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:

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/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.

from Blog – Mike Stewart http://ift.tt/2hoDa79

Monday, July 31, 2017

Top Tips for those returning to piano playing!

Renowned music publishers Schott Music have, this week, presented three writers in an article containing their top tips for all those returning to the piano after a break.

Published in conjunction with Pianist Magazine, I am delighted to be featured alongside Christopher Norton (composer of the well-known and much-loved Microjazz series and Micro Musicals, amongst many other publications), and Tim Richards (jazz pianist, writer and composer, and author of Exploring Jazz Piano and Improvising Blues Piano, as well as a long list of other books and compositions).

Our favourite tips and recommendations appear alongside videos and other information all designed to help students get back into piano playing and hopefully reconnect with this satisfying pastime. You can read the article here.

And you can explore my new two-book piano course intended for those returning to playing after a break, Play it again: PIANO (Books 1 & 2 are now both available), 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/2uMz5yo

Friday, July 28, 2017

Second + Main – Plans, Prices, Availability

Rendering of Second + Main by Create Properties.

At a Glance

located at the gateway to Mount Pleasant
12-storey mixed-use concrete building
226 residences
13,000 sq ft commercial space
3,500 sq ft artist production space
226 residences
public plaza & cultural space
walking distance to Olympic Village
numerous nearby craft breweries

West elevation render of Second + Main.

Where Life Intersects

Create Properties brings you 226 smartly-crafted homes, where vibrant culture and community connect at the centre of the City.

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Find Out About New Presales & Get Access to VIP Openings & Special Promotions!

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Pricing for Second + Main
This project is currently in its pre-construction phase. Pricing has not yet been made public. For priority access to updates on Second + Main, signing up to our VIP list is strongly recommended.

Floor Plans for Second + Main
Finalized floor plans have not yet been released for this development’s 226 residential units. A mix of 23 studios, 145 1-bedrooms, and 58 2-bedrooms has been proposed. Interested buyers should contact me to discuss plans, prices, and availability.

Amenities at Second + Main
Second + Main has been designed around an outdoor public plaza to give it a maximum amount of sunlight throughout the year. A 3,500 sq ft artist production space fronting East 3rd Avenue is also linked to the courtyard to offer opportunities for cultural programming. A fitness room with an adjoining outdoor patio is located on Level 8. Level 12 features an amenity space with a large outdoor patio that includes two communal tables and a children’s play area. A green roof will also provide residents with garden plots and storage for gardening supplies.

Parking and Storage
Second + Main will provide 297 underground parking spaces, including 48 with electric vehicle charging stations, 19 for visitors, nine handicap, 35 commercial stalls, and four for artist studios. Two Class A loading bays are located underground, while three Class B loading bays are located at grade for residential, artist studio, and retail uses. Secure underground bicycle storage will be available with 329 Class A stalls. Another 12 Class B bicycle stalls are at grade.

Maintenance Fees at Second + Main
Details included with final pricing information.

Developer Team for Second + Main
Create Properties is a Vancouver-based development company dedicated to building exciting places to live, work, and play. By bringing their international finance, development, and construction management expertise together with the finest consultants and partners Vancouver has to offer, they work with the best to Create the best.

Expected Completion for Second + Main
To be announced

Are you interested in learning more about other homes in Mount Pleasant, along Main Street, or near False Creek?

Check out these great Mount Pleasant presales!

The post Second + Main – Plans, Prices, Availability appeared first on Mike Stewart.

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Tuesday, July 25, 2017

Selecting & Practising Piano Exam Repertoire: ABRSM Grade 3

Selecting and practising piano exam repertoire continues today with ABRSM Grade 3. I’m selecting contrasting works or those which sit well together, thereby producing an interesting programme.

This element should not be underestimated; examiners are pleased to hear all the repertoire on set lists, but for the student, who might spend a good few months learning these pieces, enjoyment is paramount. It’s therefore a good idea to either listen to the audio CD provided with the piano exam syllabus book, or ask your teacher to play each piece for you, just to make sure you like the sound of your prospective programme before learning begins. Those who enjoy playing their pieces are generally motivated and will therefore practice more frequently.

I’ve included a link to one of the many performances of these works on YouTube.

Here’s my chosen programme of three pieces, each with 5 practice suggestions:

List A: A3, German Dance in B flat (No. 6 from 12 German Dances, WoO 13) by Ludwig van Beethoven (1770 -1827)

A dance for couples in quick triple time, the German Dance was popular during the late 18th and early 19th centuries. Articulation (or touch) will prove vital here in order to convey the appropriate lively dance characteristics. Start with the scale and arpeggio of B flat major, to assimilate the key signature.

