![]() It is pretty hard to relax actually since we (especially males) are used to keeping tension in our body. But instead make a smaller drop (start the wrist lower). It's better to not slow the speed since that means control, and relaxation means to let go. Also, if the RH phrases are shaped a lot more than the LH, that will help the RH stand out too. When you put the voices back together, it may help to think of keeping the LH volume under the RH, rather than keeping the RH louder than the LH, since the overall dynamic is relatively soft. For example, a larger movement with a wrist drop on the bass note, and a gentle fall from the tops of the keys without wrist movement on the chords. The physical movement you make to produce the note will affect the sound, so, if you want a different sound on the bass note than on the chords, make a different movement to get there. Try playing bass notes only, then chords only, then RH only for a while until the sound is consistent. Once you figure out what balance you want, it really helps to practice each line separately making sure it has the sound you want. Johan - Trying to balance 3 lines is indeed not easy. Michael - If you hold your hand above a table, then stop holding up your hand, it drops onto the table right? Same with the piano. It would be contrary to the gentle dissonance of the tonic major seventh offset with the dominant seventh in the accompaniment, which is just not comical enough for me. That would work better with his forte on M9 (though the "cream" would have to be the big surprise, perhaps "make a goulash with paprika ice cream?") but I wouldn't be able to do that with just the music. "make a goulash with BLUE-ber-ry ice cream?". Making it work as a lyric would need humour to make the 'blueberry' unexpected, i.e. Putting the climax at the end of M7, as the hairpins suggest, just doesn't work for me. Perhaps he's trying to make it humorous? (I wouldn't be the best interpreter of Satie.) Putting the accents on the first beat of each measure I get something along the lines of "what a WON-der-ful blue-ber-ry pie, son". M7 is back in tonic so must be a trifle softer and the penultimate note, M8, is under a falling dynamic. For me, the climax must come on the most dissonant notes so I would put the climax at the start of M6. Stronger downbeat accents and much softer for last beat of each measure, for example.įor the phrasing I would struggle to follow Satie's crescendo up to the end of M7. If you can keep the LH soft enough you can keep the RH PP relative to it's own, higher dynamic and using a little more dynamic variation withing the phrase. You don't have to contain the RH withing the confines of PP. The RH is a falling wrist on each downbeat and a rising wrist through each measure. If you're using a digital you may be able to set the touch sensitivity as light as possible and keep the volume full up and still try to ghost the notes (some DP's don't do ghosting my previous one didn't). To make it harder to play softer - thus improving your ability to do so - ghost all the notes first if you have an acoustic. In each case the hand or fingers must be resting on the key surface. ![]() I would play the bass note with a falling wrist and the chord with a rising wrist.
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