Rachmaninoff Prelude C# Minor. I need guidance

[qpalqpal]

Hello fellow forum members. I am very enthusiastic about playing this prelude by Rachmaninoff. I have to troubles, however. One, I don't know if it is my level. I am currently wrapping up Waltz Op. 34 no. 2, and I have a lot of progress in a nocturne of Chopin, op 72. in E minor. I've also done the first page of the famous C# Minor nocturne. I have been self taught for 3 years, and just got a piano teacher 3 weeks ago. Is this prelude my level, is my question. I would like a stretch, even it is difficult.

Next, I need a clear way for learning this piece, memorizing it and playing it well. I would like a plan on to approach this beautiful piece. (By the way, how do I add the sheet picture of this piece under my post. I am new here so...)

I would like to know which pedals to use where. Does anyone have the sheet music with pedal marks. I don't know where to use damper pedal

[faulty_damper]

You should anticipate spending a lot of time reading and figuring out which notes to depress as it involves a lot of chords.  However, since it is repetitive, visually search for the same chords through the rest of the piece so that you will have some memory of when you'll have to play these chords.

Below the type box is an "Additional Options".  Click it and it will display some extra options, one of which allows you to attach a file.

[scott13]

At your current level i would guess you could handle the work but mastering it won't happen. However learning it and working at it, then coming back to it in 3 months it should seem easier than it did and this means you have made progress.

Also look at Dohnanyi's exercise #24 . It is great practice at chords, if you don't have the book it goes as follows:

LH - Bb, D, F, Bb (2 octaves lower than RH)
RH - Bb, D, F, Bb (first Bb is one just below middle C

Now play : (Root, 1st Inversion, 2nd Inversion, 1st Inversion)

 Then move to Bb Minor,

then Bb Diminished (Bb, Db, E, G, Bb)

Then move chromatically up until you are at the top of the piano (2 octaves of this) then comes back down. Even after a week of this your fingers should feel more comfortable with the staple chords and then many of the Chords in the Rach prelude with naturally seem to fit under your fingers much better.

Also remember to analyse the score of the music you learn, doing this you should notice that many of the chords repeat exactly, so the piece can be broken into 3 main sections and you have essentially learnt the piece.

Section 1:

The opening chords at pp repeat later at fff so this makes up section 1.

Section 2:

The "Agitato" (excuse poor spelling) this is the faster section that is riddled with tension and a rhythmic push, that ultimately resolves at the ff repeat of section 1.

Section 3:

This i class as the descending chords in both hands just following the end of section 2 and just before the return of section 1.


Sorry for the long post But this hopefully gives you some help learning this piece, and also i hope shows the process to learning a new work. Analysing the score is always a great idea to see how you can effectively learn the piece faster by splitting into sections and seeing where these sections repeat (if they do).

[celestialriceball]

Here are some guidelines.

1) Emotion. Make emotion happen. Play dramatically. Really connect.

2) The opening there bass notes should have the top (right hand) notes emphasized over the bass. Then, the three opening chords (the C, E, and D) should be played softly.

3) Voice the top and bottom notes of each chord until you get to the ending reprise. I hate all these horrible interpretations where EVERY. SINGLE. NOTE. Is played evenly. Ugh.

4) Don't be afraid to use rubato. I see a lot of people "Sticking" to the time signature and their playing is limited to emphasizing/bring out what's limited by the seconds.

5) The middle section is more of a "Dream". Imagine the first section as these (this is how I categorize the piece)

Part 1 - "Falling" This section is more like you're succumbing to a deep, dark sleep. Like you're being swallowed by the earth. As you progress, get more slower and emphasize more bass ESPECIALLY when you get to the last line measures of this section. Play it like you're falling into a deep, sleep and you KNOW you're never going to wake up.

Part 2 - Emphasize the top of each broken chord. This is the part where you are IN the dream and it's slowly becoming a nightmare. Some sections will get slower (the F-F-E-E theme) and after those measures it slowly becomes faster and louder, until it uncontrollably explodes into a dark nightmare as the piece moves up then CRASHES down

Part 3 - This is what I call the "doomed" section as, if you're following my story, the nightmare is now real and you cannot escape from it as it slowly swallows you and you realize you will never wake up. This should be played very, very dark and grimly. Not too much energy. I once ruined my performance by using too much energy on this piece. Remember, the entire section must be gloomy but strong and loud.

Some other things to note:

-Press down EVENLY on all chords, but voice only the top note/important segments. You don't want  br o  ke n ch ord s.

-I use the analogy of making a story because that helps understand the piece more. Ever piece has a story. It is better to listen intensely to the piece, whatever piece it is, and come up with a mood and story for it--in this case, I compared Sec. 1 to falling into an abyss/nightmare, Sec 2. to the nightmare taking over, Sec 3 to the failed escape/climax/realization, if you catch my drift. Making stories/events within a piece really helps a musician connect and understand the subliminal messages and mood with a piece.

-CONNECT. Don't. Lift. Up. Ever. Single. Chord. Connect your chords, slide. Don't rely too much on pedal.

-Find ways to use the middle pedal--the bottom G notes before you do the "falling down" segments (where it goes up-up-down-up-down-up, etc.) Ensure that you do not pedal ON a note because that often results in blurriness, but rather preserve the echo by pedaling on the reverb/echo, not the note itself. (Think of it as pedaling "in-between") And remember- NEVER RELY ON THE PEDAL TOO MUCH TO MAKE YOUR PERFORMANCE SOUND SMOOTH/CONNECTED.


-The way I found an easier way to play the piece is to bring the TOP note of the left hand chords during section 1 and section 3 and give it to the right hand. This makes it tremendously more easier on the sliding and connecting. I recommend bubbling in the note on the sheet music. It may take some time to write it in, but trust me, this helps with the connectivity and makes dynamics easier.

- PRACTICE. SLOWLY. When you practice, especially with this piece, don't every approach it fast. When you feel you're ready to do it at normal speed, do it. Or else it's either A) You're READY to play it at normal speed or B) You don't. It's a yes or no question. I recommend you practice connection by playing very slowly, especially with that troublesome Section 2.

That is all.

[qpalqpal]

You both just made my day. Thanks for making my life easier by sharing your time to help me! I will use your advice. By the way, does this piece open any doors to me? Will harder repertoire be up for grabs by doing this piece?

[scott13]

You both just made my day. Thanks for making my life easier by sharing your time to help me! I will use your advice. By the way, does this piece open any doors to me? Will harder repertoire be up for grabs by doing this piece?

Yes and no.

Playing pieces above your skill level is always good for learning new skills etc. I imagine mastering this work will allow you to feel better about approaching some of the bigger Rach preludes. If practised correctly it will help you musically as well, so short answer would be yes, this piece should be a stepping stone to bigger works.

Always try to learn pieces for a reason too. If you like them that is good enough reason. Also think about what pieces are best for helping you achieve your piano goals, whatever they may be. For example, I started out on the easier Polonaises of Chopin so i would be able to handle the bigger Polonaises mainly Op 44 & 53 and due to the work i spent on the easier works, these more substantial ones no longer seems difficult.