Liszt Consolation No. 3 Project

[candlelightpiano]

Zoe, since you were asking about the polyrhythms, I made this recording for you because I think it's easier to understand in a video. Of course, by now, you're probably playing it just fine. I also showed how I am playing the birdsong. I hope I explained it well but I know DT and AJ would have done a far better job:

https://www.youtube.com/watch?v=MdBuY4LqINk&feature=youtu.be



STARSTRUCK:  I have a feeling that DT hasn't watched your video in the Appasionata project!!  

DT:  I haven't got as far as you have but I was wondering if you're playing with both hands bar 47 - 48? I tried the cadenza last night while trying to practice randomly like Birba does.  I was using my LH for the lower notes of the cadenza. I'm not even sure I have the correct notes for bar 55 - so many double flats!!  If I get the cadenza to a respectable tempo, I will record it for feedback. Not sure at all how to play it and not sure I have the correct notes in 55. I should sight read through the piece but as you can see from what I've said, my sight reading sucks when I'm faced with double flats and what not!  My piano skills are so limited!  My FI is the pits. Having trouble everywhere so I've decided to give it a few days rest but still working on the octave passage and the last page RH only. Have you overcome those crazy repeated groups in the last 10 measures of the last page?

[zoecalgary]

Hi Choo, thanks for making me that video! That's so nice!  Nope I haven't got it all figured out yet because I didn't get much play time in the last couple of days. But I will get some later today so will let you know how it goes.

Thanks again!

[spb_jcb]

This is one on my listz (sorry) to play as I heard it performed at a concert last Fall year and found it so unlike most of the Listz I heard previously. This a great piece and if you are interested in seeing a captivating You Tube version type in: Consolation 3 Ivanova as she performs it beautifully. I will be following this thread.

[candlelightpiano]

Welcome, Spb_jcb!!  We're glad you'll be following this thread.  Do you play this piece? If not, why don't you join us? There are three of us learning it and it would be fun if you'd be the 4th!

Thanks for recommending Anna Ivanova. She does perform this piece beautifully:

But my favorite Consoler is still Yi Jong!  

STARSTRUCK:  Eagerly awaiting your interpretation of Consolation!

ZOE:  You're very welcome. I hope the video helps but I know I'm not great at explaining things.    

TO EVERYONE:  Do you realize there are over 1000 views on this thread since it started Feb 9? Not even two weeks and so many views! Isn't it amazing?

[danhuyle]

So excited to share my rendition of Liszt Consolation no3

First recording, there are some spots that need fixing. At least you'll learn something and get ideas from it.

Enjoy and your feedback greatly appreciated.

[candlelightpiano]

Thank you, Danhuyle! I enjoyed your rendition very much. I don't have a great deal of knowledge about piano so can't really offer any constructive comments but I noticed that you started out real slow but your tempo picked up after about the second page. I liked your cadenza very much. I haven't got there yet but I was fiddling with it a couple nights ago. I'll watch how you do that again when I get there. Overall, I liked the sound of it. It had a sweet tender quality to it. I'll be watching it again as I get further into the piece. Thanks.

Dire Tonic is the best of the three of us to provide comments on this piece so I'm waiting to hear his comments on your performance.

[starstruck5]

-I think your performance Danny begins a bit too slowly -it took 21 seconds to get to the first melody note F  -which I think is way too long -also the triplets need to whisper more. You played the polyrhythms in time -but again the melodic line for me needs to have a sense of rising slightly and falling ;Liszt actually puts the F in bar 5 on a strong beat -but in my view it needs to be played in the context of the three F notes -softer then the first two -the F's are actually notes with the most tension here, because there follows a cadence from the Ab7 back home -so when the notes F Eb and Db are played there needs to be a great feeling of resolution on the Db -you played it ok -but it could be better -overall you could play more softly.

I also noticed that in bar 16, where you get those rising detatched notes -you actually emphasise the last note of the measure, F - the diminuendo here needs to underline that there has been a release of tension -a great deflation of energy -emphasising that last F is not good here! The phrase doesn't really resolve until bar 18 anyway -when we return to the Tonic -

After this I think you seem to get a bit more involved in the music and you play much better -there are some technical things I could mention -but as you captured the spirit of the piece, they seem less importanant.

I studied this piece for an exam a while back -so I have gone pretty deep --I know you are capable of getting this to a much higher standard if you put your mind to it!

