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Figure out? Soft staccato is not lifting the fingers "as soon" as the note sounds but clearly before the next note. Disjointed or non-legato.

Ah I see. I can figure out what that is. However I don't understand how you would know if you need to play a sharp or a soft? Is that something you would know of because of the slur? Or the artist?

The context of the piece should guide you as to how sharp the staccato might be.

In measure 2 the slur means the notes aren't too disjointed. In speech you might separate words to point them such as, "Don't. Brake. And. Steer!", but they're still meant as a unit.

The purpose of a slur is to keep the notes together as a unit.

Could you tell the difference? Yes, but it might be very subtle.

Could it help with pedal indications? That's the subject of an essay. It can influence your decision as to whether pedal should be used. You can use pedal and still play staccato. It does sound different because of the changing attack on the next note.

Whenever it comes to pedal I believe only your ears and your good taste can determine the correct approach.

And no matter how much you respect the composer, his work is done and yours is still to do. You must decide what he intended - whatever else is in the score whether by his hand or that of an editor - and you must decide how much of that you'll follow.

Whatever Wanda Landowska may say ("You play Bach your way and I'll play him his!") you must always play your way. Honesty is the best policy. Say it, believe it and mean it.

There isn't a simple answer. The best way is to get to know the piece, understand what the composer is trying to say, decide what you think is the best way to say that. Try a variety of ways and listen hard.

There's finger staccato, wrist staccato, arm staccato, soft staccato, crisp staccato, ....

Mendelssohn writes well for fairy music using a "light" staccato, but every piece is different.

Love it. But also great to have your full support. I sense a very unique arrangement comin' up.

I really love the harmonies in this but already straying on the timing a bit, by nature with some of the changes. I will try to contain it though with reason and put my best, honest foot forward.

thanks for your help

Don't stray on the timing bit. I know you don't use a metronome but get the timing rock solid below tempo. That way you stay in control. As you come up to tempo let the music decide where it needs subtle alteration but know what it's altering from. You must stay in control and be ABLE to stay in tempo.

Thanks for your answer Richard! I had no idea there were so many stacatto's! I've learned a lot today.

I've got a couple favorites after one run-through of the sets. After one more, hopefully I'll have a feasible choice

I have decided to do 30-3 instead of 19-6. I will be brave and learn something new.

Thanks for the help guys, I'll catch up later when I get back from work, here's the revision;

Book 1, op. 19b (1829–1830)
No. 1 Andante con moto in E major - Dipsy
No. 2 Andante espressivo in A minor
No. 3 Molto allegro e vivace in A major
No. 4 Moderato in A major
No. 5 Poco agitato in F-sharp minor
No. 6 Andante sostenuto in G minor - Recaredo

Book 2, op. 30 (1833–1834)
No. 1 Andante espressivo in E-flat major
No. 2 Allegro di molto in B-flat minor
No. 3 Adagio non troppo in E major - AimeeO
No. 4 Agitato e con fuoco in B minor
No. 5 Andante grazioso in D major
No. 6 Allegretto tranquillo in F-sharp minor - Wayne33yrs

Book 3, op. 38 (1836–1837)
No. 1 Con moto in E-flat major
No. 2 Allegro non troppo in C minor - ROSSY
No. 3 Presto e molto vivace in E major
No. 4 Andante in A major
No. 5 Agitato in A minor
No. 6 Andante con moto in A-flat major - Sam S

Book 4, op. 53 (1839–1841)
No. 1 Andante con moto in A-flat major
No. 2 Allegro non troppo in E-flat major
No. 3 Presto agitato in G minor
No. 4 Adagio in F major
No. 5 Allegro con fuoco in A minor
No. 6 Molto Allegro vivace in A major

Book 5, op. 62 (1842–1844)
No. 1 Andante espressivo in G major
No. 2 Allegro con fuoco in B-flat major
No. 3 Andante maestoso in E minor - ZRTF90
No. 4 Allegro con anima in G major
No. 5 Andante con moto in A minor
No. 6 Allegretto grazioso in A major

Book 6, op. 67 (1843–1845)
No. 1 Andante in E-flat major - timmyab
No. 2 Allegro leggiero in F-sharp minor
No. 3 Andante tranquillo in B-flat major
No. 4 Presto in C major
No. 5 Moderato in B minor
No. 6 Allegro non troppo in E major

Book 7, op. 85 (1834–1845)
No. 1 Andante espressivo in F major
No. 2 Allegro agitato in A minor - dire tonic
No. 3 Presto in E-flat major
No. 4 Andante sostenuto in D major - Rupak Bhattacharya
No. 5 Allegretto in A major
No. 6 Allegretto con moto in B-flat major

Book 8, op. 102 (1842–1845)
No. 1 Andante un poco agitato in E minor
No. 2 Adagio in D major - FarmGirl
No. 3 Presto in C major
No. 4 Un poco agitato, ma andante in G minor - LadyChen
No. 5 Allegro vivace in A major
No. 6 Andante in C major - Greener

Wayne, I see you've already edited the list. Thanks!

There is a playlist on Youtube with all these songs, whose videos show the music scores of every piece. I find this playlist very helpful.

Here’s the link.

http://www.youtube.com/playlist?list=PLDF65C522375E620C&feature=plcp

Cheers Recaredo,



That's great

I'm not opposed to trying out a metronome. Actually, now that you mention it, I believe this is precisely what I need to do. Particularly for Bach pieces.

I'm given it a whirl already, and will definitely be of help with some trouble spots. As well, tempo is often my Achilles Heel, so this may be just the ticket.

But, what is the real purpose of using a metronome? Is it just to fix some timing trouble spots? Or is it to practice with it so much that the overall tempo from start to end becomes subliminally engrained that I will somehow stay close to it when I turn it off? Or bit of both?

I've never seen a live performer using one

Check this out.

Troy Stetina is a guitar guru but this excellent article applies to most instruments.

http://www.stetina.com/lessons/metronome.html

The metronome is a tool for practise. Time is the most important aspect of music. If you can keep time to an external source you'll be able to keep time with other musicians. If you can play to a set time you have the wherewithal to adjust the tempo to suit the music rather than your technique.

Slooow practice works wonders. Set your metronome to something that seems too slow and use it to keep slow and steady while you play through your piece. Then gradually increase the metronome speed. By the time you get back up to speed you will be amazed how well you can play your piece. That's how I use it.

Sam

Glad I asked. There is a lot more to this than I ever would have thought. Will put priority to this now among my practice.

What a great article. Particularly like this quote ...

'I am reminded of the great composer J.S. Bach, who when asked about his remarkable keyboard ability, simply said, "I just put each finger in the right place at the right time, and the keyboard plays itself."'

Thanks, Richard.

Thanks also, Sam. What you say is reaffirmed exactly in this article.

I'm converted. Problem fixed after one hour with Metronome, vs. unfixed after one week of aggravation.

Yippee ...

Ready for the red dot now, for ABF recital #28 that is.

I've still got to finish Gnossienne No7, before I can really get into this, shouldn't be too long now

Any other takers?

Hey!
I'm gonna grab Op.85, No.1 before anyone else does. Beautiful!