Preparation and Presentation

Pieces that are helpful to have experienced or played before approaching this one:

  • Beethoven - Ecossaise in G Major, WoO 23
  • Niamath - Playful Puppy
  • Niamath - Penguins

Creative activities to explore before the first encounter with the score, to prepare a student for deeper engagement and more immediate success:

  • Learn the LH ostinato figure by rote. Play this pattern up the C major scale.
  • Improvise a 5-finger melody against the left hand ostinato.
  • Play/imitate 5-finger patterns in a variety of touches and articulations. Familiarize the ear and hand by using the exact articulations from the piece.

Features to pay attention to first; priority steps in reading and absorbing the music:

  • Maintain the bounciness of the LH rote exercises.
  • Encourage close attention to the movements of wrist while executing precise RH articulations.
  • Discuss the character of the sections from the very beginning; these characters are great motivation for practice!

Physical skills and drills for common technical challenges in the piece:

  • Drill LH passages independently.
  • RH articulations and wrist motions can be drilled by focusing only on the first three notes, alternating from major to minor.
  • Practice RH staccato leaps separately from the slurred passages for accuracy.

Ideas to connect and re­connect with the expressive and musical nature of the piece:

  • Write Emoji faces into the music to remind them of the characters chosen for each section.
  • Compare LH ostinato figure to a clown rhythmically juggling balls.

Approaches to set up for success with refinements that will need attention a few weeks down the road:

  • Encourage slow practice with attention to LH changes in mm. 13-17.
  • The end can be tricky. Work backward for accuracy, starting with m. 25 and practicing slowly until mm. 22-25 are confident and comfortable.
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Process and Practice

Tips for maintaining focus and engagement over time:

  • Draw different faces in the score to indicate contrasting moods, which can vary from performance to performance.
  • Embody chosen characters with facial expressions, while playing.

Useful practice segments; how to connect them and plug them back into the whole:

  • Practice the A Major/minor sections (mm. 1-4, 5-8, 18-21) together to discover and show how they are similar and different.
  • Individual practice for:

mm. 9-12 in F Major/minor
mm. 13-17 transition
mm. 22-25 coda

Tips for focusing on how the parts make up the whole:

  • Identify where 5-note patterns occur and how they change throughout the piece. How are they different in the A M/m and the F M/m sections?
  • Identify the key areas.
  • Point out where the left hand pattern changes.

Ideas for finding and maintaining tempo, managing modifications artistically:

  • Think of the LH as a metronome to keep the beat steady.
  • Aim for a joking, clownish tempo; choose one that brings out the character and isn't too fast.

Tips for developing and refining a personal, internal sense of the piece:

  • Exaggerate the articulations and dynamics.
  • Allow some time (stretch) in m. 17 before returning to the first theme.

Tips for securing memory:

  • Memorize the piece in its key areas.
  • Note where the A section changes and leads to the Coda (m. 22).

Tips for ensuring performance readiness, maintaining freshness and spontaneity, and reinforcing an expressive personal connection:

  • Draw multiple characters for each section and choose a different combination for successive performances.