AUTHOR'S VIDEO ONLINE COURSE

Online concerts. Online recordings. The value of recording. Analysis of compositions. Skills and habits. Mechanical playing. Proper interpretation. Pauses and articulation. Fingering. Practice time allocation. How to work at home. The benefits of independently studying a small piece without a teacher's help.

Working with complex rhythm. Body coordination. Developing announcer's speech technique. Benefits of tongue twisters. The law of "stage" tongue twisters. Finger articulation. Motor skills. Gross and fine motor skills. Articulation and diction. Temperament properties.

Musical memory — what it is. Types of memory. Developing musical memory. How to properly memorize a piano piece. Structure of sheet music. Analysis of texture. Composer's musical language. Texture. Accompaniment. Supporting texture — melody. Concept of text. Dynamics nuances and phrasing. Working with sheet music. Rhythm.

Musical thinking, its types and development. About the composer's intentions. Step-by-step work on a musical piece. Two main methods of working with students in music performance education. Types of musical thinking. Artistic image. Development of musical thinking. Intuition. Imaginative Thinking. Psychology.

Musical phrase. Conversational speech. Developing imagination through photography art. Choral church singing. How to work on phrasing. Rhythm-intonation. Phrase structure. Musical mathematics. Working with students on sound. The significance of Illusion in music. Voice. Sound production, touch, tactility. Fingering and sound. Touch. Timbres.

What is management. Who is a music manager. Concert agency. Moving to teaching activities. Why you need to know and be able to do all this. Components for organization. What unforeseen problems may arise. Advertising. Purpose and organization of concerts. What benefits concerts provide and what you need to know about this. Online concerts and their benefits.

erformer's age. 3 age periods. 3 states: physiological, psychological, professional-performing. Psychological mindset. Pre-concert practice. How to spend pre-concert days and hours. Concert day routine. Control during performance. Ways to overcome "performance anxiety".

Teacher as director and playwright. Rules for structuring a concert. Types of concerts. The concept of management. Dramaturgy as the art of composition construction. Enlightenment as activity and as a goal. Director's vision. Scenario plan. Dress rehearsal. Concert finale.

Intonation, intonating: dynamics and polyphony. Musical illusions and phantom words. The significance of illusion in music. Articulation and speech. Articulation techniques. Acting skills. Voice. Rhythm-intonation. Syncopation. Agogics Rubato. Orchestral-score listening of piano texture. Score thinking. Significance of the lower register - bass. Melody. Distance of registers and sound. Acoustic effects.

Types of forms. The concerto as a form. Soloist–orchestra–conductor. On genre and style. Organization of musical material. Schematic structure. Concerto for soloist with orchestra. An interesting tandem. What are the roles of each participant in the performance? Title or programmatic nature.

Fingering selection. Fingering rules. Individual approach. Fingering for small hands and narrow palms. Fingering in accompaniments. Fingering patterns. Dexterity in movement. The role of outer fingers. Finger strength. Methods for independent student work on texture.

Individual approach and repertoire. Sparking a child’s interest in music through their own interests, considering their age. Stages of growth—technical, physical, intellectual, and psychological. Composition as a means of self-expression. Relationships with parents. The teacher’s intuition. Selecting repertoire for online lessons. The benefits of online learning in cognitive development.

The concept of "technique." A refined apparatus. Excellent pianism. Muscle weight distribution. Ricochet technique. Accompaniments in classical sonatas. How to choose études. Structuring a student’s technical development system. Pianistic techniques. Pianism. Articulation. The significance of gesture. Spatial awareness and keyboard orientation.

The purpose of the concert. Themes and concepts. The host as your right hand. Characterizing the performer. Working with an unprepared audience.

Types of outdoor advertising. Different invitation formats. Personalized invitations and warm contacts. Live advertising. Preparation rules. Social media. Studying the event calendar. How to work with the media. What journalists look for. Building personal connections. Press release: structure and key principles. Informative content. Lessons in composition and improvisation. Approaches to composition.

