Analysis: Part 2

- All right, so you've had the scale. Okay, and you have a dotted rhythm. Now we have some new interesting trills that we have to incorporate, and I'm going to tell you about how to incorporate them in high speed, so coming down, the fingering switches to a two, and you get your thumb on a black key, and then another two, and back to that, okay. So that's two, two, two. I hope you see why I'm doing this. By using the same finger, I'm forced to lift my hand, and drop it again. By dropping it, those other two notes of that trill, I can just ricochet after that strong note. You don't have to worry about playing them so loud. Just see if you can just really let the energy of the drop propel the other two notes after that. Drop, drop, and then give it a little bit of air, and drop it from your wrist, if you can. Just makes sure you lift, jump a little bit, drop. You need a little bit to air before every drop down. Let's add your left hand to that figure. Here, we're in the A flat pattern, starting form the top here ready. Lift, drop, drop, drop as much as you can, and then back to the B flat. Now we're going to drop to a three, three, then one, and we're going to use a third finger to help us reposition here. The reason I'm using this is because I need to gradually move my hand to a lower position. Get ready for this next section again, so we're changing the fingering here of the trill, and the trill's a little bit different because it comes a little bit early, so here' we're going to drop to a three, and here relax your fingers. Just let them wiggle. Here we're going to drop the three. Drop to the one, five two, we return to the opening theme again. Let's put that in context from the scale. We're going to drop on twos. Twos, two, two, and then is is going to be different, four, now drop to the three, and your thumb is a naturally heavy finger, drop on it, so the thumb is meant to be a rhythmic anchor, and also to remind you that we're changing the pattern. Instead of doing two, two, two, we're doing three, one, then transitioning down, so that's how that works and that's the logic behind that fingering. I'm using my body both as a memory aid to remember, the notes are different, and as rhythmic anchor points. Again, let's take it from the scale, switch to the A flat, drop, drop, drop, back to the B flat, now three, whoops, excuse me, drop to the thumb. Reposition down, now we're back at the beginning. The same thing happens here, scale back up, Just repeat, and then two again, two, two, two. Okay, so now here things are going to turn around. All right, let's take a quick look at how the right hand changes here, the second time around. Remember we did a three the first time. Here, I'm changing the fingering to remind you that the notes are going to change direction, so no trill here, no trill here, and then we're going to use a second finger to trill this, so one more time from measure 19. Drop the two, drop the two again, relax, lift them up, drop your two again, so two, two, two. Two, two, two, thumb under, okay, so lets play that with your left hand, right there, from measure 19, and one, drop, drop, drop. I hope you can see how the drop helps you play quicker, because you're going to be using the rebound energy of that drop, and just wiggle your fingers. Again, you don't have to apply any specific strength. You don't have to stop your hands by using extra muscles. Just move the fingers, just like you would do, like hey, too-da-loo, if you're waving to your friend. Use those muscles to move those fingers for the trill. The first finger is locked with your arm, and your drop wrist, and the rest is just toodles. Move your fingers by themselves. Drop, drop. Okay, now, let's take a look at the next sequence, and pull it apart, because it gets a little complicated. All right, so let's take a look at the right hand. Now we're starting the sequence that's going to climb a little bit at a time. Ready, first we have a triplet, so one, triple it, duple, okay and there's an E natural there. Watch out for that. Then regular duples, then you reach up, okay, and I like to lead with my second finger, so we're going to have this triplet on the second finger, in this pattern here, and we're going to reach up with the four, okay. Do you understand how that works. We have two similar patterns with this triplet, then eighths, triplets, then eighths. Triplets, eighth, eighth, triplets, eighths. Now, what's interesting here is this is a turn around to take the scale, going down. What we need to do, is we need to find a way to connect from here to here, because we need to have the four finger, starting that three, black key group. It's a little bit of an awkward turn around. Don't spend too much time holding onto this, because you really need to just move through. You can just jump off if you need to, so you might want to practice this transition. It's going to feel very weird. You're going to feel like you're squeezing pretty tightly here. Don't worry about holding too long. The whole thing is going to be speed, so you can let go of notes. It's just a bridge note. Get it out of the way, and then we're playing the scale coming down. All the way to a C. Okay, do you see how I'm using the black keys? F, C, F, C natural, and then it turns around, with the pinky up here, and then we're going to do a scale coming back up, starting on the G natural, and then a scale. Okay, good, so a lot we've just absorbed note-wise. Take a look at it carefully and look at the fingerings that I've written out on the music. That will help you to navigate this smoothly.