VIDEO: Beethoven OP2 #3 Adagio.

[iancollett6]

Hi, Ive been working on this and I wanted to see what the general opinion of it is. Please feel free to  make comments on my technique. Thanks

   

[pianist1976]

Be careful on reading the score! You are missing the last part of the bar (by reducing the rests) converting the 2/4 measure into something closer to a 3/8. On bar 6 you have a reading mistake: the 5th note on the right hand is still e#. Technically, as long as you ask for advice, you have, among other issues, a twitch of raising the wrist apparently randomly and some weird movements such as twisting the thumb.

Do you have a teacher? You may need to learn the basis of hand/arm/body position.

[iancollett6]

Be careful on reading the score! You are missing the last part of the bar (by reducing the rests) converting the 2/4 measure into something closer to a 3/8. On bar 6 you have a reading mistake: the 5th note on the right hand is still e#. Technically, as long as you ask for advice, you have, among other issues, a twitch of raising the wrist apparently randomly and some weird movements such as twisting the thumb.

Do you have a teacher? You may need to learn the basis of hand/arm/body position.

 Well I appreciate the feedback, I was watching the video again and have noticed the raising of the wrist, thankyou for that. I dont wish to appear to be fishing for compliments, but are there any positives...?

[faulty_damper]

If you played it at twice the speed, do you think your apparatus would move the same way or would it be more efficient?  There's also unnecessary tension in how you depress the keys which make it more difficult to play smoothly.

What do you think your positives are?

[iancollett6]

If you played it at twice the speed, do you think your apparatus would move the same way or would it be more efficient?  There's also unnecessary tension in how you depress the keys which make it more difficult to play smoothly.

What do you think your positives are?

  So by my apparatus do you mean my arms hands and fingers? If so, Im not sure, this is the first time Ive recorded myself on video.
 Since posting this video Im not sure what my positives are!

[faulty_damper]

Yes, your playing apparatus is everything that must be in concert to depress the keys.
Learning to be self-critical is an incredibly important task of any aspiring artists.  You mustn't rely on the feedback of others for it, especially if you are from a culture that generally only allows stating positive things, either due to politeness or fear of reprisal.

If I were to say something positive, you got most of the notes right and in close to the correct time.  But this is already assumed to have occurred.

[iancollett6]

Yes, your playing apparatus is everything that must be in concert to depress the keys.
Learning to be self-critical is an incredibly important task of any aspiring artists.  You mustn't rely on the feedback of others for it, especially if you are from a culture that generally only allows stating positive things, either due to politeness or fear of reprisal.

If I were to say something positive, you got most of the notes right and in close to the correct time.  But this is already assumed to have occurred.

 I understand what you are saying about being able to take criticism. If I cant handle it , I shoudnt have posted it in the first place!
 As this was my first post I didnt really know what to expect. From only reading these replies it's difficult to tell the magnitude of the problems that you guys have pointed out. I automatically think in the extreme.
 I do appreciate your responses and Im taking on board what you are saying.
 If you could offer a remedy to my technical issues, what would it be?

[j_menz]

1) Get your piano tuned.

2) Mind the rests. Seriously. Count if necessary.

3) Ignore faulty.

4) There are some stray movements, but how serious they are depends on whether you also do them in faster passages, or even when the nerves or recording aren't an issue. Watch the video yourself and then try the bits that surprise you again, concentrating on the actual movements.

5) The bass line needs dynamics - it's not background noise just keeping time, make it really work.

Plenty of good ideas in what you've done already, but needs a spit shine.

[iancollett6]

1) Get your piano tuned.

2) Mind the rests. Seriously. Count if necessary.

3) Ignore faulty.

4) There are some stray movements, but how serious they are depends on whether you also do them in faster passages, or even when the nerves or recording aren't an issue. Watch the video yourself and then try the bits that surprise you again, concentrating on the actual movements.

5) The bass line needs dynamics - it's not background noise just keeping time, make it really work.

Plenty of good ideas in what you've done already, but needs a spit shine.

Thankyou for your input j_menz.

[iancollett6]

 I just ducked off to look at it again. When you say "mind the rests" are you talking about the the first 10 bars?

[j_menz]

I just ducked off to look at it again. When you say "mind the rests" are you talking about the the first 10 bars?

