Mr T wrote:
>....The problem is precision; all this slow-practice
>talk is about the latter. ...
There's slow practice [like the tortoise] but that isn't really what
is being done in this exercise per se. Time may be dilated, but only
globally not locally. Everything you do locally has to be done at the
required final speed [or faster] - locate, target, prepare, and play.
Since global time is extended you have time to think about what
you're doing before you do it, i.e. what you're going to do, but not
time to think about it while you're doing it. As well there is time
to think about each bit and piece individually without them all
piling up as fast speed would demand. In effect the bits that have to
go fast still go fast even though the overall tempo is slow.
>I just had a spot in an early romantic piano accompaniment [which will be
>up in mid July]; left hand changing-chord figures in the middle, and the
>right hand playing a motive above, and a motive below, in alternation, in
>16th notes in a slow allegro; no breaks, and the flute [yes] has ongoing
>16ths. So I can't romantically stretch.
Scriabin is full of those sorts of leaping figures in the left hand,
e.g. 4th sonata. How come nobody mentioned our dear Sgnr S?
Stephen Birkett Fortepianos
Authentic Reproductions of 18th and 19th Century Pianos
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