Started by
Darknino
Member
Member
Hello everyone. Among the pieces I have decided to perform for my graduation exam is Chopin's Waltz No. 14. I wanted to ask you how to execute the arpeggios present in the first 8 bars of the piece.
For example... in the second bar (D# - E - G - E UPPER OCTAVE - B - G) how can I reach the E of the upper octave without stretching the fingers and tensing up?
Of course, I will also discuss this with my teacher, but I wanted to consult with you first
Member
...thumb passage?
Moderator
But... it seems perfectly in octaves to me! Soft hand. The shoulder and arm follow the movement. No stiffness. Naturally, the B in the first measure must be taken with the left hand
Member
Actually, I was wrong. That passage is very easy. The real problem is the arpeggios from measure 34 to measure 40, in which one must perform an "exchange" between the first and fifth finger on the same key. Regarding the arpeggio, I have this question: at a technical level, my teacher advised me to do it by moving the hand directly into the new position while maintaining the stretch. The question is: which part of the body initiates the movement, dragging the others along? For example: should the forearm move to the side first (which then brings the wrist and hand with it), or the wrist first (which then brings the arm with it)? I hope I have been clear enough...
Moderator
In my opinion, even with a suspension from the shoulder. The entire arm and forearm must be still, but relaxed. Your Teacher will know how to properly supervise which movement "is not right". In fact, every pianist might have to perform the movement in a slightly different way, depending on their build, and anyway in a correct way. To study the movement, I recommend playing it in chords and observing which displacement the muscular apparatus must carry out. Even the fingers, in this type of passage, very frequent in Chopin (see his last étude or the concertos), must be still but NOT rigid. Just as if one were playing chords.
Then, if I may, one should not take things literally. Technique is not made of... "now I move like this... or how should I position my arm?" etc... Beyond some basic gestures that must be understood to achieve a difficulty (using rotation, articulation with a steady hand, etc.), every pianist must adopt a natural approach to the keyboard, without imposing excessive restrictive rules. Careful listening sometimes suggests the right solution, which can differ from one hand to another.
Always remember that "technique" is a means and not an end (Words of Carlo Zecchi, my teacher's Maestro and a great pianist). Therefore, never insist on perfecting a passage in isolation if it is not inserted into the musical context. We could study scales for hours... but performing the G minor scale in octaves and tenths at the end of Chopin's first Ballade is something else entirely!
That is my thought.
Happy studying.
P.S. anyway, that passage from the waltz in E minor is not one of the easiest!
Member
On October 31st I took my first-level degree exam and I also performed this piece; it was the first time I had performed it in public. I got 110, I am extremely happy.
And well....I wanted to share this success with you?
Moderator
Very good!!!! Congratulations!!!
