Curated Paths
Each path is constructed with a singular goal in mind; in the title of each path is its stated goal. The path will contain a blend of tutorials and technical exercises which will progressively help to assemble a foundation required to reach the stated goal.
You are of course, free to learn each piece or exercise in its entirety, however, it may sometimes be the case that to harvest what is useful and helpful towards your goal may only require that you learn a segment of the piece instead of the piece in totality. Where this is the case, I will specify in the description at each step.
Each course will be laid out by level (starting at the lower levels and progressing towards higher levels). Depending on your level of ability, you may wish to start the course at a point that is commensurate with your level of playing. For example, if your playing is at around level 4 or 5, you may wish to start the course where level 2 or 3 pieces are featured. Think of each course as a hop-on/hop-off tour bus, you can hop-on at the pieces appropriate for your level, and choose to hop-off when you feel that the goal has been sufficiently achieved.
Before embarking on any of the paths below, I would recommend watching the Blueprint for Perfect Technique lecture series to ensure developing correct habits and abiding by efficient principles. Especially of you consider yourself a beginner or an early intermediate player.
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Gnossienne no. 1 by Erik Satie
Level 1: The utility of this piece lies in learning to jump freely in the left hand between bass notes and chords while the right hand plays the melody.
Level 1: The utility of this piece lies in learning to jump freely in the left hand between bass notes and chords while the right hand plays the melody.
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Catalogue of Afternoons by Max Richter
Level 2: This is an introspective and minimalist piece which is very repetitive (making it great for technical practice) and features a ton of syncopations.
Level 2: This is an introspective and minimalist piece which is very repetitive (making it great for technical practice) and features a ton of syncopations.
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Gollums Theme (easy) by Howard Shore
Level 2: A simple enough piece arranged across a surprisingly wide range in the LH especially. Becoming familiar and comfortable with spacious movement across the keys is the main utility of this piece in the context of this course.
Level 2: A simple enough piece arranged across a surprisingly wide range in the LH especially. Becoming familiar and comfortable with spacious movement across the keys is the main utility of this piece in the context of this course.
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Passacaglia by Handel/Halvorsen
Level 3: This piece sound busy and sounds more difficult than it really is. The key to this music is in its left hand jumps.
Level 3: This piece sound busy and sounds more difficult than it really is. The key to this music is in its left hand jumps.
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Opening from 'Glassworks' by Philip Glass
Level 3: Another minimalist piece by a different composer. This one focuses all its attention on a 3 against 2 rhythm.
Level 3: Another minimalist piece by a different composer. This one focuses all its attention on a 3 against 2 rhythm.
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Berlin by Frank DeLange
Level 4: An extremely satisfying and ethereal piece to perform. The composer is himself a pianist so it was written to be very comfortable for the hands regardless of speed or the abundance of notes in every bar. Rhythm between the hands is again the salient variable.
Level 4: An extremely satisfying and ethereal piece to perform. The composer is himself a pianist so it was written to be very comfortable for the hands regardless of speed or the abundance of notes in every bar. Rhythm between the hands is again the salient variable.
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