Week 2: Technique work that shines in your pieces
Welcome to Week Two of "Change your Habits, Change your Playing" with Phil Goldenberg! This is the thread for posting your submissions and assignments for the second week!
Find a tough technical spot in one of your pieces. Using one of the techniques we talked about in the livestream, make an exercise out of it. Post a video of the spot, and of the exercise that helped you.
Phil Goldenberg Just finish watching your live stream. Thanks once again. Just a suggestion if you could put up those references in the main screen instead of typing in the chat, that way people who stream it later will be able to see. Got a question, wouldn't it more efficient to take a snippets of the trouble spots and do focus study than creating an exercise for it that merely resemble the trouble spots? Thanks!
Following another excellent live stream by Phil, here are two study exercises derived from two pieces that I am currently studying, the first is a fragment (3 1/2 measures) from Abel Carlevaro's Preludio Americano #4, Ronda. The second is a fragment (1 1/5 measures) from Abel Carlevaro's Capricho. Both fragments were sections of the pieces that I had identified as "spots" to use the three-minute practice approach that Phil introduced last week. I have now turned them into short study exercises, giving some variety to that three-minute drill.
I gave up trying to play Leyenda years ago because I couldn't get this passage- mm 17-24. I've never seen a lesson on this piece that addresses this particular issue so makes me feel like I'm the only person who struggles with this and don't know how to go about correcting it. The exercises I try to do to help are the finger independence exercises from Pumping Nylon which I do every day. I can do them fairly well but this problem is not getting solved. For the last few days I've been trying the 3 minute routine and playing slowly trying to feel the areas of tension in my hand. Sometimes I try to play even just the first three notes but that doesn't address what happens with the 4th finger sliding about and the 2nd finger having too much tension. It's like a perfect storm of fingers not cooperating and is very discouraging.
So, here is my SOS to Phil Goldenberg and the community.
Here is my update to my last post. I've created my own exercise to address my particular issue. The challenge is to keep the 4th finger from sliding around and to keep unused fingers as relaxed as possible. I'm not there yet but I am seeing improvement. Phil Goldenberg what do you think of this exercise?
Phil, I saw both your livestreams and find them really inspiring. I’m can’t do any recordings now, (first on holiday and now traveling up and down to my newborn granddaughter) . I’m practicing Mertz’ Elegy and followed Giulia Ballare’s advice, to partly damp strings with a sponge to separate the different voices. But now I started to implement your tip to damp all strings. This really helps a lot to check the accuracy, exactness of the attack - in slow chord sequences at the beginning as well as in the fast arpeggios in 32-notes later. Also to check the rhythmic exactness of the embellishments with 16ths and 16th triplets combined. Thank you for these livestreams.