Scales (Repertoire Examples) (6.5)

Handel: Allegro in F, H. 488

• The opening descending scale in the right hand utilises an “over” shape that requires more adjustment to maintain alignment at the crossover with the 4th finger (to B-flat) due to the whole-step between C and B-flat.
• Practise this passage carefully as demonstrated in the video to integrate smooth alignment adjustments.
• The left hand’s passages in mm. 4, 8, and 16 also require an “over” shape for effective three-dimensional shaping and continuous alignment adjustments.
• Integrate momentum with continuous transference of arm weight and alignment adjustments for smooth and sparkling scales.
• Mm. 10-13 alternate one measure of a descending scale followed by one measure of an ascending scale. Carefully consider the three-dimensional shaping and momentum required to execute these passages with ease, as demonstrated in the video.

Handel: Allegro in F, H. 488

• The opening descending scale in the right hand utilises an “over” shape that requires more adjustment to maintain alignment at the crossover with the 4th finger (to B-flat) due to the whole-step between C and B-flat.
• Practise this passage carefully as demonstrated in the video to integrate smooth alignment adjustments.
• The left hand’s passages in mm. 4, 8, and 16 also require an “over” shape for effective three-dimensional shaping and continuous alignment adjustments.
• Integrate momentum with continuous transference of arm weight and alignment adjustments for smooth and sparkling scales.
• Mm. 10-13 alternate one measure of a descending scale followed by one measure of an ascending scale. Carefully consider the three-dimensional shaping and momentum required to execute these passages with ease, as demonstrated in the video.

Gossec: Tambourin

• Isolate the left hand’s dyads by grouping them in four consecutive attacks, using the basic vibrato motion to cycle in and out while combining focus at the fingertips for a well-projected staccato.
• Continue using focused staccato in the right hand, contrasting it in your practice with portato and “arm staccato”.
• Consider your articulation: how long do you want to make each note you play? Experiment with Fred's ideas about different articulation lengths, as referenced from Josef Lhevinne’s book, Basic Principles of Pianoforte Playing.
• Practise the melodic passages in this piece legato, with good three-dimensional shaping, as demonstrated.
• Then, activate your fingertips to project distinct staccato while maintaining the shaping that you just practised legato.

Beach: Polka, Op. 36 No. 5

• As in the previous piece by Gossec, practise passages marked staccato with legato shaping first to sense integrated, three-dimensional movement.