Thank you for your support, Scott! What does get me and badly is that I know this prelude backwards and play it by heart, as I have been playing it for over 20 years! But put me with a microphone in the vicinity... I go back to being a beginner without the benefit of beginner's luck and it is no longer a performance, but a session of Chinese water torture without the water.
I know what you mean. I will run through a piece just fine and then turn the recorder on and you would think that I am doing a lousy job of sight-reading. Part of it for me is that I start thinking about the spot(s) that are a little more problematic that I don't want to screw up and need to re-record. Of course, then I screw up the easy parts and have to re-record.
I am apt to get muddled up with triplets. I normally divide them in six (ONE two THREE four FIVE six against ONE two three FOUR five six), but it is not always practical. I was suggested another method by a fellow member but it did not really work for me. Which methods do you use?
[Note: I've attempted to place written examples below, or wherever it shows up when I attempt to upload it. I couldn't get a picture to work so I attached a <PDF> (I know part of the problem but don't have time to work it out right now.]
The sub-division principle is good. The trick first is to get all of those numbers to fit into two beats in this case. Along with the sub-division, but that doesn't require as many syllables to get into the alloted time is "Not Difficult". This phrase said in fairly natural speach rhythm is helpful. The triplets fall on the syllables "Not" "Di-" and "Cult". The eigths on "Not" and "Fi-". It is similar to counting "One - Three Four Five - "
And additional problem occurs when spreading across two beats. One way to solve that is to thy thinking two beats to the measure instead of four starting a measure or so before the cross rhythm, then you won't be thinking as hard about the second beat of the pattern (but it will be there).
A third problem here is that there is a rest on the first beat of the cross rhythm. I will often start by playing a note there (usually the first note repeated) to that I have a tactile sense of that first beat.
If you think about it, this pattern is equivalent to a measure of 3/4 time fit into the space of those two beats. If it were all written as a melody line, the rhythm would be "quarter eighth eighth quarter" If written for two hand, the R.H. would be "quarter quarter quarter" and the left hand would be 2 dotted quarter notes.
Another way that might help is to turn the triplet quarters momentarily into two sets of 8th triplets. In the example I use "C" and "D" the "C"s represent the actual R.H. notes, the "D"s are spacers in the R.H. Practice this, putting stress on the "C" then work at removing the "D" and finally the first "C" that is a rest.
I hope that this helps a little or even makes some sense.
cross rhythms.pdf [57.82 KiB]
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