[candlelightpiano]

BAFFLED BY MEASURE 37

I don't know if it's only in my score or if this is happening in your scores, too, but I was working on measure 37 just now and realized that the bass is missing an eighth note.  So I couldn't figure out which note in the LH I should play the RH E natural.  My score has 11 eighth notes in the LH!  It should be 12.  I was wondering if the first eighth rest should be a quarter rest?
Can you please check your score and let me know?


STARSTRUCK:  What exam were you studying the Consolation for?

[danhuyle]

BAFFLED BY MEASURE 37

I don't know if it's only in my score or if this is happening in your scores, too, but I was working on measure 37 just now and realized that the bass is missing an eighth note.  So I couldn't figure out which note in the LH I should play the RH E natural.  My score has 11 eighth notes in the LH!  It should be 12.  I was wondering if the first eighth rest should be a quarter rest?
Can you please check your score and let me know?

There are only 11 notes in the left hand in bar 37. It's all triplet rhythm and in the case of bar 37, you don't get the first note.

The starting out slowly was that I haven't recorded myself playing this before, but definitely not intended in the long run.

On my music, I write accents just to know where the beat falls.

A tip - if you look at bar 1, notice how the beat falls on the Ab? It does that with the other bars in this consolation; the beats fall on the same notes of the bar. Knowing where the beats fall, you'll have an easier time using rubato and more stability in your playing.

[dire_tonic]

Choo, bars 47/48 I change hands with the changing clefs but you can do whatever feels confortable. Yes, the cadenza notes with stem down for the LH.  The last page of FI is a nightmare.  Practice, practice, practice - that's the only way but it could take some time.

Starstruck -  I can see my post suggested I'd got the wrong end of the stick but I realised you were linking to someone else's performance, not your own.  I should have quoted your link..

Hi Danhuyle, the tempo thing has already been mentioned - having started out on the slow side, I suspect you were a little trapped by it until you wound it up a notch. No doubt, a bit brighter, based not so much on the arpeggio but how you want the melody paced, add in Starstruck's suggestions and a lot of this piece will fall into place for you - it's almost there!

[candlelightpiano]

Here's my video of the first 28 measures, memorized. I'm not playing the 16th note polyrhythms even though I can do them quite well. I just prefer Yi Jong's fast and free birdsong. I think of the birdsong as a release of sorrow or grief in this consoling melody.

DANHUYLE: Thanks for responding to my question about bar 37 (I'm glad I wasn't seeing things!) and thanks for the good tip.

[megadodd]

Good job Choo! The last time I saw a video here was your first one, obviously it's gotten alot better.
I'll point out some of the "problems" in my view- However, I think you did really well. And it's all subjective taste!

You miss one of the most important notes in bar 23, I'm not sure if it's due to you just forgot it or if it's not in your sheets. At the last note of that ornament, which ends in bar 23 on the first beat, it's supposed to be a D flat in the bass.
And I would advice to wait just a little little while, before ending that phrase.

Also, I don't think the ornaments are as convincing as they could be, I think you should play them (meassures 6 & 10) at the 4th beat. Personal opinion though. They are as free as you like.
But they need to be lighter, and more like a...say small breeze. If you know what I mean?
And try keeping the same tempo, if it's not by purpose: in measure 15!
One last thing I would think of, is at the end of you video, it says in my score to be mezzo forte, also just a little reminder! If you are one of those that prefers doing what the score says.

I remember somewhere a discussion in this thread about octave legato fingering, I'm not sure where I stand in this. But just try and stay low with your hands, so to speak. Before letting them drop into the keys, atleast in this piece.

Musicality is a mess to discuss though, since what for me is great and not so great, could just be the other way around for others.

But good job! It's coming along nicely imo~

[candlelightpiano]

Thank you, Megadodd, and I'm so glad you're back!!!  We have missed you and we hope you'll be with us for the rest of our journey. 

Thanks for pointing out the problem areas.

Measure 23:  I didn't play the D flat in the LH first beat because I listened to the pros and they didn't play it. But I can certainly include it if it's an important note. I didn't know it was important to include it. When you advice to wait just a little while before ending the phrase, you mean pause a bit after the LH D flat before continuing with the rest of the LH notes?

I was advised to vary the tempo in measures 13 - 16 so as not to sound so metronomic, which is why 15 sounds like it does. But I'll try keeping the same tempo in 15 and vary the tempo in 16 instead with a rubato toward the last beat?

