git gud is the one and only answer
I have started learning this piece and within the same hour pretty much had the first chromatic section with the right hand memorized and I played through it slowly. It has been a few days and I am faster at it and can often play this part without looking at a faster but still slow speed compared to the original tempo. My question is how would I get faster at this piece, this goes for the whole piece, not just this section that I've learned. I play through it slower and faster with some rhythmical variations, accents ect. But I'm not sure how I'm going to get it at great speeds, does it literally take what I'm already doing with it but just over and over again and in time my finger strength will increase and it will become more easy while becoming faster? If anyone can play this piece in any way at fair tempo, how did you do it and what do you think it takes?
I wrote this in another thread on concerning the arpeggiated sections:Follow the voice-leading. The A connects to the Bb. So the real issue is that 5-1 connection. The E and G are captured inside the movement from A to Bb. E-G-Bb forms a diminished triad, which allows you the freedom to not have strict legato or connection; however, the step motions from A->Bb ascending or A->G descending (or Bb->A->G) are what you need to focus on. You can do a similar analysis on all the other phrases with the same arpeggiated configuration, and you will see that you are doing to be doing basically the same gestural motion on all of them. You will find the most efficient motions studying the long-line voice leading. Connecting every little note bit by bit is entirely the wrong approach. If you want to see, hear, and feel the underlying rhythm and musical idea for the arpeggiated sections ignore the middle two quarter note beats for the right hand. There's a very clever way to connect the first and last bits of those bars, while the left hand completes the middle. A similar approach can be found in other Chopin etudes where you have ascending and descending motion/figures.
As of today, I am up to the end of the first arpeggio section, but I have been slacking on moving forward. I've spent more time practicing the chromatic section then I have with learning the piece. I'm trying to develop the ability to actually play the notes properly at the right tempos, I naturally am able to connect and shape the pieces since I'm a very emotional and intuitive person. I can feel without having to think or try when to push, pull, connect and all that stuff. I just wanted some tips technically with this piece. For example, I'm insecure about how to get from point A (only being able to play it at slower tempos with) to point B (being able to play it at higher tempo, articulated, with ease.Is just practicing slow to fast, different rhythms and accents on say, the chromatic section, arpeggio section ect. Every day eventually going to lead to be able to play it to tempo? Or am I wasting my time. Kind of odd since I've done this before with other pieces, from nothing to being able to play them, but still, I'm insecure, think it wont work and need some encouraging to push ahead. So please if anyone can answer this particular question then thanks.
Go away, troll
Trying playing the chromatics just on octaves until you can get a continuous smooth line. If you can't get the basic arm stroke at a fairy decent tempo, it will be hard when you add in the rest of the notes. After you get that down, instead of octaves, play the intervals between the chromatic and diatonic note until you can get a continuous line. The octave work is important to increase the basic arm speed. Godowsky recommended this exercise for practicing his transcription of Op 10 No 2 where the left hand is playing the entire etude by itself and its 3/4/5 have the chromatics. It's the quickest way to get the left hand nearly caught up to the right in terms of arm dexterity.
Everyone is different, but for me when I look at winter wind I think about how much information my mind has to process. In my universe it's mind over matter. But that one and the g sharp minor are exceptionally demanding. I learned that blizzard of a piece Chopin's f sharp minor prelude in a week flat (learning means completely committed to memory), took a few more days for complete fluency. Several days the beast injured my hand. Chopin's piano writing has something unique in its hand movements and reaching. So, just don't over do it, I've never had hand injuries, this is a first. Thanks Chopin.
One of the first things I did by my own accord was break the chromatic section into intervals, it's pretty smooth. How could I break it into octaves if it isn't in octaves? Or do you mean playing the chromatic notes as octaves? Thanks for all the help by the way
Topic: Practicing Chopin's Winter Wind Etude 