Piano World Home Page Forums Our Most Popular Forums Pianist Corner Bringing out the inner melodies in Rach 23/5...

This piece has given me lots of challenges, but as of yet, there has only been one that I haven't been able to get over. I can get out most of the inner melody in the lyrical middle section, but the ones present from measure 46-49 are just impossible for me to bring out. I don't really know how to do it, as they're buried in the middle of awkward chords as it is. I've been thinking about just ignoring them... but I'd really rather not do that.

Re inner melodies: Play them on their own without the accompaniment, until you are well aware of what they are and where they go (in this case, between the hands, for example).

Then (as mad as it might sound) sing along with them (yes, out loud) whilst practicing. Of course once you've got the hang of this and the lines start to stand out amongst the accompaniment, it is then recommended that you hold back (at least slightly) on the singing bit

Michael B.

Well, I know exactly where they are, its mostly the technical aspect of stressing them that is frustrating. I try to play them alone, and I can do the ones before measure 46 well... its just those ones in the right hand chords that get me. I'll try singing it though.

A very underrated aspect of technique is the ability to bring out inner voices, which is a direct correlation to finger independence.
Have you played much Bach?

No, although I'm working on his Second French Suite right now. My experience with Bach begins and ends with a few of his inventions, and some random easier pieces here and there.

Aren't most of the inner melodies played with the thumb in this piece? If so, I think it should be reasonably easy to bring them out.

Try this for inspiration:
http://www.youtube.com/watch?v=EtuMVBLEWJU&feature=related

Yes, they are, except for the one that I mentioned where it moves to being in the middle of some chords in the right hand.

For me it's a matter of weight. It's hard to describe, but you put more arm weight into the inner voice than you put on the octave. I never thought of it as finger independence. I thought of it as focusing weight. But now that I think of it, I do use some finger action.

Can you play the chord emphasizing the octave over the inner notes? If you can, then just do the opposite, focusing on the feel.

Sorry if that's vague. I'm not a teacher, so it's hard to describe what I'm doing sometimes.

I found a great prokofiev recording on youtube
http://www.youtube.com/watch?v=xjutQ97DRhw

For me, problems like one that are almost always ones that I have to resolve by imagining the sound I want as exactly as I can in my head, and then trusting my hands to know how to play them without micromanaging the technical aspect of it. Then, once I've let my hands discover on their own how to make those sounds, I have the awareness of how it feels, and can work on making fine adjustments.