Thanks for the advice on the ornaments in measures 6 and 10. I'll try it both ways, record and listen and decide which way I'd like to go but I definitely agree that they could be lighter, like a small breeze (I like that description very much). Will work on it.

Will also work on the octaves.

I don't stick to the score.     Liszt may turn in his grave to hear me play his piece this way but I love the way Yi Jong plays it and he doesn't follow the score for the 16th note ornaments.

[megadodd]

It's personal taste! Everything I just said, so don't see it as some rules- just guidelines if you hadn't thought of any of it already.
If you where adviced to vary the tempo in those measures, go right ahead!
Music is a matter of taste afterall.

I havn't heard him/her(?) play- I'll look it up another day!
See ya'll later~

[starstruck5]

I was enchanted by your playing Choo -most of the points I could make technically would be like also quarelling with Li Jong! -I don't agree with the crescendo in bar 16 and the general speeding up -I think the opposite should happen here -but this is  matter of interpretation -as Mega says -it isn't wrong per-se -your musical intention and playing is very determined and fine here -You play the 16ths very well also -I also think Li Jong plays very beautifully, but a bit too loudly -because Liszts marking is ppp -and I think he is at least hoping for pp -lol -a lot of pianists ignore this -Liszt actually doesn't want mezzo forte until bar 28! 

I also don't think Liszt would be too hard on you if he heard your progress so far -a lot of really advanced players don't play the LH triplets legatissimo -they need to be as accentless as possible -you play the Left Hand a little tentatively sometimes -but this will improve with practise - and so far those left hand triplets are quite lovely-Bravo .

[candlelightpiano]

Thank you for your kind comments, Starstruck!

I appreciate your feedback, both of you, and the guidelines you mentioned are very beneficial for me, Megadodd. I have a tendency to forget them when I'm playing so I'm glad that you're here to remind me.    Please keep doing that! I didn't even see the mf in measure 28 till you mentioned it.

I'm not sure that Yi Jong rushes through measure 15 like I did, actually. I may have picked that up from some other pro! I'm a mess of confusion because they all seem to have their own styles and everyone plays it differently.

Starstruck, I agree Yi Jong plays a bit too loudly, especially for ppp, but I wondered if it was just the acoustics. And his mf isn't that much louder than his ppp!  Which is why I didn't realize it was mf in 28!

Here's Yi Jong's performance:

EDIT

After reviewing Yi Jong's performance, I notice he definitely did not rush bar 15-16. He played it at tempo, a bit of rubato in 16. Thanks for pointing it out, Megadodd.

And he did not do a crescendo in 16. It was actually a descrescendo. Thanks for pointing that out, Starstruck.

I'll work on these areas and record another video, perhaps with a few more measures memorized. Thanks once again, Megadodd and Starstruck. I really appreciate your feedback.

[dire_tonic]

That's a big step forward! It's sounding really good, and well done committing it to memory!

Just a few thoughts...

Hold the sustain pedal at the end of bar 3 so that it runs into the quaver rest at the beginning of bar 4 and similar throughout the piece.  Apart from bar 14 and a couple of places towards the end of the piece you don't really want to hear those rests, better to fill them with sound.

The Dbs at the beginning of bar 8 and bar 24 are important and non-negotiable to my mind.  By their absence you forfeit the spine tingler when C is played 6 beats later. Also, at the moment you're playing that C forte, it needs to be gentle.

I think the tempo increase in the second half of bar 15 has already been mentioned. It sounds like too sudden a tempo change, as though it's been 'switched' on, then off, rather than a smooth rubato transition.  An afternoon spent listening to and figuring out what the pros do from 13-16 and how they differ would, I believe, reap you huge rewards.

I might have said too much...you've already had good advice, by adding mine there's a risk of overload.

I think your tempo's perfect.  I may do the same.  Keep up the good work!

[zoecalgary]

Oh I have tons to catch up on! I'll Start by Going backwards.

Choo, your latest video was amazing. It is really coming together for you! It is very enjoyable to listen to. I can't and shouldn't offer technical advice so I won't. I like your interpretation very much and I think you capture the best of what many of the pros do.  Your hands look relaxed and your LH sound very even to me. That big c bass note was maybe a bit too loud compared to what you were already playing but that's just a thought I had as I heard it. I'm impressed that you've memorized this much so fast. Overall very nice. You've made leaps and bounds this last week!!

