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Joined: Jul 2002
Posts: 531
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I often come into these "platoes" in my progress with pieces (I'm sure we all do), and it is difficult for me to decide just what to practice sometimes in these situations.
Allow me to elaborate further. One of the pieces I'm currently working on is the Beethoven Pathetique Sonata (all 3 mvmts). With all of the movements, particularly the first, sure there are spots that are in obvious need of special attention and "drilling", if you will. But let's say I've practiced the heck out of those particular spots for the day-now what? The rest of the movement is far from perfect. I can play it at tempo, but it's not as free and easy sounding as I would like, the tone quality I'm looking for just isn't there yet. It's sort of intimidating to look at a 9 minute movement that's all at more or less the same level currently, and say "I want to bring this all up to the next level." How do I go about this, exactly?
I'm not sure if I'm making sense. The whole movement can be played at tempo, but the entire movement cannot be played at tempo with the free-ness and easiness that I would like. And I sit on the bench not really knowing where to begin, because the entire piece is at this level.
Oh boy, this isn't nearly as easy to describe as I thought it would be...
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Joined: Nov 2002
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Unless you're working on this piece for a performance, assignment, etc., one thing that might help would be to put this piece aside for awhile, and work on something completely different. Then pick it back up at a later date and work on it in terms of "polishing", or whatever. You may have a different perspective on it by having given it a rest. It's possible to just practice so much on a piece, that one gets burned out on it.
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Joined: Jun 2001
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I understand what you mean. The best thing to do in my opinion, is to practice sections with the metronone and slowly put it together, always bonding the sections together occasionally. This seems to work well for me, but it may be different for everyone. The Metronome can be r helpful to unify noy only the tempo (You seem to have that down) but also it makes you play everything with a smooth continous sound. P.S 555 posts... Scarlatti wrote 555 sonatas right? It doesn't seeem so hard now!
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Joined: Aug 2002
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NoteAction, are you working with a teacher? I have found myself in the situation you have described many many times, and my teacher always has a solution that just seems miraculous!
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Joined: Jan 2002
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Note Action: Often when you hit a "plateau" the solution lies where you might not expect it. In my case, the problem is often related to evenness of tempo. When you are approaching, or playing, a difficult section of music, the tendency is to rush. Slow it down, and count out loud, and get it even. Then gradually build velocity. Choose the velocity at which you can comfortably play the most difficult section and use that for the entire piece. Good Luck.
Estonia L190 #7004 Casio CDP S350
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Joined: Sep 2002
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NoteAction- Time to start pulling the piece apart. Pick one movement-(to work on til your are satisfied with it comepletely) and start with one small section of that movement to attack. (Pick your favorite part musically of the movement.) Start your practice playing the movement (or all 3) in its entirety. End the practice work on this piece playing any or all of the movements in entirety. In between practice on the small section (1/2 page or so at a time). I agree with Crashtest....break out the metronome. Practicing Beethoven works very well with a metronome because when you can play expressively using a metronome you will play amazingly emotionally without the metronome. After you are satisfied with the progress of this section move on to another section of the same movement.....again the part you like best of what is left to work on. Do this until the entire movement has upped a level or so closer to what you are trying acheive then return to practice sessions that work on the movement in its entirety. You are past the grudge work of memory and up to speed. Though this next part of picking it apart can seem tedious, but it is actually the more rewarding and fun part of practice on a piece. It is also a part that you will see fast progress some days and no progress for days at a time. When the latter happens, switch and work on a different section and return to that part that wasn't progressing later to tackle again. Good luck!
Gardener-- Two roads diverged in the woods and I ... I took the one less traveled by, and that has made all the difference.(R. Frost)
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Joined: Nov 2002
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Mu suggestion is, like Crashchest said, to practice joining the individual sections together. I read in 'Fundamentals fo Piano Practice' that ones should always practice the next few notes of the piece, when practicing a section of the piece. Practice each section with those few notes that join it to the next section, so that when you play the whole piece, you and your fingers know what to do next.
"...the luckiest man I know." - Arthur Rubinstein about himself and his love of performing.
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Piano
by Gino2 - 04/17/24 02:34 PM
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Piano
by Gino2 - 04/17/24 02:23 PM
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