'Opening' The Hand ?

Hi Studying Chopins Op 10 No 2, I've come to a point, where things are getting comfortable and a certain relexation, structure and orientation really begin to manifest. Yet, there are 2 specific bars where I can't really keep these qualities: bar 3, 5th semiquaver bar 8, 1st semiquaver The difficulty for me in both instances is the same, bar 8 being the more difficult one. I'm aware that this post is very _specific_ and prone with detail, but I believe it is often a minute detail, that, if not resolved satisfactorly, keeps one from playing freely. I belive it was Chopins intention, that this etudes chromatic semiquavers of the right hand are played by a more or less 'regular' fingering-pattern for fingers 3/4/5. In bar 3, there is no alternative to: 5-4-3 on the 4th, 5th and 6th semiquaver. In bar 8, for 'consistency' reasons, I would like to take the 1st semiquaver with the _third_ finger (after the 4th on the f-sharp at the end of bar 7). In both areas I am confronted with a strech in the hand, which to me almost seems like an 'anatomical blockade'... even though I consider my hand-/fingerspan to be big (but not huge..!). I feel like I have to take these chords (they are orchestrated chords after all..) with a high wrist and stick-like fingers, taking the cord by an 'arm push'. Though I can "get by" this way, I feel uncomfortably 'locked'and not being able to introduce nuances in the general piano-dynamic in the beginning of this etude. The rotation-supination movement from Alan's DVD helps somewhat, but even this goes to it's extreme limits in bar 8. Also, this movement 'sticks out' from the general way of playing this etude as intended(?) Is there really a specific way to 'open-up' the whole hand considerably, or are most people with similar problems just changing fingering or do the infamous 'get-by-somehow' ? For bar 8 I can only think of an alternative of playing 5-4 on the 1st and 2nd semiquaver, but this breaks Chopins intention, doesn't it ?

You have really zeroed in on a central problem. No easy answers. 1. Did you try practicing the etude bringing out the under voices of the right hand dynamically? This may help your hand change its "perception of itself" and achieve the greater flexibility you need to make this awkward position comfortable. Really do this orchestration in an extreme way - practice the chords . What does this do for your hand? 2. I trust you have gone through all the "Big Sound from a Small Hand" exercises to again increase the sense of hand extension any sense of stretching? 3. Chopin writes put actual phrase marks in - could this mean that he didn't want to be pedantic about legato fingering? Sorry to take so long with this one, perhaps the problem magically melted away in the meantime??? All the best, AFF

Hi Alan, Thanks for your advice of practising the r.h. inner-chords forte... I will give it a try. And yes, these places have begun to get more comfortable somewhat, but control of orchestration in these places still needs much improvement. I'm also aware that these are typical examples of getting rid of the 'anxiety factor'. If there's need for flexibility, there must not be any mental apprehension... Thanks

Just to add... Playing the inner chords forte,I just found a nice way to practice: In a Tango-like rythm, make a real heavy accent on the chord, but the upper note (which is pp) As for the problematic places specifically, I try to quickly find a hand position, which is demonstrated on your DVD in "La Campanella". Only here this twisted position is not so much for covering a bigger distance between the 2nd and 3rd finger, but to _adapt_ to keyboard topology. It would be really interesting to see, how professional pianists with different hands play these bars of this etude.