Wednesday, August 16, 2017

Zeo Kits Townhomes – Prices, Plans, Availability

Five contemporary West Side Vancouver townhomes.

At a Glance

exceptional Kitsilano location
five 3- & 4-bedroom townhomes
4-storey woodframe
1,600-1,800 sq ft open layouts
close to Kitsilano Community Centre & Farmers Market
walking distance to cafes, restaurants, schools, shops
5 min. from Kits Beach & Granville Island
near future Broadway Skytrain extension

Designed for the Family
Domus Homes introduces Zeo Kits, a collection of five contemporary townhomes currently under construction on West Broadway between Larch and Balsam streets in Vancouver’s vibrant Kitsilano neighbourhood. Surrounded by schools, parks, supermarkets, shops, and cafes, these 3- and 4-bedroom homes are perfect for homeowners who plan to grow their family. As construction continues throughout the summer, you’ll see Zeo Kits come to life with its classic brick exterior, modern metal panels, and bold red front doors.

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Pricing for Zeo Kits
Zeo Kits is selling now! Contact me today to discuss availability, plans, and prices for this exclusive home ownership opportunity.

Floor Plans for Zeo Kits
Zeo Kits features open kitchen and dining layouts on the main floor, great media rooms, ample storage, spacious bedrooms upstairs, and spectacular master retreats.

Sample 3 bed + 3 bath + media floorplan.

Zeo Kits Interiors
Envisioned by Jen Gannon of Gannon Ross Designs, Zeo Kits townhomes exhibit quality and interior excellence. Hardwood throughout the main floor creates a seamless space perfect for relaxing, spending time with family, or entertaining. Prepare dinner in a kitchen oasis, featuring calcatta-inspired marble back splashes, thick quartz countertops, and beautiful oak upper cabinets. Natural sunlight bathes the airy interiors through large skylights built into every home.
Zeo Kits main floor concept by Gannon Ross Designs.

Kitchen concept for Zeo Kits by Gannon Ross Designs.

Gannon Ross Designs concept for Zeo Kits en suite bathrooms.

Amenities at Zeo Kits
Every 3- and 4-bedroom townhome will have its own gated, paved patio surrounded by lush landscaping and trees.

Parking and Storage
Each residence includes a parking space and ample storage.

Maintenance Fees at Zeo Kits
$403 per month.

Developer Team for Zeo Kits
Domus Homes is a nimble team of life-long Vancouverites who design and build homes for the way you live. They believe the future is high-quality urbanism in compact, walkable nodes well-served by transit, commercial, and community services. This drives their location selection process. Many Domus projects build on existing heritage structures. Buildings of the past continue to teach us much with regard to human scale and texture. Celebrating our heritage, while interpreting these lessons in modern styles and techniques, can produce truly timeless contributions to the community.

Domus Homes has collaborated with Eric Stine Architect and Gannon Ross Designs to create Zeo Kits. Eric Stine is a small Vancouver practice with a keen focus on custom single family homes. Gannon Ross Designs have been creating inspired designs for over 15 years. As specialists in residential and multi-family residential design, Gannon Ross work with residential clients and developers to create amazing interiors and spaces.

Expected Completion for Zeo Kits
Fall 2017.

Are you interested in learning more about other homes in Kitsilano, Fairview, or Kerrisdale?

Check out these great Kitsilano Presales!

The post Zeo Kits Townhomes – Prices, Plans, Availability appeared first on Mike Stewart.

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Saturday, August 12, 2017

Selecting & Practising Piano Exam Repertoire: Trinity College London Grade 3

I’ve been enjoying selecting repertoire for this current series on my blog. I’m not so familiar with Trinity College London exams; my students generally take ABRSM examinations, with the exception of a few of my diploma students (I like Trinity’s more varied repertoire at this level, particularly for Contemporary music).

