For a while now I have started studying Rachmaninoff's Prelude Op. 23 No. 5 "Alla Marcia". I managed to get through the first 3 sections quite well; I only need to perfect the precision in a couple of passages, but the problem arose when reaching the 4th section, where I found myself struggling with a rather intricate arpeggio in the left hand.
The beginning is at the 5th measure of the 3rd page. The technique I have adopted so far has been to play the first 3 notes of each arpeggio with fingers 5, 2, and 1, and then jump to the 4th note with finger 5; I don't know if I explained myself well enough, but I found it to be the only way to avoid making absurd movements with my wrist and hand that prevented me from performing everything fluidly.
Do you have any other advice for playing them at their best? And perhaps some little exercises to do to "train" my left hand to perform these arpeggios as well as possible?
You are, in my opinion, stating principles that denote an engagement with a superior technique. Some arpeggio passages in "wide" positions are very difficult if thought of "one note after another." They become executable with a certain "fluidity" and "ease" if they are instead thought of as "broken chords," trying to think and be on the position of the "groups of notes." Learning to move with a certain skill and confidence across "positions" facilitates execution, and the exclusion of unnecessary wrist movements denotes that you are moving the hand without "overlaps." This has already been illustrated by me in a tutorial when I addressed the difference between "thumb under - thumb over," meaning not going "over and under the thumb," but "to the side."
You are, in my opinion, stating principles that denote an engagement with a superior technique. Some arpeggio passages in "wide" position are very difficult if thought of "one note after another." They become playable with a certain "fluidity" and "ease" if instead they are thought of as "loose chords," trying to think and be on the position of the "groups of notes." Learning to move with a certain skill and confidence across "positions" facilitates execution, and the exclusion of unnecessary wrist movements denotes that you are moving the hand without "overlapping." This has already been illustrated by me in a tutorial when I addressed the difference "thumb under- thumb over," meaning not going "over and under the thumb," but "to the side."
Yes, definitely this prelude has a technique that I am partly tackling for the first time, and indeed my (sometimes) flaw is that of loving challenges and wanting to always aim higher, obviously always with certain limits. In this case, if I understood correctly what you mean is to tackle these arpeggios without crossing over the thumb and therefore dividing the arpeggio into groups of notes; in this case, I think that except for a couple of exceptions, the arpeggios can be divided into 2 groups of notes. Did I understand correctly?
Generally yes! It is worth following the division that requires less mental effort and therefore "appears" clear and easy. Good luck with your work. The prelude is not "easy" anyway
Above all, try to greatly emphasize the "prominent" notes of the left hand singing. It is very beautiful and precious when they are highlighted with great eloquence. Happy studying
Generally yes! It is worth following the division that is less mentally taxing and therefore "appears" clear and easy". Good luck with your work. The prelude is not "easy" anyway
Yes, the prelude is complex, but I wanted to challenge myself with this to tackle something new. As far as the melodic lines are concerned, I agree; I had already taken a first quick look at the various melodic lines and a possible interpretation; once the technical problems are resolved, I will be able to go deeper. Thank you very much for the advice!
