Bach Invention No. 7 (Video)

[gfz87]

Hi everybody, this is Bach's Invention No. 7 in E minor. I started playing in the beinning of the last year. Right now I'm learning Liszt Liebestraüm No. 3 (It is going to take a while until I leaned it fully). Well that's all. Comment if you would like to point something out. Greetings

Gian Franco Zabarino

Link: https://www.youtube.com/watch?v=JTs9hcJ3z7E

[jonze701]

nice.

[gfz87]

thanks

[counterpoint]

You learned this piece quite well in this short time, now there could be a bit more string-like sound. Look at how violinists or cellists play Bach. How they move the bow so that the notes sound really legato. It's not easy to get this effect on the piano, but at least try to do so.

Then in the first six notes (right hand) I would make groups of three, so that the F# is the beginning of an upbeat group to the B (with the mordent). Then the same in the left hand etc. So the music will get more power and life.

The long trills (beginning in bars 7 and 15) would sound better, if they are not exactly counted 2 to 1 in relation to the sixteenth of the other hand. Perhaps you can trill independently, with a slower beginning of the trill and then speeding up (only the trill, not the other hand!).

Good work, keep practising 

[gfz87]

You learned this piece quite well in this short time, now there could be a bit more string-like sound. Look at how violinists or cellists play Bach. How they move the bow so that the notes sound really legato. It's not easy to get this effect on the piano, but at least try to do so.

Yes I'll try that. I know, Bach's Inventions are two-part, and to recognize them well I should play one part (sixteenth notes) very legato, and the other part portato.

Then in the first six notes (right hand) I would make groups of three, so that the F# is the beginning of an upbeat group to the B (with the mordent). Then the same in the left hand etc. So the music will get more power and life.

Well, I'm sorry but I really traied to figure that out, and I didn't understand what are you traying to say to me...

The long trills (beginning in bars 7 and 15) would sound better, if they are not exactly counted 2 to 1 in relation to the sixteenth of the other hand. Perhaps you can trill independently, with a slower beginning of the trill and then speeding up (only the trill, not the other hand!).

I think that will not bring such a big difference to the piece comparing with how I play it now. I will try to do the trill more piano thought, becouse then the melody part will sound  better and one will be able to recognize it more.

Good work, keep practising 

Thanks

PD: sorry for my bad english. If you see that some word or some expresion it's wrongly writed, please tell me so I can learn how to write it better . Greetings

Gian Franco Zabarino

[counterpoint]

Bach's Inventions are two-part, and to recognize them well I should play one part (sixteenth notes) very legato, and the other part portato.

At least, the different melodic groups should be played different (dynamic, colour, sound etc.) so that one can easily recognize them.

Quote
Then in the first six notes (right hand) I would make groups of three, so that the F# is the beginning of an upbeat group to the B (with the mordent). Then the same in the left hand etc. So the music will get more power and life.


Well, I'm sorry but I really traied to figure that out, and I didn't understand what are you traying to say to me...

Look at the attachment for some examples how the sixteenth may be grouped.

PD: sorry for my bad english. If you see that some word or some expresion it's wrongly writed, please tell me so I can learn how to write it better . Greetings

Same problem I got too 

[nightingale11]

On what I can see in this film it seems like you sit to close to the keyboard (the elbow shoud be about a fist from you body) and second it looks like your arms plays below the keyboard keys--they are angled --they should be parallell to the keys which may be a result that you are sitting too low. 3rd you are bending the wrists when playing which people usually do because they will get more force then but what you should do is to have the wrist straight use the elbow-- you should feel that the force comes from the arm/elbow. There is maybe more....but what I suggest you to do is to get a teacher if you haven't got one already.

hope this helps

[gfz87]

I have to disagree on what you said about the force coming from the elbow. I already have a teacher, and one thing he told me is that the force should come from the  bending of the wrist, otherwise you will get too tensed in a short time (he told me this when he saw me playing the octaves on the Rondo Alla Turca by Mozart, I used to move the whole arm to play it).

What I do agree it's about my posture, I feel that I move to much being sited, maybe it is because of the wrong position of the chair being too close to the keys. Well, I will try a new posture and tell you what happened. Thanks for posting. Greetings

Gian Franco Zabarino

[nightingale11]

I have to disagree on what you said about the force coming from the elbow. I already have a teacher, and one thing he told me is that the force should come from the  bending of the wrist, otherwise you will get too tensed in a short time (he told me this when he saw me playing the octaves on the Rondo Alla Turca by Mozart, I used to move the whole arm to play it).

Do your teacher also say to you to lift your fingers etc? The playing comes from shoulders/arms it just happened to be so that the fingers where there. One thing I know is that your teacher is very wrong and if you do like he does you will later get a injury if you persist bending the wrist. I myself bent my wrist a bit and my teacher noticed that. I think you should read through Bernhard's posts so that you know the right way and then try it out.

Now go to the piano and play with the wrist parallell to the key and try with bending it. You will notice that the strength from the arms is lost when bending the wrist.

[gfz87]

Don't get me wrong I don't say that I should play with inmovible arms and just move up and down my wrists. What I mean is that you have to move the wrist along with your arms otherwise the movement is just too slow (try Liszt's Hungarian Rhapsody No. 6 with freezed wrists...). It is like to relax completely the wrist and make impulses with your arms so your wrist goes up and down without almost even use it making the fingers beat the keys like hammers. I don't know if you understood me right... but next time please don't just say that someone's teacher is wrong, they're teachers for some reason... Greetings

Gian Franco Zabarino