Grade 3 provides an interesting mix of genres and styles. Here’s my pick of three pieces chosen from the main repertoire list (all featured in the Grade 3 exam Pieces & Exercises publication). These options might make for an appealing combination, and I hope the tips are helpful (I’ve also added a performance of each piece (primarily to offer an idea of how they might be interpreted) selected from the huge array on YouTube).

Study Op. 37 No. 34 by Henry Lemoine (1786 – 1854)

French composer Henry Lemoine is known for his piano studies and exercises (he also founded a well-known music publishing house); many of the studies are interesting, tuneful, and enjoyable to play.

Whilst some may not appreciate opening an exam programme with a more demanding, lengthy (for Grade 3) piece, this work encourages strong fingers, crisp articulation and a certain sensitivity. And if a student doesn’t fancy playing this at the beginning of their programme, it’s entirely possible to start with another work (I often suggest beginning with a Contemporary piece in a programme and working backwards, historically!).

Set in 3/8, repeated notes are a recurring feature (in the right hand). It’s worth experimenting with the fingering for repeated notes; many prefer to repeat using the same finger (this works well if you have a strong finger with active joints, and a loose wrist). The tempo is stately as opposed to quick, therefore there’s plenty of time to use the same finger, however I would suggest applying the fingering written in the score, as the last note of the group (played by a thumb here) often leads to a large, interval rather like that between bars 1 – 2 and 9 – 10.
The semiquaver triplet pattern will benefit from nimble fingerwork so as to fully ‘hear’ all three notes each time they sound; it’s all too easy to ‘skip’ notes when playing such a figuration, with usually one of the group not fully sounding. Stem this by taking each triplet out of context, practising it on its own with the intended fingering, and play each note very heavily (and slowly), using the finger tip. Ensure the triplet is even rhythmically. It can be helpful to accent the second note when playing the group (for practice purposes only), then accent the last note. Working with different touches can be a useful method too. When up to speed, lighten each triplet and you will hopefully have more control over the group as a whole.
Passages with chords will need care (such as at bars 19 – 20 and 23 – 24). Each part can be practised alone first. Staccato markings and all accents (which are a feature), must be precisely conveyed, and bars with a slur marking followed by staccato (for example, bars 2, 3, 5, and 14 -15 (all right hand)), might benefit from detailed slow work.
The left hand chords provide the accompaniment, and whilst the pedal could be used to join triads from bar to bar, it’s much cleaner to use a legato touch (particularly where marked with a slur; bars 5 – 8, for example). In bars 32 – 43 the lower note (a dotted crotchet) must be held for the entire bar, with light chords above. Aim to practice holding the Bs for as along as possible, then when repeating the note at the beginning of the next bar, take it down again very softly, so as to match the tone from the previous note.
The success of any performance will depend on the ability to ‘lift’ off notes quickly. Therefore listen to the ends of notes; note ends are as important as their beginnings, especially when playing detailed articulation. Counting in triplets throughout (i.e. three semiquavers to every quaver) in order to ‘place’ every beat, may be helpful until the pulse is solid.

2. The Highway Robber (from For Children) by Béla Bartók (1881-1945)

I couldn’t resist this wonderful little piece written by Hungarian master, Béla Bartók. Young players in particular will enjoy the insistent rhythm needed here, with its rather sinister connotations (albeit tongue-in-cheek!).There’s ample opportunity to inject colour and drama.

