When I first saw the piano score, I felt very headache. Because the main melody is almost always played on the black keys (this is also the name of this etude), one is * * *, and there are six flat notes, so you must not be careless when reading the score, and it will be more difficult to correct it later.

When this piece of music was officially played, it was very fast. We should not only pursue speed but also ensure good pronunciation, so fingering is also particular. Each version of the score may have different fingering because of different copywriting (if it is the original score, there may be no fingering), but it is not necessary to follow the fingering on the score, but it is still necessary to follow the characteristics of your own hand. Speaking of fingering, I want to remind you here ~ ~ Look at the fingering of section 65 in your music score, 532-143-214-321. Is it particularly difficult to play? Because 1 finger and 4 fingers are inconvenient to pass through black keys, especially after acceleration, it is easy to play a wrong string of sounds, which will be very ugly. Therefore, the fingering of this paragraph should be changed. I changed it like this: 554-321-321-321.

2. Basic exercises of fingers in the right hand

Start by holding your fingers high. You must practice one by one! Don't worry, it's very important. Play every sound to the end, just to avoid falsetto after acceleration.

After making sure that there will be no virtual sound, start pasting the keys. Finger movements should be as small as possible and keys should be released quickly. At this time, you can't practice with the feeling of holding your fingers high before, otherwise the pop-up sound will be crackling and clumsy. Also, you still have to practice one sound at a time ~ ~

Next, practice the elasticity of your fingers-play quickly and loosen quickly. You can practice in this order: three tones-six tones-twelve tones-two bars. Pay attention to the granularity and dexterity of each note when practicing, and the rhythm should be stable. At this time, we should strictly follow the metronome and analyze it with our own ears.

Practice like this for a week, and you will find that your speed will improve quickly ~ ~

3. Basic exercises of fingers on the left hand

First of all, every chord should be fully practiced, and there should be no empty notes.

Because most of them are skipping ropes, you can't play heavy, and the feeling of exertion is upward. In this case, it is necessary to reduce the key-touching area of fingers. But don't deliberately grasp the keys for this, it will make the timbre slow and irregular.

From the 23rd bar, the left hand moves for a long distance. So practice slowly, or you will miss the root sound and add the pedal. The mispronunciation is obviously hard to hear ~ ~

(67 -74) "Legato" should be continuous and light.

4. Timbre processing

Every sound marked with strong and pause marks should be prominent, but not too abrupt, especially the thumb that is most prone to overexert.

Articles 23 to 32

The 14 stress and pause of the right hand should be practiced in place. Because of the large span and easy deviation, we should practice slowly first to make the knuckles of the little finger stand firm. 14 should be absolutely concentrated and flexible.

Although the left hand is almost always accompanied, it should also refer to the expression terms in every place. For example: (24-28) "Poco a Poco cresc", we should pay special attention to "poco a poco", don't suddenly get stronger, but push it forward layer by layer. In the 27th and 28th bars, the left hand is two syncopated rhythms, which must be highlighted.

Although they are all places that need to be emphasized, you can't play too hard. They should push the climax naturally and smoothly. It should be dynamic and flexible. This feeling still needs a long period of practice before it can be gradually realized.

Articles 33 to 40

Pay special attention to "sempre legatissimo", which requires very consistent and continuous performance. It's time to make good use of your wrist. It should be the wrist that raises the finger actively, not the other way around. The wrist should be steady, and the most taboo is to pick it up when you are nervous, and the center of gravity sinks slightly. When practicing your wrist, you should not only have skills, but also use your own feelings. When your wrist can be used freely, the timbre is absolutely beautiful ~ ~

Section 465438 +0- Section 48

The main melody here is in the left hand, which can be regarded as P. There may be no fingering here (my music score is like this), so I have to study it myself. Similarly, you can't let the sound break. The left hand should also be linked by the wrist, and pay attention to the change of strength. There are two parts that can't be mixed together. You need to practice your finger control ability repeatedly and listen with your ears at the same time. Moreover, the right hand is very light, which can be regarded as the melody of PP. It should be soft and beautiful, so the ups and downs of emotions should be subtle and random, and you can follow your own breathing.

Articles 67 to 74

Legato on the left. As mentioned above, the left hand should still use the wrist, keep the root sound, and the handling of feelings is similar.

As far as the whole piece is concerned, the pronunciation is easy and dexterous. There is a great contrast between strength and weakness. For example, the first paragraph at the beginning is brilliant, but the next paragraph will soon weaken and then gradually strengthen.

5. Hidden melody

This should be the most difficult part of the whole piece. From section 55 to section 64, from section 75 to section 78, there are hidden melodies.

The hidden melody of bar 55 and bar 55 is on 6 si.

The hidden melody from 57 bars to 60 bars appears in the form of 4+2, all concentrated on 1 finger. Although it should be prominent, the touch area of the thumb should be as small as possible, otherwise the timbre will make others sound that you are trying hard and unnatural.

The hidden melodies of 6 1 to 64 and 75 to 78 appear as 2+2. Here, the requirements for the little finger and the four fingers are relatively high, the knuckles should not be soft, and the timbre should be clear and light.

The left hand of these parts sets off the right hand, so don't let the voice of the left hand cover up the hidden melody.

Playing the hidden melody at first will make it difficult for the left and right hands to cooperate, even awkward, which requires patience. I only connected it hundreds of times. But don't practice hard, you must listen to it yourself, or you can find a favorite version to imitate, so that you can find the feeling faster ~ ~

footboard

You can step on it repeatedly to find the most suitable depth. But for this piece, don't step too deep on the pedal. Especially Legato, you just have to step on the * * * tone, and any deeper will destroy the music effect. It can be a little deeper where it is pushed step by step, but there can be no "hair", which will make the technique look childish. The feeling of using the pedal is hard to say here, but we still have to ponder over it repeatedly and step on it with the ups and downs of emotions. It is necessary to understand that the pedal is a foil to rendering feelings, and it is counterproductive to use it too much.

7. Speed

When I first listened to a CD, I felt unsafe. But if you find the right method and practice step by step, speed is not a problem. The most important thing is not to be impatient, and to treat every voice meticulously. If you are lazy from the beginning, your shortcomings will be exposed when you speed up, and it will be difficult for you to go up again. You must lay a good foundation for the last finger to accelerate.

You'd better follow the metronome when you stick your fingers high. Add three notes to one beat, and 160 adds three notes to practice with six notes. Playing fast and loosening fast is an important method to improve the speed, but the premise is that there is absolutely no empty sound and no missing sound. Therefore, when you want to speed up, you can practice by combining sticking keys and playing fast. Although finger lifting is the most basic, when a truly skilled player plays a fast etude, the finger movements are very small. If the finger root moves greatly, the speed will be greatly reduced and the flaw will be too big.

As long as you master the finger skills, it is easy to accelerate. Soon you will find it extremely easy to play 168 with three notes at a time. In addition, the whole piece also tests endurance. When I first started practicing, I felt exhausted after playing 57 knots. This is still like practicing long-distance running. Over time, it is not easy to make a sound. For amateur players, it is usually 96, and it is good to play six notes. But timbre is more important than speed.

When the rhythm and speed are stable, you don't have to rely on the metronome anymore. Using the metronome all the time will also bind your mood. Because the rhythm of this song is relatively simple, so don't be too formal, you can play it freely. When you need to push layer by layer, you can use your body to transfer strength. The emotional handling of details mainly depends on your own emotions.