Self-realization and its forms. Ambition, self-esteem, and aspiration. Encouragement and rewards. Moral satisfaction. Preparing a student for the stage. Concert day routine. Overcoming performance anxiety. Preparing a student for a competition. The competition as an opportunity for both student and teacher. Strategy for competition preparation.

About Impressionism. Developing imagination and creativity through photo paintings. Exploring photo content and setting tasks based on age groups. Color in association with sound. Characteristics of expressive means. The benefits of performing Impressionist compositions.

The role of ornamentation in music. Ornamentation as a tool for developing musical taste. Ornaments in polyphony. Performing ornaments with meaning and proper intonation. Interpreting and decoding ornaments. Fingering in embellishments.

Criteria for selecting repertoire. The strategy for student development. Defining goals. Exploring YouTube for inspiration. The concept of camouflage in repertoire. Understanding the student’s psychotype. Finding the appropriate role or musical profile.

What is a gesture? About gesturing. About upbeat gestures. The choreography of piano playing – or the fluidity of hand movements. The gesture of release. Performance gestures as part of ensemble playing.

What is a gesture? About gesturing. About upbeat gestures. The choreography of piano playing – or the fluidity of hand movements. The gesture of release. Performance gestures as part of ensemble playing.

About adolescence. Psychophysiology of a teenager. Agile intelligence. The question of craftsmanship. Development strategy. Analyzing your students. Parents. Your mission.

The form of playing during lessons. Coordination in the eye-ear-foot system. Multitasking. Psychomotor skills – tempo and movement. Techniques for fast sight-reading. Reading without pauses. Vertical reading of words and notes. Reading diagonally.

Composition and songwriting are inseparably connected. Motivation. Developing taste. On academic and jazz improvisation. How academic improvisation aids in a student's development.

Recovering after the holidays. Strategy and tactics. "Reanimation" after a break. Several approaches. Pedagogical strategy and tactics. When your work feels like quicksand. The internal laboratory of success. What it means to have a talented student. Working with special needs children.

The concept of spirituality. Working with different age groups. Psychology of teenagers. The teacher as a guide, friend, and mentor. Music should be filled with deep meaning. The value of literary works in music.

Study of the piece in stages. Analysis of texture and form. Rhythm. Fingering. Detailed work according to age categories. Arsenal of skills.

Transcriptions - an elegant genre in any repertoire. From which original genre the transcription is made. Range of possibilities in transcriptions. About timing in transcriptions. Emotional sphere. Form of transcriptions. Synthetic genre of transcription. Repertoire.

Repertoire. Psychology of program construction. Regimen on concert day. Psychological mindset. Contraindications. Rules. Stage – rules. Stage – possibilities. Touring concerts. Motivation. Self-realization. About stage attire.

What is tempo? Life tempo - a psychological concept. Harmful systems for tempo. Tempo organizes. About slow tempos. Tempo is neither an axiom nor a dogma. Tempo and note durations. Rhythmic intonation. Practicing acceleration. Stabilizing tempo.

Music exists in time and space. Breathing in orchestral music. Classical music. Time. Note durations! Rules of speech. Intonation lives in time. Syncopations. Held notes. Romanticism. About performance timing. Rhythm within measures.

What is polyphony. The birth of the invention. Preludes and fugues. FUGUE form. What's inside a fugue. Suites. Composition and structure. Partitas. Themes in Bach's music. The meaning of polyphony. Polyphony - the most important form of musical thinking.

Position - as the placement of hands and feet, also Position - means having one's own opinion, i.e., expressing one's position. Movement across the keyboard. Memory. Thinking ahead, anticipating, pre-hearing. Manipulating with 5 fingers. CHESS. Psychology of music! Hand physiology. Stretching is of great importance. Contact with the keyboard. Attention to key temperature. The most important aspect in teaching thinking is the distribution of movements.

Based on artistic image. 3 stages of work. What means of musical expression do we know? In which store can beautiful sound be bought? NUANCES and choral singing. Pianists are their own conductors in their repertoire. Palace music. Polyphony. Romantic music, contemporary music. 20-21st centuries, impressionists. About dynamics in virtuosic pieces. Slow tempos.

