Author: SecondTry
Date: 2021-10-03 21:17
brycon wrote:
> You'd have to game plan for this problem in a different way.
> Perhaps you could play the passage up to the arpeggio, rest for
> several quarter notes, give your mind a chance to catch up with
> the music, and then play the arpeggio. As you get more
> comfortable, you could shrink the amount of rest until you're
> playing the passage as written.
>
Now this I hadn't thought of, and I think it's a brilliant ideal. Thanks! It's very on point for me because I can play either the 16th notes or the 32nd notes with far greater accuracy in isolation.
So like you said, I need to start at a level of isolation of each that I'm comforable with, and bring them closer over practice time.
Bennett wrote:
> I've got a totally different suggestion - perhaps anathema to
> you and the other respondents. If you don't need to get this
> perfect for an audition or solo, fudge it.
I agree Bennett that from a performance perspective, especially with accompaniment, if not from a piano then concert band or string ensemble, a missed note isn't going to be noticed by the listener.
It will likely come to this even if I can get the passage perfect in isolation. I say this because exhaustion at play, at least for me, negatively effects accuracy, and by this point in the piece I am winded.
I really owe some context here. It's the Mangani Fantasy I've been talked about prior here, at this point:
https://youtu.be/YJdypWTGFEw?t=189
Thanks all!
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