![]() X - X - X - X - X - X - X - X - | X - X - X - X - X - X - X - X - | etc X X X X X X X X X X X X X X X X | X X X X X X X X X X X X X X X X | etc Are you thinking about each measured semi-quaver, quaver or crotchet? Are you counting in relation to this? Remember, he would have played everynote of this piece himself, likely improvising various sounds before notating it.ģ) You would be surprised how changing your understanding of tempo and metre can help your performance. Look at HOW he writes his phrases, then think WHY it was written that way. That said, yes in an orchestral setting, he has more colours to play with, but essentially, you could play all of his symphonies on a keyboard instrument and still get his general intention. Beethoven was a keyboard virtuoso even his orchestral writing imitates his understanding completely of keyboard harmony. This meant, time was spent listening to the quality of sound, not producing the correct note.Ģ) Understanding the composer helped. Having a thorough understanding and ability to execute C-sharp minor (and directly related keys) in a variety of applications helped. ![]() Years later, when I returned to the piece, my ear and eye had improved and I saw a lot more in the score that I had not noticed before.ġ) The piece is made up almost entirely of arpeggios. My obsession was with getting it out, at the speed needed. ![]() As a result I started from the wrong place. I was taken by the vivacious qualitys, notably the required tempo. When I approached this piece the first time (in my early teens), it was after watching Wilhelm Kempf.
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