Etude Touch
Etude Touch
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Please share your ways on tackling long pieces?
I asked my teacher about this and he told me that in long pieces you should do it page by page(That was his method.)I tried it but I can't seemingly move forward in my Bach's Partita No.2 Sinfonia.I'm getting stuck at the second tempo change where it becomes more contropunal.
I encountered this problem in Chopin's Heroic Polonaise as well.I can't move forward.I think I might be approaching long pieces in the wrong manner because I can handle Chopin and Alkan Etudes with little difficulty but not the longer pieces.
Please share your ways on approaching longer pieces.Do you go page by page?As in after finishing a page you won't touch it until you can play through the whole piece?Or do you go by a bar by bar approach?
Please help me.Its really frustrating to keep getting stuck on the same pieces and seeing my repertoire increase solely on Etudes.
I certainly don't go page by page. Often I start with the most difficult passages first, because they take a lot of repetitive drilling and I don't want to do it all at once! At the same time I'll choose another section, for example, where I still have to figure out fingerings, and maybe another section that isn't as technically demanding but that is more subtle. I especially take advantages of the different sections within pieces; for example, when I learned Bach partitas I would work simultaneously on different sections that had very different affects. I would practice according to what I was most in the mood for at the time (drilling vs. subtlety, or fugue vs. prelude, etc.); I got to it all eventually, and I almost never got bored.
And it would be silly to not touch a page until you're done with the rest of the piece. Pieces require a lot of time to grow, for you to really get them at the highest quality, and if you did only a page at a time in a long piece, the different sections would never get the full attention and time they would need. The only way you can practice hours every day without getting bored or frustrated is to constantly mix things up. When I was practicing three hours or four hours a day, at any given time I'd be working on about four totally different pieces. One Rachmaninoff piece took me five months to learn, and if I hadn't had other pieces to work on at the same time, I'd have gone crazy.