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Topic: Specific problem with hand independence  (Read 3043 times)

Offline matheus396

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Specific problem with hand independence
on: December 16, 2015, 09:00:11 PM
 I have been playing piano for 6 months now, and in my opinion, i developed a good hand indepence, I can play some hard passages just slowing it down a bit and practicing till i make it perfect. But I have a problem when we talk about one key playing fast in one hand, like in the left hand in most part of this song

 


 My left hand just start to play in the same rhythm as the right hand, there's a especific hand exercise for this kind of problem ? or I just got to practice more ?

Offline outin

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Re: Specific problem with hand independence
Reply #1 on: December 17, 2015, 04:30:49 AM
I have been playing piano for 6 months now,
...
 My left hand just start to play in the same rhythm as the right hand, there's a especific hand exercise for this kind of problem ? or I just got to practice more ?
Both. Specific exercises and different practice methods will help in solving problems, but time and experience on the piano are sometimes essential as well. After 6 years you will wonder why you ever had to ask this question  ;)

Offline indianajo

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Re: Specific problem with hand independence
Reply #2 on: December 18, 2015, 11:35:03 AM
Schmitt exercises, one hand alone.  Ten minutes a day the first year.  one set legato, another staccato.  These develop strength and control of the little used fingers 3,4,5.  Also they get the subordinate hand to work as well as the dominant one.  Rhythm should be even, loudness should be even.  You should be able to memorize the ones you're working on by the end of the week.  Speed should increase, but never go so fast as to make mistakes. You may give more practice time to the subordinate hand.  
These can be downloaded from pianostreet, or I used the Schirmer edition still available for sale.  
After a year of that, my  teacher assigned me Edna Mae Berman exercises, one a week.  
To quote Pink Floyd, How can you have any pudding if you don't eat your beets?

Offline krzyzowski

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Re: Specific problem with hand independence
Reply #3 on: December 18, 2015, 04:00:47 PM
Your playing is excellent so rhythm must be your concern.
Real hand separation is very difficult to achieve especially for classically trained players
Left and right are linked in the brain.
Improvisors strive for this skill, to use the left as a baseline LEAD (not accomp),
Most if not all technical exercises end up linking the hands anyway.
2/1, 3/2, 5/4 exercises soon co-ordinate. No independence there.
It has been said that the brain cannot think two separate thoughts simultaneously.
But it can switch back and forth slowly at first, then it will be like walking and chewing gum.
At first the left lead will block the right, it might even drop out.
Then, one will be eventually be able to hear and play separate lines and hear them.
If one hand can confuse the other, then you're not there yet.
True rhythm is not easily mastered, but the journey will greatly improve a piano player..

Offline dcstudio

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Re: Specific problem with hand independence
Reply #4 on: December 18, 2015, 04:09:16 PM
.  
To quote Pink Floyd, How can you have any pudding if you don't eat your beets?

OFF TOPIC

KIDS! Yes KIDS! DARN! to hell with it!

when we grew up and went to school
 there were certain teachers
who would hurt the children in any way they could
by pouring their derision upon anything we did
exposing every weakness
however carefully hidden by the KID


yeah... the band is just fantastic, that is really what I think...oh by the way, which one's Pink?


I am serious about the Floyd. ;D



Offline mjames

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Re: Specific problem with hand independence
Reply #5 on: December 18, 2015, 04:15:45 PM
masturbate with both hands

Offline themeandvariation

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Re: Specific problem with hand independence
Reply #6 on: December 18, 2015, 04:21:50 PM
Krzy says
"Left and right are linked in the brain.
Improvisors strive for this skill, to use the left as a baseline LEAD (not accomp),"

It is even more difficult to achieve this on the guitar.. Though some have ventured:


i suppose this isn't quite apropos, as it is his RH playing lead… But still this does show hand independence…Plus it is fun  ;D

Bach helps, as others have said… Also, try singing the line that you want to bring out.  Then try to sing it as you play that part.  Then try playing the part, and see if your ear can pull out the specific line… If you can hear it, then 'lean' into (pressure) that line.. and keep trying!
4'33"

Offline dcstudio

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Re: Specific problem with hand independence
Reply #7 on: December 18, 2015, 05:42:07 PM
.
Improvisors strive for this skill, to use the left as a baseline LEAD (not accomp),"


that was far and away the most difficult skill to acquire ... wow did I struggle with that.  It is soooo foreign to anything your left hand has ever played in the entire classical piano repertoire..   that took years.   I could play stride and improvise before I could walk a bass with my left hand and solo with my right.   :)  Then to do it at 260-300 bpm---bebop will kill you. lol.

Offline indianajo

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Re: Specific problem with hand independence
Reply #8 on: December 18, 2015, 05:54:07 PM
Real hand separation is very difficult to achieve especially for classically trained players
Left and right are linked in the brain.

Most if not all technical exercises end up linking the hands anyway.
2/1, 3/2, 5/4 exercises soon co-ordinate. No independence there.

Pah! I started on hand independence age 8 with the Schmitt exercises.  I was so left handed my right hand was withering away, and the injury to finger 3 RH didn't help the situation any. Anytime I used finger 3, I "helped" it with finger 4.  I was given piano lessons as a sort of cheap physical therapy, assigned by my 3rd grade teacher to my Mother.
The schmitt exercises are so rudimentary, I would spend the end of the week doing them while reading a novel clipped to the music rack. Hows that for training the inner brain?  The cortex is off in outer space with Lucky Starrr, the hands are knocking out exercise 46 with the part of the brain one usually doesn't use.  Once you get used to setting the inner brain going and forgetting about it (it is called memorization by some people) then setting both hands going at once is no trick at all.
And in my 60th year I added left and right feet to the independent hands.  I bought a 25 pedal  new to me Hammond organ in 2010.   1000 repetitions 8 measures of Passacaglia & Fugue in Cmin feet alone, not looking towards the end of the year. At the End of the year I was playing three lines at once without thinking about anything buy how to register it (voiceing, arranging, what sound to use). 

Offline matheus396

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Re: Specific problem with hand independence
Reply #9 on: December 18, 2015, 09:44:44 PM
Thanks for the answers, i'll check all these exercises, and btw, is not me playing on that video.

Offline xdjuicebox

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Re: Specific problem with hand independence
Reply #10 on: December 27, 2015, 09:07:36 AM
Play a TON of Bach. And don't leave your fingers in one place and move your other ones somewhere else if they don't need to be there; that's a great way to get injured. Move your entire hand as much as you can to put your fingers in the most comfortable position for each note.
I am trying to become Franz Liszt. Trying. And failing.

Offline brianvds

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Re: Specific problem with hand independence
Reply #11 on: December 27, 2015, 11:58:15 AM
Play a TON of Bach. And don't leave your fingers in one place and move your other ones somewhere else if they don't need to be there; that's a great way to get injured. Move your entire hand as much as you can to put your fingers in the most comfortable position for each note.

I saw a documentary yesterday about Bach. In it, they had an interview with Andras Schiff, in which he said he seldom bothers with finger exercises - he just plays Bach. It works just as well and isn't boring.
For more information about this topic, click search below!

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A Life with Beethoven – Moritz Winkelmann

What does it take to get a true grip on Beethoven? A winner of the Beethoven Competition in Bonn, pianist Moritz Winkelmann has built a formidable reputation for his Beethoven interpretations, shaped by a lifetime of immersion in the works and instruction from the legendary Leon Fleisher. Eric Schoones from the German/Dutch magazine PIANIST had a conversation with him. Read more
 

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