How did you master Chopin Polonaise Op.44 bars 83-126?

[richard w]

I'm referring to the unison bit with the demisemiquavers. Getting the hands together is the objective. I have my own strategies, starting with separate practice, making sure my left hand plays as well as the right. Then I can practise the jumps to the demisemiquaver groups by repeating at varied octaves up and down the keyboard, and in contrary motion (ie, LH jumps down whilst RH jumps up). I surmise that getting an 'artificial' row of those demisemiquaver groups together is quite easy, but in the context of the piece, jumping off those octaves and rattling off the groups accurately is more of a challenge.

Anyway, I have my own ideas, but I'd be interested to see if anyone else has other good strategies.


Thanks for any help.



Richard.

[lostinidlewonder]

Urg it doesnt go that many bars. i looked at the score here.
https://sheetmusicarchive.net/dlpage_new.cfm?composition_id=221

[SDL]

You lost me there - where are the demis in this piece?  You sure you got the right opus number?

[fowler]

I know what part you are on about, tricky yes, I always have problems jumping to another part of the keyboard and immediately playing with both hands a trill or fast set of notes. I came across a similar problem with the rach prelude in g minor, where you have to do a lot of jumping about the piano. I found it tough in both pieces because you need a reasonably strong set of left fingers to match with the right. I dont think about adopting different techniques and practices to pull off the parts like you do, I just keep playing the hands together untill they eventually play the notes correctly.

I think this piece is fantastic, its some of the most fun you can have on the piano in my opinion, I love the second section to bits with the double octaves descending and ascending to lead back to the theme again. I also think its quite challenging to master, which I never quite did due to the exact part you have posted, this part I think takes longest to get right, just keep practising.

[musik_man]

I learned this piece a couple months ago so I might be able to help, but I have no clue which section you're talking about.

Maybe you could explain it a bit more specifically (and not use the word quaver ^_^)

[SDL]

I dont know where you are on about in the piece but most places where you need to jump quickly requires an early movement towards your target and good keyboard sense without looking.  So "push" off early in the direction to where you are going to without having to look at the keyboard.

[richard w]

Oops, sorry guys! I think I might have got the opus number wrong. I meant to say Op.44. Actually, there is that bit in the middle of Op.40 No.1 which poses a similar kind of problem, but that is not what I meant. Hopefully my question will make a little more sense now.

Hmmm, I think my medication needs increasing - again.......



Richard.

[lostinidlewonder]

For the Lh I use 21235 all the time for the 3 tailed quavers. It is ridiculous to use the 3 to start it off IMO which editions write but I dont think so. And using the 4 in those groups to me makes the hand a little weaker, unless you are equally strong in all fingers. But for me i can even do both fingerings and i feel that 21235 is more solid for me at least. It maintains a contant touch without changing fingers.

The touch of these notes have to be very light, dont keep the fingers on the notes, they dont need to be since the pedal is held. If you do they sound too heavy, so very light touch, drop down onto the first note of the group and push off from the last all the time.

I'd practice first only the two notes in the jump. That is the quaver octaves to the first note of the 3 tailed quavers. This is all the movement practice there is. Do it about 20 times to get the sense of the distance needed.

But to develop and gain grounds for peformance level you of course you need the 3 tailed quaver group to be perfectly controlled and played with ease. So that when you practice the quaver octaves to the 3 tailed groups, the 3 tailed groups are played routinely with the distance jumped from the octaves. You cannot be stuck up on the physical excecution or you won't memorise and appreciate the flow completely.

[richard w]

I eventually came round to the idea of 21235, but depending on the group I also use 31235, 31245 and 42135 for the EGFCA group. But on your suggestion I'll experiment with using just 21235. I think I use 45321 consistently in the RH, but my left hand is the one that needs the work, I feel. Anyway, I'll keep persevering, but I don't think it is too far away - just that last bit of polish needed.

Thanks.



Richard.

[Pianostudy]

for the EGFCA group I use just 35421 in the right hand and 21245 in the left.  For this whole section practice crossing your hands and playing the right hand part with your left hand and left hand part with your right.  Then try crossing your hands over the other way and playing that way.  Just be sure the articulation is precise and you get every note cleanly.  Hope it helps.