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i am not able to see my teacher for 3 weeks, so i figured i'd ask the forum.
- my trill technique is so weird. one day my trills will be fluent and consistent, the next day they will choke and not cooperate. also, my left hand is much more obedient and consistent with trills than my right hand. seriously.. how is this even possible? i'm right handed!
i've always heard "focus on your fingers coming off the keys, rather than pressing down". i try this but it doesn't seem to make a difference. can anyone offer some good techniques to help with this?
You probably got no response because your question was somewhat vague. But anyway, I struggle with this as well. I think you need consistent and effective practice even to get something as simple as the trill to sound the way you want. This video has some really good tips. Watch it and see if you find any of it helpful (I did). It'll be easier than me trying to type up what he says in the video anyway
Playing since age 21 (September 2010) and loving it more every day. "You can play better than BachMach2." - Mark_C Currently Butchering: Rachmaninoff Prelude in C# Minor My Piano Diary: http://www.youtube.com/sirsardonic â™ª > $
I thought that was a very informative and helpful video too.
I've been working on "Pictures at an exhibitions," and encountering trill difficulties as well as tremolo difficulties. And I'm about to go to the piano and try Josh Wright's ideas out, especially that last exercise he suggests. I'll bet it can be applied to tremolos too.
However, the ideas that the trill hand is independent of the non-trill hand doesn't quite click with me. No matter how magical, natural or easy it seems to conceive, play and hear the trill as "independent," it still seems to me that there must be a rhythmic pattern and pulse that coordinates with the pattern and pulse of the non-trill hand. Wonder what you all might think?
Josh Wright comes off to me as a very helpful young man who has been seriously thinking about how to play the piano. This clip was truly very helpful, and I'm going to try to find his other clips.
"Whatsoever thy hand findeth to do, do so with all thy might." Ecclesiastes 9:10
My trills have never been very even so I was interested in Josh's instructional video. I was surprised to learn that I have been committing Mistake #1, using my 2nd and 3rd fingers to trill. I tried his exercise using the 3rd and thumb and other suggested combinations and I can already see a glimmer of improvement. Thanks for posting this!
I haven't yet watched the video, but I have no problems with the 2-3 trill. Doing the Hanon trill exercises really helps. A trill is such a fast thing that if you are in the least way tense it will freeze up, become uneven, etc. Doing them methodical and slow and even and gradually increasing the speed has always been the best bet, while making sure your wrist remains flexible (not tense) as well as the other fingers (not a part of the trill) of the hand not sticking up or tensing in any way.
I believe a trill is more of process of training the brain and not as much a muscle kind of thing. Because of this, it takes longer to learn and must be done slowly at first.
I heard about 2-3 being a slight no-no from Stephen Hough's blog - still, I find it much more comfortable, even, and rapid than 1-3. Perhaps I should practice 1-3 more, but I to me, using the thumb introduces too much rotation. Some rotation is great and in fact essential IMO, but when the whole forearm is oscillating and the pinky side of the hand (with all that heavy muscle) is flapping around (as in 1-3), I think the movement is less efficient than it could be.
It seems to me that one can play 2-3 with a reasonable level of rotation (very slight in the arm, a bit more at the wrist) that allows great freedom in trilling.
I also found the video good and informative on the basic tenets of how to trill, but I would disagree with him on his opinion of 3-4 and 4-5 fingerings. One of the most astonishing technical features of Gilels' pianism, for instance, was his ability for trills of infinitely variable speed, dynamic, and color even when using the outer fingers. Even if it's not the fingering we will use in most places, having the ability to do that (to a lesser degree than the greats, of course) helps us immensely in many technical - and by extension, musical - aspects of our playing.