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- #RAINDROP PRELUDE F. CHOPIN MUSIC SHEET VIRTUAL PIANO HOW TO#
- #RAINDROP PRELUDE F. CHOPIN MUSIC SHEET VIRTUAL PIANO FULL#
If you don’t stay loose, you risk tendonitis and other stress-injury problems.
#RAINDROP PRELUDE F. CHOPIN MUSIC SHEET VIRTUAL PIANO HOW TO#
How to Play Big ChordsĬhopin’s no Rachmaninoff, but if you have a small span like me, any octave work will fatigue your hands quickly. The more you practice this difficult exercise, the easier and faster it’ll become. It is incredibly difficult at first because we are so used to relying on our eyes, but oftentimes when playing Chopin you’ll need to be looking more at the right hand for some difficult passages, and the left hand is meant to just carry on. Feel where the groups of 2 and 3 black keys are and orient myself according to those. A teacher of mine suggested playing as if I were blind. You can master these by playing them slowly and without looking. Practice just sitting your hand on the pinky side for a moment.ĭo you see how much space your thumb has to move up and down? Rotating your right forearm toward your pinky will cause your entire hand to turn onto its side, so the knuckles are almost perpendicular to the key bed. Here’s more of a break down of the motion: This decreases tension and makes your scales quicker at the same time. Rotate your entire forearm, including your hand, away from your thumb, so the thumb has room to travel beyond whatever other finger (usually 3 or 4) it’s moving beyond. To combat this, make use of rotation in the forearm. I just did it sitting here, and it’s definitely not a great feeling! You can feel the amount of tension that creates just by folding your thumb across your hand and trying to reach the bottom of your pinky (where it meets the palm). I had been doing turnovers with my thumb completely folding under my hand without really moving my hand out of the way at all. In my past, this was a type of situation where I caused pain and inflammation to the tendons in my wrist. Turnovers, are my term for “thumb under” or “cross under.” These occur when we have fingerings like 1 2 3 then 1 again, where the thumb must pass the 3 finger. Practice using good forearm rotation where involve the entire forearm when you do turnovers. To be successful at playing these figures, you need to have the basic scales comfortable and confident. Posthumous, you can see that there a lot of scales moving quickly in odd rhythms. In just these measures from Nocturne in C♯ Minor, Op. Practice Your ScalesĬhopin uses a fair amount of chromaticism (notes outside the given key) in his works, oftentimes with chromatic scales, so being able to just pull these out of your back pocket will make it a lot easier! Same thing with arpeggios! 4 is less technically demanding than the Waltz in A Minor, so I’d recommend that as a late-beginner/early-intermediate piece.īeing able to play this prelude expressively, however, is where the true difficulty lies, but it is a good first Chopin piece that can grow with you. In the Beginner’s Guide to Chopin course coming out in 2022, I recommend these five pieces as good pieces for pianists new to Chopin’s work.
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This waltz is one of the most common first Chopin pieces pianists learn, so if you’re new to piano, just be aware that you’ll need a little more time to adjust to playing before you can efficiently learn some Chopin. What you can see is that the easiest piece listed, the Waltz in A Minor, Op.
#RAINDROP PRELUDE F. CHOPIN MUSIC SHEET VIRTUAL PIANO FULL#
It’s full of fast arpeggios and scales that go up and down the entire length of the piano. If you haven’t played any scales at all ever, it’s probably not a great idea to play the Etude in A Minor, Op. While you can use the many level numbering systems out there to serve as a sort of guide, you do need to also look through a piece and pay attention to the skills you’ll need to play it. You can use level numbers to help you figure that out, but it’s also important to pay attention to the specific skills that you struggle with the most, as that will add learning time onto pieces that have those skills (at least until you get comfortable with them!).Įxamples of skills would be fast arpeggios, chromatic scales, homophonic (chordal) playing, large leaps, things like that. The goal should be to work on a few pieces at a time: one that you can nail in a couple of weeks, one that will take a month, and one that will likely take longer. This might seem like a obvious one, but the tricky part comes with knowing what level you are as a pianist and what level a piece is.