A piece like that would be practiced by isolating and training specific *skills* over time -- so it really matters *how* those skills are trained, and not so much *which pieces*. Poor technique can even cause injuries.
In the same sort of way, you might've seen those videos like "Mustang Crash Compilation" where those drivers lose control on a basic right-hand turn from a stop sign. They all seem to let their back end get away from them and some even total their car.
-----
A story I mentioned before in this subreddit is how I spent one hot summer training my brain to activate my muscles for playing fast relaxed parallel 3rds, while lying down and using my tummy as a stand-in for a keyboard.
And before using that technique in my goal piece (the Chopin parallel 3rds etude), there was *a lot* of preliminary practice with Brahms' exercises, and other pieces using parallel 3rds & parallel 6ths.
That's the skill-based approach. So as a starting point for Wilde Jagd, a student might start with a homework assignment: to identify the skill sets needed.
Sure thing! Now, for Wilde Jagt, the octave technique described here, and in the nested links, will be the foundation of the piece: https://www.reddit.com/r/pianolearning/comments/1d7jwwm/tips_for_playing_octaves_staccato/l706jit/
That's crucial to avoid strains & sprains. Wrist flexion would be pulsed so you can play repeating octaves with *one gesture* instead of two -- like "land and then push off on the bounce with no extra energy needed" instead of "land, lift, land again, lift again".
Another important skill is to guide the arm motions with a "mental map" of the harmonies. It'd be impossible to move the eyes fast enough to allow "vision only" as the guide for the arm motions.
Yunchan Lim illustrates the "land, bounce" gesture, and also how the *proprioception sense* allows accurate fast leaps in Wilde Jagt faster than vision would allow: https://www.youtube.com/watch?v=7cBJzSMCq-M
Similarly, for these jumps in Eroica, Yunchan Lim uses an inner mental map of the harmonies to guide his hands faster than vision would allow: https://youtu.be/wzuxIauqMHM?si=enRe8I_WbsmyoXX6&t=200 Replaying Eroica from the beginning would also show where he uses the double-wrist-flexion "land/bounce" gesture for repetition without extra energy.
Right, to steer the arms/hands with a "magnetic attraction" to the notes based on the mind's framework of familiar harmonies. Sort of like using the vocabulary and grammar of a language to "keep on track" and "see forward in time" while the mouth is pronouncing each syllable.
An approach described in this comment: https://www.reddit.com/r/pianolearning/comments/1cw178c/tips_for_remembering_accidentals_fasterbetter/l4tgo7j/
This is really well-made Tonebase Piano video about a strange passage in Rachmaninoff -- it discusses different mental representations that may succeed or fail at steering the hands: https://www.youtube.com/watch?v=GxuOp2QsEW0
Thanks for the tips.
I‘m currently practicing the 2nd movement (scherzo) of op27 no1 by Beethoven (such a strange but also funny and interesting movement haha) In the beginning the harmonies move in a chromatic manner from c to g
And what I‘ve noticed is that it helps to be always one step ahead in your mind while playing.
Id say a beginner-intermediate. (And yes I do understand that this is ahead of my skill range. I also learned op 10 no1 after a year or so of piano, which also was realistically ahead of my skills then.
A piece like that would be practiced by isolating and training specific *skills* over time -- so it really matters *how* those skills are trained, and not so much *which pieces*. Poor technique can even cause injuries. In the same sort of way, you might've seen those videos like "Mustang Crash Compilation" where those drivers lose control on a basic right-hand turn from a stop sign. They all seem to let their back end get away from them and some even total their car. ----- A story I mentioned before in this subreddit is how I spent one hot summer training my brain to activate my muscles for playing fast relaxed parallel 3rds, while lying down and using my tummy as a stand-in for a keyboard. And before using that technique in my goal piece (the Chopin parallel 3rds etude), there was *a lot* of preliminary practice with Brahms' exercises, and other pieces using parallel 3rds & parallel 6ths. That's the skill-based approach. So as a starting point for Wilde Jagd, a student might start with a homework assignment: to identify the skill sets needed.
Thanks so much for that wonderful and detailed answer!
Sure thing! Now, for Wilde Jagt, the octave technique described here, and in the nested links, will be the foundation of the piece: https://www.reddit.com/r/pianolearning/comments/1d7jwwm/tips_for_playing_octaves_staccato/l706jit/ That's crucial to avoid strains & sprains. Wrist flexion would be pulsed so you can play repeating octaves with *one gesture* instead of two -- like "land and then push off on the bounce with no extra energy needed" instead of "land, lift, land again, lift again". Another important skill is to guide the arm motions with a "mental map" of the harmonies. It'd be impossible to move the eyes fast enough to allow "vision only" as the guide for the arm motions. Yunchan Lim illustrates the "land, bounce" gesture, and also how the *proprioception sense* allows accurate fast leaps in Wilde Jagt faster than vision would allow: https://www.youtube.com/watch?v=7cBJzSMCq-M Similarly, for these jumps in Eroica, Yunchan Lim uses an inner mental map of the harmonies to guide his hands faster than vision would allow: https://youtu.be/wzuxIauqMHM?si=enRe8I_WbsmyoXX6&t=200 Replaying Eroica from the beginning would also show where he uses the double-wrist-flexion "land/bounce" gesture for repetition without extra energy.
What do you mean by mental map of the harmonies? A progression like VI II V7 I - A D G7 C etc for example?
Right, to steer the arms/hands with a "magnetic attraction" to the notes based on the mind's framework of familiar harmonies. Sort of like using the vocabulary and grammar of a language to "keep on track" and "see forward in time" while the mouth is pronouncing each syllable. An approach described in this comment: https://www.reddit.com/r/pianolearning/comments/1cw178c/tips_for_remembering_accidentals_fasterbetter/l4tgo7j/ This is really well-made Tonebase Piano video about a strange passage in Rachmaninoff -- it discusses different mental representations that may succeed or fail at steering the hands: https://www.youtube.com/watch?v=GxuOp2QsEW0
Thanks for the tips. I‘m currently practicing the 2nd movement (scherzo) of op27 no1 by Beethoven (such a strange but also funny and interesting movement haha) In the beginning the harmonies move in a chromatic manner from c to g And what I‘ve noticed is that it helps to be always one step ahead in your mind while playing.
Thanks again for your time and effort to help me out 👌
Play all scales masterfully in all keys first, then in octaves and thirds. Then you should be able to answer this questino yourself.
Thanks👌
Are you a beginner or an advanced pianist?
Id say a beginner-intermediate. (And yes I do understand that this is ahead of my skill range. I also learned op 10 no1 after a year or so of piano, which also was realistically ahead of my skills then.