The 3D Form

Applying Three-Dimensional Movement (2) (5.4)

Sonatina in C, Op. 55 No. 1, 2nd movement by Kuhlau

  • Practise the standard chromatic-scale fingering in the right hand’s ascending passages from this piece, as demonstrated in the video.
  • Active fingers, minimal movement in the vertical plane
  • Stay close to the keys
  • The faster we play passagework, successively less movement will be visible. That is–it’s important to not have extraneous movement of the wrist and arm, especially the faster we need to play.
  • To practise fluid chromatic scales, isolate small groups of notes with three-dimensional support. Add successively more notes as you maintain a quiet hand and continuous, flowing movement. Pause to evaluate for all three-dimensional fundamental elements.

Exertude No. 9 by Donald Waxman

  • Apply what you studied in the Kuhlau example and be vigilant to allow fingers 4 and 5 to remain at rest while the other fingers play.

Prelude in C Minor, BWV 999 by J.S. Bach

  • Practise the right hand’s broken figures as demonstrated, by playing with good three-dimensional form and continuing to cycle forward for the additional two notes that succeed the ascending and descending arpeggio.

Sonatina in C, Op. 39 No. 1 by Frank Lynes

  • Experiment with three-dimensional shaping in the various figures presented in this piece:
    • Arpeggiated, descending triads
    • A pentascale
    • A turn
    • An arpeggiated chord, ascending and descending

Sonatina in C, Op. 157 No. 4 by Franz Spindler

  • Isolate each figure to plan good three-dimensional shaping, in each hand.

Honey, from In the Bottoms by R. Nathaniel Dett

  • Study and carefully practise the various figures found in this piece, as demonstrated in the video, paying special attention to how to effectively execute each passage with three-dimensional shaping.

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