Well, it's good advice everywhere (and for some reason Beethoven seems to get lumbered with it being ignored more than most composers) but yes, particularly there.

[faulty_damper]

3) Ignore faulty.

*** you.

[j_menz]

*** you.

****, surely. Counting counts!

[faulty_damper]

I understand what you are saying about being able to take criticism. If I cant handle it , I shoudnt have posted it in the first place!
 As this was my first post I didnt really know what to expect. From only reading these replies it's difficult to tell the magnitude of the problems that you guys have pointed out. I automatically think in the extreme.
 I do appreciate your responses and Im taking on board what you are saying.
 If you could offer a remedy to my technical issues, what would it be?

If I were absolutely blunt (which I usually am unless I fear getting punched in the face, though this has never actually stopped me from saying what's on my mind) I'd say that it sounds like you're practicing, not making music.  There are a lot of issues that prevent it from being music.
1. phrasing isn't clear.
2. wrong notes, wrong tempo
3. poor dynamic control
4. lack of clear separation of the voices

The phrase is what contains a musical idea and it must be shaped to best express it.  This is exactly the same as speaking a sentence aloud.  There is a flow from one word to another.  Some word elide when spoken together but not individually. E.g. an + etude = a-NAY-tude.

In a piece with very clear texture, missing or playing a wrong note has a tremendous _____. Tremendous... what?  You're left hanging as to what was meant.  This is why note accuracy is incredibly important.

Related to the phase is dynamics, how loudly or softly you express an idea.  If you were angry, you could shout.  If you were excited, you could speak loudly. If you were being polite, you could speak softly.  Now, due to the texture of this piece, the alternating accompaniment is supposed to be softly played.  However, the loudness is very prominent, like someone tapping loudly on the table while he spoke that people had trouble hearing what he was saying.

This leads to the last part of separation of the voices.  The melody should be prominent throughout. The accompaniment should also be its own voice. And the bass should provide harmonic support.  Each one of these three voices must work in concert to convey musical meaning.  However, they must not be so separate that they sound like they are boarding different ships.  They must be on the same ship.

[iancollett6]

 I thankyou for taking so much time in pointing out my shortcomings.

  "This leads to the last part of separation of the voices.  The melody should be prominent throughout. The accompaniment should also be its own voice. And the bass should provide harmonic support.  Each one of these three voices must work in concert to convey musical meaning.  However, they must not be so separate that they sound like they are boarding different ships.  They must be on the same ship."

 Does this paragraph relate to the second part (from bar 10 onwards, where the hands cross over)?
 Since posting this video and getting advice from you guys, I have really looked into this piece, I can see what you are saying.
 
 The issue that was first bought up ( about the crazy wrist action ), I now can see is a combination of different things.

  I havent seen my teacher for nearly 2 months, our last lesson she was explaining that I need to play on my finger tips more as opposed to having flat fingers.
 
I was defiantly over-compensating. I dont believe this is some ingained habit, I feel confident that the next video I post, this will be sorted out.

 I guess all these points that you guys bring up is proof that playing the correct notes is only the tip of the iceberg!

 It took me along time to build up the courage to make a post in the audition room, I would like to say thanks to all of you for the way you have responded.

[faulty_damper]

  "This leads to the last part of separation of the voices.  The melody should be prominent throughout. The accompaniment should also be its own voice. And the bass should provide harmonic support.  Each one of these three voices must work in concert to convey musical meaning.  However, they must not be so separate that they sound like they are boarding different ships.  They must be on the same ship."

 Does this paragraph relate to the second part (from bar 10 onwards, where the hands cross over)?

Yes, after the introduction.  The introduction also needs to be clearly articulated.  It shouldn't be pedaled throughout because it doesn't make sense.  It's clearly marked staccato, though this is a long staccato, not a short one.

  I havent seen my teacher for nearly 2 months, our last lesson she was explaining that I need to play on my finger tips more as opposed to having flat fingers.

Since flat fingers cover more surface area, you don't have to be precise in finger placement.  This can lead to issues of precision.  It's always best to choose comfortable mechanics and not motions that allow you to hit the keys (with less accuracy.)  This guideline applies even to playing the sharps, e.g. Chopin Op.10-5.