Constant improvement of the piano technique is one of the basic elements of piano education. We are often asked, especially by the youngest students, why they need to practice scales and arpeggios every day. It is worth quoting the words of one of the greatest pianists of the turn of the 19th and 20th centuries - Sergey Rachmaninoff, who said that the mere ability to play several songs does not prejudge "musical proficiency".

    When starting to work on a new piece, after a preliminary analysis (before the first reading), we should clearly define the goals and means - exercises that will help us achieve these goals. At the initial stage of work on the piece, of course, the most important goal is to master the musical text. There are many theories about the first stage of work on a piece. For obvious reasons, we are skipping the method of learning a piece without music score, which Couperin mentions in his book. It is particularly important at the initial stage of piano education, because it allows you to constantly control the proper functioning of the apparatus. Today, however, we want to present, in a very general way, how Franciszek Liszt worked on a piece.

    In order to interpret dances correctly, their characteristic rhythmic structures should be properly performed.
    How to perform the rhythm of a polonaise?
    Read the advice of prof. Regina Smendzianka:

    The first two Polonaises, G minor and B flat major (which are identical in form), already have in the Introductions a rhythmic formula characteristic of the polonaise (the beginning bar – the so called polonaise rhythm, an eighth and two sixteenths). This formula allows the listener to unmistakably tell the polonaise from other dance compositions in three-four time. The commonly used and, in principle, desirable interpretive “mannerism,” which means extending (with a slight emphasis) the first eighth and accelerating the two sixteenths, originated in the choreography of this dance – the first (in the bar) step of the polonaise is slightly longer. Similarly, in the accompaniment of the eighths, which are equal in length within the bar, the first may be extended. However, this rhythmic “deformity” should be used sparingly.

    - Regina Smendzianka / How To Play Chopin
    English Translation: Jerzy Ossowski

    Est 2015


    Marta Polanska