Technique and methods
30 posts
Started 18 Jan 2017
A
A pianist
Hi Salante
The fingering correlates (each one from left to right) with the notes left to right. Of course you will have your other note (double note) playing with each of them.
--------------- 1 3 -- 2 5 -- 1 3 --- 2 5
So together b,d#--c#,e --b,d# --c#,e but pick out (think voicing) the pattern I describe above. Of course this is just to help get the feeling of how the hand might organise and get into the arch.
A
A pianist
I tried to add a jpg of the music with the notes highlighted but I cant add images from my pc.
A
A pianist
Hi phoenix, don't worry, it's already very kind of you to give me some tips.
Justin the case it could help, if you want to add a picture, you can do it trough a free image hosting website. This one, for example :
It is very simple : just click Browse and upload your image, then click Upload Now. You don't need to enter any email.
Then, copy the Direct Link in your Post here and I will be able to see the image.
RegardS.
Jack
A
A pianist
Hi Salante
Thats very handy to know!!
here's the link... Ive highlighted the notes to bring out.
I hope it works for you - its helped me keep my hand shape. When trilling it can be very difficult to analyse what's making it go well one day and not another - ever get that feeling?
A
A pianist
Great phoenix, thanks for the image. That's wat I figured out. The fingering is good with 1-3 and 2-5.
Of course, I have also sometimes where it's going right and at other moments, not so good...
Anyway, I would personally not choose this etude to play in public (for the moment at least). Typically, I need to warm up some minutes before it comes at an average speed. But there is yet much to work on the new sensations.
Success for you.
Regards.
Jack
A
A pianist
Hi Salante
I wouldn't play this etude or the chromatic in concert until they have been comfortable for some time. I dream of one day playing at least one set of the etudes in a recital. I've learnt probably half of them up to now.
The excersise btw is not something I find I can do at any speed to think specifically of this pattern but a kind of "peripheral aural" sense of it (like when you hear many parts in Bach but some are in the background). It takes me a while to loosen up also to get to any medium speed. I encourage you to try different kinesthetic feelings and different patterns to see what works for you as I am still experimenting also. I always keep in mind what Alan says - if the forefinger and thumb behave themselves then most things tend to work.
Have a good day!
A
A pianist
Hi phoenix, I'll try several positions and feelings. Must yet practice very much to do it easier.
I have just received the books "A Study Guide to the Craft of Piano" and "Honing the Pianistic self-image".
The first Study Guide seems very light but it has a lot of very interesting questions ! Maybe this has to be read in complement to the DVD ?
The Honing the Pianistic Self-Image looks great.
I have just cross-read some topics and saw already very interesting things.
The thumb role and the "bones". It's going very in deep with the topics.
I think I'll read this very carefully during my vacation in July.
Kind regards.
Jack
A
Alanfraserpiano
The Study Guide is rather light, I know... but it was fun making up those questions. I had to go through each section and come up with a set of questions which left no significant portion of the material out. If you can answer the questions you really do know your stuff!
And yes, it is designed to be used in conjunction with the DVD or with either of the books - rather more the first one actually, as Honing was still in the incubator when the Study Guide appeared...
AFF
A
A pianist
Thanks for replying Alan.
I'm reading now the Honing The Pianistic Self-Image book. It is very interesting, really.
I'm yet on the first Chapter, "practising" the initial ATM. I like your expression "tabula rasa". In my new aproch on piano playing, I do a "clean up" of my bad habits, trying to start from the very blank status. One thing I appreciated very puch is the "confusion" idea as well. It's true ! It's like a quest, with lots of unexpected things, uncertainty, discovery, doubts, etc.
Then "An action must be learned before it can be improved" is fine. That's maybe something relatively new to me: in order to observe passively that sometimes I can play better, without knowing why, I should learn consciously when it's going better and why. Then try to fix it so I can reproduce it. Maybe it's tis kind of concept you wanted to explain...
Anyway, great book.
Kind regards.
Jack.
A
Alanfraserpiano
Thanks for your kind comments, and very perceptive. I am glad these ideas can stimulate you to good creative work!
AFF
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