Programa del curso
Etude Op. 25 nº 7 en do sostenido menor
Únase al pianista canadiense Jarred Dunn en una lección sincera y perspicaz sobre el Estudio para violonchelo en do sostenido menor, Op. 25 nº 7, de Chopin. Con melodías elegaicas de la mano izquierda, la pieza hace honor a su título, Dunn se apresura a señalar que hay más de lo que parece: la escritura del "violonchelo" está siempre interactuando con una hermosa línea de agudos, así como los acordes de acompañamiento que se repiten incesantemente entre las líneas melódicas. El reto de la pieza radica en equilibrar estas tres capas y resaltar su carácter trágico y lánguido.
Asimismo, los consejos de Dunn siempre equilibran los comentarios estéticos, estilísticos e históricos con consejos prácticos para lograr la interpretación deseada. Hace observaciones eruditas sobre la personalidad de Chopin y sus intereses musicales (Bach, el violonchelo, e incluso presagia a Debussy). Pensando en el estilo vocal y en instrumentos específicos, sugiere inmediatamente el color adecuado para una sección determinada, o un fraseo más bello.
Sus consejos técnicos se aplican siempre a objetivos musicales generales: dejar que el dúo melódico se eleve, practicar el arpegio del acompañamiento y aplicar más peso y velocidad de tecla en los dedos exteriores; tocar el acompañamiento más suavemente, "cabalgar la tecla" suavemente al estilo Taubman, sin dejar que se eleve del todo; dividir las ejecuciones de la mano izquierda en trozos pero no metrónicamente; cambios parciales de pedal para mantener las ricas sonoridades colgando del pelo.
Son especialmente llamativas las ideas de Dunn sobre la flexibilidad de la propia interpretación. Experimentando con diferentes voicings, te equiparás para tocar de varias maneras y reaccionar a ellas en el momento. De este modo, te prepararás para las condiciones variables que experimentarás en el escenario.
In this introduction, Jarred Dunn gives an overview of his course "Crafting Scales." The course begins with an in-depth lesson on the technical foundations of proper scale technique before applying those foundations to scales in context, from Bach to Mozart and Brahms, and many more.
Appendix A: Creative Scale Practice
In this video appendix to his series on scale technique, Canadian pianist Jarred Dunn demostrates several creative strategies for making your scale practice more enjoyable and effective. Incorporating these strategies like these into your daily practice and warm up routines will prepare you both mentally and physically for a wide array of repertoire.
Scale Foundations (Taubman and Czerny)
In this lesson, Canadian pianist Jarred Dunn teaches you the foundations of scale technique.
Drawing on the principles of the widely influential pedagogue Dorothy Taubman, Dunn discusses and demonstrates four main principles for developing a solid and versatile scale foundation and applies them to the Czerny Study in C Major from the "School of Velocity", Op. 299 No. 2. The four principles are as follows:
(1) Proper alignment so that the fingers, hand, and forearm act as a unit and the wrist doesn't "twist" or "break."
(2) Proper finger-to-finger relationships, with a focus on thumb preparation.
(3) Achieving a "walking hand and arm" and avoiding harmful thumb crossings.
(4) Incoporating in-and-out movements to accomodate for black keys and the uneven shape of the hand.
In the end, Dunn stresses that fingering is only as good as the motions your using. He recommends you try out these principles on another Czerny study
Stylizing Scales (Bach and Mozart)
In this lesson, Canadian pianist Jarred Dunn takes the princples of scale technique he developed in his lesson "Scale Foundations" and applies them to baroque and classical selections.
Taking the Allemande from Bach's C Minor French Suite and the exposition to Mozart's A Minor Sonata, K. 310 Dunn shows you how technical training can be done in the context of serious repertoire. Starting with the French Suite, Dunn reveals how Bach cleverly uses scales and scale fragments to thread musical material from one strong pulse to the next, and how your physical approach can express the intricate textures in a fluid and convincing way.
While practicing scales can train you to master Bach, Dunn shows how practicing Bach can train your scale technique. Dunn demonstrates the interchange between expression and technique in terms of applying stylistic devices that allow scales to speak musically within Bach's contrapuntal textures. Furthermore, an understanding of how scales underpin Bach's music allows a pianist to apply tasteful ornaments derived from scales.
Mozart's music also heavily draws its material from scales, and Dunn shows how they form the backbone of the A Minor Sonata. The melodic and motivic material Mozart uses either directly employs scales, or disguises them. Applying proper balance and arm motion to the learning of this piece not only allows for better execution, but also a deeper grasp of the material, better memory, tasteful style, and ultimately a refined conception.
Virtuosic Scales (Brahms D Minor Concerto)
In this lesson, Canadian pianst Jarred Dunn takes the next step in his series of lesson on scale technique and demonstrates how composers of the Romantic Era used scales in increasingly virtuosic ways. Using Brahms's D Minor Piano Concerto as a case study, Dunn takes you through select passages from each movement to demonstrate the myriad ways Brahms enhances his musical goals with scales. Whether you are ready to learn this masterpiece or not, Dunn shows how you can turn this rich composition into occasions for fun and musically rewarding practice.
While the Concerto is filled with bravura scale passagework, Dunn begins with an example to show Brahms virtuosity as a composer. While the piece risks sounding heavy, given the many chordal building blocks that shape the different themes, Brahms cleverly strings scales through thicker passages to allow for more horizontal flow. Dunn shows how if you're conscious of the role scales are playing in passages like these, you will not only be more technically secure but also capture the character of the music more effecitvely. This is especially the case in the second movement, where the calm and slowly evolving lines are brought to life through a grasp of their underlying scalar structure.
In the outer movements, Dunn recaps his foundational principles, as well as the insights gained through a serious study of Bach and Mozart, to show to tackle the many formidable scales that contribute to much to the drama of the piece. By applying smart practice strategies and staying attuned to your physical approach, a technically demanding work like this Concerto suddenly seems possible.
Clair de lune (Performance)
Click here to download the course workbook PDF and see the full syllabus →