In my last lesson we worked on Beethoven Sonata in E Op 14 No 1 1st movement. One challenge is getting the right tone and shape to the RH minims while keeping down the accompanying chords on quavers 2 to 4 – sometimes just in LH and at other times in the lower part of the RH too.
The suggestion was that I listened more closely to the end of each note and pre-heard the following note before playing it. Sounds hard. Now I could practise this in the Beethoven and get heartily fed up of it, so I decided to try and apply it other pieces and what came to mind were the Chopin Preludes in Ab and F# majors. The former is quite long and harmonically adventurous to require serious attention so maybe I’ll just work on the first paragraph before it leaves Ab.
The F# major one has so much in it – a veritable study in miniature but not one for ‘showing off’. There’s the sinuous LH with quite a few double-sharps to read, the RH chords to voice and the control of tone and managment of texture throughout
The tune, that wonderful ‘counter melody’ first in the tenor then the bass and the other gentle supporting quavers.
It’s so hard being a pianist – but so rewarding when/if it starts to work. What a privilege.