Virtuosity is a philosophical definition. Where do we start? Tell the student what the music is about. Then analyze the form. Analyze and structure tempos according to the piece's form. Analyze texture. Fingering patterns. Main artistic task. Plan the sequence of episodes. Two main ways to learn etudes and all virtuosic pieces: "with the grain and against the grain."

Musical form exists in pair with: Musical material content. 4 main principles of musical form. Musical genre and musical style. Musical mathematics. Preparing for lessons. Types of forms. Everything in life is organized. Musical theme is the carrier of everything. Genre and form of variations.

Melodic hearing, timbral hearing, intonational hearing, polyphonic hearing. Pedal. Contemplating pedaling with inner hearing. Harmony and facial expressions! Enharmonicism. Temperament. Illusion and sound. Intonation and singing. The queen of all music - Melody. Dynamics in intonation.

Musculoskeletal system and footwear. Sports. Diverging scales. What instructive etudes give us. Weight playing. Staccato chords. What is coordination disorder. Mozart Effect. About dancing. Coordination - hands-feet-ears. Rhythmic coordination. About the vestibular system. Unnecessary movements are our enemies. Hand crossing. Different types of accompaniments. 5 minutes of physical release. Autism and music.

Architecture and types of technique. What are accompaniments made of? Texture. This is the most important in thinking. Articulation. What constitutes a type of technique? Distribution of movements. About hand characteristics. At what age and which types of technique to begin with.

What is collaboration in simple terms. Cooperation and common goal. Leadership and compromise. Unified understanding and thinking. Partnership - a professional skill not only in music but in life. Ability to negotiate. Repertoire.

Everything begins in the mother's womb. Intelligence and erudition. Classical music stimulates brain function. Personality is individuality. Working with parents diplomatically and carefully. Connection between music and mathematics. Psychology of Mentality. Psychology of contemporary music. Music as a language of diplomacy. Thinking about student's repertoire. Related arts.

Repertoire is the most important weapon of every teacher. Being a subtle psychologist, strategist, and possessing unprecedented intuition. First, we develop the Brain and spiritual development goes in parallel. What are the directions in student development. How to develop fingering skills? Fingering in virtuosic pieces. Educational direction.

Competition is a ship, cruise liner, or separate country. What teachers need to understand if they've decided to enter this process. What are the program selection criteria. The most important thing for deciding to participate in a competition is stress resistance. Parents. Important component in your trio. Never orient the student towards receiving awards or places. One shouldn't self-realize through the student. How to choose a program for competition participation.

Basic requirements when working on etudes. Working on short exercises. What does it mean to distribute movements? Speaking commands aloud. Comfort is the key word. Principle of economy. Intonation and intoning. Child begins to think. You launch the thinking process. All Viennese classics. Pulse, meter, rhythm, note values. About freedom. There are no relaxed hands in our profession. Conducting. Managing hands.

Stage and skills. Motivation. Purpose of performance. Psychological state. How vocalists reason. Psychology of musician's thinking. Analysis and review of student's performance. Spirituality is a moral quality. Self-realization and self-confidence. Concert attire as stepping out of daily comfort zone. Self-organization!

About the highest professionalism of pianist-accompanist in jazz. What is accompaniment and where is it needed. Difference between accompanist and concertmaster. Activities of concertmaster and accompanist. Specifics of concertmaster and accompanist work. Accompanying develops harmonic hearing.

About association. About imagination. Sound and auditory imagination. Whether one can develop imagination. Conversational imagination. Analysis of piece titles. What cultivates imagination. About age psychology.

About artistry. Play with a cold head and a hot heart. Concept of a cold hall. Stage entrance is joy, not torture. Human psychotypes. Freedom of expression! About interpretation.

About dance genre. Repertoire. About types of dances. Ancient dances. About texture. What can be borrowed from choreographers and conductors for our profession. Dance as meter. Program music.

