Six out of the ten black note arpeggios use the same fingering system and feel very similar under the hands. The majors and minors feel very similar under the hand, indeed the only difference between them is in the position of the thumbs - a semitone lower in the minors. When you first try to play anything fast it is quite likely to be both uneven (random variations in the volumes of notes) and unsteady (random inaccuracies in the durations of notes). The very first stage of preparing this is to practise it slowly, listening carefully to check that the notes are even and steady at an easy tempo.
Valuable though it is, no amount of slow practice will enable you to play this exercise at speed. In this step the movements that were not practised up to tempo in Step 1 are now practised up to speed.
This step is almost the same as Step 3 except that every movement is practised up to speed, including the movements from the thumb and 5th.
A logical continuation of this strategy is, therefore, to lengthen the burst of speed even further. Here the burst of speed is two bars long - we see two iterations of the pattern before the hand is rested.


This fingering system is based around the 2nd and 4th fingers of both hands spanning a perfect 4th on black notes.
One major and one minor from these two groups should be practised each day to ensure the accurate placement of the thumbs. Whereas in the previous examples thumbs on black notes were avoided, that is not possible here and so the fingering adopted is the same as for white note arpeggios. These arpeggios each have fingering patterns and, therefore, shapes under the hand that are unique amongst the black note arpeggios. During this stage, as in all the steps that follow, monitor your hand for signs of tension.
The secret of playing a passage such as this up to speed, both evenly and steadily, is to make sure that every individual movement has been practiced up to tempo.
In this step the whole pattern of the exercise is practised and the hand is rested on the thumb note.
Even if it then starts the pattern again up to speed, as in Step 5, it has not had the practice of flowing from one transposition of the pattern to the next. The crucial thing is to ensure that, after each burst of speed, any tension in the hand is released completely.


Make sure that the hand relaxes completely before proceeding on to the next fast pair of notes. The notes on which you rest should allow the hand to release any unwanted tensions before carrying on. Notice that the thumb note is then played again in order to practise quickly the movement from thumb to 2nd. Given that the first and last notes are played with thirds in both hands there is total symmetry in the fingering - a great help when learning to coordinate the hands. What is needed is a strategy for practising just some of the movements up to speed and then resting the hand. Note that the movements from the thumb and from the 5th are not practiced up to speed in this step.




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