Our autumn Practice Clinic took place on Thursday 10 September, with Graham Fitch answering questions on slurs, speed, repeated notes and polyrhythms in repertoire ranging from Mozart and Beethoven to Chopin, Mel Bonis and Debussy.
This bumper session covered a wide range of practising challenges, from interpreting notation and building speed to improving control, coordination and security at the keyboard.
If you missed the live session, or would like to revisit any of Graham’s answers, you can watch the full recording below.
Questions covered in this Practice Clinic
Mozart – Piano Sonata in D major, K.576
- Slurs, two-note slurs and ties – How should the slurs in the score be interpreted? Should they always imply legato? Sometimes the musical phrase seems to continue beyond the written slur, and I tend to separate the elements when the slur ends. If possible, could you also comment on two-note slurs and ties?
- Rondo refrain – The third movement is a rondo. Should the refrain be performed differently each time it returns? If so, how might I approach this?
Mendelssohn – Song Without Words, Op. 67 No. 2 – In bars 14-16 there is a long tied F-sharp in the treble while the inner semiquavers need to be played staccato. I find it difficult to keep the F-sharp held while playing the inner notes freely. How would you suggest practising this?
Chopin – Prelude in D-flat major, Op. 28 No. 15, “Raindrop” – How can I practise maintaining an even tone and dynamic in the repeated left-hand notes, particularly when they are played with the fifth finger? At the moment they tend to sound rather uneven or “lumpy”.
Beethoven – Sonata in D minor, Op. 31 No. 2, “The Tempest”, first movement – How can I increase the tempo without the slurred quavers becoming laboured? I also struggle to keep the left hand controlled and even in bars 77-78, and again in the corresponding passage in the recapitulation at bars 207-208. Are there particular ways you would suggest practising these passages?
Mel Bonis – Gai Printemps, bars 9-12 – These measures lie almost entirely on the black keys. Even when I practise them slowly, I tend to “slip off” once I bring them up to speed. How can I improve accuracy and security when playing fast passages on the black keys?
Debussy – Arabesque No. 1, bars 4-10 – I am struggling with the polyrhythms, particularly in bars 4-10, and find it difficult to achieve the flowing, cascading and improvisatory effect of the passage. How would you suggest practising this?
Ask the Faculty
Have another piano question?
As part of the Online Academy’s 10th birthday celebrations, we’re inviting pianists everywhere to put their questions to members of our faculty.
Ask the Faculty is open to everyone, with selected video responses appearing throughout our October celebrations.
Questions close this Sunday 13 September.
About our Practice Clinics
Practice Clinics give pianists the opportunity to get Graham’s input on specific practising questions and challenges. Questions are submitted in advance by Online Academy members, while everyone is welcome to attend and learn from the session.
You can also browse recordings from previous Practice Clinics for practical ideas covering technique, practising, repertoire, interpretation and performance. Further information on how our practice clinics work is available here.