[zoecalgary]

Danhuyle - I just listened again to your video. As others have mentioned the tempo is slow at the beginning but I like it slow. I also find I play this really slow (well mostly for technical reasons haha) but also I get drawn into the melody and it mellows me out and slows me down I think! Some of the pros seem to play way too fast for my liking. But having said that there is probably a fine line between nice slow and too slow. This is something I'll have to watch out for. When I'm playing it I like how it sounds at a very slow tempo. But for a listener perhaps it may be too slow. 

You played it gently and smoothly. I liked it lots. It was sweet and delicate. I'm curious how much time did you spend on it? If I understood your previous post it's like you opened your book and viola you recorded this. Impressive to say the least!

[candlelightpiano]

DT:  Thank you for your comments and suggestions.  By sustain pedal, you mean the right pedal or the middle pedal? Sorry this may seem like a novice question but hey, I AM a novice in piano, just about! If it's the usual right hand pedal, how far should I hold it? I've been lifting it up at the rest, as you have observed, in bar 4, for example. When should I lift it?

Good tip on the low C needing to be softer and gentler. I banged it, I know!

I've decided I like the way Yi Jong plays bars 13 - 16 best so I'll listen to him with a keener ear. I may have listened to too many pros, especially the overly eccentric Itin and got mixed up! Yi Jong does not speed up in those measures. He actually uses a bit of rubato.

ZOE:   So nice to see you back here again and thank you for your comments and suggestion on the low C. Yup, it was way too loud! Would wake the dead from their eternal slumber, I'd say!! 


Well, I'll work in all your suggestions, wherever I can, and memorize a few more measures. Hope to record another video in a day or two or three. Thanks, guys!

[dire_tonic]

DT:  Thank you for your comments and suggestions.  By sustain pedal, you mean the right pedal or the middle pedal? Sorry this may seem like a novice question but hey, I AM a novice in piano, just about! If it's the usual right hand pedal, how far should I hold it? I've been lifting it up at the rest, as you have observed, in bar 4, for example. When should I lift it?

The sustain is usually the right hand pedal.
Apart from the few brief bars of respite, I feel the sound needs to gently saturate your ears. 

When you're not playing the bass note at the beginning of the bar you could just hold the last triplet quaver in the bar over the rest until you start the next LH broken chord.  Or just hang on to the sustain pedal a fraction longer.  Try both ways.

[candlelightpiano]

Thanks, DT. I'll listen to you and the pros to hear their pedalling. My hearing isn't as good as yours, by far! You always seem to be able to hear all the subtleties that I don't even notice.  

ZOE: Have you watched DT's video? It's on page 3 of this topic. He played almost the whole piece really well.

STARSTRUCK:  I watched myself again and you're right about my LH being tentative.  I think I was trying to remember the notes!

[ajspiano]

I noticed the pedalling too choo - there was a kind of disconnection between bars at one point. I wasnt able to watch the whole thing as my phone doesnt want to load the video very well - seems like its coming along well though

[zoecalgary]

Here is a practice video of me trying these polyrhythms in the first few measures. They are giving me a run for my money but I think I'm getting closer. Now just to sound less robotic. In the spirit of sharing I thought I would post this just to show that I am trying hard to get this.  But as I've stated many times to Choo this piece is many many many (did I say many!) levels above my level. (Yes, Choo, I've been playing piano for less than 1 year)

But the melody is so captivating I just have to keep trying to play it.  This video is also part of an experiment in gadgets. I've been whining of all the steps it takes to get a video to youtube that my husband got a way to do it with the iPad. So for anyone interested in this I used the iPad camera application to record a video, took that into IMovie, and sent that direct from the iPad to Youtube.  Seems to be a bit less hassle than using the camcorder but unfortunately the sound is not that loud and the speaker is picking up lots of background noise (sorry). But for this short video I figured it was ok.

I'd be interested to know if I'm even getting close on those polyrhythms. Thanks.

[zoecalgary]

Choo, yes I've watched all the videos several times. I find I am learning lots from each and every one. Makes me almost to embarrased to post anything here but well I've done it now so no going back I guess HAHA.

I've been playing through the RH only here and there and having fun. Who knows maybe one day soon I can at least get past the first page!  This may just be the piece I learn for 'several years' and then one day bamm! I will be able to pull it off! Just something about it that I don't tire of!

