Areas of focus include exercises and practice techniques on how to create a soft and fluid left-hand texture, how to gain more control over your dynamics, balance between the melody and accompaniment, how to achieve a delicate sound in the "filigree" or "fioratura" passages the fast, cadenza-like decorations in the right hand , variety of shape on repeated sections, melodic shaping, and more. Your Instructor Dr. Josh Wright Billboard 1 artist Dr. Josh Wright has delighted audiences across the United States and in Europe. He currently serves on the piano faculty at the University of Utah. He looks forward to being your personal mentor in each of his course offerings.

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In the winter of , while in Vienna, Chopin wrote the Grand Polonaise for piano and orchestra, affixing to it the opus number of Later he composed the Andante spianato and grafted it onto the Grand Polonaise to serve as an introduction, thereby forging a new, expanded work, also designated Op.

In the process he fashioned versions of the work for both piano solo and for piano and orchestra. This effort, incidentally, marked the last time that Chopin composed anything for orchestra. The solo version begins with a lovely theme in the upper register, clearly of a Romantic bent. A consoling, mellow theme is next heard and after recalling some of the main material, this section ends quietly.

Upon restatement, the theme is given more ornamentation and glitter. In its middle section the mood turns playful at the outset, but then becomes more intimate and subdued while retaining its dance-like character. The main theme returns and the piece concludes with a brilliant coda, parts of which, once again, look back to the First Concerto, this time to its magical last-movement coda. In the piano-orchestral version the piece begins the same way; the introduction, in fact, remains strictly for piano solo.

The differences are noticed when the polonaise section starts, for here the orchestra delivers the introductory music, after which the piano takes up the dance theme. The ending in the orchestral version is more brilliant and dramatic, but many will favor the piano solo rendition for its greater fluidity and less extroverted nature.

One might observe that in the orchestral version the pianist is freed up to impart a greater sense of keyboard color; and indeed, its mood is a bit more playful. Essentially, however, one hears much the same music, since the piano is so utterly dominant throughout the orchestral version. Both renditions are the same in duration, about 15 minutes each in a typical performance, with the Andante spianato section comprising about one third of the overall length.

Allegro molto - Meno mosso Appears On.

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