What are you playing?

[greg]

i'm playing guitar with my tongue........

ahhhhhhhhh
those strings taste so good.......
mmmmmmmmmmm

super slinkies are the tastiest brand out there, huh

[Maciek]

That's a turn I never expected this thread to take... 0:)

[karlhenning]

No lie, Maciek! 

[Black Knight]

My teacher suggested one I didn't like very much. So I'm reconsidering it.

Might I suggest the mazurka Op. 67, number 4, a favourite of mine.

[toledobass]

We begin rehearsals for Beethoven 9 this evening.  The Mrs. is a soloist so it will be just a little more fun.

Allan

[knight66]

That's a turn I never expected this thread to take... 0:)

For any favours, no one tell him about Jimmy Hendrix!

Mike

[karlhenning]

Prelude on « Kremser » (cl & org)
Canzona & Gigue (cl & org)
Irreplaceable Doodles (cl solo)
Handeliana (cl & org)

[aquablob]

Basketball

[greg]

Basketball

yeah, and i just crossed you out and went for the layup... swish 

[orbital]

Is Rachmaninov's Op32/5 G major prelude terribly diffcult? 

[lukeottevanger]

No, not terribly. I suppose it gets a little trickier towards the end.

[orbital]

Thank you. I will give it a try, although the name scares me (read:big hands)

This particular piece is not in public domain yet AFAIK. I can probably get the first page from preview sites, and at least I'll have an idea whether I can manage it

[lukeottevanger]

Score to all the op 32 Preludes

According to IMSLP, where I found this score, the piece is public domain in the US and Canada...I've forgotten where you are, though. 

Whilst you're there, spend a few happy days downloading IMSLP's treasures. There are reams upon reams of them. I must have a couple of Gigs of scores from them by now....

[orbital]

Score to all the op 32 Preludes

According to IMSLP, where I found this score, the piece is public domain in the US and Canada...I've forgotten where you are, though. 

Whilst you're there, spend a few happy days downloading IMSLP's treasures. There are reams upon reams of them. I must have a couple of Gigs of scores from them by now....

Thank you very much Luke. Does not look easy to me 

Starting from Bar 6 (page 21) when the right hand motif starts, the right hand should be kept open for the B to B octave throughout I suppose. But, from what I hear from the recordings (and I have slowed them down on the editor), they seem to be playing two notes following the GF#GF#: a B and a C in quick succession (in the second run two B's, the third B and C and on the fourth B &D). However, the sheet has only one note instead (C on the first, B on the second, C on the third...). This is of course much easier, but I wonder if you can create the same effect 

[Bonehelm]

Chopin - Ballade No.1 in G minor
Beethoven - Tempest sonata, 3rd movement
Liszt - Consolations

[Joe_Campbell]

Thank you very much Luke. Does not look easy to me 

Starting from Bar 6 (page 21) when the right hand motif starts, the right hand should be kept open for the B to B octave throughout I suppose. But, from what I hear from the recordings (and I have slowed them down on the editor), they seem to be playing two notes following the GF#GF#: a B and a C in quick succession (in the second run two B's, the third B and C and on the fourth B &D). However, the sheet has only one note instead (C on the first, B on the second, C on the third...). This is of course much easier, but I wonder if you can create the same effect 

I have never noticed this...but why would players add extra notes?

<...>

I just checked my Ashkenazy recording. He does it too! Interesting.

[orbital]

I have never noticed this...but why would players add extra notes?

<...>

I just checked my Ashkenazy recording. He does it too! Interesting.

I think I found where I went wrong I had not examined the left hand yet. Actually the B before the C comes from the left hand (the second note of the 7th bar in the left hand)    looks as if they should be stroke simultaneously, but the B should come a split second before C.

[Joe_Campbell]

Yea I was looking at that. But the way it was played, it appeared to be a third line (other than that of the left hand "ostinato"). Sounds like it anyways.

It's one of my favorite preludes of his, mainly because of its deceptive simplicity.

[orbital]

Yea I was looking at that. But the way it was played, it appeared to be a third line (other than that of the left hand "ostinato"). Sounds like it anyways.

I don't have the slightest hope of achieving that effect. All the pianists I've heard do that differently (Ashkenazy, Weissenberg, Sofronitsky, Sokolov and Rachmaninov himself).

It's one of my favorite preludes of his, mainly because of its deceptive simplicity.

Exactly!
Here is the best take I have. Sokolov from a 1981 recital:
http://download.yousendit.com/93A07324239DF756

[Joe_Campbell]

I don't have the slightest hope of achieving that effect. All the pianists I've heard do that differently (Ashkenazy, Weissenberg, Sofronitsky, Sokolov and Rachmaninov himself).
Exactly!
Here is the best take I have. Sokolov from a 1981 recital:
http://download.yousendit.com/93A07324239DF756

That was a great rendition. A lot of fuzz though, but it sounds like it's being recorded from the audience (did you record it?) He plays the end incredibly accurately (the 5/4 part), which to me seems to be the biggest difficulty with this piece. His trill at the end was enchanting too!

Another piece that does the 5 equal notes/bar quite effectively is vers la flamme, by Scriabin. Although, his 5 notes are over top of a 9/8 time sig. I think.