[dire_tonic]

hi Zoe, no it's not right yet, but you'll want to get it right eventually because this 3-2 polyrhythm is such an important and frequently used device – especially in the romantic music we all like so much.

You've properly lined up HT where the notes fall exactly at the beginning of beats 3 and 4, i.e. your 1st and 3rd RH notes are fine with the LH.  But where the 2nd and 4th RH notes occur your LH is waiting for those to be played before going on with the arpeggio hence you’re losing continuity in the LH.


Here’s an illustration of what we want, each little vertical line is a note (a bit of a problem with character spacing, but it's more or less right)


rh    |     |     |     |
lh    |   |   |   |   |   |

 - 2 notes in the RH for every 3 in the LH; you can see how the LH and RH are evenly spaced but with different spacing.  

But this is what you're doing..


rh    |      |       |       |
lh    |   |      |   |   |       |

 ...the RH is even but the LH, in waiting for the 2nd and 4th notes of the RH,  has lost its evenness and the whole phrase is now elongated.

In fact, you’re playing the whole thing very precisely (which is good) but you’re playing HT as though it’s entirely metered by the LH arpeggio.  What was 6 quavers in length (LH ), is now a total of 8 quavers.

I’ll try and do a 3-2 demo video later....

[zoecalgary]

DT thanks for your note. I know something doesn't feel right but i can't Figure out what it is. Guess you could say I don't know what right is supposed to feel like.  I did have the feeling that everything was slowing down on those sections (even more than normal) but I didn't realize I was stretching the whole thing. I thought it was because I was going slow and that once I sped up it would sound right and fall into place. 

Also you are right I am waiting for each note to play from LH to RH. But don't you have to do that so the effect is right?

I'm so thankful Choo suggest I post a practice video because I would have continued on and caused
Myself no end of grief and have to undo it all later.

Dt I'll watch for your video. I'm on a mission to get this figured out. Perhaps if I can I can move past these first few bars. Thanks for your comments!!

[dire_tonic]

I've tried to explain it here. 

 - it's difficult to know how far back into first principles one needs to delve so let me know if there's anything you don't understand.

Unless it all falls into place fairly quickly, I wouldn't even attempt to apply it to Consolation.  You first need to have a feel for the polyrhythm and as you can practice the tapping literally anywhere there's a chance you'll crack it quite soon.  But wait until you understand it.

[candlelightpiano]

ZOE:  Good job posting the video!  I only listened briefly as I'm heading out. I'll listen more closely later. You're brave to tackle this piece after such a short time on piano! You mentioned using the ipad and I was wondering if you couldn't just use the YouTube app on it? AJ mentioned that's how he automatically downloads his videos to YouTube on his iphone. Since they're both Apple products and I know the Ipad uses Apps as well, I was just wondering if you could have downloaded a YouTube App, signed in with your password and after recording the video with your ipad, immediately download to YouTube?

DT:  Good job helping Zoe with this. Haven't watched your latest vid. Will do this afternoon. How do you create those vertical lines?  I watched you doing the pedalling for Consolation on your video!!  It was great!

AJ;  I'm working on the pedalling. There are a good number of measures that need this extended pedalling. Some I remember; others I forget!!  But trying to remember them all.

Talk Later

[zoecalgary]

AJ - I just saw your tutorial. That is so well explained (no I don't think you're mad by the way!) I am going to practice it by tapping first before going to the keyboard. And by using 2 different sounds in your video you gave me a good idea. I can do this on the keyboard by splitting the keyboard and getting two different sounds while not actually worrying about specific notes. You're right in that I should learn this before applying it to a piece. Especially something like the Consolation! Thanks! You're awesome. I am going to tap now!

Choo - you're right I could probably just use my iPhone to do that! Especially when there is no need to edit the video or worry about a polished finished product.  I'm crazy to have posted anything I think but well it's done now and thankfully people are willing to help me out and not tell me off for driving them crazy!

I shall return later with thoughts on some finger tapping success.

[dire_tonic]

After a few years of piano, most will have encountered the 3-2 so often that it becomes second nature and it will for you too.  When you can do it without counting you’re pretty much home and dry.   Try and do it at various speeds. Consolation is quite slow, of course.

There’s something else you can try with your digital piano if it has a recording option.  This would be an intermediate exercise if you were still having trouble.
 
