The 3D Form

Macro-gestures & Chromatic Scales (5.4)

Parallel and Contrary Motion

Sacro-Monte, Op. 55 No. 5 by Joaquin Turina

  • Practise the parallel passages using the techniques introduced in Hanon Exercises Nos. 1 & 5, both hands alone and together.
  • Once again, note how the left and right hands and arms require different three-dimensional shaping when playing parallel passages.

Exertude No. 5 by Donald Waxman

  • Practise Waxman’s Exertude No. 5 with your awareness of playing hands together passages in both parallel and contrary motion.

Hand Over Hand Arpeggios

Macro-gestures

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

  • Practise the opening figures of this work with one gesture (a “macro-gesture”)--so that the three notes of the arpeggios are played as the result of an integrated, whole-body motion, as opposed to isolated notes played only by the fingers.
  • Note that the compound meter, ⅜, is felt as one beat per measure, not three.
  • In mm. 17-24, isolate the eighth-notes as demonstrated in the video to combine a focused staccato attack with three-dimensional shaping and horizontal direction.
  • In the same manner, experiment with isolating each of the separate left-hand voices in mm. 17, 19, 21, and 23 before returning to playing all of the notes at once.

Sonatina in C, Op. 36 No. 1, 3rd movement by Muzio Clementi

  • Practise this work by using macro-gestures in each hand, simultaneously, feeling one beat per measure. Note how the hands tend to be in contrary motion, so the hands predominantly–though not exclusively–use “over and in” motions at the same time.

Chromatic Scales

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.

Broken Chords & Scalar Figures

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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