Hello,

I just have a couple of questions about this piece. Here's the score:-
http://www.klavier-noten.com/joplin/Solace.pdf

1. What fingering would you use in the LH, bar 5 onwards? That first D is a dotted and needs to be held. My teacher reccomended using my fourth finger on that G so that I could still hold that D. However, I've always found using fingers 4/5 in close proximity is pretty uncomfortable and feels wrong.

2. Bar 21, are those ornamental bass notes played before or after the beat?

3. Bar 21 again, how would you finger bars 21 in the RH? It's quite difficult to play those 32nd notes and quickly reach for the G/A chord afterwards.

Thanks for your help!

I'll just take a swing at the first one:


I don't agree with part of what you state (even recognizing that apparently your teacher did agree with it, and with due respect toward that), and I think this is the key to what you're asking.

The D doesn't need to be held down.
If you doubt it, take a look at the next measure!

If you think the D needs to be held down, then so does the low G in the next measure -- and it can't be (not really, except through some advanced legerdemain which I would confidently say wasn't intended). Therefore (IMO), neither needs to be.

I played this piece in the past and I really don't even remember what I did, except that it never occurred to me to worry about holding down those notes. I know that the notation seemingly makes it look like you're supposed to, but I view those stems and values as indicating emphasis -- indicating those low notes as an important "voice" -- rather than actual holding. (BTW "emphasis" doesn't necessarily mean playing them louder, but probably that's part of what we'd do.)

So, fingering just isn't an issue. You can use whatever fingering you want, because you don't have to hold those low notes. Making it 'work' takes a little doing, though. I think there are two basic choices:

-- 'Hold' those notes by pedaling through the beat, carefully voicing the notes in the R.H. so there isn't any disturbing dissonance, and maybe doing a half-change of the pedal at the end of the beat; or something like that. (Probably what I usually did.) Or....

-- Don't pedal at all, or not very much, which means the low notes won't continue sounding -- and that's OK, as long as you make them stand out in some way as a major "voice."

Best performance of this I've heard. Unfortunately I don't know who the pianist is.

Does anyone know?

You are better off thinking of this as a pedal and dynamic indication. The tied notes are part of a bass line "melody", the other notes being harmonic accompaniment. Pedal the note through and play the accompaniment a little lighter. Pick the fingering that works best for you.

Before.

5................5
3....1.2.3.4.1

Luthrin

Thank you for sharing that video. I love old postcards and have a friend in Cinn so sent this to him as a xmas gift/card!

I'd love to share my recording of this piece...I was always influenced by the way it was played in a movie about Scott Joplin....can anyone tell me how I attach an mp3 here?

thanks for your help,
rada

Thanks for all your help everyone. And thanks for clearing up the Dotted Rhythm issue. I'm also glad there's other people who appreciate this wonderful piece. This and Bethena are two of my all time favorite pieces, and the interpretation posted is beautiful!

PianoWorld can't host mp3 files. You'll need to have it hosted elsewhere (I use box.net) and provide a link to it here.

Thank-you Kreisler!
http://www.box.com/s/tsqrhbudc319phihecup

my recording of " Solace"... " Bethena" is in my repertoire and I think it is a really good piece.

rada

Whoops! You've linked to your recording of "Silent Night," not to "Solace!"

Regards

http://www.box.com/s/bh2c42ciz8ltvjortah5
let's try this again.....just like in practicing...
rada

Ooh, really nice - good Sunday morning listening. Thanks.

Cathy

rada, that was beautiful! You definitely captured the emotional nuances for this piece putting the rubato in just the right places, and perfect tempo too. This would be the tempo that I would choose as well. BRAVO!!

Query on Piano Forum
19 December 2011

What fingering would you use in the LH, bar 5 onwards? That first D is a dotted and needs to be held. My teacher recommended using my fourth finger on that G so that I could still hold that D.However, I've always found using fingers 4/5 in close proximity
is pretty uncomfortable and feels wrong.

Solace by Scott Joplin
(Can’t think that Joplin made much money out of The Mexican Serenade ... nothing to beat The Maple Leaf Rag)

Might I as Piano Teacher (with respect) , suggest that it’s an Old Wives’ Tale ... to even begin to suggest that notes should be held down to express those dotted notes ... that chunky treble motif to m6 and 8 needs clear definition ... leaving the LH role as a purely rhythmic accompaniment ... highlighting the repeated mid-chords B/F and C/E to m5-8.

Free up the fingers to sound their respective note patterns ... the RH dominates the treble “melody” with the LH blending in a bass accompaniment.

Hope this blast doesn’t put Ye Olde Cat amongst the pigeons.

I've just played through the first 20 measures a few times ... thus the comment that Solace doesn't come up as great shakes in this chappie's mind.

This piece was used to great effect in the 1973 movie "The Sting" (Newman & Redford), but only the second half was played. Most people don't recognise it when it's played from the beginning.

I love this piece and I am pleased to see its thread here. IMHO left hand is most important because of the cool rhythm that carries the piece. I would drill the beejesus out of the LH. I wouldn't get too prissy about holding notes and fingering. Fingering? just figure out what works for you and use it. just saying'

Practice 'till you can play it just like rada!