Record just the LH part, perhaps missing out the first 2 bars (you should only really need a bar or so to get the mood and tempo).    Then play back the LH part and perform your RH with it. It wouldn't hurt to include the metronome click if that were available.  

To make it a more efficient practise session you could just record bar 4 repeated (as many times as you can tolerate).  That will give you a loop to focus on so that if you get it wrong on the first cycle, you know you’ve got another attempt coming up immediately. Then try the same thing with bar 5 which has the tied F making it just a little more difficult to locate the polyrhythm.

[dire_tonic]

DT:  Good job helping Zoe with this. Haven't watched your latest vid. Will do this afternoon. How do you create those vertical lines?  I watched you doing the pedalling for Consolation on your video!!  It was great!

 - that vertical line is just to the left of my 'z' key (use shift).

Ah yes, I forgot the pedalling is clear to see.  In fact that pedal squeaks really badly but on the recording it sounds almost like the squelch of a leaky boot after walking through a puddle.

Regarding the extended pedalling - you only need to use it when you're NOT playing the first quaver in a bar of the LH.

[starstruck5]

I recorded this on my Kawai Digital -still not happy with the results from my zoomcam -so the mp3 will have to do -I totally messed up the ending -some little hesitations also here and there -but this is take one after all -feedback really welcome!

[candlelightpiano]

DT:  I enjoyed your tutorial very much. And it was fun hearing you speak. I love the use of the cup and the pens! I was thinking about using the middle sostenuto pedal because Maurice Hinson suggested its use as an alternative. He suggested catching the low D flat in bar 1 with the sostenuto pedal and release it on beat 3 of measure 9. I've never used this pedal before and don't know how. What do you think and how do you use it? If I used it, would I still use the sustaining pedal? I was using the una corde pedal for bars 1 - 7 releasing it on the 4th beat. I guess if I used the sostenuto pedal and the sustaining pedal that I won't also be using the una corde?

ZOE:  Do record another video when you attempt the poly again. I was thinking that if you still have problems with it, I will record another video for you using the metronome because like DT said, your left hand slowed down noticeably when the polys began.

EVERYONE:  Happy to announce that I purchased a 5 ft Yamaha baby grand today!!  SO excited! Zoe asked me a million questions about it so I'll try and answer some of them here. There's only one Yamaha dealer in town and another Kawai dealer. Both carry other brands as well. So I visited both. They were conveniently located across the street from each other. All the pianos I tested were 4 ft 11 in or 5 ft. I tested Cable Nelson (made by Yamaha), Yamaha, Kawai, Steinway (a 1979 model). The salesmen gave me tons of info about the brands, too much info actually, because I felt dazed. I debated between the Kawai and the Yamaha and finally decided on the Yamaha (after about 3 hours of shopping, can you believe it took so long?!?  ) because of the heavier, more responsive touch, richer tone, brand (this will be the third Yamaha I've owned) and price ($1000 cheaper than Kawai!). So they'll deliver Monday. I'll be busy this weekend trying to figure out where to put it and what pieces of furniture to move. The piano movers will move larger pieces. So I need to learn to play at least one full piece now!!  I'm sooooooooo excited! Won't be able to sleep tonight!  

[candlelightpiano]

STARSTRUCK: I absolutely LOVED it!!  You played the piece with so much feeling, the spirit of consoling permeated the entire piece. Your birdsong was so delicate, light and free. Such tenderness! I was moved. This piece does that to me when it's played as beautifully as you did. I will aspire to play this piece like you do but it will take a long while!     Thank you!!

[zoecalgary]

Choo congratulations on the new piano!! You so deserve a nice instrument! Correction - an awesome instrument for an awesome person! I can't wait to hear you play on it! Yahoo for you!

[candlelightpiano]

Thanks, Zoe. It's not here yet but I can't think of anything else. Will be hard to practice tonight what with thinking about where to move the furniture to make room for it! But I MUST practice! I'll be so embarrassed to own a baby grand and not be able to play ONE single piece!   Did I answer all your questions? I can't remember. If not, ask away ....Oh, you said I made a decision really quickly! Yeah, I'm that kind of person. I make quick, spur of the moment decisions or I don't decide at all. Like the FI project and Consolation. I didn't think about them much at all or I would not have done them at all.

[zoecalgary]

Starstruck - that was so beautiful!! Wow! I love this piece more and more every time I hear somebody playing it! Your rendition was truly amazing. So touching and so lovingly played. I have been so inspired by all of these recordings.

