Pieces I am dabbling with now

  • Beethoven – Piano sonata #12 in A-flat major, Op. 26
  • Beethoven – Piano sonata #28 in A major, Op. 101
  • Beethoven – Piano sonata #30 in E major, Op. 109
  • Tchaikovsky – Chant d’automne (Octobre), from The Seasons, Op. 37a
  • Schumann – Kinderszenen, Op. 15
  • Chopin – Nocturne in E-flat major, Op. 9, No. 2
  • Kreisler – Praeludium and Allegro (in the style of G. Pugnani) for violin and piano
  • Rachmaninov – Prelude in D major, Op. 23 No. 4

Pieces on the back-burner (started but on hold)

  • Beethoven – Piano sonata #7 in D major, Op. 10 No. 3
  • Beethoven – Piano sonata #20 in G major, Op. 49, No. 2
  • Beethoven – Piano sonata #26 in E-flat major, Op. 81a (1st mvmt)
  • Chopin – Waltz in A minor, Op. 34, No. 2
  • Chopin – Prelude #4 in E minor, Op. 28/4
  • Chopin – Prelude #25 in C# minor, Op. 45
  • Schubert – Impromptu in A-flat major, Op. 142, No. 2 (D.935)
  • Various Christmas songs
  • Chopin – Prelude #7 in A major, Op. 28/7
  • Chopin – Prelude #20 in C minor, Op. 28/20

Pieces on my ‘to do’ list

  • Alkan – The First Love Letter, Op. 63, No. 46
  • Brahms – Waltz in A, Op. 39, No. 15
  • Chopin – Valse mélancolique, KK Anh. Ib/7
  • Chopin – Waltz in C-sharp minor, Op. 64, No. 2
  • Heller – The Chimes of Love, Op. 47, No. 23
  • Schumann – Warum?, Op. 12, No. 3

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4 responses

  1. Hi,

    I got your website from Piano World.
    Looking at your website, I wandering how much time do you spend a day/week to practice with your (long list) repetoire?

    Would you like to share how you progress?

    I have played piano during teenager, but now
    I am starting it again. Currently
    I’m practising Bach Invention (as per Fundamentals of Piano Practice website). I also think it is a stepping stone before learning Well Tempered Clavier.


  2. Hi Tedy,

    I don’t spend enough time on the keyboard — about 2 to 3 hours per day, when I am not on business travel. As a result my progress is slow, for three reasons: (1) I am particular about fingering; (2) I am a slow learner; and (3) my technique sucks so I have to build it along the way! 🙂

    It’s great that you are playing again. The Bach Inventions are just one of many ways of acquiring or re-acquiring technique. I am not a huge Bach fan so I chose other ways of doing it.

  3. Hi Digitus,

    In the past I wasn’t interested with Bach, but after attending one the Singapore Piano Festival concert this year (Bach to Future), I began to appreciate his music. In addition, I have given up playing Well Tempered Clavier so many times.

    Finally, this year, I managed to learn WTC 1 #2 and WTC2 #15 along with Beethoven Piano Sonata Op 2 #3 (1st, 2nd & 3rd mov) & Chopin Prelude Op 55 #1.

    I guess my current way of practising was not good enough. After I read Chang article (Fundamentals of Piano Practice), I believe my technique can be improved further.

    Hence, I will try to follow his method as it looks very logical (and convincing) to me especially on the memorizing. Of course I may not agree 100% of his topic especially about TO (thumb over).

    Anyway, I hope by this time next year, my progress have been much better than today.

    Happy New Year!


  4. Hi Tedy,

    Best wishes of the coming New Year to you too!

    A lot of what Chang says works. You should also widen your reading. See my ‘Top Recommendations’ on the ‘Pedgogy & Technique’ page. You can also buy a DVD where Alan Fraser demonstrates the technique-building tips he writes about in his book. As is very often the case with solving technical problems on the piano, it is better to see it being done rather than read about it.

    I’ve noticed one very interesting phenomenon. After working on a piece or a difficult passage or some new exercises for a while, I have found it VERY useful to NOT play those things for a few days. Then when I come back to it I find that I have improved. I discovered this by accident — my business trips force me away from the keyboard for a couple of days to a week. And when I come back, I have mysteriously improved!

    Another very important thing is that very slow (and I really mean SLOW) practice with correct fingering is essential. You have to consciously feel/observe the changes in the shape of your hand as you move through the score. Here is one point where Chang has proven to be correct — you should end the last practice of a piece or passage by playing through once, slowly and as correctly as you can, in strict time.

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