This topic concerns the 4th mvt. coda, Piu Alllegro quasi Presto.
I've now been practicing this particular passage (and the whole mvt. in general) for about 2 months and I'm still having problems getting my right hand to move in the right way. The wrist motions are there, the arm moves, but the fingers...unless it's warm inside, I have difficulty playing the runs effortlessly. Usually, I am not bothered by cold fingers except at the beginning of a practice session- they warm up within about 45 minutes to an hour. However, even after that- even after a day like today, where I had already practiced for nearly 5 hours before working on this passage, they feel stiff when executing the 16ths, as if they were still cold.
I have this sonata programmed for a recital in almost exactly one month. This is the last problem left in the entire thing for me. Does anybody with experience playing this passage have some good advice? Am I not moving my fingers correctly? Does the problem lie elsewhere?
Hi guys, some time ago i played the storm sonata, but i pretty much learnded it on my own, without teacher. And now i started to play the Pastorale, and am wondering which one is more difficult to play, technically and musically.
I learned this piece last summer and am relearning it now. My skill has improved since then and I am able to hear how I'm playing it... and am not exactly happy. The section I'm referring to is where it changes to D major. My teacher tells me to play it "cute". Seymour Lipkin plays it "cute". I play it like I've got cement fingers! I can't get that light happy tone to it.
Is there a trick to making it sound bouncy and fun? something I should be doing with my wrists? Or should I picture myself chasing butterflies on a sunny day? I'm not much of a butterfly chaser... Doesn't help that I have a tough time finding notes when I'm doing staccato. I tend to jump right over where I need to be.
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