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Post by Dulciana on Nov 17, 2006 21:29:37 GMT
That's what I'm doing with the final G too and it usually works, but it's the previous bit that tangles me up; what do you put on the LH F# - the first note of bar 49? I'm always wanting to go for 4 to co-ordinate with the RH. This would mean that all the LH semiquavers from the beginning of bar 48 would have to go - 1212 3123 4123 4123 5(G). But I can't help thinking there has to be an easier way, as it just doesn't feel natural!
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Post by Steve Hopwood on Nov 20, 2006 10:52:27 GMT
That's what I'm doing with the final G too and it usually works, but it's the previous bit that tangles me up; what do you put on the LH F# - the first note of bar 49? I'm always wanting to go for 4 to co-ordinate with the RH. This would mean that all the LH semiquavers from the beginning of bar 48 would have to go - 1212 3123 4123 4123 5(G). But I can't help thinking there has to be an easier way, as it just doesn't feel natural! I have just tried this and it is a good fingering. I cannot use it because my copy suggests an Eb, a suggestion I adopted to avoid the false relation that otherwise occurs. Are you consciously leading with your wrist as you descend the scale? This has the double helping effect of taking your 4th finger towards the F# and shortening the distance your thumb has to travel when it goes under to play the E.
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Post by Dulciana on Nov 21, 2006 1:10:35 GMT
It's probably going to a thumb on the E that doesn't feel right (from the F#). I'm posting this now at a time when I won't be near the piano again till tomorrow, but I'll certainly think about the "leading with the wrist" idea. This is not a "phenomenon" that I've ever heard of or encountered before, and I'm assuming I'm right in knowing what you mean. Take Bar 62 - a sort of sequence. At one time I was finding it difficult to get rhythmic clarity here, but I managed it by tilting my whole arm and elbow to the left in order that my wrist was ahead of my fingers in the direction of the notes. (Am I making sense... ) As in, my wrist was kind of pulling my fingers behind it, rather than pushing them in front...? P.S. Who ever said Bach was boring??? P.P.S. I've gotta make this by 16th Dec. No going back now. I can get through it reasonably now, but would love it to be able to do it without anyone being able to say "it sounded laboured at that point". So far - mother very impressed, and if you knew my mother you'd realise the significance of that!!!!!! Thanks, Steve, for all your help to date!
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Post by Steve Hopwood on Nov 21, 2006 12:37:49 GMT
It's probably going to a thumb on the E that doesn't feel right (from the F#). I'm posting this now at a time when I won't be near the piano again till tomorrow, but I'll certainly think about the "leading with the wrist" idea. This is not a "phenomenon" that I've ever heard of or encountered before, and I'm assuming I'm right in knowing what you mean. Take Bar 62 - a sort of sequence. At one time I was finding it difficult to get rhythmic clarity here, but I managed it by tilting my whole arm and elbow to the left in order that my wrist was ahead of my fingers in the direction of the notes. (Am I making sense... ) As in, my wrist was kind of pulling my fingers behind it, rather than pushing them in front...? Ta-daaa. Yep, problem solved. Leading with your wrist in the direction your fingers are travelling is rock-bottom basic technique; lacking this causes endless problems. In the case of the E in bar 49, push your fingers ahead of your wrist and your thumb has miles to travel. In the unlikely event it actually gets there in time, you will have no control over it and will have something of a crash-landing. ;D Making the assumption that the pieces we play are not too difficult for us in the first place and we are not trying to play them too quickly, there is a general principle to apply. The principle is that if something is causing us continual difficulty then we are doing something wrong. The most common errors are: faulty fingering; we are doing something physically wrong. Discover and cure the error and the problem goes away. You might check the distance you sit from the keyboard as well. Ideally, your elbows should be slightly in advance of your torso for maximum freedom of movement. This allows you to swivel from the hips when crossing your body - rh going into the bass or lh into the treble - rather than having to lean in the semi-collapsed sideways position adopted by so many pianists in these situations. All this is basic piano technique, but you would be amazed how few people are aware of it. Glad mum is impressed. ;D
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Post by Dulciana on Nov 21, 2006 16:45:16 GMT
[quote author=stevehopwood board=piano thread=1160777976 Making the assumption that the pieces we play are not too difficult for us in the first place and we are not trying to play them too quickly, there is a general principle to apply. The principle is that if something is causing us continual difficulty then we are doing something wrong. The most common errors are: faulty fingering; we are doing something physically wrong. Discover and cure the error and the problem goes away. [/quote] Two years ago this was definitely too hard for me - certainly too hard to perfect to the standard required for LLCM, which was my aim at the time. I worked at it for months, but the same niggly bits kept causing problems. However it didn't take long this time to bring it back to where it was before, and I've seen much more rapid onward progress this time round - which is great, as it's nice to know I'm still getting better! But I think I've also acquired more self-discipline in the way I practise, which has probably come from experience in the interim in accompanying, and being under time pressure to learn things. In that scenario there's no option but to focus on awkward bits rather that just waste valuable time enjoying playing the bits I'm good at! And it has caused me to actually think more deeply about WHY the bits are awkward for me, like you said above. I've been very guilty in the past of not thinking carefully enough about fingering too! If a passage wass semi-sight-readable I'd not have thought much about fingering at all - and then wondered why I couldn't be consitent!
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