anyone played la campenella?(IF YOU HAVE REPLY)

[mr_liszter]

this topic is to see if anyone has played la campenella by liszt and if they have any tips for some of the sections? it would be a great help

[DarkWind]

Which section do you need tips for? I can play basically everything, but I'm still trying to get the ending right.

[ayahav]

how do you practise the first occurence of the main melody (especially after the interval gets bigger than an 11th)?

[ayahav]

....i've tried everything except for the closed eyes technique

[mr_liszter]

Thanx for the response!!

im currently working on the second section where the crush notes become invovled and this has become tricky because im unsure what to play in the right hand and left hand?.

in the first section i play all the melody in the right hand and though there are big leaps when you have to stretch to the g# and g i feel safe playing it this way but im still unsure this is the best way?.

also one section has octave d#'s with a trill on the top i find this section very hard from a technique point of view any ideas?

[newsgroupeuan]

I use first finger and 4th finger-more secure for the first bit.  The two octave leap (D# to D#) I keep missing.  also sometimes,  I hit the D# but get no sound.  Any advice?

I'm doing it in my spare time,  and I'm having problems with the appoggiaturas also. Any advice?

[RGPianoMusic]

Hi.  I've played La Campenella and in fact, I'm playing it in Ancona, Italy this summer so it's very fresh in my mind.

Try "dotted rythem" practice for those leaps.  If you aren't familiar with that, it's a technique of playing only certain sections faster (usually, just the exact point that you are unable to play fast).  so if you have a hard timd going from the D# to the next octave D#, you would start with your 1st finger prepared over the lower D#, and then when you're mentally ready, you play the lower D# and then as quickly as posible, get off that note and try to get to the higher D#.  Doing it that way allows you to play very fast in a section that normally you'd have trouble playing.  With specific practice right on that spot, you will soon be able to handle those leaps with no problem.  Doing it that way has made them like 2nd nature to me now.  See how it goes.

Rich

[EthanT]

i agree with rich.. dotted practicing makes things really fluint in the end...


(( I found keeping those freakin trills alive one of the hardest parts))

[newsgroupeuan]

The bit after the crushed note section,  I'm having problems reaching the high F# and high A# accurately. Tried dotted rythm (as Rich reccommended),  worked a bit,  but not much.Accuracy is only 3/4 times. Any Advice?

[nerd]

I haven't seriusly practiced this piece but you could try this:

After each note move your hand to the next note as quicly as possible. Then, when you're sure the hand is at the correct position, press the key, move to the next note as quickly as possible, adjust hand position, press key etc. Even when you increase tempo, you should always first make sure your hand is at the correct position, then press the key. Of course, your goal is to minimize the amount of time you need to fine-tune the hand position.

[willcowskitz]

You have to make your hands conscious of the whole space around and above the big leaps. I practiced the beginning by raising my hand unnecessarily high in between notes, to get a view on them, this way I didn't have to slow down while looking for the next key, but I simply had more time without stopping the motion of my hand, and my hands learnt to relate to the distances more effectively cause I moved them more than needed. Technique must be natural.

[Alp635]

I've played it very casually but could not get the ending trill to sound good.  Any tips???  

I don't have a good 4-5 trill or 3-5 unfortunately, which made me decide to stop working on it because that trilling part kills me everytime.  How do you get a 4-5 or 3-5 trill to be better?  My hand isn't well balanced to do this.

Alex

[EthanT]

hmm alp.. i had the same problem...

U should just practice your trills alot, simple as that. The reason you have weak 3-5 4-5 trills, is because the 4th and 5th fingers are the weakest fingers. Most power is in the other fingers, which it is commonly used for trills. In this case you just have to build your speed with the 3-5 4-5, which in my opinion is the hardest part of La Campanella.

[Alp635]

Agreed,

Yet I have practiced my trills a lot and for some reason, the fingers feel uncoordinated , not neccesarily weak.  In fact, I don't think that the muscles in 4-5 don't fire as fast.  I've been trying to work speed...nervous twitch of the finger, but it is very frustrating.  I can trill with 3-4 with no problem, and when I play la campanella, I play 3-4 for the trills but as you know, that is quite a stretch and a silly way to play it...

ALex

[maxy]

Interesting, many reference to work with "muted" jumps.  Just avoid tension when doing so.

[newsgroupeuan]

GRRR!!! The ones where you change the top note  in the first variation!  I can do the bottom  note ones but not the top ones!

EXCERPT AT: https://www.geocities.com/super_ardua/images2.htm

[willcowskitz]

GRRR!!! The ones where you change the top note  in the first variation!  I can do the bottom  note ones but not the top ones

Matter of practice. Main difference here is the difference between the shapes and positions of the 1st and 5th fingers. When playing the melody in top notes variation you might want to take advantage of being able to curve the fifth finger naturally directly from above the keys, and let the wrist "loose" a bit - this is more essential here than where the melody plays on bottom notes.