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for a few weeks I have been struggling
in the transcendental study by Liszt "leggerezza", despite being at an advanced level, I am finding quite a bit of difficulty in managing to perfectly fit the sixteenth notes in the right hand with the triplets in the left hand... advice?? Urgent, thanks in advance?
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Marcoaut18 wrote:On 5/11/2020 at 18:01, Marcoaut18 said:
quite a few difficulties in managing to perfectly fit the semiquaver or diminuted note in the right hand with the triplet in the left hand... advice??
How is the solfeggio going? Try, for example, playing with the RH and singing the LH and vice versa.
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I am responding to this interesting post with a great delay. While keeping Frank's advice in mind, which is absolutely correct (one must conduct a thorough study of irregular and contrasting groups), as well as the good exercise of playing the right hand while singing the left (excellent!), I wouldn't want to be "blasphemous," but in these cases I would avoid being chained to mathematical subdivision, which could lead to a "jagged" solution. I don't mean by this to solve it "roughly".... but rather to practice, once the mathematical division has been internalized, on one or two groups while trying to free oneself and find the right proportion of three against eight (another example is the first étude of Chopin's op. 25). Musically, the prominence of the right hand's counting and the sonic "background" of the left will help. Even the eight notes of the right hand are not metronomic but settle into a soft swaying and perhaps even a bit of rubato, which, in my opinion, makes the progression less monotonous without falling into a boring display of virtuosity. This is what I think
