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British Excellence in New Tansman Piano Music Release

Chandos has been attentive in promoting the orchestral works of Alexandre Tansman, who due to the vagaries of fashion has to a great extent been ignored. They now embark on the piano music and a deeply personal project for soloist Margaret Fingerhut. Read more >>

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Author Topic: Chopin Nocturne Op9 No2  (Read 3092 times)
guermantes
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« on: October 18, 2007, 02:32:49 PM »

Hi !

I'm working on the above nocturne and would like some advice on how to better my playing of measure 32 (cadenza-like right hand writtten in small notes). The preceding arpeggioed chord is the dominant seventh on B flat. The small notes are embroideries of the B flat of the chord.

Not counting the first C flat, the run can be broken up into 4 groups of 12 notes and the remainder could be seen as preparation of the final two measures of the piece and not part of the "run" proper.

I've always found it useful to practice notes that are grouped in 4's (such as groupes of four 16ths) in groups of three notes and viceversa to avoid always stressing the beginning of each group as written.

So I've practiced in groups of three notes starting from each different note (there are 4 obviously), starting with one group of three, then 2 groups of three, etc. lowering the wrist at the start of each practice unit and raising it at the end of the same.

After this practice, I launch the whole run at full speed and have then found it difficult to remember where I am in all the repetitions. So, I play the first group of 12 (not counting the initial Cflat) piano, crescendo on the 2nd group, forte for the 3rd group, decrescendo on the 4th group with the same but minimal lowering and raising of the wrist without leaving the keyboard.

Would anyone else have some light to shed on this subject ?

Many thanks in advance.
Guermantes


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piano sheet music of Nocturne
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