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Post by Dulciana on Apr 5, 2008 11:00:39 GMT
Well, Steve - can't get the benefit of your advice in the other place, so I'll have to get it (or, rather, politely ask for it...  ) here! Fast passages up or down the length of the keyboard: I'm okay with something pretty basic like a scalic passage, or anything that keeps moving in the same direction with varying distances between the notes. But when the overall direction is upward or downward, but with deviations en route I'm less dependable. Sometimes it comes off and sometimes not. When I watch my hands I can see that it's because (at least I think it's because...) my fingers are getting ahead of my wrist, but how do I make my wrist keep up - or get ahead? It doesn't want to when it knows it has to go back in the other direction almost immediately! |
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Post by Steve Hopwood on Apr 5, 2008 16:08:00 GMT
Talk to your wrist gently and softly. Explain that it has a vital function to fulfil and that it will earn your undying respect and admiration if it cooperates. You are dead right about wanting your wrist leading your fingers - your thumb has so much less distance to travel when passing under on the way up, and your 3rd\4th fingers have so much less to travel on the way down. The change of direction doesn't have to be abrupt. Suppose you have reached your 4th\5th finger and start to descend. Your wrist can move gradually into its leading position, until it is ahead by the time you reach your thumb. Ascending, you want your wrist in the lead by the time your thumb passes under. It is worth while spending time consciously thinking about the movement as you practise, until it becomes second nature. To get the contrast, play a passage you have worked on in this way, but without the leading wrist - you will feel the difference immediately. It is valuable to consider the movements involved in playing any passage you find difficult. Sometimes, a little movement of the arm here, or a rotation there can make all the difference in the world. Did this answer your question, or have I missed the point? Hope it helps.  |
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Post by Dulciana on Apr 6, 2008 10:45:42 GMT
I think the problem is when 3 or 4 comes over on the way down; the rest of me doesn't follow quickly enough, never mind get ahead! I haven't had a chance to practise since I asked the question, though - so I'll get back to you when I have. Many thanks.  |
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Post by Steve Hopwood on Apr 6, 2008 11:26:16 GMT
I just had a quick peek at Viva Piano and saw your post about 3251. Are we talking about the Fantasie-Impromptu here, last few lines? If so, you don't have to play it that fast. A slower tempo that allows the semis to sound clearly sounds more impressive than a faster one where they don't get heard. The secret to mastering this passage lies with our old friend Slow-Practise-And-Much-Repetition, along with his buddy Modest-Wrist -Rotation. Then, if all else fails, there are a couple of cheats you can use: 1) broaden the tempo a bit - you can get away with that here; blast the LH melody so loudly that nobody can hear the RH ;D ;D |
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Post by Dulciana on Apr 7, 2008 9:10:44 GMT
Yes, that's the piece. I don't want to bore people with it because I've been doing that for about two years now. ;D I keep putting it away in disgust, and then getting it out again, but every time it comes out again it seems more realistic. The bit I'm actually talking about that often comes off but that isn't consistent is Bar 8. I seem to be approaching it very horizontally from the right, if you know what I mean. Yes - that other bit does sound not at all bad if I just bang out the LH and hope for the best! |
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Post by Dulciana on Apr 11, 2008 0:30:38 GMT
In reply to self - herein lies an advantage of memorising - i.e. actually being able to look at what one's hands are doing.  Slowly getting there on both counts... PS - memorising certain bits, not all of it - that'll be the day.... ;D |
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