Prelude in C Minor- Chopin (Video)

[bharatbash]

Greetings, all!

I had earlier uploaded this prelude here and after all the valuable suggestions, i have managed to re-record this again(a better attempt). I am self taught and thus seeking tips to improve my craft.

please spare a minute out, and have a look:

Suggestions/Comments/Thoughts are welcome.

Thanks!

[seb1982]

Hi!

Really good effort - well done! 

The main things I'd say are (and as ever, this is only my opinion!):

1.  The top melodic line could do with being smoother - at the moment, you're sort of taking your hands completely off the keyboard between each chord.  If you could try and slur the top notes of the chords together, it would be more musically pleasing.  It's not always possible to do, due to repeated fifth fingers, but you can have as much of a go as you can, and you shouldn't take your hands off the keyboard completely between each chord - it breaks it up too much.  (Incidentally, there's a bit of suggested fingering here if you download the public domain pdf file - this prelude is Number 20) https://www.lisztonian.com/titles/Prelude+in+C+Minor+Op+28+No+20-48.html

2. The dynamics could do with a bit of attention.  If you look at the link to the score above, you'll see that Chopin marked the first line fortissimo - pretty much what you're doing, maybe even a touch more (but not bangy!), and even with a crescendo in the last two bars of the line.  BUT, then in the second line, the volume doesn't just drop a bit, it drops RIGHT DOWN to piano.  The contrast is important.  And then, the third line is even more delicate with a pianissimo marking, and a crescendo back to the final cadence.  Have a play with these markings and see what works for you.

But, these are only minor polishing things - they certainly shouldn't detract in the slightest from a job very well done on your part 

[bharatbash]

Thanks for your time and thoughts!

I can understand what you are trying to say, and I'd surely work on it.

Regarding the fingering, since i am self taught, i dont really follow norms, i think the most comfortable fingering is the best(isnt it)?

And thanks again for these valuable suggestions.

[rachfan]

Hi, bharatbash,

I believe that you've made some good progress with this piece, especially where you're teaching yourself.

Most short works are what we call character pieces.  So before practicing one, you need to give some thought to the character. Oftentimes a composer will give you a specific title which makes the content of the music obvious.  The word prelude here is more vague.  So you need to figure out what it's all about.  As you play it, it sounds funereal.  And indeed it is!  Another composer might have titled it Elegy. Prelude is a more ambiguous title, so whenever you encounter any prelude, you must give thought to the character.

Notice that there are three lines of music consisting of only 13 measures in total.  Also notice how the dynamic level decreases at the start of each of the second and third sections--ff to p and to pp. If this is a 19th century funeral, then the pianist needs to develop the imagery and to play it to put the scene across to the audience.  Think of yourself as being in the 19th century, and just exiting a church funeral service.  The funeral procession has assembled itself in the street.  You're standing on the walkway there.  There hearse is at the head of the line followed by an open carriage loaded with flowers for the internment, and then there are other carriages following, carrying family and close friends.  Behind the last of the carriages are people on foot.

Once the procession starts, as you stand on the walkway, it's noisy. There is wailing, the iron rims on the carriage wheels and horses' iron shoes are clattering on the cobblestone street.  And people at the rear are talking all at once.  So this dynamic is ff.  

By the time you are entering line 2, the procession is no longer passing directly in front of you.  It has traveled for a considerable distance down the way, but you can still hear it from where you stand, but certainly it's more quiet to your ears, so the dynamic here is p.  

There is a curve in the road that the carriages take once you enter line 3.  It's difficult to still hear the procession which at line 3 is dynamic pp.  And once it all but disappears around the curve, you're at the coda measure at the end of the piece which is the final sound you can barely hear.  It is a chord written in whole notes that not only counts for four beats, but in both hands there is a fermata over the tops of the chords requiring you to hold them even longer.  Be sure to do that--it's the last fading sound of the procession.  Right now you are taking the liberty of playing two chords separately. That's not what the score says. We have to be true to the score as part of honoring the composer.  

Notice the crescendo in measure 11.  It's most effective to consider that cresc. as non troppo, meaning not too much. There is also a ritardando (rit.) starting in measure 11.  When combined with the cresc., it creates a broadening effect.  We call that allargando.  They could be played at p or mp at most given the narrative above.  Some people play it ff, but it would be difficult to justify la loud blast like that out of the blue.  

Always make sure you're reading for accuracy.  In measure 6 you play the left hand octave on the fourth beat as Gs.  They are actually Fs.  Same for measure 10.

A few general observations:

Be sure to hold notes for their full written values. Notice the legato phrase marks over the treble part.  Hold notes for full value help to maintain the legato which means connecting the chords in a smooth graceful manner.

Think of sequential chord passages in the treble staff not in a vertical sense, but rather in a horizontal sense.  What needs to be heard in those chords is the singing melody embedded in the top note of each chord.  In this case you must bring that melody out with the 5th finger. (We refer to that as independence of the fingers.)  We call that "voicing" the the melodic line.  The left hand is different.  Here it's mostly concerned with harmonic changes, not the melody. Notice,however, in measures 5, 6, 9 and 10 in the bass staff there are descending octaves which form scales. Scales in accompaniment often need a bit of emphasis.  No need to bash them, but just be sure the scales are heard.

Layering the sound in this and other pieces is crucial. Melody is always in the forefront, while accompaniment is always in the background.  There are exceptions. For example in some pieces the bass may take on the melody for a short time, or the right hand might be holding rests or holding a chord allowing the left hand to be more prominent for a moment as the more important point of interest.  These are just a couple of examples.

I notice that every time you play a bass chord or octave that your wrist pops up.  Know that once the hammer strikes its string, there is no way to further modify the tone aside from catching it in the pedal.  So the wrist motion serves no purpose.  Always think of economy of motion for the entire playing apparatus.  If a gesture of the arm, wrist or hand does not really contribute anything to the playing, it is a wasted motion to be avoided.

The best pedaling for these chords is syncopated pedaling--play the chord first, the catch it in the pedal before the fingers release it.  So play first, then pedal.

I hope some of this will be helpful.

P.S. I chuckled looking back at the length, but there's a lot to learn about interpretation and pianism.

David  

[bharatbash]

Thanks David for such a detailed and proper explanation.I agree with you on the fact that every piece is actually a 'Thought' first, music second.

I'd like to mention few things which you were concerned in my  playing,
Firstly, Since i am self taught, I am still learning how to handle the intricacies of playing piano.
Secondly, I think you were absolutely correct on the 'wrist' part, I myself notice that, but that is more of a sub-conscious arm gesture, rather.

Also, I understand what you mean by 'Voicing the top note'... Again, for self taughts, it needs time to develop that.

All in All, I'd like to thank you again for such a clear and thoughtful explanation. It really helped!

P.S.- I noticed your username says 'rachfan'...Well, I have also recorded Rachmaninoff's prelude in C sharp minor. It'd be great if you could spare a minute out and have a look at it. Be my guiding light, again!

Thanks