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Joined: Nov 2008
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Hello. A few weeks ago I started learning Rachmaninoff prelude op. 32, no. 12 which I'll admit is above my current level. Everything is going better than excpected. The only place I got really stuck is bar #43 (I wish there was a quick way to post an image...) or easier - 5th bar from the end  . More specifically the sextuplet in LH and septuplet (septimole?) in RH played together... What I've been able to establish is that since there's a 16th pause in the RH and a 16th D#2 in the LH and after that the F double sharp (3rd octave) should be played together with the D#3 and then the septuplet should race ahead a bit of the sextuplet as it has more notes in the same time gap. And that both should end on D#5 and B5 at the same time. That's it... Or maybe I'm wrong? What I could really use if someone could just write the sequence of the notes, e.g. LH-D#2; (LH-D#3 and F##3); RH-C#4 etc. Brackets meaning both notes pressed at the same time. I know it's vague, but I think it could help me . Also why are these notes in smaller print? And why it says "7" above the RH notes if there are only 6 grouped together  ? Does that include the quarter B?
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Joined: May 2001
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Yikes! 10000 Post Club Member
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Yikes! 10000 Post Club Member
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I would not worry - or try not to! - about writing out the sequence of what notes occur in one hand against what notes occur in the other hand. What you need to do is think 6 notes to the beat in the left hand and 7 notes to the beat in the right. Practice the two hands separately, if you need to, to get the feel of six notes to the beat and seven notes to the beat. Given that rubato should be expected in this measure, nothing about the execution of the two hands should be calculated or sound too precise.
Play the right hand chord on beat 3 with the left hand D-sharp, and then simply play the notes in each hand so that both hands land together, right hand on B and left hand on D-sharp for the beginning of beat 4. Don't try to calculate where each individual note in one hand falls in relation to the notes in the other hand.
No, the 7 grouping does not include the B, because that's in beat 4 (beat 10 if you are counting in 12); the 7 includes the sixteenth-rest at the beginning of beat 3 (beat 7, if counting in 12).
Regards,
BruceD
- - - - -
Estonia 190
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5000 Post Club Member
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You really don't need to be "exact" in this spot, so it may be much easier to first conceptualize it this way: alternate.
RH: 1-2-3-4-5-6-7
LH: -1-2-3-4-5-6
EDIT: This is not, ultimately, how I would play it. But it represents a relatively decent starting point to conceptualizing this kind of polyrhythm.
Last edited by Derulux; 08/15/14 06:08 PM.
Every day we are afforded a new chance. The problem with life is not that you run out of chances. In the end, what you run out of are days.
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Hello. A few weeks ago I started learning Rachmaninoff prelude op. 32, no. 12 which I'll admit is above my current level. Everything is going better than excpected. The only place I got really stuck is bar #43 (I wish there was a quick way to post an image...) or easier - 5th bar from the end . More specifically the sextuplet in LH and septuplet (septimole?) in RH played together... What I've been able to establish is that since there's a 16th pause in the RH and a 16th D#2 in the LH and after that the F double sharp (3rd octave) should be played together with the D#3 and then the septuplet should race ahead a bit of the sextuplet as it has more notes in the same time gap. And that both should end on D#5 and B5 at the same time. That's it... Or maybe I'm wrong? What I could really use if someone could just write the sequence of the notes, e.g. LH-D#2; (LH-D#3 and F##3); RH-C#4 etc. Brackets meaning both notes pressed at the same time. I know it's vague, but I think it could help me . Also why are these notes in smaller print? And why it says "7" above the RH notes if there are only 6 grouped together ? Does that include the quarter B? Maybe this particular pianist's recording can be of some help. And, (I can't resist) please make note of the extensive use of rolled chords and also the playing of the bass note slightly ahead of the soprano. This is done along with extensive rhythmic alteration and tempo modification. Enjoy. https://www.youtube.com/watch?v=qNDz3-Uaf6o
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Joined: Apr 2013
Posts: 3,398
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3000 Post Club Member
Joined: Apr 2013
Posts: 3,398 |
This is basically a written-out rolled chord, so you can be more creative than in a real polyrhythm. You might like the sound of the harmony created by certain RH notes sounding together with certain LH notes? or you could allow one hand's rhythm to predominate?
Heather Reichgott, piano
Working on:
Mel (Mélanie) Bonis - Sevillana, La cathédrale blessée
William Grant Still - Three Visions
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