What arm/forearm/hand motions are you using to play the octaves? There's really only one way that works, and alot of ways that don't, most teachers/books advocate a way that doesn't
very few people can play the Liszt HR 6. I was actually very disappointed with the Horowitz recording.............I suggest you alternate fingers 5-4, 5-4...........But then again, I never really worked on this piece, it is a highly specialized form of technique.
Grynyuk outplays Horowitz, Argerich, ...everyone:&feature=related
I would try Chang's alternating hands method, where you take a short passage of like a few measures and then play the RH alone, then the LH alone, and continue alternating them. After four times there should be a noticeable difference. The brain and the body are assimilating what the resting hand just played, and when the present hand is finished, the passage has been bumped up to another level. When I tried it out for the first time, I was amazed at the change. It is quickening.
Thank you all. Remarkably, in my last lesson my whole problem was analyzed extensively. My problem was that my thumb was very stiff. In turn, that tightness followed all the way up my forearm. So I drilled my way through the correct technique and now the difference is like night and day. I had to really shift the weight onto my pinkie and now my thumb has a nice, fluid, relaxed motion. But now I am fairly confident that the concert will go just fine now.
Here is the link to my favorite performance of this piece by phenomenal virtuoso V. Bakk, who unfortunately passed away way too early. The lightness and precision of touch along with precise calculation creates quite an effect:&feature=relatedBest, M
Got to hand it to you, you're right. This is super-human.
I've been playing this Rhapsody since I was a kid. Indeed, the most important here is completely relaxed thumb and your whole arm should feel completely relazed (almost like a dust rag). One of the main problems there is many people use technique highly inefficiently, with much more movement than needed. Make sure your fingers are SUPER-GLUED to the keys, without wasting any time for getting off the keys.Another major mistake is people usually play it loudly, like an oktave excersise, with beginning on forte, and the forte part on forte-fortissimo. Instead, the octaves should be extremely light, sweet, and leggiero all the way through. You will need calculate very precisely the amount of acceleration and large scale creschendo, when you stay piano for the most of the 4th movement. Here is the link to my favorite performance of this piece by phenomenal virtuoso V. Bakk, who unfortunately passed away way too early. The lightness and precision of touch along with precise calculation creates quite an effect:&feature=relatedBest, M
Topic: Argh Im not getting anywhere in Hungarian Rhapsody no. 6 