Could you post the score? The first part doesn't sound exactly right -the second part I am not sure, unless I could see the notation. When you play 2 against three, you have to make sure that there is no jerkiness in the rhythm. You have to listen very carefully and make sure that each 2 notes are even in length -The second note of the triplet is like a trigger for the second note of the two -it's played a split second later -which you seem to be doing quite well -Even experienced pianists can have problems with polyrhythms! Not sure about the second part, where there is a definite uneveness in your rhythm -but this is how it may be written? It sounds quite good actually -like a modern rock groove!
Hi Littletune - Unfortunately I can't help you as I am just learning this myself for Consolation 3 (which is way above my level!). But I have become obsessed with these polyrhythms and I figure if I can learn this from that piece I will have come far for me. I was wondering if there was a specific exercise that I could do to get this better without actually worrying about the notes in that piece because right now they are distracting me.Dire-Tonic posted me a video in the Consolation 3 thread (pg. 4) that you may want to take a look at though. It's one where you can see his hands but he's not at a piano. It may help you check if you are doing the timing for this right. Could tell me the full name of this Etude and what book it is in? I think I'll have to learn this on a different piece. Thanks.P.S. I can see your posture in the reflection and it looks like you are curving your back and bringing your head forward. Maybe try to sit with your back straighter when you play.
Second bit seems OK. In the first bit, the triplets are not even and you are not emphasising the first note of the triplets, but rather the second.
The secret to polyrhythms is to be able to hear and play each part seperately (at the same time). If you try and do it mathematically, as you are now, you may get close, but it will never have the flow you are after.One way to develop this facility is to do some contrapuntal music. Bach's 2 and 3 part Inventions are excellent in this regard.
I'm sure you likely realise this, but perhaps reading it this way will help a little bit..I've tried to simplfy it as much as I could. The attached file shows 2 bars of 3/4 time that represent the first bar of your piece.I would suggest starting by counting aloud, and just practicing these bars until you can do it just about in your sleep, and reversing the roles of the right and left hands, since that is required for your piece also.
Hi Littletune - thanks for posting your music. I'm going to give it a try and see how it goes. I'm at the stage that I have to count it out 1+2+3+ but then it sounds kind of robotic. When I let one hand go on autopilot it sounds better. I'll see if I can try to record something and post it here later tonight.
Hi LittleTune, I just posted my recording of Part A of your Etude on the Consolation thread. I listened back to yours again just now and they sound very similar to me. I was thinking I was getting closer to getting this but I'll have to wait and see what the experts tell me. I feel more natural with the A part, 2RH over 3LH, but can hear real hesitation when I play 3RH over 2LH so I still need to work on that. Did you check out some of the tips I've been given over on the Consolation thread? You should as they will probably help you out. Good Luck.
Another way of looking at it - potential beginning exercises I've been thinking about and writing to go before the assignment of something such as the etude you are playing..See attached.. I'm not settled on it, i think i'll write something that sounds better soon - this just gives you a coordination exercise and an understanding of the rhythms against each other.
Excellent resource aj - wish there'd been somethng like that when I first faced these.
Topic: Am I doing this right? 3 against 2 etude 