Voicing Question

[steve jones]

Im having a problem seperating voices played with the same hand, such as the right hand on Moonlight 1, Pathetique 2 etc. Iv started playing these pieces recently, and they're coming along nicely, but I cant seem to seperate the melodic line from the inner voice with respect to dynamics. For example, the melody in Moonlight is sounding closer to octaves than it is to a seperate single not line. Even worse with Pathetique, it seems even more difficult when the lines are closer spaced.

Could someone describe the details of this particular technique for me please (or point me in the direction of a useful thread)? Would be greatly appreciated!

Right now Im trying to adjust the amount of weight I apply to the individual fingers. This is not proving to easy, as I keep playing the 'heavier' finger first 

[whynot]

One thing that helps me is, rather than thinking of the weight of each finger, to think about how far down I'm pressing into the key.  So in this case I would have my pinky/other melody fingers play all the way to the keybed (try to feel the layer of felt under the key), and the rest of the fingers going only halfway, especially the thumb with that nice big muscle.  The soft isn't literally halfway down--they're closer together than that--but the half-key sensation gives me the contrast in sound and the control I want without tensing my hand.  Good luck.

[steve jones]

Thanks whynot, I shall give that a try.

[quantum]

You could also try of thinking about the strength or speed of the approach.  Eg: Think of the difference between putting a golf ball harder for a longer shot, or softer for a short shot.  Now fingers with melody would have a stronger approach than those without melody. 

I remember when I was learning to voice chords.  I got the weight idea, but for some reason it didn't work as I wanted.  That was because I was applying weight only when my fingers were at the bottom of the keys.  What I needed to do was imagine the weight existing BEFORE the fingers touched the keys, and landing heavier weights on the notes you want to bring out. 

[steve jones]

Cheers Quantum. Actually, it was listening to your rendition of the Moonlight Mvt1 that got me thinking about this, so double cheers 

I guess its like with all things technique - experimentation. But it doesnt hurt to get the opinions of other people. Its amazing how one short sentence can trigger something in your head and just instantly get it!

[g_s_223]

I guess it's probably not what you want to hear, but have you mastered all the following works:

• Bach Inventions
• Bach Sinfonias
• Bach WTC I
• Bach WTC II

Good polyphonic playing will provide the foundation for good voicing.

[steve jones]

I havent mastered those no, but I funnily enough I am just start the Bach two part inventions and WTC 1. I have a feeling these will help with many of my technical insecurities.

[g_s_223]

Don't bypass the Sinfonias. They are 3-part works which follow on from the 2-part Inventions and prepare you for the (primarily) 4-part WTC. 

[steve jones]

Are they sometimes refered to as the 'three part inventions'? If so, Iv just downloaded all fifteen of them, and will give them a blast. It seems there are a few around my level.

Thanks again!

[g_s_223]

Yes, possibly, they are definitely the same thing.

Personally, I find playing Bach's 3-part works the most pleasant of all, as it is possible (for me) to do them justice without an excessive amout of study. The 2-part works are a bit too simple, and the 4-part works easily get you into "information overload" and a tangle of fingers.

Another great set of Bach pieces largely in 3-part writing is the Six Partitas BWV825-830.