Nice tips, although slow practice should be more than sufficient. It can be tedious and time-consuming to alter rhythms and block arpeggios unnecessarily. Practising by trying to achieve the desired result is usually more effective than doing something else arbitrarily, unless you are trying to overcome a specific difficulty. I find this approach unnecessarily mechanical.
Because I found myself rambling on and on about the first page, I decided to compartmentalize the instruction to make it easier to absorb.
And since I played the “Tempest” years ago, the surest route to my restoring the piece to a respectable performance level, was to practice it from the ground up in slow tempo.
As I re-approached this Sonata, I relied heavily on CLUMPING or CLUSTERING groups of notes.
The opening two measures that resonate with a peaceful broken chord in the Dominant, are followed by a rapid stream of melodic seconds in a tempestuous descent. (The duality of the motif is clear)
In the video, I demonstrate a wrist forward motion as I clump the seconds which embody non-harmonic upper neighbor tones that are passing dissonances.
Clumping these 2nds (appoggiaturas) and throwing the wrist forward for each group of two allows a bigger and more effective energy…
View original post 39 more words