompaniment, albeit in a more relaxed manner. The ascending motive of the right hand requires brilliant tones for the upper notes. The final movement is a polka, and utilizes an abundance of staccato attacks to enhance the energetic feel. Therefore, the pedal should only be used sparingly to prevent from blurred sonorities.

02 |

La fille aux cheveux de lin, Préludes, book 1, L. 117 no. 8

Debussy

A sweet and innocent work in an impressionistic style This work paints a peaceful picture of a pastoral scene. The main character, namely the girl with the flaxen hair, is innocent and sincere. When interpreting this music, it is suitable to take a relaxed tempo with plenty of rubato. The use of tone color should be more mellow in general, and avoid excessively bright sounds. When playing parallel chords, the sonority can also be more smooth and connected. There should be an abundance of pedal throughout the entire work, but with changes as frequently as necessary to avoid blurring the harmonies.

03 |

Prelude, Op. 38 no. 8

Kabalevsky

A calm opening unfolds to reveal a dramatic climax The left hand is rhythmically stable, mimicking the somber environment of a funeral march. The melody is comparatively more expressive, and includes ornament-inspired semiquavers. Despite having a homophonic texture, the proper balance between voices require the middle-layer chords to be softer in order to blend with the bass line. The melody in the climax is doubled with two voices, and includes an abundance of chromaticism. The rhythm is more complex as well with additional triplets and syncopation. The overall expression of struggle requires more rubato and space.

04 |

Arabesque in E major, Deux arabesques, L. 66 no.1

Debussy

05 |

Flowing Water, Overture No. 2 流水, 序曲二号

Jian'er Zhu 朱踐耳

A impressionistic piano work inspired by the scenery of rivers in the Yunnan province The opening sextuplet accompaniment mimics the gently flowing stream of water, above which the melody is required to project with a bright tone. The chordal texture of the middle section is powerful, suggesting a courageous overcome of struggles. Even though these fast repeated chords present a technical challenge, they should still follow the direction of phrase. In the final section, the density of the chords is reduce to a triplet setting exclusively in the right hand, where the high register is complemented by shimmering tones. The melody underneath is peaceful and calm.

06 |

Colorful Clouds Chasing the Moon 彩雲追月

Jianzhong Wang 王建中

07 |

Pirates of the Caribbean from "Piano Score Book Volume 3 Adventurous Collection"

Klaus Badelt arranged by Lily Hong

08 |

Passage of Wind from "Studio Ghibli & Hayao Miyazaki"

Hisaishi Jō

List D

Song Name

Composer

01 |

Op. 299 no. 20

Czerny

The use of rotation in various hand positions In this exercise, the two hands work in conjunction to form various patterns. Detailed analyzes should be done in order to identify the groups, as some are played in similar motions and others are contrary. When utilizing the rotation technique, different groupings may require the shift of central axis from thumb to pinky. When all of the technique is mastered, it is then necessary to shape the music according to the ascents and descents of the phrasing.

02 |

Op. 299 no. 34

Czerny

A coordination of running passages and double dotted rhythm When playing the left hand progression, the palm should be relaxed for easier maneuvering between open (reaching for the lower octave) and close positions (when playing the scale-like pattern in the middle). The double-dotted rhythm in the right hand requires the latter chord to line up precisely with the last 32nd note of the left hand. When playing two chords so closely together, using one motion will work better than two. When both hands are playing running passages, gentle accents can be inserted in the weak beats to enhance control.

03 |

Op. 740 no. 8

Czerny

A dexterity challenge in playing left hand broken octaves The left hand technique combines finger work and wrist rotation. It is necessary to maintain relaxation of the palm for better control and to reduce fatigue. The left hand pinky may seem to have a leading role. When shifting positions, it may be easier to consider moving the entire octave. This work is in a homophonic texture. As a result, a proper balance should be maintained with the right hand projecting eloquently over the busy accompaniment.

04 |

Op. 740 no. 10

Czerny

A right-hand exercise on double thirds The difficulty in playing double thirds is more than twice of the single line melody. The choice of fingering may be limited, but the opportunities for utilizing all five fingers in a hand position should always be explored. For example, when playing an ascending passage, the upper voice can occasionally use fingering 3-4-5-3-4-5 instead of 3-4-3-4-3-4. When the basic technique is mastered, the top line of the double thirds can be voiced more brilliantly for better acoustic balance. All of the left hand part belongs to the accompaniment, and should be played gently to create a lighthearted, playful atmosphere.

05 |

Op. 72 no. 6

Moszkowski

A virtuosic study in rapid sextuplets Even though the running semiquavers seem to be grouped in triplets, in a fast tempo it is easier to manage in sextuplets. This will reduce the number of rhythmic impulses by half. The dynamic shading of this work is not the role of the right hand exclusively. The left hand should actively participate to create a more sonorous effect. In the majority of phrases, the articulation should be legato for a singing quality. Occasionally the composer marks “scherzando” which suggests the left hand to play detached for a distinctive contrast.

06 |

Op. 72 no. 11

Moszkowski

An etude that creates a soothing atmosphere A good set of fingering can enhance accuracy and comfort. When playing similar materials, each group can utilizes an identical fingering. This work simultaneously demands a fast tempo and a light touch. Using high-lifting fingers can provide the necessary clarity, while a relaxed palm that can help reduce fatigue. If dynamic shading is required, simply adjust the natural weight of the arm. There are many large broken chords in the left hand. Beware of the pedal coordination as it needs to catch the bass notes for a complete harmonic sonority.