This work is only really effective at a fast tempo (crotchet equals 126 beats per minute), and Bartók has been very precise about accents and phrasing. Work at the hands separately, in order to implement articulation from the outset. The opening interval of a fifth (left hand) must be strong, with a powerful (although never harsh) sound, therefore avoid ‘hitting’ the keys by using the wrist in a relaxed flexible manner, cushioning the sound as fingers sink into the key bed.
Rhythm is intrinsic to Bartók’s style, adding intensity and shape to his beloved folk tunes. As has often been suggested in these tips, breaking down the rhythm and counting in subdivisions of the beat will help with accuracy. Whilst the smallest denomination here is quavers, counting is semi-quavers (for a while) may help place beats more efficiently
The left hand moves around the keyboard quickly, so aim to know this musical line thoroughly, and once secure, for practice purposes, work through the piece without looking at the keyboard as you play; this is a great way to ‘feel’ the distances between note patterns. The tied crotchet to a minim at bars 2 to 3, which will be held with the sustaining pedal (as ‘reaching’ the interval of a tenth is not an option for smaller hands), will need to be cut short quite precisely (as marked) so the melody is free from resonance.
Bars 3 – 6 of the right hand melody should ideally be completely non-legato (slightly detached). This, combined with the accents, will shape the theme nicely, giving it the necessary ‘bite’. Move from one note pattern to the next much quicker than necessary, and aim for a slight rotational wrist motion between larger intervals, like the first and second notes in bar 5 (F to a C, right hand).
For passages requiring perfect coordination (bars 3 – 6, for example), it will be beneficial to work a beat at a time, taking fingers down into the keys (at a third or quarter of the intended speed) absolutely together, and bringing them off together too. Match the sound of each note as much as possible, especially at bars 4 & 5, where patterns don’t necessarily move in the same direction.

3. Sad Song by Alexander F. Johnson (1968 – )

A simple, reflective work which offers excellent contrast to the others already selected. Written by Alexander Johnson, there’s many a chance for expressivity, enabling pupils to explore a wide range of colour, shading, shaping and phrasing; crucial for musical development, and just as important as being able to circumnavigate the keyboard at speed.

This sad song alternates between sorrow and hope, with its minor key (E minor) and gentle hint of sunshine in the harmonies, such a those in the second bar. The sustaining pedal will add a wonderful resonance, but in order to match the sound, start by practising the left hand chords alone, finding suitable fingering (if that written doesn’t feel comfortable). Using a legato touch will enable control of the sound between chords, matching and phrasing off with the melody (in the right hand).
The right hand look fairly innocuous, but the challenge is all in the phrasing; aim to join every single note (or as many as possible!). When we play, it can seem as though notes are legato, but when we listen to them carefully, there may be a few inconspicuous ‘gaps’ in the sound, where fingers tend to artlessly leave the keys before their time. Slightly ‘overlapping’ notes may help, taking one note down before leaving the last, think about shaping each phrase. Take a pencil and write in the ‘high point’ or climax within the phrase (generally each phrase has one).
Try to contour each phrase, with a much softer tone at the beginning, rising to the focal point, evenly, i.e. without any bumpiness in the sound or rhythm, falling away at the end (bars 1 – 8, for example). The trick here is not to play too slowly; keep the piece moving (it is marked Andante, after all), at a steady but not dirge like tempo.
Some rubato is preferable in this piece, conveying the expressive nature and meditative quality, however, observe the rests at bar 13, counting them accurately, and resist any temptation to cut long notes (such as those at bar 14).
Added chromaticisms (notes not in the key) abound, and can inject character. In this case, they contribute a ‘blues’ like feel, and this is particularly obvious at the end, where the ritenuto (slowing down), and final chord with its pause gives the impression of ‘drifting off’ into an abyss! A fairly substantial ritenuto and very soft dynamics work well for the last 4 bars.

Please visit my archives for other exam repertoire posts in this series.

My Books:

For much more information about practising repertoire, take a look at my two-book piano course, Play it again: PIANO (Schott). Covering a huge array of styles and genres, 49 progressive pieces from approximately Grade 1 – 8 are featured, with at least two pages of practice tips for every piece.

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

from Melanie Spanswick http://ift.tt/2wRYg0y

Sunday, August 6, 2017

Practising Piano Waves

Piano Waves consists of 5 little pieces for the intermediate pianist (approximately Grade 4 – 6 level ABRSM). They were written in 2016 (published by EVC Music Publications), and have proved popular with all ages, but particularly with teenagers. This year, two pieces from the collection are set works on the Around The Globe Piano Festival syllabus (to be held in London during November).

