I am a piano student of around grade 6 standard and enjoy playing Chopins preludes.
So far I have only attemped the more simple preludes, but my favourite prelude is number 24. This is significantly more difficult than the pieces I have played so far.
I just wanted to get people's opinions on attempting this piece, do you think it would be way beyond a grade 6 player and I am being ridiculous for even thinking about it?! I know the left hand will be a big challenge and the runs up and down the keyboard even more so.
My aim isn't to play it perfectly by any means or even remotely as fast as a top pianist would play it, but just to get through it reasonably.
i have a question in regards to the bass in this Showpan piece...is mindless repetition the only way to engrave these "jumps" or "hand tosses"...or is there a more structured way of going about the bass in this piece?..the speed of this piece demands a relaxed wrist with these quick tosses..also..im having trouble with keeping the tone down on the jumps to F and A with the thumb..they really seem to hit hard..how can one toss a jump efficiently at such speeds without sacrificing quality of sound?
I would appreciate some suggestions for pieces that would compliment the above prelude for a student recital. I really like the Rachmaninoff Prelude 23 no. 4, but would like to consider some other suggestions. The piece should not be more than 5-6 minutes due to time constraints for each student. The last four pieces I have played are all Chopin, so it would be nice to play a different composer if possible. Pieces I recently played are: Mendelssohn Rondo Cappricciosso, Fantasie Impromptu, and Brahms Rhapshody. Thank you!
I'm learning this piece, and am having problems fitting the scales to the LH notes. The first Fmaj ascending scale comes in bar 14. I can play each hand separately, but even when playing slowly I can't quite understand how the two hands should fit together.
In a more simple piece of music, one might play 4 notes of a RH scale to every note in the left hand - that would be really easy to cope with! Can anyone help with this problem?
At the start of this piece, the second sixteenth note in each LH group has an extra stem that gives it the value of a quarter note. This notation is discontinued, however, after a number of measures that differs from edition to edition (variously 8 to 15 bars or the first two to three systems ... up to 25 bars in Klindworth’s edition).
What’s the significance of the prolonged duration of this note within each group? If it demonstrates the the intended manner of execution (i.e., holding down the note between the lowest note and the higher ones as a pivot point for the lateral movement of the wrist), is it also implied that this device continues throughout the piece?
Does this reflect the actual manner in which most contemporary pianists play each figure? Or is forearm rotation (such that the hand moves in a natural arc) generally preferred?
Any insight or personal experience you can share will be greatly appreciated!
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