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 Post subject: Upgrade op10/1
PostPosted: Wed Dec 27, 2006 2:04 am 
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Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
Ok, Guys. I know you are sick of this piece.

I had three weeks rest on the op10/1. But last few days, there was a voice in my head saying...just do one more take.

Yes In a single take after ONE lap of warm up. I have done it better.

Chris, I have reborn of the "swallowed thumb" you mentiioned in the last months. So this one can repalce by old one if you dnt mind. But have a listen first, for the first thumb note of every sweep.


Thanks


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 Post subject:
PostPosted: Wed Dec 27, 2006 2:04 pm 
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Joined: Wed Jun 07, 2006 6:27 pm
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I am acutally not sure if this version is better than your previous. It seems to me that there are more hesitations and some important keys missing (also some not very nice slips) in it. When I put your previous version aside with this one, I preferred your previous (even though it has an ungly slip at the end).

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 Post subject:
PostPosted: Thu Dec 28, 2006 1:45 am 
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Location: Sydney, Australia
woh...........My instinct is wrong. Leave the old version then. Thanks for listening.


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 Post subject:
PostPosted: Thu Dec 28, 2006 3:05 am 
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Hey,hey,hey!!! Where's the fire? SLOW!---YOUR!---SELF!---DOWN! !:x!


The point of this etude is to get the pianist to realize that if he goes outside his current skill level, by just the tiniest margin, this whole piece breaks down. John, I'm telling you! If you would simply reduce your speed to the point where you're in 100% control, your performance could be 10 times better. In your new recording your performance "tempo" stumbles along at about 138, it varies, alot. I can say right away that this performance tempo is too fast! I can also tell that you are not counting out loud, as I had once suggested. I hope I'm not seeming like a perfectionistc taskmaster but this is a high maintenance piece that demands a type of vigilance most of us don't have. A pianist could spend ten years working out ALL the kinks and still be unable to get this etude's tempo over 144. A far more reasonable solution is to strive for artistic meaning over speed. For the latter's purpose let's choose a final goal tempo. Between 104 and 116 is fast enough to flow and slow enough to prevent muscle tightening. A too fast tempo invariably creates interference (friction).

Any tempo that is too fast, binds the hands and mind in an unwinnable (and totally unnecessary) civil war.

Here's a trick I used when I was in my struggling phase of these Titanic pieces.

Set your metronome to 54 and count the clicks as: One-eee-ann-duh, making sure you say the words legato and on one breath. After a few repetitions, set the m.m. aside and switch it off for the moment.

Next, with the goal of synchronizing your breathing with your playing, listen to a professional recording of this etude while counting aloud as described above. (I can e-mail a rec. to you.) Following the professional, follow along with the score and at the bottom of each arp, count "ONE", at the third beat count "EE", at the very peak count "AND", and on the seventh beat count "UH" Continue the pattern, saying Two-eee-ann-duh, et cetera. By doing this, you will train your ear to recognise notes in groups of eight instead of (the very wrong) group of four.

Then you must translate the hearing of the notes in groups of eight into playing them that way.

We've come full circle. To make your fingers obey you mind, set your metronome to 54 and count the clicks as: One-eee-ann-duh, making sure you say the words legato and on one breath. Then play the etude @54 while counting aloud ONE-eee-ANN-duh, TWO-eee-ANN-duh, playing eight notes per syllable.

HAPPY PRACTICING! :D

Pete


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 Post subject:
PostPosted: Thu Dec 28, 2006 7:40 am 
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Joined: Mon Jun 12, 2006 11:45 am
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Location: Netherlands
Perhaps some details are better, but overall, this is definitely not an improvement. We had agreed that the previous version was good enough to last for quite some time, and that you would leave well enough alone until there is real significant improvement. With a piece like this, you don't achieve that in a week or two. I'd try again in half a year or so, as it is really no fun evaluating the same piece over and over again with only marginal differences.

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Nothing is always absolutely so -- Sturgeon's law
Chris Breemer


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 Post subject:
PostPosted: Thu Dec 28, 2006 8:03 am 
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Joined: Thu Jul 13, 2006 12:34 pm
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I agree, John if you want regular feedback, Audition Room is the wrong place to go. Send me a recording to I don't mind critiquing the same piece ten times.

Pete


Last edited by PJF on Thu Jul 23, 2009 5:44 pm, edited 1 time in total.

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 Post subject:
PostPosted: Sat Dec 30, 2006 1:16 am 
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Joined: Wed Aug 16, 2006 1:38 am
Posts: 647
Location: Sydney, Australia
THANKS EVERYONE. Especially to PETE. I was greedy and it was the moment of thought. I should stick to more slower tempo. My next submmision will not happen untill at leat 6 months time. Patient is the game. Thank again.


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