Chopin Etude op 10 no 4 Variationen und verletzungen…?
Ich habe in verschiedenen Noten und Videos, verschiedene Variationen gesehen. Nun weiß ich nicht welche ich spielen soll und gibt es richtig und Falsch?
Wie spielt ihr?
Beispiele: Spielt man den vierte Akkord in Takt 5 als c#m oder als a#m7(b5)?
Vierter Akkord, Takt 14. Mal sehe ich nur ein cis und fis und mal einen d dur akkord.
Oder ob die Sechste Note in der Rechten hand im 76 Takt ein F oder Fis ist.
Naja aber noch eine andere frage.
Ich glaube ich habe mir während des übens dieser Etude ein bisschen an der Hand verletzt. Richtung Fingergelenk.
Ist nicht so schlimm aber kommt dass grundsätzlich durchs üben oder durchs Falsche üben?
Vermutung: eventuell falscher Finfersatz im 43ten Takt in der rechten Hand: 1,5,4,5
Anstatt 1,4,5,4
(1 votes)
Loading...
Hello,
I play cis-moll without ais (Takt 5), fis-moll with the a in the bass (Takt 14) and at the end fis and not f (Takt 76), as it is in the Henle edition. Chopin has played his pieces so and sometimes so and brought different versions into circulation. Henle compares different editions and comments on the different versions. Older Henle editions are also revised. I used to be at Chopin University in Warsaw. A piano teacher told me that Ekier was better at Chopin. I hear that from others. The notes of Ekier are, however, not open in contrast to Henle’s notes. At Henle, you should also read the comments and do not necessarily have to play the version that is suggested in the notes at the front. The f in the clock 76 I find strange when a few clocks before is a fis at the corresponding position. In the case of the different versions, there is generally not one right one. Sometimes, however, there are actual errors that were not intended by the composer. Sometimes it’s strange if at a similar place something is different than before, but that can make the piece even more interesting. When clocks 14 and 13 are identical, I find that boring. Take the freedom to play as much as you like. Other pianists do not play the same.
I’ll take 1,4,5,4, too. Different finger sets are better for different hands. So you don’t have to take what’s suggested. Important is the attitude and how the hand moves. Since the small finger is shorter than the ring finger, you need to turn the hand something to play the black button. You should let this happen by a teacher who controls your way of playing. In principle, the practice does not cause injury, but rather the wrong practice.
I also appreciate these works. I also skipped lighter pieces at the time, which was probably not the best, but motivation is also important if more difficult pieces make you to practice more motivated, but only with an expert. If you hurt yourself, it shows that you should consult a teacher and maybe play lighter pieces. Maybe you can find someone on the internet or at a (music) school or university, even if it’s just someone who knows someone. In case of an injury, you should take a break and then don’t go straight on.
Good improvement and good luck!
With lighter pieces, you may think. Other Chopin etudes?
I also play other Chopin etudes with which I have no problems. Maybe because they’re lighter?
And where do you get an expert? It doesn’t cost much, does it?
Maybe it’s enough when I first upload a video and then comment
Unlike your last requested No. 12 I never played No. 4. The note text is also in one of my moving boxes. So here are just a few general things:
(1) Find a clever original text edition. Henle is currently the cheapest reference output. Here you will find the most common and therefore usual note text (the “right”). Whether you’re playing cismoll or something (as well as the question of a fingerset in clock 43) may be your least problem first, because:
(2) What kind is the injury, would be the first question. What does the doctor say?
In the rarest cases, injuries originate from a single fingerset in any x-popular run. Violations basically mean a completely false movement. If this injury has arisen during the game, you have been accustomed to fundamentally reversed motor procedures which, on the one hand, ensure that you will never play this piece well if you continue, and on the other hand, provoke such injuries that can permanently damage the musculoskeletal system.
So once again my question, the last time that another user asked you, and which so far remained unanswered: do you have a teacher?
If so, then he is not good, because he works with you pieces that are either a house number too difficult for you, or he does not control the technology himself and teaches you a wrong practice. (Or you don’t listen to him, of course you can.) Promise the problem with him and make sure you change your teacher.
If you don’t have a teacher, the good old advice applies: leave the fingers of these pieces. These are virtuoso concertoes aimed at virtuoso pianists, you can’t even teach yourself that. You can’t judge your technique from a distance. Do you have a YouTube channel to see what exactly you’re doing?
A final anecdote to understand why I am so irritating your questions: An acquaintance of mine once wanted a fingerset for the first run in the left hand in Schubert’s Erlkönig piano accompaniment. I crumbled my brain, because if you start this run with the fourth, fifth or third finger, it doesn’t matter at all, as it is now really not a difficulty for pianists who get along with the roar in the right hand. That’s how I’m here: Your questions relate to rather trivial things that are not actually the problem of these pieces. At the same time, you’re taking injuries. Something’s wrong. I’d let the fingers of these dudes first and perform an exact problem localization with the help of a professional, otherwise you’ll ultimately ruin more than you can win.
lg up
The injury is half as wild, I almost don’t feel it and can still play without problems.
No I don’t have a piano teacher, but I’ve never had any problems with the pieces I’ve been playing.
I’ve already considered if I uploaded a video (as you have already mentioned) by being able to draw attention to e.g. errors, that I already find very interesting, but I don’t have the camera posture and the microphone yet.
I know very much about treasures and I think that you can already teach these pieces.
Problem localization with a professional. Where do you get a professional?
Lg.