Week 1: Chord Technique Check-In

Pamela Kinnear 

1. I would say leaving out the G# on those chords is a valid option. I cannot reach that interval either... there are some things that have physical limitations and goal is to maintain the musical intent. 

2. Keep in mind that the rolling practice is simply a practice, not an actual indication for how we will play the passage. What is rolling? It is practicing letting go of notes quickly and in a physically organic way. 

3. The solution for this passage is about hitting notes that are melodic with the correct attack and release to create a unique vocal tone quality and making sure that the release results in getting off of notes quickly so that the hand quickly returns to a non-stretched/extended position into a relaxed controlled state. Once we hit a note, we cannot modify it in any way on the piano. We do NOT use pedal exclusively to connect things. However, in this passage, we notice that, coincidentally, the pedal mostly coincides with chord changes. That means that for larger chords that are sustained, even if we let go of the outer notes early, we will still hear the full duration of the notes within the accurately done pedal. As a result, it is in the best interest of the voicing, tone, and technique to let go of things quickly (never by lifting up). When we release we should think of releasing our hand back into how it looks when it is completely at rest on a table. We are not lifting or scrunching. Thumb should always release down towards our laps off of the key towards our laps, never up or hovering. 

4. We will cover voicing more next week. However, prior to releasing the melody octaves, if you have a faster attack prior to quickly coming off the keys, it will create the needed contrast. It is obviously a very specific refined technique but that is the SUPER abridged description of what needs to happen. Let me know if you have further questions- 

Dr. Leann Osterkamp Hi Leann. I wonder if this is what you were meaning? Just a couple of bars (played slowly) of me trying to implement your very useful advice.... it feels better

Pamela Kinnear it does look a little better! Instead of releasing the entire hand inward, you can also play with releasing the thumb and sliding it down and to the right to give yourself more time to balance on the upper melodic note. 

Astrida Hi! Nice work!

So something you are doing that is fantastic is that you are releasing your fingers from the notes immediately after playing. However, after releasing, you are keeping your hand kind of "spread" into the chord position hovering over the keys. If, after releasing, you allow your thumb to naturally contract back into your hand in the direction of towards your pinky (similar to how we would feel rolling a chord in either hand from thumb outwards), it will eliminate the tension and precision issues you are describing. You can also focus on immediately moving to the next chords by sliding on the tops of the keys, no need to stay over the note you just played after you release. Things are constantly in a motion towards the next note of the piece. That is why the rolling exercise helped a lot this week :) 

Dr. Leann Osterkamp He Thank you very much! I will try.

Adena Nice work!

Yes, a few comments to others you might see repeated here.

1. In the LH, be mindful that we are not stretching to find the next note. Instead, you should slide your hand on the tops of the keys to each next note. 

2. With the RH chords, notice that after you play each chord, you stay frozen on the chord position as you read ahead. First, we want to practice, after playing the chord, allowing our hand to come to a completely neutral position, like as though you have just set your hand casually on a table. As we read the next chord, it will keep our hand from having any tension or bad habits and, when we are ready, we can slide our chord over to the next chord and drop healthily on the next chord. Second, we would want to practice actually moving our hand immediately to the next chord, even as we are "reading" it. It should be a non-stop single perpetual motion for the whole piece, the release of any chord becoming the preparation motion for the next chord, just as each step we take is both the end of a step and the initiation of a new step. 

3. As you play with trying to absorb the concept of rolling, try to focus on releasing your thumbs in both hands immediately after playing, as this will allow a faster manifestation of your hand going back into the neutral relaxed position,. 

Dr. Leann Osterkamp He Thank you so much! Your feedback is so precise and helpful.

rebecca LAM Notice how at :48 your LH chords are releasing immediately, with your thumb sliding downwards? This is great! Notice how, in contrast, all of your larger chords, especially in the RH are sticking onto the key and freezing after you play? Can you mimic the feeling and motion of the LH chords at the one section throughout the entire page, no matter how big the chord is? Try and release the notes in the same way. :) 

Janet Horsford nice work! 

1. Your LH tends to freeze in play after each chord. Make sure that it releases and relaxes after the notes are played to avoid tension and improve tone. You can be moving it to the next chord at all times. 

2. Your RH tends to be doing unnecessary unhelpful motion. Notice that after each chord, your right elbow likes to lift up and out and push your hand inwards. This doesn't have any value for the chord and creates a lot of inbalance in the hand. Instead, play every chord as a sliding downward motion from the fallboard into your lap, as though you are trying to wipe something off of the key. Your elbow should never get activated. 

Dr. Leann Osterkamp He  Thanks so much Leann. It’s funny how these mannerisms develop. I’ll have to do some work on that. Appreciate your advice very much🙏

Conrad Winn nice work!

1. I think the primary challenge at the moment is knowledge of where you are moving next. There were a few wrong notes/hesitations. I think a cursory memorizing of the motion of each line would help in this process immensely. 

2. Technique wise, the chords are being played with the fingers pressing and then, after playing, they are freezing into the chord position while you read ahead. I would recommend starting with trying to release the chords immediately after playing, putting your hand into a neutral position before dropping on the next chord. Even with chords you may choose to sustain, I would recommend initially learning it be releasing so that you don't instill tension or bad habits. A high level technique that you can strive for is how to remain on a note in full relaxation.... and the first step is just letting go completely of the note and being ok with that sensation. 

3. In particular, make sure that once your RH thumb plays, it slides off towards your lap immediately. We never want to remain frozen with our thumb stretched out. 

Dr. Leann Osterkamp He will do. I understand what u are saying.