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Topic: Building up technique  (Read 1748 times)

Offline chopinator1

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Building up technique
on: April 24, 2015, 11:19:47 PM
I want to begin one of Chopin's major works soon (ballade, scherzo, the other miscellaneous ones), but before I do I want to improve my technical proficiency. What etudes would you guys recommend for building up my technique specific to the challenges presented in these works.

Thanks

Offline j_menz

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Re: Building up technique
Reply #1 on: April 25, 2015, 12:27:59 AM
Chopin's own.
"What the world needs is more geniuses with humility. There are so few of us left" -- Oscar Levant

Offline alistaircrane4

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Re: Building up technique
Reply #2 on: April 25, 2015, 12:37:07 AM
Op.10 No.1
Op.10 No.3
Op.10 No.10
Op.10 No.12
Op.25 No.1
Op.25 No.6
Op.25 No.9
Op.25 No.12

All of these etudes represent different technical and interpretive aspects that are present in the larger works of Chopin's which you have mentioned. I would suggest these or at least parts of them.

Offline chopinator1

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Re: Building up technique
Reply #3 on: April 25, 2015, 03:03:33 AM
If I am choosing between Chopin's 2nd Ballade and his Barcarolle what specific etudes should I be looking at doing right away.

Offline j_menz

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Re: Building up technique
Reply #4 on: April 25, 2015, 03:10:39 AM
The ones that cover the bits you aren't good at.
"What the world needs is more geniuses with humility. There are so few of us left" -- Oscar Levant

Offline chopinator1

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Re: Building up technique
Reply #5 on: April 25, 2015, 03:16:54 AM
Is op 10.7 a good one to build up proficiency of double notes for the coda of the 2nd Ballade? And should I be looking at thirds and sixths for the Barcarolle?

Offline j_menz

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Re: Building up technique
Reply #6 on: April 25, 2015, 03:38:02 AM
Get the score for each. Look through it. Look through it while listening to a performance of it. Sit at the piano and dabble your way through it.

For each piece you will be able to identify sections which:

a) look perfectly manageable. You know how to do them.

b) look like a pain. You've done something like them before, but aren't comfortable. You know how to go about learning them.

c) Use a technique you've never done before. You aren't sure what's involved.

When you've done that, look through the etudes and see what ones deal with anything (c) - you should do them. Any that deal with (b) you may do, or you could simply learn them in the piece. Up to you.  Anything (a) is probably a waste of your time at this point - though you may find them beneficial generally.

Yes, I know I haven't answered the question you asked. I answered the one you should have.
"What the world needs is more geniuses with humility. There are so few of us left" -- Oscar Levant

Offline chopinator1

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Re: Building up technique
Reply #7 on: April 25, 2015, 03:46:00 AM
Thank you so much. I figure I might just work them out as I go along. DO you guys have any preferences between Chopin's 2nd Ballade and his Barcarolle?

Offline chopinlover01

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Re: Building up technique
Reply #8 on: April 25, 2015, 06:13:59 AM
I prefer the Ballade, personally, but they're both great pieces of piano literature.
As J said, work on the Chopin etudes that involve techniques you aren't good at. 25/4 might be another one if you aren't used to big leaps that sometimes come up in the coda of the second ballade. I don't think they're as large as the ones in the Etude, but it's a great basis for that particular technique.

Offline visitor

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Re: Building up technique
Reply #9 on: April 25, 2015, 11:49:23 AM
Learn this.  All of it.

Offline chopinator1

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Re: Building up technique
Reply #10 on: April 25, 2015, 08:13:41 PM
i have already learned many of the preludes and I love them. Are there any other studies besides chopin's that i should be looking at? And how much harder is Scherzo 4 and the grande polonaise brillante than the other 2 I have mentioned?
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The piano, a sleek monument of polished wood and ivory keys, holds a curious, often paradoxical, position in music history, especially for women. While offering a crucial outlet for female expression in societies where opportunities were often limited, it also became a stage for complex gender dynamics, sometimes subtle, sometimes stark. From drawing-room whispers in the 19th century to the thunderous applause of today’s concert halls, the story of women and the piano is a narrative woven with threads of remarkable progress and stubbornly persistent challenges. Read more
 

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