Schubert Impromptu Op. 142 #2 (1)

[geschema]

While looking for practice tips for this piece, I came across this thread (http://www.pianostreet.com/smf/index.php/topic,2893.msg25660.html#msg25660) with nice tips from a user called Bernhard. Still, I've got a lot of open questions concerning how to practice this piece. Questions that my teacher (unfortunately) is not able to answer, that's why I'm posting.

I'm currently working on bars 67-76, which consists of arpeggiated triplets. In his post (which is actually relating to the Burgmüller piece, but I assume the same applies to the Schubert one) Bernhard recommends to practice the triplets as chords, but in a (for me) completely unintuitive way: instead of playing [BGD] [BGD] [CAD] [AFD] [BGD], one should be practicing B [GDB] [GDC] [ADA] [FDB] [GDB*] (B* from the next triplet).

- Actually, this seems completely counter-intuitive, as I'm playing notes that are not supposed to be played together, so why am I supposed to do that?

- When tackling such a section, should I first practice it *only* as chords (with the right fingers, of course), and be able to play it as such at the required speed for HS practice (ie, faster than target HT tempo) before even thinking of practicing it arpeggiated? How do I know when I've done enough chord practicing?

- When doing rythm variations on this section to improve evenness, should I play the whole section (bars 67-76) or stick with bar-by-bar practice?

I've got lots of other questions concerning this piece, but I'll post them in a separate thread later.

Many thanks,
Guy.

[nightingale11]

on the triplets that spans over an octave you should firstly just practice the first note of the the triplet. Then you should join hands with only the first notes of the triplets(after you have mastered the LH). then do the same thing with the upper note of the triplets and join hands(and don't worry to get it rythmically correct) then do it with the middle note. After that do it with both the first and upper note. this is to get you used HT on this passage(bars 69-71). When you have done that do repeated note groups in chords of the triplets on bars (69-71 + (first beat of the next)) - may take a while but it's worth it. Then do the same but as written. Now you should know this passage very well and HT should come easy. If you the next day cannot play the passage after 7 repeats repeat the procedure etc.

[geschema]

When you have done that do repeated note groups in chords of the triplets on bars (69-71 + (first beat of the next))

What do you mean by "repeated note groups in chords"?

[nightingale11]

play each triplets as chords and then do the repeated-note groups trick( if you don't know what this is look at bernhard's post. This will teach the best hand positions. Then do the same thing but as on the score(in triplets).

[arbisley]

Bernhard probably teaches it in those groupings to facilitate transition from one of the "natural" figures to the next. Of course it feels counterintuitive because it goes against the natural movement described by the hand/arm, but makes it consequently much easier to play the whole thing fluidly, without a crashing emphasis on the first piece which can easily appear through an exaggeration of the natural movment.

Long sentence.... hope you understand!

[ramseytheii]

I'm currently working on bars 67-76, which consists of arpeggiated triplets. In his post (which is actually relating to the Burgmüller piece, but I assume the same applies to the Schubert one) Bernhard recommends to practice the triplets as chords, but in a (for me) completely unintuitive way: instead of playing [BGD] [BGD] [CAD] [AFD] [BGD], one should be practicing B [GDB] [GDC] [ADA] [FDB] [GDB*] (B* from the next triplet).

- Actually, this seems completely counter-intuitive, as I'm playing notes that are not supposed to be played together, so why am I supposed to do that?

I dont understand that at all.  I wouldn't do it!  Maybe he's talking about phrasing?

- When tackling such a section, should I first practice it *only* as chords (with the right fingers, of course), and be able to play it as such at the required speed for HS practice (ie, faster than target HT tempo) before even thinking of practicing it arpeggiated? How do I know when I've done enough chord practicing?

- When doing rythm variations on this section to improve evenness, should I play the whole section (bars 67-76) or stick with bar-by-bar practice?

I've got lots of other questions concerning this piece, but I'll post them in a separate thread later.

Many thanks,
Guy.

You should see how it feels first to play it as written, then you will play in chords to find a more comfortable approach, then try once in a while as it is written, and see if it feels different, ie if you have made progress.  You will know if you have made enough.

I recommend doing rhythm variations according to phrases, so usually in classical music four bars.

Walter Ramsey