This energetic piece requires some leaping around the keyboard, so begin by practising hands separately, securing fingering and learning the necessary movements needed to play the piece up to speed with ease, thus avoiding any hiatus or hesitations rhythmically. When moving around the piano, make sure posture is aligned, and use a flexible approach, practising jumps (such as those at bars 5 & 6, from beats 2 to 3, right hand), with a relaxed wrist and arm, learning the distance and ‘feeling’ of the jump (try do this until you can jump without looking).
Consistently crisp articulation will determine the success of any performance. The wedge markings under and over notes (for example, the upbeat to bar 1, right hand) are 18th century staccato marks. These can be light, short and elegant, but try to avoid accenting.
The second crotchet of each phrased pair (bar 1, beats 1 & 2), needs to be non-legato (or slightly detached) and, again, unaccented, supplying the dance-like character. Acciaccaturas in the right hand at bars 5 – 7 and 13 – 15, must be clearly audible (resist the urge to rush the short first note), and slightly playful, with the attached crotchet short and light. It’s a good idea to learn note patterns without ornaments, adding them only when those patterns are assured and the pulse, tight.
The left hand entry in bar 1 (beat 3), mirrors that of the right hand, and will be more effective if played with deeper sound, giving it prominence and colour as it imitates the right hand material. The sf (sforzando or suddenly loud) chords (bar 2, beat 1), need a decisive touch.
Quavers in the Trio should ideally be light and totally rhythmical; when selecting a speed, think about bars 17 – 24 as a benchmark; just how fast can you play this passagework without errors or unevenness? Counting (preferably out loud and to a quaver beat) will be important, and aim to keep quavers legatissimo. As a rule, try to lift crotchets (non-legato) in the Trio, and keep the whole section fairly soft, so when returning to the Da Capo, there will be plenty of contrast.

List B: B 2. Polnisches Lied (No. 18 from Leichte Lieder und Tanze, Op. 117) by Ferdinand Hiller (1811 – 85)

This lovely piece in A minor written by German composer, Heller, provides an excellent contrast to the Beethoven, encouraging expressivity and musicianship. In the minor key, it might be useful to practice the A minor scale and arpeggio first. The tune is played twice here, the second time with a more elaborate accompaniment, and a brief coda at the end.

independence (and precise coordination) between hands is necessary throughout. Therefore lots of separate hand practice might be wise, and is particularly important where the left hand contains more movement or semiquaver passagework (such as at bars 15 – 23). Start by learning fingerings, note patterns and hand position changes (at bars 5 – 6, and 17 – 18, for example), using a legato touch throughout. When secure, experiment with staccato (as marked), implementing gentle finger strokes (in keeping with the espressivo marking at the top of the score), as opposed to a short, spikey touch.
When practising bars 1 – 3 (and all similar), ensure the first two semiquavers are slightly detached (really semi-staccato) whilst the bass note (A in the left hand) remains held for the entire bar. A miniscule break between the phrases of Bars 1 & 2 will give appropriate space to breathe, and capture the ‘longing’, wistful feel. Legatissimo where possible will help to characterise this work, and provides contrast with staccato passages.
Bars 4, 8, 16, 20, 28 & 29, all contain tenuto markings on the second beat of the bar. As this is a recurring feature, aim for a slight ‘lift’ on the first quaver of the bar, sinking into the crotchet second beat, using a fairly full sound and a slight lingering on this chord (as suggested by the tenuto marking); it usually signifies the end of a phrase. This can still be done at bars 16 and 20, where the left hand contains semiquavers.
Dynamics are very precise, sometimes with each bar containing crescendo and decrescendo marks. Spend time experimenting with the sound, gradually ‘crescendoing’ up to the second quaver (bars 1 & 2), for poignancy.
The sustaining pedal can add resonance if used where the tenuto chords occur (second beat of each of bar 4, 8, 28 & 29, and the last two bars, 30 & 31), but use it sparingly elsewhere, so as not to blur the harmonies or the semiquaver passage work.

List C: C1, Clowns (No. 20 from 24 Easy Pieces Op. 39) by Dmitri Kabalevsky (1904 – 87)

One of my favourite early intermediate level pieces, Clowns, is also a great little contrasting number to the Beethoven and Hiller, and students respond well to its playful character. In ternary form (A – B – A), it effectively oscillates between A major and A minor, which is perhaps suggestive of a Clown’s happy-sad demeanour.

I would write most of the fingering in the score, as the speed at which the piece must be played necessitates some finger (or muscle) memory; repetitive separate hand practice with firm fingers, keeping close to the keys wherever possible, will be beneficial here.
Pulse is important, so aim to count in semiquavers throughout, preferably out loud; ‘speaking’ every beat will help keep the tempo (providing your beat is similar to that of a ticking clock!) free from rushing or lingering.
Articulation plays a vital role in this piece: the right hand staccato markings at the ends of phrases (such as those at bar 1, beats 1 & 3), need a snappy, short approach and a slender accent, colouring the chormatic changes (C sharps to C naturals for example). The left hand notation could be ‘blocked out’ throughout (where the notes in each bar are all played together for ease of learning), then ensure a relaxed wrist when playing the crisp staccato quavers, regularly resting the arm and wrist in order to avoid tension (which can creep in whilst using any repeated movement).
Each accent mark (i.e. those at bars 4, 8, 12, and 21 in the right hand, and bars 24 & 25 in both hands), requires a brusque, powerful touch, as they usually signify the end of a phrase.
The left hand can be kept soft and light until bars 13, where chords punctuate the melody. Aim for clean fingerwork throughout for a vibrant performance, without using any sustaining pedal.

For more posts in this series, exploring other grades and syllabuses, please click 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/2uvQ71M

Jerry B. Shefelt Blogs

Tuesday, August 8, 2017

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

Monday, July 31, 2017

Top Tips for those returning to piano playing!

Friday, July 28, 2017

Second + Main – Plans, Prices, Availability

Tuesday, July 25, 2017

Selecting & Practising Piano Exam Repertoire: ABRSM Grade 3