FROM LEFT AND RIGHT Rhythm

FROM LEFT AND RIGHT

Rhythm

 

«The marriage of Rhythm and Melody is the beginning of progress».

 

1. Rhythm is the only element steadily and constantly repeated within any composition.

2. If when playing a certain rhythmical motif you face difficulties, try to first visualise it, attempting to play it on the piano only as a second step; this method aids immensely as far as rhythmical motifs are concerned.

3. The smoothness of the melodic line as well as the tone of the rhythmic line is frequently indicated by the triplet; for this reason, this is performed slightly more slowly (and smoothly) than a dotted note, then latter being performed more abruptly and with a much more intense rhythmical manner.

4. When encountering a certain rhythmical problem (not being capable of accurately and uniformly performing demisemiquavers, for example), try correcting the mistake in your slow study, observing whether you have neglected correcting a small detail that was enlarged at this faster tempo.

5. There are two basic methods by which one can perform a certain rhythmic pattern (triplet, dotted values, etc.), these being rhythmically or melodically, depending on what is requested by the melodic phrase.

6. A truly mastered piano performer is one who becomes a witness of the spiritual wedding and secret marriage between Rhythm (the «bridegroom») and Melody (the «bride»).

7. If you cannot feel the tempo of a pattern from beforehand, you will never be able to truly understand its rhythmic structure.

8. When having various notes grouped into groups of fives, sevens, nines, etc., divide them into two smaller teams (2-3, 3-4, 4-5, or, 3-2, 4-3, 5- 4), the slight rhythmic accent falling sometimes on one intermediate note and sometimes on another, depending on the case under consideration. It is quite difficult for the accent to drop between two intermediate musical notes when counting quickly.

9. A general rule is that notes of small value tend to almost always approach those of large value, that is, the former, somehow, to attract the latter.

10. When playing triplets consisting of quavers with your right hand whilst playing ordinary quavers with your left hand, place all your attention on your right hand so as to be capable of performing the triplets with rhythmic accuracy; the left hand functions as a machine, requiring no thinking. Try playing the piece with your right hand alone, then with your left; once having mastered the melodic lines, try joining the two hands. What you must always have in mind, is that the first note of a triplet is performed along with the first note of the group of quavers, whereas the other two are performed the second one before and the third one after the second note of the group of quavers. Place a slight accent on the first note of both hands and try to play slightly louder with your right hand.

11. When facing a certain rhythmic difficulty (for example when having quavers together with triplets of quavers on the same hand), try clapping the rhythm before performing it on the piano.

12. If studying a piece with your left and right hand in separation while simultaneously having to play the syncopation for one of the hands, try to lightly beat the time with your foot while the piece is still at its first stages. This will immensely aid in the correct performance of the piece, especially when this has to be performed at a very fast speed. Gradually, given the empirical learning of the piece and after joining the two hands, this must be minimised until completely abandoned.