What kind of etudes can improve your ability

About Kurumi I hope I can give you some advice.

One of the first problems that needs to be solved is the homophonic finger change, the homophonic finger change is not very difficult, and it takes a long time to practice with the same tone finger change in the octave to get used to this fatigue, and this difficulty is not something that can be solved by the method.

The power of the second chord, probably at the beginning of page 7 of the piece, these large chords must be strong and elastic, but they must not be stifled to death, and the sound should not be played weakly.

The third scale, practice the F and A major scales with your right hand, you need to practice this kind of practice when you are coming to the end, you must be particles, the bottom of your hands is clean, and there is absolutely no dirty sound.

The touch keys on the first page to the fourth page of the fourth song, when it comes to this part, I think it is the soul of the whole song, the most lyrical place, often very slow and lyrical where it is the most difficult to play, you must grasp the touch key, give a few points of strength I hope you can quantify, don't be strong today and weak tomorrow.

Okay, since it's rhapsody, I think you should practice so you can play well.

If you want to play Rhapsody No. 2 (extremely difficult), you can practice some of Liszt's tunes:

** Etude (2 pieces) "Whispers of the Forest".

Paganini Great Etude 1st, 6th.

Superskill 4th "Matelpa" and 5th "Ghost Fire".

Octave jump exercise with both hands.

If it is a matter of dynamics, then do finger exercises, and "Smit Piano Finger Exercises" is recommended

If you are unfamiliar with the basics, it is not enough to just Hanon Baie, so let's start from scratch 299,740.

The above is assuming that you have a ten-level level and are proficient in scale arpeggios octaves.

The main technical difficulties of Hungarian Rhapsody 2 are the octave and the big jump, if you want to improve these two points, you can play Chopin's etude lesson 22, Liszt's etude clock, etc.

Several etudes by Chopin.

I think I can recover quite quickly by bouncing Hanon from start to finish every day. A week later, I will practice Czerny, Lao Mo's etudes. I don't think it's appropriate to play Xiao in the recovery phase ......

Brother, I'm in a situation too similar to you......Chopin's music is almost unreadable.

Etudes are a major part of piano learning and are an important part of our piano technique. After receiving the practice task from the teacher, the average student often uses the most primitive practice method to practice, that is, repeating it over and over again, and even trying to play it at a faster speed than Dan Fool as soon as he sees the score clearly, thinking that as long as he repeats it a few more times, he can practice the music proficiently, which seems a bit naïve. In fact, this method is the least effective and the slowest to progress.

This mechanical repetition can only exhaust oneself every day. So how to practice to achieve great results?

First of all, when we get the etude, we must carefully analyze what is the purpose of the exercise? What did the composer use to compose this etude? What kind of technique can be used to train to master the technique of etude more quickly?

All etudes should have one or several fixed patterns to support the purpose of the training, and we distill these characteristics, find the same fingering, or the same movements, analyze the essentials of the movements, and train the typical parts correctly. In this way, the difficulties and key points of technical training can be dealt with in relatively little time, and the efficiency of practice can be improved.

secondly, where it is more difficult, the technical difficulties can be gradually solved in a simplified way; or change the rhythm to use the support of the backbone tone to gradually solve the difficulty; or change the method of playing to achieve the goal of mastering the technique.

The third is to start with slow speed to practice, at a relatively slow speed, the arms, wrists, fingers of the movement is done accurately, so that every movement is accurate, copy the correct one, let the muscles remember the position and intensity of the action, the distance of the swing sail and so on. We must not repeat the wrong things, because if the wrong things are repeated too much, a certain pattern will be formed, and it will be difficult to change them in the future. In the process of slow practice, let the fingers, wrists, and arms form the correct movement track.

The fourth is to find a way to break through the technical difficulties, compare the starting point and landing point of the action in the model, the accuracy of the division of musical phrases and the performance method, and find the place where the breathing and the place where the hand changes the posture.

Fifth, let the brain actively move, so that the eyes are faster than the hands, and gradually make our movements have advance preparations, so as not to panic.

Start with slow practice and gradually speed up the movements, but to prevent the tension that comes from speeding up the movements and following the body, you should pay attention to the changes in speed and the movements cannot be changed.