Don't shoot!... but I need some Rach/Chang help

[Edwierdo]

Hello to all. This is my first post, and I must say that I am relieved to have found these forums! After having read the Chang book on Piano Practice, I wanted some more visual info on the fabled TO technique, and I stumbled upon this forum, which is more than what I was hoping to find. I am self-taught, with plenty of people I know who help me out (friend-teachers, and concert pianists), but wish to remain self-taught, since I cannot seem to find a good teacher while I am in the college environment.

I have come upon the Chang book, and have decided to take it for a spin with my past and current works. The relaxation parts seem to incorporate right away into old pieces if practiced with careful attention, and this makes life easier, and pieces sound musically.

However, I would like to know if anyone here used the methods in Chang's book to learn the infamous Rach Prelude in C#m, and how did they apply it, particularly to the Agitato section. I have noticeably kept speedy pieces out of my repertoire, but I decided it has been long enough, and with what seems to be a scientifically proven method of learning, my chances of going are rather slim (with the proper dedication, that is).

If anyone has any other suggestions as on how to practice the Agitato (and the third section, for that matter), I would greatly appreciate it. I know by some posts that this Prelude is rather hated (just like poor Rach ended) because of it's popularity, but I decided that it was the most accessible one at the moment from the Op.3, which has other beatiful pieces as well. I'm also quite excited that Mr. Chang himself is part of the forums! Thank you for bearing with me.

Ed

[i_m_robot]

you could try playing each triplet as chords

[Edwierdo]

you could try playing each triplet as chords

So, for the first triplet/chord would go: G#,C#,E ... and if i apply the continuity rule, I should play the D# as well, at least when "going down from infinite speed"? If this is correct, then it would be correct to assume to practice the next triplet/chord as: G, C#, D#... and when lowering the speed, include the Dnatural? I'm just not sure how this method works, and if it's this simple, then I am again a victim of my own complications  And so, when I get, lets say, the whole measure down, I should then practice it as a whole, at ridiculous speed until I get it well enough to slow down?

Thnx again,

Ed

[i_m_robot]

Also try playing the first note of the triplet then sluring the last two

then slur the first two and accenting the last note

very fast must the slur be

[Edwierdo]

Also try playing the first note of the triplet then sluring the last two

then slur the first two and accenting the last note

very fast must the slur be

Even if i should, in the end, emphazise the first note of the triplet? wouldn't this cause a "Bad habit" of some sort?

[CC]

As the above posts show, there are many ways to break it up into PSs. It is usually beneficial to practice the reverse even if the music requires only one direction (or accent, etc.,) in order to maintain a balance.  IOW, if you try the reverse and find it much more awkward, then it should be practiced at least until it is reasonably comfortable. Robot's suggestion is along these lines, somewhat.  Rather than form a bad habit, this will increase the balance, a very important factor in technique. Another approach to further simply the PS is to delete the conjunction at first (violate the continuity rule temporarily).

[Edwierdo]

So in the end I'd also be playing with the rythim? something like *1*-2-3 for oh so much cycling, then 1-*2*-3... then 1-2-*3*? Yet are you suggesting playing the whole PS in reverse (the actual notes)? Am I still maintaining the almost infinite speed for the sets?

In the end, when would it be the acceptable point to start linking them together? I am still working on the relaxation of the hand/arm/body, but am not sure if at times I feel tension, or simply fatigue... well, if I recall well, once the motions are being done properly, there shouldn't be neither. Does this apply to practicing the sets at this stage?

Oy, I find the program so interesting, yet I have so many questions  Thank you again for your time. I really want to make this work well.