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#503008 - 11/24/07 01:47 PM I'd play that piece if it weren't for one passage . . .  
Joined: Oct 2007
Posts: 1,733
Janus K. Sachs Offline
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Janus K. Sachs  Offline
1000 Post Club Member

Joined: Oct 2007
Posts: 1,733
Betelgeuse, baby!
Haven't we all encountered a piece which we love dearly and where everything is within one's ability, EXCEPT for a single passage (even after practicing it for long), and there's no way of faking said passage, so we decide to give up all hope of playing the piece? So, why don't we confess these pieces/passages? And just maybe others can give advice on cracking these passages (but this is just an added benefit, not the primary reason for this thread). I'll start:

Brahms: Piano Sonata No. 1 -- I can't manage (in tempo) those skips in the last movement's principal theme (and it reoccurs a lot!).

Brahms: Piano Sonata No. 3 -- The last movement's reoccurring sixteenth note passage that first appear in bar 25, and especially its reappearance in thirds later on -- jeez, how does one play those in tempo? This is especially frustrating because the rest of the sonata is within my grasp, and I even played the first movement successfully for a competition during my teen years!


Die Krebs gehn zurücke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
Die Predigt vergessen.

Die Predigt hat g'fallen.
Sie bleiben wie alle.
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#503009 - 11/25/07 12:12 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: Apr 2005
Posts: 4,534
Gyro Offline
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Gyro  Offline
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Joined: Apr 2005
Posts: 4,534
In my view there is no such thing as "can't
be played." I believe that anyone, even
an amateur with no talent, can play anything,
given enough time and effort. You say:
"even after practicing if for long." The
key here is your interpretation of "long."
Apparently, you follow the conventional
interpretation that if one can't
work something up in a few months, then
it is too difficult and you should drop it.
Practicing those difficult sections
for several months is not "long" in my
view. "Long" in my way of thinking can
be like 5 years of more. So the reason
you can't play these difficult sections
is simply because you haven't worked
on them "long" enough. If you want play
those difficult sections, then start
working on them and keep working
on them until they're playable, which
may take years, not mere months.

#503010 - 11/25/07 12:19 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: Apr 2007
Posts: 16,212
Morodiene Offline
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Morodiene  Offline
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Joined: Apr 2007
Posts: 16,212
Boynton Beach, FL
Sometimes we have to take a break from such pieces and just come back to them 6 months or a year later. You'd be amazed at how much easier those passages get! Usually, it's not that we can't play it, it's just we aren't practicing in a manner that will allow us to play it.

Having said that, I know there are pieces that I'm simply not ready to tackle yet, like the 3rd movement of the Waldstein sonata and those darn trills! There's Mozart's K.284 at the beginning of the development section that is a bugger to play, but eventually I was able to figure it out after making adjustments to fingering at least twice!

But I think revisiting these pieces later on will really be quite different as I gradually improve technically.


private piano/voice teacher FT

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#503011 - 11/25/07 02:42 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: Mar 2007
Posts: 395
Robert Kenessy Offline
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Robert Kenessy  Offline
Full Member

Joined: Mar 2007
Posts: 395
Enebyberg Sweden
Double thrills in one hand make a piece too troublesome for me to study: therefore I'd play Chopin's Barcarolle and Beethoven Sonata opus 111, if they didn't contain the double trills.


Robert Kenessy

.. it seems to me that the inherent nature [of the piano tone] becomes really expressive only by means of the present tendency to use the piano as a percussion instrument - Béla Bartók, early 1927.
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#503012 - 11/25/07 04:20 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: Jun 2007
Posts: 101
_ JR _ Offline
Full Member
_ JR _  Offline
Full Member

Joined: Jun 2007
Posts: 101
St. Paul, MN
Quote
Originally posted by Robert Kenessey:
Double thrills in one hand make a piece too troublesome for me to study: therefore I'd play Chopin's Barcarolle and Beethoven Sonata opus 111, if they didn't contain the double trills.
Why not make them single trills then? If that was the only reason preventing me from playing a certain piece, I'd simply rearrange the difficult section to better suit my needs. I'd bet that 90% of the population wouldn't even know the difference.


I've got a youtube account you're welcome to check out.
Not too much there yet though !
#503013 - 11/25/07 04:32 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: May 2006
Posts: 1,501
Fleeting Visions Offline
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Fleeting Visions  Offline
1000 Post Club Member

Joined: May 2006
Posts: 1,501
Champaign, IL
Brahms 2: 1st movement- LH passage
2nd- Impossible Octaves
4th- Impossible Thirds

Granted, I doubt I'd be able to pull off the rest of the concerto within even the next 10 years, but it's a very long-term goal of mine.


Amateur Pianist, Scriabin Enthusiast, and Octave Demon
#503014 - 11/25/07 04:48 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: Oct 2007
Posts: 1,733
Janus K. Sachs Offline
1000 Post Club Member
Janus K. Sachs  Offline
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Joined: Oct 2007
Posts: 1,733
Betelgeuse, baby!
dnephi, which LH passage in the first movement are you talking about? Can you provide a bar number or describe the passage and/or location? And I agree that those octaves and thirds are killers!


Die Krebs gehn zurücke,
Die Stockfisch bleiben dicke,
Die Karpfen viel fressen,
Die Predigt vergessen.

Die Predigt hat g'fallen.
Sie bleiben wie alle.
#503015 - 11/25/07 05:28 PM Re: I'd play that piece if it weren't for one passage . . .  
Joined: May 2006
Posts: 1,501
Fleeting Visions Offline
1000 Post Club Member
Fleeting Visions  Offline
1000 Post Club Member

Joined: May 2006
Posts: 1,501
Champaign, IL
Mm. 146-155, Approximately.


Amateur Pianist, Scriabin Enthusiast, and Octave Demon

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