I was inspired to write this volume after many years giving solo piano recitals on cruise ships around the world. This provided ample opportunity to observe the sea in all its forms; from beautiful calm sunsets to ferocious hurricanes and storms. Each piece depicts a different side of sea life; I hope they are fun to play and make for intuitive study.

In this post I offer five tips for each piece, which will hopefully be helpful for those considering learning them, whether for a recital, music festival or school performance.

Seahorse Dream

The first of the set dwells in the melancholic key of A minor. The seahorse briefly enjoys its peaceful slumber before being lulled into a progressively frenetic nightmare. Peace triumphs at the conclusion.

The melody requires a very legato (smooth) line; the thumb turns under the hand at bar 3 beat 1, so ensure evenly placed quavers and a matching tone. Each note becomes gradually louder, the phrase crescendoing up to the end of bar 4. Aim to voice the A (beginning of bar 5) with care, as this is the top of the phrase.
Every phrase (and they are mostly four bars in length), will benefit from a slightly different timbre and emphasis, as the shifting seahorse moves around in its sleep. Bar 10 should ideally tail off to nothing (or pianissimo).
The left hand features a recurring figure: two quavers followed by a crotchet. Try to play the second quaver and crotchet beat lightly with the thumb, giving extra colour and sound to the first and third beats of the bar (as indicated by the tenuto marking) – they actually provide a counter melody. The fingers should brush over the notes lightly with a fluidity, offering an almost ostinato accompaniment to the cantabile melody.
The middle section can be practised as a sequence of chords; start by playing each minim beat from bars 11 – 16, learning the shape and fingering of each chord, before playing as written. Give an emphasis on the top note of each broken chord from bars 13 – 16, adjusting the colour to suit each chromatic shift.
Aim to quell any temptation to rush by counting vociferously, and listening to each note – especially the fourth semiquaver of each group. The sustaining pedal will add an atmospheric resonance.

Waltz on a Sunken Ship

A rather sombre piece with a slow waltz tempo and a reflective ambience. This work was inspired by French composer Eric Satie, and it’s on the syllabus of the Elena Cobb Star Prize at the British and International Federation of Music Festivals this year.

The left hand moves considerably during virtually every bar and might benefit from slow, sustained practice. Find the note patterns and fingering for each chord and work slowly at the leap from beat 1 to beat 2 (or beat 3 from bars 17 – 24). As always when practising larger movements, practice playing much quicker than necessary, so when the tempo assumes its original, slower speed, the jumps feel comfortable.
In keeping with the waltz style, aim to play the first beat of the bar with more sound and colour (or a decisive touch); the subsequent beats need a lighter, softer approach. This will bestow the necessary dance-like lilt.
The right hand can also be practised in groups; ‘block out’ or try to play each bar altogether, at the same moment. This will allow you to become familiar with fingerings, note patterns and movement from one bar to the next (especially if you can play several bars (perhaps each four bar phrase) at once).
When playing the right hand as written, ensure the top note in each bar is given its full value (i.e. resist any urge to rush), and add a richer timbre on the tied quaver (to a minim) beat (especially from bars 1 – 16).
The sustaining pedal will enhance the melodic line, imparting the appropriate watery demeanour; observe the (8va) from bar 17 (playing an octave higher than written), and ensure the music floats off into oblivion at the end!

Ocean Surge

The name of this piece gives away its character! The surge come from the distinctly Minimalist flavour; with a turbulent climax, the outer sections meander around the C minor triad and offer a simple theme.

