ProgressPosted: 19 February 2016
Oh, so you don’t anchor your fingers to each other, the idea is to move all of them independently while keeping the four others relaxed.
How do you force a finger to relax itself?
Memorizing a piece actually frees you to focus on interpretation instead of binding you to the notes
Eventually, your feet will have to move independently as well, sliding a pedal out of its slot ever so slightly before the beat – and I was already happy that I could identify a pedal with my feet and slide it out of its slot slightly-after-the-beat-but-still-in-time-ish
You don’t actually ‘squeeze’ the strings – you have to let your hand be guided by gravity and then the fingers will find their places
Doing controlled glissandos is really, really hard. Especially when you thumb is not allowed to collapse inward.
Yep. There is definitely a lot to be learned!
Currently working on:
Sonata in C minor by Dussek – 1st movement (I can play it at 70bpm! Now working on getting it to 100 bpm and then finally moving on to the 2nd movement. It depresses me a little that this took me almost a year.)
Song in the Night by Salzedo. This piece has been on my wish list ever since I learned that this is an entrance requirement for the harp studies at the Amsterdam Conservatory. Now I understand why. It sounds not too complicated, but there are all kinds of weird effects, interesting rhythms… To play this effortlessly will require quite some study!
Butterflies by Gabriel Verdalle. It sounds a bit weird at the low tempo I’m practising this on, maybe it will sound a bit better when I speed it up.