 I'm becoming so addicted to this piece it is almost scary. And my favorite renditions are quickly becoming those of the fine Members of PStreet.

Wow!

[zoecalgary]

Choo - don't you worry the piano will call out to you every day (like it already does!) and you will soon have tons in your repertoire!

[candlelightpiano]

I'm becoming so addicted to this piece it is almost scary. And my favorite renditions are quickly becoming those of the fine Members of PStreet.
Wow!

EXACTLY how I feel, Zoe!  Pianostreet is MAGIC! I feel like I've been bewitched! I'm totally addicted to Consolation. It stirs my soul.

[zoecalgary]

So at my sons lesson today I showed the Teacher the Music for this Piece. I asked her what level she thought it was At And she said 8-9 RCM. I told her I have become haunted by it and working on the first Page. That's what I've been doing since i was sick! Ok she says bring it on Monday. Oh! I'm surprised! Yes! Maybe if I can get through the first page properly before Monday she won't put it entirely on the Shelf For Later. (not That I Could stop if I wanted to Anyway!) But I'd have more help which I so much need!

AJ and Choo - I used the Metronome on my DP and that Helped lots. What in the world was I doing before? Super stretched everything! I'll have to use the Record function to listen Back to see If I got This right.

When I just do that Section I think I got it.butNot Sure It's Holding together Through the entire Measure.

(sorry for the funny capitals I'm typing on my phone and I'm too lazy to correct)

[candlelightpiano]

That's great, Zoe!  It would be so nice if your teacher would help you with this piece since you like it so much. If you use the metronome, I think you'll get it. I tried it at a tempo of 45 beats and it worked pretty well. 40 was too slow. So play the RH with the metronome, then the LH. Play it thru several times till you get a feel for how it should sound. Then put it hands together maybe without metronome first, then with, and record it to listen to yourself. If you can count (3 and 4 and) in the RH and ( 123 123) in the LH with the LH going continuously, you've got it.  Why don't you video it for us? And just work on that one measure. Don't worry about the others. When you get one right, the others will follow.

Gr 8 - 9 RCM!!  Wow!  When Paul Barton mentioned it as an intermediary piece, I thought Gr 5 - 6. It's quite an advanced piece, then. So once you've got this piece, you'll be levels ahead! You're doing so well!

[zoecalgary]

Choo- well my brain is now officially spinning! Just when I think I got it, it falls to bits (sigh). I think what I was doing is rushing the RH and slowing down the LH. Strange! The metronome uncovered that. I also recorded just the LH and played RH only and realized what I was doing wrong even more so. I think I'll have to sleep in this tonight and let this sink in. I'll try to record it tomorrow. Probably one of the problems is having heard all the variations in how this can be played so now my mind hears something different that what I'm reading on the Page.

Wouldn't be surprised if she wants to shelf this after Monday but I will persevere! I think I get it tapping it out like Dt says. And I get it with just 2 notes I think and I get it with just that little part in measure 4. But then do it all together and well blah is a good word. Tomorrow I will be up for the challenge again.

[dire_tonic]

Starstruck – that was lovely!... played with so much sympathy for the mood of the piece (in an earlier post you say your playing is “ordinary” – what nonsense!).  The more I hear Consolation played well, the more it seems to me to free itself from any preconceptions – we can all lift something truly personal from it.

Thanks so much for sharing it!

[dire_tonic]

Choo, congratulations on your new piano, you must be exhausted with anticipation by now!  This will be a wonderful stimulus for you to intensify your efforts  - there’s nothing quite as stirring as hearing a wonderful sound returning from your fingers – except maybe a roaring admiring crowd at a major venue!  (give it time, give it time!!).
Regarding the sostenuto; I’ve only ever encountered one on the few occasions I’ve been lucky enough to play a grand (do you detect the green of my envy? ).  I think if your muscle memory begins to habituate to the sostenuto this could be a problem if you were asked to give a recital somewhere on a piano which lacked it?  So for me, I would prefer to manage with the basic 2 pedals until the sostenuto is more common.  Maybe in your neck of the woods, it is common?


