Albeniz Triana from Iberia

[franzliszt2]

Hello, I'm having trouble with a certain passage in this piece and was hoping someone may beable to advise me. In the middle section, where the RH is in triplet semiquavers and the LH has the melody, how do you get the melody to actually sound even? You have the huge stretches which are totally impossible to stretch, it's impossible to take them in the RH, and the pedaling has to change. Therefore the melody sounds awful when I play it, because I play it, but it sounds broken when I leap to the bottom note and the time I take to get to the top breaks the melody  . How do I get it even? In the space of a semiquaver is it even possible to jump down to the bottom note and the spread a chord? I'm sure I would need a 3rd hand grrrr it's driving me mad. Any advice would be greatly appreicated! I wish I had a score on the pc, but I don't, so i hope I've made sense. Thanks 

[chicoboli]

good really is one difficult piece but not immposible to play. play very slow with out pedal and that seccion down the pedal with middle note  first  after the  melody

 

[sevencircles]

Check this guy and you might see how it can be executed.

https://www.youtube.com/watch?v=PO2satLW76M

[lostinidlewonder]

I am guessing you are talking about Bar 67 tranquilment  RH, bien en dehors LH section?

There are many chords that ask for a stretch of notes not physically possible for most to play. There is nothing wrong with arpeggiating it but with a quick rapid whip, you cannot afford to make it sound sloppy and you should overexagerate the weight of your LH thumb to draw out the accent and support the middle voice. This would take some fine tuning until you produce desirable sound.

Use the Lh 1 and 2 to pick out the middle voice and 4 and 5 to pick out the deeper bass notes and know when the 3rd can be applied for either cases. That is generally the touch you have to master there. When asked for big chords you generally want to give the upper part of the chord more importance so that you don't distort the middle voice.

There is no point talking about how the hand should move because its simply too difficult to express in words, but everything you do has to be comfortable and controlled. You have to have a good sense for your centre of your hand and from which point you pivot your hand at, an invisible balance which controls the deeper bass of the LH and the middle voice of the piece (upper part of the Lh).

Don't be overly stressed if you cannot hit all the notes at once, learn how to play it musically but still play all the notes.  If you do a good job of it no one can criticise you. It would look funny if you started using your feet to play a note or two just so you can get all the notes at once so find a way to adapt it. The multiple voices which ask for difficult hand positions is what Triana a tricky piece, so don't be suprised when you hit slow learning curves periods.

[jeff]

Try this: when the right hand has octaves, leave out the top note and take the LH melody note.

My teacher and I were listening to one of Alicia de Larrocha's Triana recordings and noticed she didn't have breaks in the melody OR rolled chords. Took us a couple of minutes to figure out what she was doing.