Jumps

Indeed Andrea, good question...

I too, especially lately, have found myself having to face passages where the left hand performed somewhat challenging "jumps"... At least, challenging for me... 😶

In my very limited experience, I have used several methods, but only one has proven quite effective so far: studying the passage slowly, first left hand only, then right hand only, doing it all a few times... until I can do it combined. At that point, I repeat it and repeat it all together until it comes at the speed it should come...

I think it is also useful, after a couple of times, to try repeating the passage until it can be done without keeping your eyes glued to the left hand... 🙄 Let me explain: I'm already not very good with the jumps of the left hand, then if I don't look at the hand... it comes out as garbage 😕😟😆...

Clearly mine is just an opinion, moreover I don't have much experience... but this is how I have done it so far...

bye!

It seems to me that I have already answered this question. Perhaps it is just a feeling.

A good rule is to be in time regarding the position of the keys to be played. The "leap" is nothing more than a movement between two positions. Think of it as the time necessary to reach the new position. A good thing is to "stop" thinking about the note or notes played before moving. We must have our "thought" already on the notes after the leap. The time is there. Only in some leaps of transcendental technique, such as in Liszt's Mephisto, do you need to throw the hand. Generally, the movement can occur with "calm rapidity" and ensure the fingers are already in position before playing.

Exercise: Play the notes before the leap and move rapidly to the new position without playing. In a single rapid movement, in time, one must find oneself in the new position, perfectly, without playing!!!!! Uncertainty or insufficient "anticipation" will be highlighted by the fact that the hand will still "search," lost, for the new position. Mental delay. Think immediately, even before moving... where we definitely need to go.

I hope I have been clear....but of course, from words to practice.....

pianoexpert wrote:

I feel like I have already answered this question. Perhaps it is just a feeling.

I don't remember and I apologize if I have been forgetful: I opened this discussion without writing (it stayed in my head) to also get advice from those who tackle ragtime and therefore indirectly stride piano. Regarding the latter, it is precisely the autopilot metabolism while improvising (perhaps even improvising with the left hand).

Another thing I always wonder is that, despite not having very good sight-reading skills, when I read Chopin's Nocturne op.9 no.2, I realize that in the end, if I study the left hand for a moment and try to put it on "autopilot" and then focus on reading the right hand, putting them together—even with a few mistakes—it seems to me that I play better and more fluidly, not because of going "on autopilot with the left hand," but precisely because I am able to feel the melody better with my whole body. Perhaps I have said a myriad of trivialities, but am I reasoning correctly?

camy86 wrote:

I don't remember and I apologize if I have been forgetful: I opened this discussion without writing (it stayed in my head) to also get advice from those who tackle ragtime and therefore indirectly stride piano. Regarding the latter, it is precisely the autopilot metabolism while improvising (perhaps even improvising with the left hand). Another thing I always wonder is that, despite not having very good sight-reading skills, when I read Chopin's Nocturne op.9 no.2, I realize that in the end, if I study the left hand for a moment and try to put it on "autopilot" and then focus on reading the right hand, putting them together—even with some mistakes—it seems to me that I play better and more fluidly, not because of going "on autopilot with the left hand," but precisely because I can feel the melody better with my whole body. Perhaps I have said a myriad of trivialities, but am I reasoning correctly?

Ragtime is great! Are you studying something by Scott Joplin? Me too! 🙂 :)

Initially, I also had the feeling that I couldn't do it, but rest assured that with time (the piece needs to mature), the left hand will go on its own without having time to think about it! Improvisation certainly requires more time, but I believe that once you have learned the mechanism (by studying various pieces of this genre), you will see that you will succeed without even realizing it! I hope I have been helpful!

Lorenzo

Every pianist has a different figurative vision of what they are playing. One thing I would like to emphasize. "Automations" never provide security. All study and assimilation must be conscious. It is evident that in some complicated and rapid passages, the brain will fix certain reference "landmarks," not having the time to filter all movements and all notes. Something automatic, yes, but only something. As a general rule, never abandon consciousness and knowledge.

pianoexpert wrote:

Every pianist has a different figurative vision of what they are playing. One thing I would like to emphasize. "Automations" never provide security. All study and assimilation must be conscious. It is evident that in some complicated and rapid passages, the brain will fix certain reference "landmarks," not having the time to filter all the movements and all the notes. Something automatic, yes, but only something. As a general rule, never abandon consciousness and knowledge.

That's why I'm insecure! I thought it depended on something else... like difficulty memorizing or concentrating! But sometimes if I think about what I have to do, I freeze! How is that possible? 🙂 :)

lorenzo wrote:

This is why I'm insecure! I thought it depended on something else... like difficulty memorizing or concentrating! But sometimes when I think about what I have to do, I freeze! How is that possible? 🙂 :)

This is how I do it: for example, in Joplin pieces, I learn slowly with wide hand movements and then when I feel confident, I gradually increase the speed: every now and then I try at a "crazy" speed to see if I have actually made progress. You shouldn't be afraid: I learned to just dive in, and I must say that by doing so, I certainly made fewer mistakes than when I was worried about every single note. It is clear that rigorous study is necessary to play the right notes, but when you are going through a piece and hit a wrong note, it's better to keep going, make a mental note, and not stop. In my opinion, this can help with public performance, which can always hold unpleasant surprises, like a small slip or even a fly buzzing near your ears! 🙂

I am also studying ragtime and over time I want to learn Pianofortissimo by Carosone as well.

camy86 wrote:

This is how I do it: for example, in Joplin pieces, I learn slowly with wide hand movements and then when I feel confident, I gradually increase the speed: every now and then I try at "crazy" speeds to see if I have actually made progress. You shouldn't be afraid: I learned to just dive in, and I must say that by doing so, I certainly made fewer mistakes than when I was worried about every single note. It is clear that rigorous study is necessary to play the right notes, but when you are going through a piece and you hit a wrong note, it's better to keep going, make a mental note, and not stop. In my opinion, this can help with public performance, which can always hold unpleasant surprises, like a small slip or even a fly buzzing near your ears! 🙂

I am also studying ragtime and over time I want to learn Pianofortissimo by Carosone as well.

Thanks to Paolo and Andrea... as the great Totò used to say "I have the courage! ... it's the fear that gets me" 🙂🙁

It happened in those few recitals I've done, that even though I knew the piece by heart, when I reached a somewhat complex passage where I focused more (perhaps too much), I would mathematically hit a total block (I never stopped). Once I had to perform a two-voice invention by Bach and at a certain point I got stuck; to avoid stopping the performance, which would have been quite embarrassing, I repeated the measure before the snag countless times while thinking about what I had to play; then I managed to continue 🙂😃 :D

I think it's also a sort of shyness. I should play in public more!! 🙂 :)

Lorenzo