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Jailbreaking Hanon

Should the exercises of Charles-Louis Hanon be consigned to the dustbins of history or can they be useful if done mindfully, with choreography based on modern thinking about piano technique? In this lecture series, Graham Fitch shows many applications for Hanon's exercises, including how they can be used as a... Read >>

An Overview of the Practice Tools

This series of articles serves as an introduction to Graham Fitch’s practice tools, including how to approach a new piece and the Three Ss.... Read >>

Skeleton Practice

This series of articles will describe how to deconstruct a score and use skeleton practice by way of a number of examples. New articles and examples will be added on an ongoing basis therefore please do watch this space!... Read >>

Mastering Polyrhythms

A polyrhythm (sometimes referred to as a cross rhythm) is the effect produced when two conflicting rhythms are played together and can prove very challenging indeed! This series of articles will help you tackle them in various ratios, starting with the simplest: two-against-three (2:3) or three-against-two (3:2).... Read >>

Spreading Chords in the Baroque Period

Spread (or rolled, ripped, broken or arpeggiated) chords are simply chords where we play one note after the other, rather than playing all the notes simultaneously. Although this sounds relatively straightforward, there are questions and problems associated with spreading chords which this series of articles will seek to address.... Read >>

CPE Bach - Solfeggietto in C Minor

H220 Wq177:2

The term “solfeggietto” means an exercise, or little study. This much-loved little piece is a study in evenness of tempo and touch, but it is also a study in composition (how a piece of music may be constructed from the simplest of ideas). This series of videos provides an introduction... Read >>

Bartók - Stamping Dance (from Mikrokosmos, Sz. 107, vol 5)

Sometimes known as Peasant’s Dance, this rustic piece explores changes of tempo and mood. While the composer’s articulation markings need careful consideration, it is not necessary to be too pedantic about the metronome markings (Bartók did not stick to these literally in his own performances). As long as the tempo relationships are preserved, some leeway is permissible. Preview (please log-in or subscribe to see full video) Resources & links Click here to purchase sheet music form the Trinity College online store... Read >>

Burgmüller - 11. La Bergeronnette (The Wagtail) in C Major (from 25 Easy and Progressive Etudes, Op. 100)

La Bergeronnette (The Wagtail) depicts a genus of bird that constantly moves its tail; Burgmüller captures this flickering, fluttering movement by the prevailing rhythmic figure we hear right at the start – two semiquavers and a quaver under a slur. It is important that the first note of the slurred group is lightly stressed, and the last note released without an accent. Make sure to retain this strong-weak emphasis even in the crescendos (from bar 19, and from bar 26), where each three-note group is stronger than the previous one. The leggiero marking invites us to use a light touch... Read >>

Schumann - Knight Rupert (Album for the Young, Op. 68 No. 12)

This article comes from our series on Quarantine Spots and shows how to use quarantining and other practice tools to approach two challenging spots within the work. Click here to find out more about quarantining and to view other works featured in this manner. Knight Rupert, No. 12 from Schumann’s Album for the Young, Op. 68, is a favourite recital piece for the intermediate player, and great fun to play. The rousing A section contrasts beautifully with the more lyrical B section. Come up with a story line from your imagination, but first do some research on... Read >>