Sound and our psyche. Sound and color. The most pleasant sounds and sensations for human hearing. About auditory memory. About hand plasticity. Texture. Importance of teacher demonstration. About the benefits of Recording. About illusion. Tactility.

About dance genre. Repertoire. About types of dances. Ancient dances. About texture. What can be borrowed from choreographers and conductors for our profession. Dance as meter. Program music.

Emphasis on the word FORM. What does analyzing mean. About Baroque. Church sonatas and chamber sonatas. Sonatina and sonata. Features of Mozart's sonatas. Features of Haydn's sonatas. Features of Beethoven's sonatas.

Making a diagnosis and studying medicine instructions. Tension is connected with emotional, uncontrolled stress. Weak fingers. Strengthening fingers. Problem of hand relaxation. Hand is a living organism.

What is a musical cycle. Not to be confused with an album of pieces. What is included in the concept of pedagogical analysis of a piece. About student's abilities. Now about the benefits in the result of study and what goal is set.

Two important definitions: genre and stylistics. Structure of style interactions. Human speech -- the same as musical speech. Musical style. Genre and style of speech. Features of musical taste formation. Stylistic features of Viennese classics. Stylistic features of romantic music. Music making and pedaling. Stylistics of modern music of the 20th century. Music of modern composers of the 21st century.

Learning standard musical language. Analogy with learning any language. Musical morphology, syntax. Grammar. Pronunciation. Learning to speak and express oneself. Criteria: student's merits. Which language in human speech is the most melodic and why. Features of musical language. System of musical-linguistic means in European professional music.

The word command - several meanings and senses. Necessary knowledge and skills. What a good coach-mentor should be like. Methods of education. What is the most important role of a coach. About the three pillars in music that everything rests on. Which is better - a verbose teacher or one who speaks little. Creating imagery with words. Contact between student and teacher. Without verbosity.

Where musical terms came from. Why their homeland is Italy. Italian words and opera. Explaining opera and ballet to children. Musical terminology in vocal school. Opera and ballet in piano repertoire. How musical terminology is used. Terminology in classical repertoire. Terminology in romantic composers' music. Theme of loneliness and fantasy in romantic music.

Who invented note durations. Durations are values. Durations in classics. Duration and time are inseparable! Combining small into large. Rhythm-time-tempo. Unit of time measurement. It's a pulse beat. Durations in romantic music! What composers allow themselves. Agogics. Angelic numerology. Subordination of durations. Ties. Dots. Tied notes. Suspension Pickup duration. Fermata. MENSURAL NOTATION. Style and genre. How durations behave. Parallel with chess. What cards in a deck mean. INTONATION.

Who edited Bach. H.Bischoff's edition Volume I. Volume II. URTEXT. A.Kreutz and H.Keller's edition Volume I. Volume II. F.Busoni's edition Volume I. Volume II. B.Mugellini's edition Volume I. Volume II. Anna Magdalena Bach's Notebook. Little Preludes and Fugues (ed. N.Kuvshinnikov). Inventions. F.Busoni's edition. About Bruno Mugellini. Who edited Beethoven's sonatas: Goldenweiser and Martinson, Schnabel. Lessons for adults. Enlightenment. How arrangement differs from adaptation. Era of interpretation. Composer - editor - performer. What's the secret of J.S. Bach's music. Educational editions. Patriotic music and its influence. Children's repertoire doesn't require any editions.

Repertoire selection has several aspects. About repertoire from the perspective of pedagogy, from the listener's perspective, from the management perspective. Individual approach and repertoire. Student development strategy. Online classes. About artist's repertoire from a manager's perspective. About tour repertoire. Cultural diplomacy. Enlightenment.

Let's recall the themes of all course lectures, how they intertwine. Awareness of one's barriers is the first step. Which qualities are innate? And what can be cultivated in oneself? Contemporary music is accessible in content. Should we abandon romance. What significance does spiritual music have in human life. Singing. The foundation of romantic music. Romantic music -- the sphere of imagery. Psychology of romantic music. Computerization.