Rachmaninoff Prelude op. 32 no. 10 in B minor

[chicoscalco]

I'm having difficulty "perfecting" this prelude's heavy chordal section. So I wanted to ask you guys, how do you practice heavy chords? Finger, wrist, arm, shoulder movement? We all know it is an ensemble of all of this, but what do you give more emphasis when practicing, in order to produce a strong and forte tone, without being harsh?

[onwan]

My teacher always care about not doing extra movement. To play in the keys and to not lift the hand up, if it is not necessary. To really feel the key under your fingers before you play the chord and to feel the bottom (deep of the key). And of course to have relaxed shoulders and elbows.

And if you want to play some really forte chord, it's important to not play it hard (only your wrist) but whole your body! If you want to play smooth forte, sometimes even imagination can help (like you are sinking it to something smooth and soft...and let the sound resonate and fly in the air).

[rachmaninoff_forever]

My teacher always care about not doing extra movement. To play in the keys and to not lift the hand up, if it is not necessary. To really feel the key under your fingers before you play the chord and to feel the bottom (deep of the key). And of course to have relaxed shoulders and elbows.

And if you want to play some really forte chord, it's important to not play it hard (only your wrist) but whole your body! If you want to play smooth forte, sometimes even imagination can help (like you are sinking it to something smooth and soft...and let the sound resonate and fly in the air).

You stole the words from my mouth.

[chicoscalco]

You stole the words from my mouth.

So, if I understood correctly, you guys are against the high articulation of the finger? 
My whole technique is based on articulation, counter-movement...

[onwan]

So, if I understood correctly, you guys are against the high articulation of the finger? 
My whole technique is based on articulation, counter-movement...

I'm against playing the tones from high (have the finger 2 centimeters above the keyboard-so to play the tone you need not only to move the finger 1 cm down, which is the depth of the key, but also this 2 cm above the keyboard). This kind of playing is much more uncomfortable, unnecessary and produce hard "deaf" tone.

On the other side you can put the finger on the keyboard and at the moment of playing, you just push the key without overcoming "the air space". After you've played the chord, you need to lift the finger up and there you have more options how high you should lift the finger...I think that as much as you lift the finger above the keyboard, the tone is more resonant and more melodious. (but even the high lifting is not possible every time, so don't try to lift your finger after playing the chodr higher than your comfort zone).

In the practice it means that if you want to play soft, forte tone the right way: put your hand on keyboard, prepare all your fingers on the right keys and than in just one hundredth of second you push the keys down and lift your hand up in space...

Hope, it will help. (Also hope that you'll understand me because of my english) 

[cagal]

How are you making out on the cadenza?  That is what is killing me 

[chicoscalco]

How are you making out on the cadenza?  That is what is killing me  

I didn't find the cadenza very difficult. But I think that I had a easy time on it because I got a really good fingering to work with. Other than that just practice really slowly with a lot of articulation, then add rhythms... you know the drill