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Topic: problem with chopin concerto no1 first mvt coda  (Read 5869 times)

Offline cucudas

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problem with chopin concerto no1 first mvt coda
on: October 19, 2010, 07:48:06 PM
i'm having so much trouble practicing and playing the coda in chopin concerto No. 1 first mvt.
The left hand's trill is getting better (if you can advise me how to practice ..that will be awesome), but the right hand playing with the thumb staccato..i tried so many different ways to practice, but still when I play in tempo, all the top notes sounds bad.  and seems like all of my other friends don't have this problem..how can I practice this part? Please help   :'( :'( :'(
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Offline birba

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Re: problem with chopin concerto no1 first mvt coda
Reply #1 on: October 20, 2010, 12:49:54 PM
1.  Play only the upper voice - many times, slow, fast, etc.
2. Play only lower voice, making sure to use the exact fingers (1 or 2) you will use when playing together.  Bring it up to tempo.  Exaggerate the articulation of the thumb.(a flapping from above)
3. Play both voices  leaving out the last 16th note of each beat in the upper voice-  Work it up to tempo.
4. Now, begin with the last 16th note of each beat and stop on the 3rd 16th note of the following beat.  Make sure you really stop relaing your arm's weight on the keys.
5.  Put two beats together, then three, etc.
As far as the trills go, take advantage of that accent and pedal on the second beat.  It becomes a blur and you can't tell how many notes you're putting in the trill.   8)

Offline nivyehuda

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Re: problem with chopin concerto no1 first mvt coda
Reply #2 on: July 24, 2014, 12:52:33 PM
I believe one should not seperate the two voices of the right hand, since they move (except for the places of descent) in opposite directions, thus rendering the wrist unqble to move naturally.
by practicing them seperately we enable the wrist to move the way it won't move when the hand plays both voices.
I'll suggest increasing the finger activity in the places where the voices move in contrary motion, and use the wrist more freely in the descending passages, where they bote move inwards!

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