Arpeggio perfection

Terez · **Posted:** Mon Jun 28, 2010 12:44 am

BrokenFingers wrote:

Terez wrote:

I know you're supposed to play the first arpeggio slowly, and then the following two very quickly(I think it's the difference between triplets and 16ths?), but his hand teleported up 2 octaves or something.

Nice description. But this is something Chopin likes to do - he writes a run or an arpeggio that is played in tempo, but comes across as if there is an accelerando. George does it very nicely, but it is written to feel very natural to the hand with the right approach (relaxation as opposed to tension, or the typical OH NO IT'S A FIDDLY BIT thing that pops up even in the easiest Chopin pieces). The difference between 3 to the beat and 5 to the beat is subtle in this context but perceptible. And with the rubato, it need not be overly precise; in fact, it should not be.

88man · **Posted:** Mon Jun 28, 2010 4:43 am

Thank you Terez, Brokenfingers, Chris, and Keyboarclass for a good discussion and kind praises, and even a undeserved reference to Star Trek. Perhaps, the simplicity of the waltz had an unusual flavor given my nostalgic intentions, but it's not like I am playing Chopin Etudes these days... :wink:

Piano21, let us know if you succeed with your arpeggios...

BrokenFingers · **Joined:** Wed May 26, 2010 10:37 pm **Posts:** 45

88man wrote:

Thank you Terez, Brokenfingers, Chris, and Keyboarclass for a good discussion and kind praises, and even a undeserved reference to Star Trek. Perhaps, the simplicity of the waltz had an unusual flavor given my nostalgic intentions, but it's not like I am playing Chopin Etudes these days... :wink:

Piano21, let us know if you succeed with your arpeggios...

Reference to Star Trek? I hope you don't mean my 'teleported' bit.

Thanks Terez. I'm constantly reminded how knowledgeable the members of this community are. I like it here

Chopaninoff · **Joined:** Thu Jul 08, 2010 4:01 am **Posts:** 53

Piano21 wrote:

i can't play fast arpeggio very well, especially in white key (for me, it's very hard to play fast arpeggio in C Major, F Major, and G Major)...is there any suggestion for practicing fast arpeggio?

Piano21,
Technique is not something that is achieved overnight. I suggest playing B major, D flat major, F sharp Major, and A flat Major arpeggios to begin with, and then start with the white keys. Time is an important element in piano. Time, Patience, and hard work can ensure success. As for practice, I know it can be very boring just playing the arpeggios over and over again. I suggest playing Prokofiev's etude in C major known as "The Harp" prelude. This of course is not an any piece, but isint exactly his 2nd piano concerto cadenza either. This prelude focuses on arpeggios mostly in the right hand and some in the left hand. It has beautiful harmonies and at the same time very beneficial. Here is the link to the scores http://imslp.info/files/imglnks/usimg/c ... piano_.pdf It is the 7th piece titled Prelude
Hope I was able to help.

Piano21 · **Joined:** Fri Jun 25, 2010 2:42 pm **Posts:** 9

88man wrote:

Practice ff, and equalize the weakest fingers as much as possible by strengthening regimens. That means the 4th and 5th fingers. Keep fingers curved, not curled. For R.H. arpeggios, make sure the wrist is straight with your arm, so no angled wrists, and after you play the thumb, place it under immediately after the note is played, and maintain it there until you play it again. You will see that the thumb will be right on the note as you go C E G C' E' G' C'' etc. This way you can go very fast. Don't skip notes until you play the next note, it will serve to stabilize and give you a point of reference. In other words, don't remove the thumb until you play the 2nd finger; don't remove the 2nd finger until you play the 3rd finger; and don't remove the 3rd finger until you play the thumb on the second octave, etc... This will prevent you from producing hiccups in motion and sound and produce a uniform arpeggio. Simultaneously the hand should move as fast to keep pace with the notes in the direction of motion.

Practice arpeggios with a nickel coin on top of your hand. If the coin falls off, then you're not doing it correctly. Good Luck!

Thanks for the tips...
it's really helped me..... :wink:

Rachfan · **Posted:** Mon Jul 26, 2010 8:30 pm

In playing scales and arpeggios, it's important to ignore the old pedagogical advice of previous generations of passing the thumb under the palm of the hand. Playing scales and arpeggios is far more efficient and effective when the thumb is kept parallel to the hand in these situations--that is to say, no passing it under the hand. It requires the pianist to develop a synthesizing motion, specifically an anticipatory and timely shift of the hand in the ascending or descending direction along the keyboard to maintain the thumb in parallel position as the scale or arpeggio is executed.

David

Arpeggio perfection

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