Your playing the guitar explains the strong knuckle bridge you have, probably from playing barre chords a lot. This gives you a head start in learning to maintain the arch, of course.
What I am talking about is the tendency of the left hand in right-handed people to be more able to let go, as opposed to the dominant hand. Although the right hand seems to be more dexterous, it does not move as efficiently as the left hand in almost all right-handed students I have worked with.
I think meant that if one approach to practising doesn't work, then it's probably worth while trying another approach.
That is a very realistic goal (not as far away as you may think). Be careful, though, not to copy his style of movement too much. What works for one may not work for others. Actually, I challenge you to learn the following piece: (op. 100 No. 21). I believe you can find the score on imslp.org. It's public domain, so no copyright trouble, etc.
It's not as difficult as it may seem. On the one hand, it will get your mind off of Hanon, and on the other hand, I'm sure you will play it better than cubusdk does (his staccato in the right hand spoils the flow) if you follow the approach I've given you in this topic: "weighing" the keys with your fingertips, sound every note twice, practise slowly and pianissimo. Don't start consuming (= playing for fun) too early.
Paul
Maybe another reason would be that I mainly play guitar. I play piano for enjoyment and to sharpen my ears. So that's why the left hand is more "intuitive"...maybe...?
I tend to find it's the other way round for me - when I make good progress with piano my guitar playing is improved without any real effort. I think this shows the universality of good quality movement.
Are you suggesting that unless my practice method/schedule is mandatory, I should change it? Or are you telling me that I should quit playing piano? What I actually do now is working.
As Paul said, I was suggesting you change your approach to practising. However, if what you're doing now is working then maybe just a few aspects of your practice needs tweaking to make it more efficient and give you a more reliable feedback system so you can pick up on potential issues more quickly.
Yeah...I know that database...it's were I get all my sheet from...
I was thinking about beginning Beethoven's Sonatina in G Major and I wanted to start another topic. How should I count the apoggiatura? Or should I try to feel it? I was thinking about counting first and after it becomes second nature trying to feel it by counting just the 8th notes.
So at first... 1 e & a 2 e & a.... and then just 1 & 2 &....
Are there any ways of counting the 32nd notes? I guess that would be more accurate than counting 16th notes and trying to feel where the second half of the last 16th note of a beat comes because that is the place where the "grace note" should lie.
Are there any ways of counting the 32nd notes? I guess that would be more accurate than counting 16th notes and trying to feel where the second half of the beat comes because that is the place where the "grace note" should lie.
You could subdivide the bar further i.e. count a beat for every 8th note, so you'd have 8 beats in a bar. Thus counting 16th notes would become 1 & 2 & 3 etc. (up to 8 ) and counting your 32nds would be 1 er & a 2 er & a etc.
I was thinking about beginning Beethoven's Sonatina in G Major and I wanted to start another topic. How should I count the apoggiatura? Or should I try to feel it? I was thinking about counting first and after it becomes second nature trying to feel it by counting just the 8th notes.
The Beethoven is OK, but it's again hands together. The BURGMÜLLER is meant to replace Hanon in the "technique" department, and the advantage is that it's 1) melodic, 2) alternating hands and 3) sounds very effective in performance, so your work on "technique" will give you much more gratification than it has done so far.
Subdividing the heartbeat of the music into smaller units is an approach, although I do not generally like counting, because 1) it has nothing to do with the music; 2) it's a pure solfeggio exercise and 3) you'll still have to learn how it sounds melodically.
Paul
Don't start consuming (= playing for fun) too early.
What did you mean by that?
I know that you have to get the "dance" of each ornament anyway...to feel how it has to incorporate into the music. But everything has to begin somewhere...if you don't count how are your ears supposed to learn it? Maybe if you played tons of etudes with 32nd notes previously...
Don't start consuming (= playing for fun) too early.
What did you mean by that?
When a piece goes unexpectedly well too soon, the tendency in many is to just play it for fun before the basics are really solid. Soon, you are then left with something inferior, technical sins slip in that are hard to correct afterwards, etc.
I prefer to teach the concept of certain types of ornaments separately. Beethoven's works of art are not the place to learn those by counting their values out and thus destroying the musical line (the "this-note-should-fall-on-that-note" kind of thinking, etc.).
When the concept is clear, it really makes no difference in what note value they were written. Besides, take any good performance on YouTube and listen to what it should sound like. This sounds rather primitive and unpedagogical, but Gypsy virtuosos also learn, based on imitation; many can't even read notes. There's nothing wrong with that. It saves you lots of time and keeps you on the right track.
Paul
I don't quite agree but...you're the theacher.
Anyway, I think I got the picture with the practice concepts and routine. I thin I've managed to achieve it yesterday for a couple of minutes what you and nick were talking about. You have to activate the key very lightly and be very careful. Once you get the correct movement and don't "dig" too heavy into the keys then the hand starts to float and you can play very easily and evenly. The metronome was indeed spoiling things completely.
Another aspect I've noticed is that when I try playing from another bar to stop my muscle memory from kicking in with its faulty lernt movements I don't play any better. I think it doesn't have something to do with Hanon. It has to do with my approach of the whole piano technique.
Anyway, I think I got the picture with the practice concepts and routine. I thin I've managed to achieve it yesterday for a couple of minutes what you and nick were talking about. You have to activate the key very lightly and be very careful. Once you get the correct movement and don't "dig" too heavy into the keys then the hand starts to float and you can play very easily and evenly. The metronome was indeed spoiling things completely.
Sounds like you've taken an important step. Well done! What you will probably find is that you'll have to be careful about cultivating this quality of movement for a while before it integrates into your playing. Personally I've found that each time one starts the exploratory process that gives you the new quality of movement one ends up with a slightly different result each time.
Another thing to consider alongside the key depression is the release of the key. Can you bring the same attention to the release as you do the depression? This should cultivate the same process and allow even more learning to take place.
Maybe...maybe not....the lighter I try to make my finger action, the more the arm loses its balance...or at least I perceive this (already present?) lack of balance more intensely.
