Pallas Today, I'm having a stern talk with myself about my sections. No, dear, it doesn't actually matter that you already decided on section breaks. If you can't learn a whole section in one 3x3x3, then the section is too long and you need to find what part is giving you fits and narrow focus until you solve it. BUT MOOOOOOM. No But Mom. It's a BRAIN thing and you're not gonna change your brain just because you want to. Your brain is your brain!
Hilarious! I can totally relate. 
Making recording to a piece I played 2 years ago at a slower tempo. Going to try to make it to the online recital submission.
BartK I thought 3x3x3 means 3 sets of 3 reps for 3 days. Maybe not.
You're not overselling it. I can confirm that this really works like magic for any repertoire. I'm more in the habit of doing 2-3 sets of 5 reps but the exact number matters less than the method.
How well does the 3x3x3 work for polishing dynamics and articulation? I can see it works well in getting the notes and rhythm right because mistakes and corrections are more obvious. But when working on dynamics and articulation, I just feel there are infinite shades that getting them exactly as desired and consistent between runs can be quite hard (and maybe depends a lot on how exact I want?). Three reps often feels quite too few for fine-tuning. Thoughts? Tips?
iternabe How well does the 3x3x3 work for polishing dynamics and articulation? I can see it works well in getting the notes and rhythm right because mistakes and corrections are more obvious. But when working on dynamics and articulation, I just feel there are infinite shades that getting them exactly as desired and consistent between runs can be quite hard (and maybe depends a lot on how exact I want?). Three reps often feels quite too few for fine-tuning. Thoughts? Tips?
Yes, for that you have to have a recording setup that's ready to go at all times and use it a lot. Turn on the recording then play a phrase a few times until you feel you played it the best you can. Then listen critically. Then try again a few times and listen, etc. Each iteration you try to improve something about your playing - phrasing, dynamics, notes sticking out, whatever it is you hear. If you're not used to doing this you might be shocked at how bad you sound but this is exactly why you need to do it. Over time your impression will better match what you hear in the recording and you will be able to fix the musical aspects of your playing in fewer repetitions.
You should be doing this every practice session and not wait for your teacher to point out what has to be improved.
BartK Yes, for that you have to have a recording setup that's ready to go at all times and use it a lot.
Oh, and by 'a lot' I really mean A LOT. Like, if I'm working on a phrase I might do 10-15 recordings-listening of that single phrase in a single practice session while I work on it. I do that for every phrase.
BartK Yes, for that you have to have a recording setup that's ready to go at all times and use it a lot.
That is exactly what I have. And I use it a lot. One benefit of DP + Pianoteq is it automatically detect gap in silence and use it to segregate MIDI recording to smaller chunks and make playing back the last run or phrase super convenient. There is even no need to stop the audio recording while listening to MIDI playback.
Currently, I'm working on numbers 2, 7, 10 and 19 from the "Quelques Riens Pour Album" by Rossini. They are all fairly short pieces, and present various technical and stylistic challenges (to me, especially).
In addition, as an etude, the opening solo passage in Ravel's Concerto for the left hand (slowly 
).
Unfortunately, I don't have anything ready to contribute to the current piano recital here, but I hope to make it to the next one!
TC3 Something for our next recital!
Smart move! I know that I had a recording ready a few weeks in advance and it felt sooooooooo good 
I will make sure to do the same next round too!
To stay on topic: I'm still working my way through the Alfred book (just about to start Blue Rondo which claims to be a blues) and also just started lesson 14 of the blues course. Not working on anything on the side 
Sophia is "Blue Rondo" written in 9/8 (as 2-2-2-3) by any chance? Or am I confusing it with a similarly-named piece by Dave Brubeck?
No, I'm mistaken. That's "Blue Rondo à la Turk":
Yeah, no that's not the one. I wish! I'm about 379 years (give or take) away from that level of playing 
Edit: but if I were a little a heck of a lot better, I'd really, REALLY would like to marry Bach and Swing (the good part starts at 1:18):
I'm working on this. It's pretty much done. I'll submit for the next recital.
Just recorded ‘O Sole Mio! I suppose it is a rite of passage for all method-book-beginners? 
iternabe Just recorded ‘O Sole Mio! I suppose it is a rite of passage for all method-book-beginners?
Haha! I thought I was done with that kind of thing now that I'm on Piano Adventures 5. I had a recent encounter with "Come Back to Sorrento". It was major eye roll time when I saw it was next up in the performance book. It turned out to be a very nice arrangement, which was a good thing because I spent almost a month on it.
Yesterday the piano teacher got her students started on Christmas tunes out of the Faber Christmas book.
Working on "Baroque Dance" pg 26 in Faber 3B.
Eww. Eww, eww, eww, eww...
Fingering is horrible and it sounds like a dirge, yet they want allegretto in tempo.
Even my phone didn't want to listen to it. I had problem after problem trying to record it so I could review my playing.
Just eww.