Begin working from bar 17 – 28. Try to find the shape of each bar and therefore, each chord. Playing all the notes in each bar at once (as mentioned before) allows you to learn quickly, with fingers and chords comfortably under the hands. When practising bar 17 – 20, work slowly, counting every semiquaver; there can be a tendency to rush this type of note pattern, therefore placing accents on beats 2 and 4 (particularly beat 4) can help keep a steady pace.
The chord patterns from bar 21 – 28 are effective if given accents or a ‘push’ on the first semiquaver of every crotchet beat. Ensure total fluency and evenness here, both in sound quality and rhythmic accuracy. Don’t be tempted to miss the pause at the end of bar 28! This is gives the music a chance to breathe.
The opening has an improvisatory character. The third crotchet beat of each bar (from 1 – 8) is more effective with a slight ‘leaning’ into the note (almost akin to a tenuto), which helps convey the yearning quality.
In the second line, the motif moves down to include the left hand, this can be thought off as an extension of the melodic line, and you could even give this ‘upbeat’ motif more colour here.
The melody develops from bars 9 – 16 and is accompanied by a light, Alberti bass-like left hand. Keep this even, rotating the hand a little as you play; try to resist accenting or sudden sound surges in the left hand here, a neat, soft, flowing accompaniment is what’s needed.

Asilomar

The title for this piece comes from Dr Wayne Dyer’s film, The Shift, which is set on an Asilomar or a refuge by the sea. The thematic material is in the left hand; although it’s not really a theme, more a melodic movement, complimenting the right hand’s continuous accompaniment.

The melodic strands in the left hand (during first two and last two lines) contain a dynamic ‘arch’, or a point at which the sound must slightly crescendo, only to decrescendo quickly afterwards. It can help to mark in which notes you consider most important tonally, and then decide how much tone variation is appropriate
The right hand chordal pattern can be practised as one chord per bar, assimilating the note shapes, fingerings and patterns, as well as the movement needed from bar to bar as the patterns change.
Ensure a very smooth legato for each phrase; both hands must ideally sound fluid, effortless and tranquil, and as though the fingers are brushing or ‘stroking’ the notes or chord patterns. Aim to banish any jerky sounds or tonal unevenness by listening very carefully to the ends of each note, matching them to the beginning of the next.
The piece will benefit from careful counting as, rather like the evenness in sound, each note and phrase must be exactly placed on the beat for precision. Whilst this appears to be in an almost ‘slushy’ almost Romantic style, only a small amount of rubato is necessary.
Practice the left hand alone with and without the sustaining pedal, so you become aware of the resonance required to highlight the melody.

Flying Dutchman

The Flying Dutchman is the mythical ghost ship, which sails the seas, never quite reaching port and bearing bad news for those who are unfortunate enough to catch a glimpse.

The opening and closing phrases are merely signalling the arrival and departure of the vessel. They require a distant quality, and a smooth legato line, fading off into the distance. Aim to use a light, but firm touch, and keep the sustaining pedal down as long as you dare (right to the end of the phrase is ideal!).
The oscillating figurations from bar 6 onwards move through a series of sometimes quite chromatic harmonic progressions; aim to find the progressions easily by playing each half bar as a chord, moving quickly to the next beat, so as to become comfortable with the patterns.
An easy, rotating wrist motion will help achieve the accents and changing metre within the semiquaver note patterns. Keep your wrist flexible and your arm and elbow ‘light’ so movement isn’t an issue.
An even, smooth tone is important so try to select legato fingering as much as possible, joining the sound from one figuration to the next; this can be practised without the pedal to begin with, and when secure add in the sustaining pedal for a more sonorous timbre.
It can help to focus on particular chromaticisms (such as those at bar 22 and 24), giving them extra colour and perhaps a slight tenuto too.

You can find out more about Piano Waves and purchase your copy from EVC Music Publications, here.

My Books:

If you’re thinking about learning to play the piano, my guide-book, So You Want To Play The Piano? (Alfred) is full of useful help and support.

The Faber Music Piano Anthology (Faber) is also a valuable resource for those who desire a collection of standard repertoire from Grades 2 – 8, featuring 78 pieces in total.