Zoe, I can imagine you’re having difficulty with the 3-2 in the context of Consolation.  If the basic 3-2 weren’t intrinsically difficult enough for a beginner, you also have to contend with that repeating LH arpeggio shape which is itself like a 2 note cycle in a 3 note rhythm which just compounds the problem.  But I'm pleased you’re so determined.  I hope your teacher doesn’t discourage you from sticking with it.

As to your exercises with it; keep up the RH performance playing along with your own recorded LH. That will get you used to the sound of the finished effect.  Do the tapping wherever and whenever possible!!!  I’ve just been watching a biopic about Jacqueline du Pre and her sister.  We get a shot of her (J) being bored somewhere or other and she’s using her forearm as a cello fingerboard working through various musical ideas. With your arms hanging loose by your side, you can be tapping each leg with a flat hand 3 against 2.

The goal of the 3-2 exercise (maybe I already mentioned this) is to aim to do it without counting. To grasp the idea as a single entity while being able to perceive its components.  By all means start off by counting and then, if poss, stop the counting and let your auto-pilot continue.  Don’t worry if it falls apart – just start again. If you’re managing without counting and you’re using two different sounds, try and perceive the sound of each component individually. Focus on the evenness of the 2 even while the 3 is tapping away.  Also, try and speed it up, gradually at first.   You’ve said you’ll persevere – that’s good.

[candlelightpiano]

ZOE: I look forward to your recording so we can hear if you got it. You probably have got it without even knowing it. Playing hands separately helps you hear how the two hands should sound like before putting them together. I'll record it for you with metronome if you like but I don't want to confuse you further. I tried it last night and thought about recording it for you, then decided you'd had enough to think about and work on.But if you'd like, let me know and I'll record with metronome.

DT: I will NEVER perform in a recital!  My only life audience is my cat, my husband, any neighbors walking past our house or swearing that I'm being too noisy, the birds and bees in the backyard and you guys watching on YouTube. I'll stick with the sustain pedal then. The sostenuto sounds too confusing for me.

STARSTRUCK:  You've become my second favorite Consoler!  I know Yi Jong breaks every rule in the score and I don't know why I love his performance so much. Maybe it's his hat! Perhaps you should wear a hat, too!!     

[starstruck5]

Thanks to DT and Zoe -really appreciate you taking the time to listen and respond so kindly -and wow Choo -I didn't expect such high praise!  I am in a bit of shock to be honest! 

I do wear a hat as well sometimes -albeit a baseball cap -not the stylish one Li wears -but he is younger and better looking than me -I would just scare everyone if I posted myself playing full profile -

If you can create a music room like the one Li plays in as well -you will be the envy of piano street! lol  I definitely want to hear more from him in future years -

Look forward to seeing your next video -you are making awesome progress -

 

[candlelightpiano]

Thanks, Starstruck!  I absolutely loved your performance. To be honest, I like it better than Yi Jong's but alas, you don't wear that cool hat!  (isn't it terrible that I place such importance on little things like that!) But your piece moved me and touched me like no other, not even Yi Jong's. I hope to be able to play with such tenderness when I complete this piece.  So I really should rephrase myself and say that you and Yi Jong ARE my favorite Consolers!

I wish I could create Yi Jong's music room in our present home but it's not to be. We have such a cluttered house!  BUT in our next home, the baby grand will have a spacious room of his (I think of my baby as a he) own. If I feel comfortable with my memory, I'll record a video today or tomorrow. I guess even if I mess up, it's okay. I must emulate Birba's example when he posts practice videos. But I'll try tonight.

How's your Zoom cam coming along? How did you record this mp3? Do you have an mp3 converter? Would love to watch you playing Consolation on YouTube.

[starstruck5]

  Really flattered Choo -Thanks so much. I didn't expect that!

I recorded the Liszt to the Internal Song Recorder and then converted it to MP3 -but I think you can record directly to the USB drive -It is amazing to hear your playing back through the piano speakers -

The ZoomCam is great, but I am finding the positioning difficult -the sound isn't perfect at all -and I need to find the best settings. I'll make video recording the Consolation my next big project -Now my arms are much better, I also want to get back into the Appassionata Project. I want to explore the thematic structures, talk about my feelings regarding musical understanding, and how important it is in performance etc -but whether anyone would understand my Welsh accent is another thing -

[zoecalgary]

Starstruck - Don't be shocked with all the high praises. I really loved your Consolation as well! If I could play this piece like that I would be in heaven! I would love to see a video recording of you playing this as well.

You should stand now and take a bow! Really! I mean it!