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Joined: May 2002
Posts: 160
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Joined: May 2002
Posts: 160 |
Hey jasperkeys, don't give up -- I went through similar grief with a few pieces, for example Chopin's Etude Op. 10 No. 4. I started learning it around 10 years ago (in my late 20s) but couldn't play it half as fast as any recordings I had. I started taking lessons about 5 years ago and my teacher gave me a lot of help with this piece; I actually performed it (pretty badly, technique-wise) at a recital a few years ago. My main problem was that my finger technique was not up to the challenge of a long stream of 16th notes at presto tempo.
But I let it sit for a couple years, and in the meantime worked on some Bach Inventions, Mozart's "Twinkle" variations and other pieces like that, which have been helpful to my technique. It's done a lot for my finger strength, independence and speed, and I can play that Chopin Etude a bit better than before. I don't think I'm ready to perform it again yet, but at least that gives me hope.
So the point is, sometimes letting a piece sit for awhile is good for two reasons: it will subconsciously sink in a little better even while you're not thinking about it; and more importantly, if you continue to work on your technique in the meantime, you'll be better able to handle the difficult piece when you get back to it.
And above all, the most important things are believing in yourself and not giving up, even if you take a break from one piece for awhile! Good luck,
-Paul
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Joined: Sep 2006
Posts: 293
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Joined: Sep 2006
Posts: 293 |
Nancy it sounds like you have a very level-headed approach. I'm sure when you tackle the harp piece again in the future it will be easier because of your previous efforts. And over time it will morph from a 2 to a 3 or 4.
I have mixed feelings about this topic. On the one hand I think it's good to take on challenging pieces. But on the other hand I'm not in favor of people tackling something way beyond their level only to butcher it beyond recognition. (And I say that as someone who has butchered her fair share of piano pieces. lol.)
But to answer the original post, yes I know the feeling. I think almost everyone has a similar story with one or two pieces. But I find it happens less as you gain experience since you become better able to judge piece difficulty.
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Joined: Feb 2007
Posts: 1,651
1000 Post Club Member
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1000 Post Club Member
Joined: Feb 2007
Posts: 1,651 |
If you are an autodidact, use the challenging material as an opportunity to uncover weaknesses in your technique, and ultimately make yourself a better pianist.
Obviously if you are seeing no improvement, you need to do something different:
1. take a break from the piece, as suggested. 2. look at the "big picture" and consider a paradigm shift. For example (not that this applies to you necessarily), many students are taught thumb-under only. This is good for slow legato but not suitable for extremely quick scales, as often found in Chopin for example. Learn thumb-over (for example) and practice it diligently.
I do not agree that one should never attempt difficult material, but with the caveat that they approach it humbly, with a view toward improving themselves and as an opportunity to build technique. Greatness results from pushing ones self, but working smart as well as hard.
That said, everyone learns differently, and for some folks a strict step-by-step approach, with no advanced material till the foundations are laid, may be key. It depends on you.
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Joined: Feb 2007
Posts: 1,651
1000 Post Club Member
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1000 Post Club Member
Joined: Feb 2007
Posts: 1,651 |
Another piece of advice, considered heresy by some schools: Use flat fingers for really fast sections. Or at least relax the last phalange (the joint closest to the nail and furthest from the knuckle). The reason is that fewer muscles are needed, freeing up the brain and relieving stress.
To test this theory, try a trill with curved fingers. Then perform the same trill using flat fingers and note which one is faster and feels better.
Also, with flat fingers your probabilty of hitting the correct black keys in a long jump is higher because you can attack them as an angled line coming down, rather than as a single point (curved hands) which might hit or miss.
"Flat fingers" is defined as a hand position in which the last phalanges are relaxed and the tendons (which keep the fingers from bending backwards) are flexed when pressing the keys. It does not necessarily mean the idle fingers are kept in the same plane.
Hope this helps.
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Piano
by Gino2 - 04/17/24 02:34 PM
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Piano
by Gino2 - 04/17/24 02:23 PM
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