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I place 2 and 3 in general. In cases where top notes were meant to ring, or if the chords are just too big and need to be rolled, I place 3 and 4.
The technique of learning chords with shape of the hand/finger positions in the air suggested by Carl is really interesting. I find that very helpful with the huge arpeggio phrases, as they are like chord rolls of 16-32 notes. There you’re literally keeping the same shape going up and/or down.
Thanks for this tip Carl!
Thank you all for your guiding responses.
Maybe one last question… if notes are not all being played as harmonics, are both notes then expected to played simultaneously? …or slightly broken?
Just asking as I am facing similar challenge with another piece in this book, which is the Bransles.
So you’d play natural/harmonics on the right hand, but doing the same for the left hand? or complete harmonics on the left hand?
If you’re not in need of the income from the performance, just commit for the performance day + 1-2 rehearsal(s). Free up your other days for better opportunities.
That should save you all the stress. And in case they really don’t need you, last minute, you can still walk away from it without bearing any grudge.
Yes, I remember using fishing lines too for some instruments when I started playing music long time ago. Remembered they don’t ring as long though and faced some difficulties with harmonics but otherwise worked perfectly.
well… to be fair, injuries result from bad ergonomics and should be addressed from this perspective, rather than from the technique/method used.
Steady rhythm. Suggestion: Maybe you could pull out the melody at the triplets section a bit more so that the piece doesn’t sound flat throughout?
