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I have been playing most of my life. I took classical for many years. Slacked off for a period of years and got back into playing regularly about 5 years ago. I play a lot of sacred type music. I typically buy Advanced and sometimes moderately advanced music. I recently purchased some new books and a couple of them have some very complicated runs in them. I have never really played runs much and am having a little difficulty in making them sound the way I want them to sound.

My question is: Anyone out there consider themselves to be an expert in runs, either a player or teacher, and if so, what would you recommend.

I have considered trying to find a teacher that would simply work on runs with me. Any suggestions? Thks..

The short answer is: practice. But it also involves 'how' you practice and what, exactly, you mean by "runs". Some "runs" are simply one-handed scale passages, while others involve scale passages in both hands in unison octaves or separated by thirds, sixths, or tenths, while still others involve more complex figurations than simple scale passages.

Whatever they are, they should be practiced no faster than you can play them clearly and evenly, and several ways on how to practice them often emerge:
1) practice them deliberately and slowly (with a metronome if you can do so) and only increase the speed when you can play them evenly without mistakes. Increase the speed only gradually, never playing at a speed that introduces mistakes.
2) take very short sections of the "runs" and practice them "at speed". Little by little add notes to the sections so that they become longer and longer until you can incorporate the whole "run" and play it at speed.
3) start in the middle of the "run" with only a few notes and gradually add a note to the beginning and to the end of your section until the whole "run" can be completed.

If evenness of execution is a problem, try practicing these "runs" in various rhythmic patterns.

Poor fingering is often the stumbling block that prevents some students from executing fast passage work, so choose fingering that facilitates the execution of the passages in question.

It never hurts to regularly practice scales because most of what you might be calling "runs" involves some sort of scale-like passages. Being able to play scales in all keys is a good way to develop a secure feel for the "geography" of the keyboard which, in turn, facilitates the playing of fioritura, flourishes and cadenzas.

Finally, too many think that the execution of rapid and sometimes difficult passages can be mastered quickly. More realistically it takes time to develop the technique required to play such passages fluidly. Don't be impatient and expect to master the technique in a few days.

Regards,

Thank-you for that information. It is much appreciated.

To clarify what I meant by runs in Sacred music. It is pretty common to have the right hand running up and down the scale while the left is playing a very slow melody.

I will try your suggestions.

Excellent suggestions from BruceD.

An interesting aspect of runs is evenness. Perhaps we all think the perfect run is one where every single note is equal in time length, note length, and loudness.

I attended a piano master in Chicago a year or so ago. The master was working with a pianist on the Brahms 2nd concerto on the first movement. The pianist played all the runs and arpeggios absolutely perfectly evenly. As a listener, I could not find the pulse of the music. The master suggested that the pianist maintain a sense of pulse in the extended runs and arpeggios. That meant ever so slight changes to the evenness. What a difference! The passages now sounded more even, due to their unevenness.

All of Bruce's suggestions are great for learning runs in whatever piece you're working on right now.
But this is the most important suggestion because it will help you with runs in all the pieces you haven't played yet.

Bruce is right on the mark, as usual. Not knowing exactly what these sacred music pieces are (though I'm very curious), I might add arpeggios into the regimen--probably broken 7th chords as well in various forms and inversions.

This is one of four books I ordered recently all of which I really love.

Arranger: Gina Sprunger
Title Glad Adoration - Sacred Arrangements for Piano

Great arranger and great book

I am always looking for new arrangers.
The more complicated, the more I like it...

I won't put the site I ordered it from as I don't know if that is allowed on this forum. If it is ok, someone let me know and I will let you know.

I have gotten some great advice on this forum over the years. On my quest for the "piano of my dreams" the feedback was very useful. Thks to all who have been nice enough to respond.

If you are looking for good, advanced piano hymn arrangements, look at Greg Howlett's.... bottom of the page at the link below .. His are all free.

http://greghowlett.com/free-arrangements

Wow, Thanks so much for that.

I'm having fun already...

I like his style.

I agree with all Bruce's suggestions. I would add that you need to start very slowly and firmly, resting arm weight on the keys and using a rapid, sudden, high finger action even in slow tempo. For evenness, practising in dotted rhythms helps a lot. There are many more suggestions in the Practice Methods section my free guide to technique, which can be found via this link:

http://techniquepiano.weebly.com/