How to play this
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I'm working on the Bach Bb Partita #1. The prelude and allemande are, pretty much under my fingers, as is MOST of the "A" section of the corrected.
However, there are three measures that are giving me fits.
In measure 13, what would be the best way to finger the trill and the subsequent notes?
If I start the trill on the F, I would think that 3-2 would be the easiest way to trill that. Then, 4 on the last note of the measure, getting me ready to play the descending F major arpeggio in measure 14. Subsequent measures (14, 15) would follow this pattern.
Any other, better, suggestions?
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Just flip the left pedal on the Roland to pitch bend and hit it real fast while playing the E.
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The Henle Urtext indicates a 2 for the e-natural. I haven't played this work, but I'll look through my library.
@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.
"Now look here, you Baltic gas passer... " - Mik, 6/14/08
The saying, "Lite is just one damn thing after another," is a gross understatement. The damn things overlap.
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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:
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@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.
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@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?
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@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
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The best way to play it? On Spotify while drinking a scotch and discussing what fingering your would use for the trill…
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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.
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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.
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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.
