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  #11  
Old 02-28-2007, 11:54 AM
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Hmmm ive just realized that some have might interpreted 1-2, 1-2-3 as 1-2-1-2-3 but i ment 1-2, or 1-2-3 my bad
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  #12  
Old 02-28-2007, 02:15 PM
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Quote:
Originally Posted by Maximus
Hmmm ive just realized that some have might interpreted 1-2, 1-2-3 as 1-2-1-2-3 but i ment 1-2, or 1-2-3 my bad
Hahaha! Hey man, it happens
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  #13  
Old 03-01-2007, 07:32 AM
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Wow, thanks all.
Looks like, the 1-2-3 fingering suits me

Any good passage to train both hand?
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  #14  
Old 03-01-2007, 12:46 PM
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How about some major and minor arpeggios on the right hand while doing a consistant 1-2-3 on the root with the left hand. If your keyboard allows, do a layered sound of a bass guitar and a kick drum or the left hand. That is how I am going to play Yngwie Malmsteen's solo to the song Rising Force, just for an exercise. The bass guitar and kick drum pretty much lock on that song.
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  #15  
Old 03-06-2007, 09:14 AM
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this is also a cool technique to simulate guitarpicking. I used it in some songs we composed to make the keyboardparts a bit more attractive.
For rapid note playing on black keys I mostly use both hands because to me that's more accurate.
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  #16  
Old 03-08-2007, 09:10 PM
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Quote:
Originally Posted by Maximus
Hmmm ive just realized that some have might interpreted 1-2, 1-2-3 as 1-2-1-2-3 but i ment 1-2, or 1-2-3 my bad
No, I understood exactly what you said. Maybe it "works", but it is not the most efficient way of practicing repeated notes. I am classically trained as well and I am currently at a conservatory right now studying classical piano (Eastman School of Music).

I have looked at dozens of technique books and watched tons of performances, and read up on technique, and I can honestly I have never seen anyone start repeated notes on your thumb. That is just illogical and inefficient. If you do repeated notes - depending on the passage of music especially, you either start on 2, 3, or 4 and work your way down. The simple reason is that the thumb is a clumsy and awkward finger - it is not designed like your other fingers (obviously since it cause pianists the most problems).

The reason why you start from a higher numbered finger (2,3,4) and work your way down is because it is MUCH easier to pull off. In the right hand it is much easier to play descending scales and passage work - starting on 4 or 3 or 2 in the right hand promotes that kind of descending playing (when you start on 2,3, or 4 on the left hand, your hand is moving in an ascending pattern, which is naturally more easy for the LH because you don't have to tuck the thumb under any fingers).

In any case, if you're using 1-2 or 1-2-3 for repeated notes, I'd HIGHLY consider switching fingerings. It is so clumsy. I just tried it for 10 minutes at my keyboard to try and see if it could work and it really doesn't work. It sounds pretty bad and it's more trouble than it's worth, the thumb is a big finger and starting on it makes it difficult to pull it out of the way quick enough for the other fingers to play after it...starting with fingers further away from it allow you to get back there in time after you play 4-3-2-1 with your 4 playing right after the thumb - why? because your 4 doesn't have to compete with your thumb moving out of the way, all it does is play above where your thumb was - this is why most repeated note techniques are practiced (for most people) like you're pulling a drawer open (or swiping the keys)...there is a genearl motion of "in and out" with the hand and wrist (into the keyboard, as in towards the wooden part behind the keys).

That's just my opinion after working on it with teachers, reading about piano technique, and playing for about eleven years, if you still choose to do it fine but in the long run I promise that starting on 4 or 3 is much easier (for example in Ravel's "Alborada del gracioso" (which I probably mispelled), there repeated note passages are clearly marked starting on the 4th finger, otherwise there is no way in hell you can pull off the repeated notes for two pages the way he writes them with other fingerings)...

Oh and the JR technique for that arpeggio looks harder than it is. Starting on an A minor triad for example. You play the A with (1), and then C with (3) (2) and then (1) and then the E with (3) (2) and then (1)...he starts on (1), but does not repeat with (3) on the same note, he leaps up to the next note in the arpeggio using the thumb as a kind of stepping stool up the arpeggio...hope that is clear.
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  #17  
Old 05-02-2007, 03:06 AM
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Quote:
Originally Posted by NiceKid
Recently, I listen to Hiromi Uehara's "Return of Kung-Fu World Champion". At 0:56 - 01:10, she play rapid-one-note. How to do that? Any good practice to do that?
It takes really good muscles. I recently played Gaspard de La Nuit:Ondine by Maurice Ravel (a classical piece) and it took me awhile to be able to do the double hits really well (not to mention the insanely fast and complicated polyrhythmic 2-hand arpeggios). If you're playing pretty loud, it's not so hard to do, but when you have to control your dynamics and keep your playing soft, it's quite the pain to do it. For the Ravel piece it's mostly a matter of triad double hits with the 6th thrown in every few notes to break them up after every 2. I don't know what you're trying to do, but if you have another note in there to help break things up, rotate your hand alot and it'll help greatly. If you can get a bit of momentum going, you won't need the absolutely beastliest forearms of all time to do it, which is generally a good thing.
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  #18  
Old 09-19-2007, 01:11 PM
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Play 1-2-3-4-5-4-3-2-1-2-3-4-5...... etc. Then increase the tempo.
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  #19  
Old 09-30-2007, 11:36 AM
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for rapid playing on one note ive always used the fingering 1-2-1-2-1-2-1-2. i use it a lot on the piece Tocatta by chatchaturian where its needed a fair bit.
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