Guys, I would like to ask for an opinion on a simple matter that, in my view, can hide some pitfalls. I'll get straight to the point: how do you play repeated chords (even simple octaves) at speed? Do you use the "wrist bounce" or do you work with the "forearm"? Listening to M. Vitale's seminar, he emphasized the risk of using the wrist because, according to him, the elastic capacity of such a movement is too subjective and cannot be "standardized" as a method. Therefore, he emphasized the need to perform forearm work. I would like your opinion on this matter.
Guys, I would like to ask for an opinion on a simple matter but one that in my view can hide some pitfalls. I'll get straight to the point: how do you play repeated chords (even simple octaves) at speed? Do you use the "wrist bounce" or do you work with the "forearm"? Listening to M. Vitale's seminar, he emphasized the risk of using the wrist because, according to him, the elastic capacity of such a movement is too subjective and cannot be "standardized" as a method. Therefore, he emphasized the need to perform forearm work. I would like your opinion on this.
Well, you should quantify it at least a little... Aiming for extreme speeds "Argerich-style" that reach 100x6 (or 152x4), or something more moderate (so to speak) like 100x4, for example?
Surreal topic (JamieD asks and answers) even if interesting.
Reading the book "The Art of Piano Playing" by Gregor Sandor might be useful
Returning to the initial question, as always, the answer might lie in the middle. Movements should never be taken in an "atomic" way: only wrist or only forearm; the tremolo (ribattuto) speed is achieved by harmonizing a series of movements that require good basic coordination between wrist, forearm, etc.
The dynamic setting is also important; think about how a tremolo would change in ppp compared to the same tremolo in fff
D
Darknino
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Reply 4 by Darknino
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I am also joining the discussion; I will soon start my second level of piano and I intend to study Chopin's Nocturne Op. 48 No. 1. I have noticed that, unfortunately, the part where I am technically most lacking is the repeated chords. Paradoxically, however, I find no difficulty with rapid octaves and perform them with fluency; in fact, the part of that nocturne that worries me most is not the central section with the octaves, but the "Double Movement" with all those repeated chords.
Unfortunately, with repeated chords, I tend to lift my wrist and slam it down, which is exactly what should NOT be done. I am trying to correct this with my teacher, but I still cannot find movements that allow me to stay relaxed and avoid the onset of fatigue.
I read Sandor's book a while ago (it was very useful in helping me improve as a pianist), but I don't remember if there was a part describing repeated chords. Is there any video or text that explains the movements that should be performed in general terms?
What our friend Frank says is correct. Small and large muscles are interdependent, and the relaxation or firmness that transforms into energy is a mental matter. When playing repeated chords, it depends on the dynamics. In piano and forte, the movement is not the same. Taking accentuation into account is important because not all "repeated" chords have the same intensity. One will begin to take into account those that must rhythmically sound stronger, as a sort of support-release, before starting the succession of movements again, which, precisely due to a dynamic-energetic issue, will not all have the same intensity. This must be highlighted at the beginning, during study... it will then become more natural to dose the energies in micromovements that are certainly different, even if on the same repeated chord or on a succession of different chords. The balance of the arm and shoulder is important. The Master's observation is fundamental. Happy studying
