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Topic: Help with Chopin Prelude in G Major Op 28 No 3  (Read 2990 times)

Offline atticus

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Help with Chopin Prelude in G Major Op 28 No 3
on: October 03, 2010, 12:49:08 PM
Hi All,

I'm just beginning to learn Chopin, Prelude in G major (vivace) and I have a few questions:

1)  Is this piece supposed to be pedaled throughout or just in certain spots to cover "leaps"?
2)  What would be a minimum respectable tempo for this "vivace" piece?
3)  Any practice tips on how to meet the "respectable tempo", above?

Any input is appreciated...

Thanks,
atticus

Offline keyboardclass

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Re: Help with Chopin Prelude in G Major Op 28 No 3
Reply #1 on: October 03, 2010, 02:22:42 PM
Just pedal the first half of the bar.

Offline stevebob

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Re: Help with Chopin Prelude in G Major Op 28 No 3
Reply #2 on: October 03, 2010, 03:58:40 PM
Just pedal the first half of the bar.

I think that’s sensible advice.  I don’t know where the “leaps” are that might call for pedal, but I would definitely not propose to use pedal throughout the piece.  I don’t believe there’s any reason or purpose for that (or that the effect would even be desirable).

I would suggest 120 to the quarter note as a reasonable goal;.  That’s about the minimum I would consider to passably convey Vivace here; a slower pace is bound to sound sluggish even if played leggiero.

My recommendation for getting up to speed is to refer to Fundamentals of Piano Practice by C.C. Chang.  (If you’re not familiar with it, just Google it; it’s a free download.)  If you’re like most people, you’ll find much of the contents off the wall and choose to disregard what you don’t find useful; however, a specific methodology is presented for learning the motions needed for fast pieces or passages.  Look out specifically for the term “Parallel Sets.”

In a nutshell, Chang defines a Parallel Set as a group of notes played within a single hand position (i.e., a small and limited pattern or "handful").  He advises high-speed hands-separate repetition of individual parallel sets (along with the conjunction that joins each to the previous notes and to the following notes) as the most efficient and effective means of mastery—in contradistinction to the traditional and intuitive approach of slow repetitions and raising the tempo incrementally.
What passes you ain't for you.
 

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