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Post by YetAnotherKlavierist on May 20, 2006 16:12:51 GMT
I'm currently working on the 3rd of Dohnanyi's Rhapsodies, the one in C Major; and I was wondering if anyone has any suggestions to use for the fingering of a given section. The section in question is on page four of my edition, after the mit Schwung section, with the right hand playing a descending GBDB arpeggio figure. I'm currently fingering it 4521, which gives me an awkward 1-4 turn on the way down between each group. Does anyone know of a better fingering to use for that section? Thanks  . |
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Post by Steve Hopwood on May 20, 2006 21:02:45 GMT
There isn't a better one available, YAP. It is one of those supremely awkward passages. I sometimes wonder whether Dochnanyi could play the piano himself. Would a true pianist ever write anything like this? Steve  |
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Post by YetAnotherKlavierist on May 20, 2006 21:06:47 GMT
Phew, glad it's not just me  . It was fine when I could fake it by holding the pedal down ;D. |
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Post by Steve Hopwood on May 20, 2006 21:21:06 GMT
Phew, glad it's not just me . It was fine when I could fake it by holding the pedal down ;D. Bet you didn't know the alternative spelling for stevehopwood? stevehopwood = bluffandblagandhopeforthebest. Steve |
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Post by YetAnotherKlavierist on May 20, 2006 23:22:24 GMT
Playing the same bars for 30 minutes, in rhythms, and backwards, seems to have helped there. Still feels like I'm on the edge though, but I'm sure it'll settle down with time. Thanks for you help . |
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Post by Steve Hopwood on May 21, 2006 12:07:12 GMT
Playing the same bars for 30 minutes, in rhythms, and backwards, seems to have helped there. Still feels like I'm on the edge though, but I'm sure it'll settle down with time. Thanks for you help . Once I know a piece well, another practise method I find very useful is to practise it in sections ultra-slowly. I concentrate purely on technical accuracy and do not allow myself to make mistakes. I play each section twice; anymore becomes counterproductive because the concentration required is ferocious. Having done that, I then play the piece through up to speed. Straight away, I feel the difference in control that the slow work has made. Using this method, I can keep a whole recital programme 'on the boil' for substantial periods of time without spending too much time on it. Steve |
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