It happens that insufficient technical training does not allow the pianist to play what he wants. Therefore, it is necessary to do exercises for the development of technology every day, at least for half an hour. Only then everything complicated is resolved and it turns out, and technical freedom arises, allowing one to forget about the difficulties and fully surrender to the embodiment of the musical image.
In this article we will talk about several effective methods to overcome technical difficulties. At the beginning - the key idea. It is this: any complex consists of something simple. And it is not a secret! The main feature of all the methods that you will be presented with will be the work on decomposing complex places into simple elements, working out these elements separately, and then the next combination of simple things among themselves into a whole. I hope not confused!
So, what methods of technical work on the piano are we going to talk about? About method of stopping, tempo metamorphosis, change of hands, about the method of accumulation and about the game of scales. Now everything is consistent and thorough. We will not discuss play with hands - here and so everything is clear: to play the game separately with the right and left hands is vital.
Method "stops"
Multivariate exercise "stop" is that the passage is divided into several parts (even if two). Only it is necessary to divide not as horrible, but so that each part individually is easy to play. Usually, the note becomes the point of division, on which the first finger is placed, or the place where you need to seriously move your hand (this is called changing position).
The specified number of notes is played at a fast pace, then we stop to monitor our movements and prepare the next “race”. The stop itself frees the wrist as much as possible and gives time to concentrate to prepare for the next passage.
Sometimes stops are selected according to the rhythmic pattern of a piece of music (for example, every four sixteenth). In this case, after working through the individual fragments, they can be glued together - that is, they can be joined together to stop two times less often (no longer after 4 notes, but after 8).
Sometimes stops are made for other reasons. For example, the controlling stop in front of the "problem" finger. Say, some fourth or second finger doesn’t play its notes in the passageway, then we specifically select it - we stop in front of it and make it cooking: swing, "auftakt", or just rehearse (that is, repeat) it several times ("play already a dog like that! ").
During classes, extreme concentration is required - mentally one should represent a group (internally prehear) in order not to miss a halt. At the same time, the hand should be free, the sound extraction should be smooth, sharp and light. Exercise can be varied, it contributes to the rapid absorption of text and fingering. Movements are automated, freedom and virtuosity in execution appear.
Passing through the passage, it is important not to pinch your hand, do not knock and do not slide superficially on the keys. Each stop should be worked out at least 5 times (it will take a lot of time, but it will give the desired result).
The game of scales in all keys and types
Gammas are learned in pairs - minor and major parallel - and are played at any pace in octave, third, sixth and decim. Together with the scales, short and long arpeggios, double notes and seventh chords with appeals are studied.
Let's say a secret: the scales for the pianist - everything! Here you have both fluency, here you have both strength, here you have both endurance, and clarity, and evenness, and many more useful pieces. So just love the work on scales - it really is pleasant. Imagine that this is a massage for your fingers. And you love them? Play one scale in all kinds daily, and everything will be great! The emphasis is on the tonality in which the works that are present in the program at the moment are written.
Hands during the performance of scales should not be clamped (they should never be clamped at all), the sound is strong (but musical), the synchronicity is perfect. The shoulders are not raised, the elbows are not pressed to the body (these are signals of tightness and technical errors).
In the game, arpeggios should not allow "extra" body movements. The fact is that these same movements of the body replace the true and necessary movements of the hands. Why move the body? Because they are trying to navigate the keyboard, from the small octave to the fourth, with elbows pressed to the body. This is no good! It should not move the body, should move hands. While playing an arpeggio, the movement of your hand should resemble the movement of the violinist at the moment when he smoothly leads the bow (only the movement path of the violiner's hand is diagonal, and your path will be horizontal, so it's probably better to peep these movements not even at the violinists and for cellists).
Increase and decrease tempo
The one who is able to think quickly is able to play! This is a simple truth and the key to this skill. If you want to play a complex virtuoso work at a fast pace without any "accidents", then you need to learn how to play it even faster than required, and you must observe phrasing, pedaling, dynamics and everything else. The main purpose of this method is to learn how to control the process of the game at a fast pace.
The whole work can be played at a higher pace, and only some difficult passages can be worked out in the same way. However, there is one condition and rule. In the "kitchen" of your classes should reign harmony and order. It is unacceptable to play only fast or only slowly. The rule is this: how many times the piece was played quickly, as many times we lose it slowly!
We all know about the slow game, but for some reason we sometimes neglect it when it seems to us that everything turns out well. Remember: a slow game is a smart game. And if you are not able to play the memorized work in slow motion, it means that you did not learn it properly! Many tasks are solved at a slow pace — synchronization, pedalization, intonation, fingering, control, and hearing. Choose one any direction and watch it in the "slow" shooting.
Exchange between hands
If in the left hand (for example) there is a technically inconvenient picture, it is advisable to play it an octave higher than the right, in order to concentrate on this phrase. Another option is a complete change of hands (but it is not suitable for each piece). That is, the part of the right hand is learned by the left and vice versa - the fingering, of course, changes. Exercise is very difficult and requires a lot of patience. As a result, technical “inadequacies” are not only destroyed, but also auditory differentiation occurs - the ear almost automatically separates the melody from the accompaniment, preventing them from oppressing each other.
Accumulation method
We already said a few words about the method of accumulation when we discussed the game with stops. It consists in the fact that the passage is not played all at once, but gradually - first 2-3 notes, then the rest are added one by one until the whole passage is played with separate hands and together. Fingering, dynamics and strokes are strictly the same (copyright or editorial).
By the way, it is possible to accumulate not only from the beginning of the passage, but also from its end. In general, it is useful to learn separately the ends of the passages. Well, if you have worked a difficult place by the method of accumulation from left to right and from right to left, then you will not hurt, even if you want to stumble.
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