How to play this
-
The pattern is trill-turn-arpeggio. For my right hand, I would use 3-4 for the trills. Someone with longer/stronger pinky may go for 5-4. :man-shrugging:
-
@kluurs said in How to play this:
The Henle Urtext indicates a 2 for the e-natural. I haven't played this work, but I'll look through my library.
Yeah, that's what my edition shows as well. My teacher has a different Henle edition - I'll have to ask her.
IOW, start the trill on F, with 3?
ETA: And thank you @Klaus , I'll give it a try. But it won't be at tempo - yet.
-
@George-K said in How to play this:
ETA: And thank you @Klaus , I'll give it a try. But it won't be at tempo - yet.
Don't give it a try. I was just messing with you
@Klaus said in How to play this:
@George-K said in How to play this:
ETA: And thank you @Klaus , I'll give it a try. But it won't be at tempo - yet.
Don't give it a try.
Too late. I did.
Anyone know a good chiropractor in the Chicago area?
-
@kluurs said in How to play this:
The Henle Urtext indicates a 2 for the e-natural. I haven't played this work, but I'll look through my library.
Yeah, that's what my edition shows as well. My teacher has a different Henle edition - I'll have to ask her.
IOW, start the trill on F, with 3?
ETA: And thank you @Klaus , I'll give it a try. But it won't be at tempo - yet.
@George-K said in How to play this:
@kluurs said in How to play this:
The Henle Urtext indicates a 2 for the e-natural. I haven't played this work, but I'll look through my library.
Yeah, that's what my edition shows as well. My teacher has a different Henle edition - I'll have to ask her.
IOW, start the trill on F, with 3?
Yes - exactly. One always starts the trill on the note above. See the edition below by Bax.
In Bach, those trills always start on the note
-
The best way to play it? On Spotify while drinking a scotch and discussing what fingering your would use for the trill…
-
I've added a couple of new things to me practicing repertoire. One is actively recording myself. i seem to focus more effectively when knowing I'm recording myself. it's not quite like having an audience - but a step above just playing and not caring as much about those uninvited mistakes. The second thing that is easier in this day and age is playing along with a recorded performance. In a couple of instances, I caught additional errant practices on my part. I see both my own and the professional performer's efforts in a new light. I've sometimes been irritated by an emphasis that the prof has taken. Of course, I've also got some ideas - places to consider nuances that I'd missed or hadn't considered. I use my iPhone, Apple Classical and bone conduction headphones for these efforts.
-
I've added a couple of new things to me practicing repertoire. One is actively recording myself. i seem to focus more effectively when knowing I'm recording myself. it's not quite like having an audience - but a step above just playing and not caring as much about those uninvited mistakes. The second thing that is easier in this day and age is playing along with a recorded performance. In a couple of instances, I caught additional errant practices on my part. I see both my own and the professional performer's efforts in a new light. I've sometimes been irritated by an emphasis that the prof has taken. Of course, I've also got some ideas - places to consider nuances that I'd missed or hadn't considered. I use my iPhone, Apple Classical and bone conduction headphones for these efforts.
-
I wouldn't use bone conduction with the digital. They're not as good a modestly priced over ear headphones - but they're perfect for listening to Charles Rosen playing the same Bach as I am. I can fit my good phones over my ears at the same time - and they work well with a real piano. I'm playing them at a lower volume - and seeing how in synch I am with the real performer. It is through such efforts that I strive to move from bad playing to inspired mediocrity, the highest level of performance I can hope to achieve.