My Compositions:

I have written a selection of educational piano music (both solo and duet) and you can hear it and find out much more here: EVC Music Publications.

from Melanie Spanswick http://ift.tt/2vDKmTq

Wednesday, August 2, 2017

July 2017 Vancouver Real Estate Statistics with Charts & Graphs Courtesy of REBGV

July 2017 Real Estate Board of Greater Vancouver Stats Package Mike Stewart realtor from Mike Stewart

Metro Vancouver sees fewer home sales and more listings in July

Home buyer activity returned to more typical summer levels in Metro Vancouver last month.

The Real Estate Board of Greater Vancouver (REBGV) reports that residential property sales in the region totalled 2,960 in July 2017, an 8.2 per cent decrease from the 3,226 sales recorded in July 2016, and a decrease of 24 per cent compared to June 2017 when 3,893 homes sold.

Last month’s sales were 0.7 per cent above the 10-year July sales average.

“Housing demand is inconsistent across the region right now. Pockets of the market are still receiving multiple offers and others are not. It depends on price, property type, and location,” Jill Oudil, REBGV president said. “For example, it’s taking twice as long, on average, for a detached home to sell compared to both townhomes and condominiums.”

There were 5,256 detached, attached and apartment properties newly listed for sale on the Multiple Listing Service® (MLS®) in Metro Vancouver in July 2017. This represents a 0.3 per cent increase compared to the 5,241 homes listed in July 2016 and an 8.1 per cent decrease compared to June 2017 when 5,721 homes were listed.

The total number of properties currently listed for sale on the MLS® system in Metro Vancouver is 9,194, a 10.1 per cent increase compared to July 2016 (8,351) and an eight per cent increase compared to June 2017 (8,515).

“Because home sale activity decreased to more historically normal levels in July, the selection of homes for sale in the region was able to edge above 9,000 for the first time this year,” Oudil, said.

For all property types, the sales-to-active listings ratio for July 2017 is 32.2 per cent. By property type, the ratio is 16.9 per cent for detached homes, 44.9 per cent for townhomes, and 62 per cent for condominiums.

Generally, analysts say that downward pressure on home prices occurs when the ratio dips below the 12 per cent mark for a sustained period, while home prices often experience upward pressure when it surpasses 20 per cent over several months.

The MLS® Home Price Index composite benchmark price for all residential properties in Metro Vancouver is currently $1,019,400. This represents an 8.7 per cent increase over July 2016 and a 2.1 per cent increase compared to June 2017.

Sales of detached properties in July 2017 reached 949, a decrease of 11.9 per cent from the 1,077 detached sales recorded in July 2016. The benchmark price for detached properties is $1,612,400. This represents a 1.9 per cent increase from July 2016 and a 1.5 per cent increase compared to June 2017.

Sales of apartment properties reached 1,468 in July 2017, a decrease of 8.4 per cent compared to the 1,602 sales in July 2016. The benchmark price of an apartment property is $616,600. This represents an 18.5 per cent increase from July 2016 and a 2.7 per cent increase compared to June 2017.

Attached property sales in July 2017 totalled 543, a decrease of 0.7 per cent compared to the 547 sales in July 2016. The benchmark price of an attached unit is $763,700. This represents an 11.9 per cent increase from July 2016 and a 2.4 per cent increase compared to June 2017.

The post July 2017 Vancouver Real Estate Statistics with Charts & Graphs Courtesy of REBGV appeared first on Mike Stewart.

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Jerry B. Shefelt Blogs

Wednesday, August 16, 2017

Zeo Kits Townhomes – Prices, Plans, Availability

Saturday, August 12, 2017

Selecting & Practising Piano Exam Repertoire: Trinity College London Grade 3

Tuesday, August 8, 2017

Jasmine at The Gardens – NOW SELLING!

Landmark on Robson – Availability, Prices, Plans

1616 West Georgia Street – Prices, Plans, Availability

Sunday, August 6, 2017

Practising Piano Waves

Wednesday, August 2, 2017

July 2017 Vancouver Real Estate Statistics with Charts & Graphs Courtesy of REBGV

Metro Vancouver sees fewer home sales and more listings in July