Jeffrey Biegel: Ask me anything!

Chin Wai Ling Hello! yes, the metronome can be helpful. But I think the quickest way - although it may seem the longer way - is to do the 'add-a-note' technique. Play the first note, then play it again adding the next, and so on. Play these passages slowly and overly musical. This will relax the hands and create a seamless, fluid quality to the passages. never stress out or tighten up about them. Musical playing is most important. Singing it as you play it will also you play it relaxed, but evenly, because your voice is evenly distributing the notes naturally. The fingers follow the voice.

Jeffrey Biegel Thank you very much for the tips. Yes, l agreed that singing really helps a lot in  musical shaping.

Kapustin Etude difficulties

(1)  Etude No.2  Reverie

I am not sure whether the minims and dotted minims with tied notes need to be used middle pedal or not.

(2)  Etude No.6  Pastoral

(i)  I would like to know whether the tied chords on the left hand part need to be used middle pedal or not.

(ii)  I would like to know whether the dotted quavers need to be used fingering pedal or not.  Also, do I need to use right pedal when performing this passage?

(3)  Etude No.7  Intermezzo

(i)  I am not sure how to count the rhythm of triplets with six notes semiquavers.

(ii)  The circled part is very difficult for me to control the rhythm accurately with accent and sometimes I cannot coordinate well with both hands.

(4)  Etude No.8  Finale

The circled part is very difficult for me to control the rhythm accurately with accent and sometimes I cannot coordinate well with both hands.

Alice Yip

Bryan I once played several etudes by Chopin on an instrument that was built right after Chopin's piano. So much lighter! Our instruments are more difficult to play, actually. His had a lighter action. It is like when you try playing it on a Hamilton upright piano. I used to do that while a school boy using the school pianos. It made sense. Try the 'add-a-note' technique which I have been writing about consistently in these replies. Play the first note, then add the second, then play those and add the third etc. Just do several measures of this at a time. Don't sit for hours doing this. You will cause pain. Playing lightly will be your best friend. If you know the piano action you will play it on is heavy, consider whether or not you choose to play it on that particular instrument.

aliceyip 1: I think you might create a nice quality of sound by just using the damper pedal with discretion? Every piano is different. If you like using the middle pedal for certain things and have no difficulty doing so and you hear it that way in your head before playing it, your feet might react differently than someone else. Pedaling is a very individual aspect of playing.

2: I would employ a harmonic pedaling more than worry about the middle pedal. For the second part of your question, try to hold down notes in the upper right hand when you can, if not, use the damper pedal to help you. Not all pianos (although most these days do) have middle pedals. I think creating a sonic landscape with this music using the damper pedal creatively will be the way to go.

3: Try singing those triplets. Your fingers will follow your voice. Do it slowly a few times until you get the flow. You can also count out loud 1-and 2-and-3-and-4-and.

Second part of the question - practice without pedal to feel the harmonies in your hands. Then add slowly. Don't play anything with accents until you have the rhythms correct and feel like you can play it. Don't put the cart before the horse. Add the accents later - slowly, gradually faster so it feels right.

4: For me, this is an issue of connecting your body with your fingers. That's exactly what I mean. Your fingers are not entirely part of your body. They are extended through joints from the shoulder, elbow, wrist, bridge to fingers. Singing this out loud will be your best friend to make this connection between your brain, your voice, your pulse (heart) and the fingers just reflecting these.

Aline Valade Very simply, in moderation. Give yourself time to do these technical regime sections slowly and without feeling pressured to get it all done quickly. You will have pain, I fear. Of course, an acoustic piano has the best action and feel, but electric pianos vary in key weight etc, so that is up to you based on what you have to work with.

I would start with 20 minutes or so, adding 5-10 minutes per day comfortably. You can do these in separate sessions, rather than all at one time. Write out each component of the regimen, and do alittle each day until you have completed it over two or three days if necessary. Never over do in one day.

Jeffrey Biegel Thank you so much! 

Michelle R Ear training is a broad topic. There are many components to this. I like the idea of sight singing because it brings the voice to the forefront. Rhythmic training as well. I have shared earlier, I love the Robert Starer Rhythmic Training book. We used it at Juilliard. One can calp each beat or conduct each beat, and sing the rhythms out loud. Any time we can use the voice, it helps us make music whether our fingers, a bow, a baton, a wind/brass instrument etc.

Jeffrey Biegel Thank you for your answer. 

springgrass Best thing to do for pedal is not use it at all. learn how to play without pedal, and then, like in cooking, slowly add the seasoning so you don't over salt the soup, right? Pedal is very individual, based on the person playing, based on the piano, the place where you are playing, the acoustic etc. I like hearing the sound in my head before I play, which also means before I add pedal. Listening is your best friend when it comes to pedaling. Of course, sitting at the keyboard is not the best place to hear the sound we are creating. I like playing according to the listener's heart beat, their pulse. If we play too fast, we lose their interest (even if we think it is impressive!), or too slow, same. Pedaling is the same. We have to use the pedal to enhance the sound for the listener. Asking people for feedback is so important and humbling. What they hear is not always the same as what we think we are doing at the keyboard. I think if you take a pencil, write in the pedaling, because you will possibly change it over time.

Jeffrey Biegel Thanks much for your advice.  

Jenny I mean the legato double thirds, of course!