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16

This is an Turn, an ornament consisting of four notes. The double-sharp symbol indicates that the lower note to be performed is a g double-sharp rather than a natural g, so the sequnce to be performed is b, a sharp, g double-sharp, a sharp.


6

There is no need to strengthen your R5 for this passage. It's not a question of force, but of control. This is a piano passage, so what you should so is reduce the energy in the three remaining notes. Then the highest note will automatically sound accented. But even if you did have to increase force on the highest note, you wouldn't do it with an isolated ...


5

A curved line connected two notes that are the same pitch is a tie. If they are different pitches, it is a slur. In this example, the C sharps in the bottom voices in the right hand are tied, and the other voices are played legato according to the slurs.


4

If it helps, I can tell you that Ohlsson's statements don't mean a huge amount to someone with a full musical training and 50+ years of practical experience either! He's telling us something about his personal reaction to the two pieces. He feels (I think) that in one the "fireworks" are sufficient to maintain interest, in the less showy piece he has to ...


4

If you can play this study beautifully, using your own fingering, any fingering, that should be good enough. But where it fits the hand, why not use 4? I'm looking at the Cortot edition (highly recommended; his fingering in particular is generally very very good), and in the very first bar the first pair of octaves is marked 5-5, the second 5-4. All of these ...


4

Your doesn't show the important fact that the trills start on the upper note. See the Peters edition here, for example. http://imslp.org/wiki/Special:ReverseLookup/102120 The fingering in your edition is good, but it's not obvious what it means (and @MattPutnam guessed wrong about contrary motion). Play the lower trill with your thumb under the second ...


4

Other editions make it clearer: trill each note, starting on the note rather than the auxiliary (where he specifies it with an accacciatura). You can see it in Scharwenka's edition here. Edit: I should clarify this a bit: Chopin is using accacciature in this passage to specify the starting notes of the trills.


3

The main point of alternating fingers in octave passages is not to enable legato playing. It won't produce a good legato anyway, since the thumb always has to jump/slide (although for psycho-acoustic reaons, half a legato can produce a nice illusion of the real thing). The real reason has to do with finger and hand positions. Judicious choice of the finger ...


3

I wouldn't interpret stretto as accelerando. My guess is that Chopin put it there to prevent the other natural interpretation of the passage, which is to slow down, from happening. So, instead of doing an accelerando, the passage under the dashes should just be generally faster/flowing, probably slowing down during the last hairpin (>). You'll need to ...


3

It's easier to identify Chopin, since he developed a very personal style. For example, if there is strong chromaticism, it's probably Chopin. But it should be noted that, toward the end of his life, Beethoven too started composing in a more chromatic manner. Listen to the Adagio of op. 106 or the Arioso in op. 110. It doesn't seem like Beethoven at all: it's ...


2

Don't think of it as two simultaneous trills, think of it as a coordinated single trill or tremolo. Also, I'm not familiar with this piece, but the fingering would seem to indicate that the trills move in contrary motion (which I'm finding to be immensely easier as I test it out by tapping on my desk). Finally, I would note that barcarolles are very lazy ...


2

The fingering also articulates the musical phrase better. By using the fourth finger on some of the octaves, the thumb naturally accents the first note of each four note group. It also helps distinguish the third and fourth sixteenth notes in the groups.


2

In the Henle Urtext edition there is no tie on G# and nothing is said about it in the commentary. This suggests that there is no ambiguity: it should be repeated. Also the grace notes should be in the following bar which may or may not affect your interpretation. And the slur should start on the half note G#, there is no slur on the preceding 16th notes. But ...


2

Keep in mind that you're looking for a melodic phrase with that second note, that imitates the melodic phrase in the first note in the earlier passage. So there are some deeper subtleties than just playing all the accented notes equally. You need to keep some form of primary accent on the first note, and a secondary one on the third note, as in any ...


1

Note: Internet advice on piano fingering is always suspect, since it comes from random people all over the world, who probably have completely different physiognomy, experience and attitudes than you do. That said, these left hand figures are clearly intended to be played with one position per group, even though they span more notes than the average hand. I ...


1

First, I agree with alephzero about the fingering. The fingering in your edition assumes that you start on the upper auxiliary rather than the lower, and as I have detailed in my note to his answer this is not set in blood. If you like the lower auxilary, then reverse the numbers in the fingerings. 4-2 on the lower notes and 5-1 on the uppers, changing to ...


1

I see several parameters that could explain what you hear in these recordings and why you can't reproduce it: You don't have the same piano. A high quality and perfectly tuned piano tends to avoid the "soup of sounds" effect due to the pedal, and allows you to have nice pianissimi with the low notes, which is important in nocturnes (this requires a bit of ...


1

In keeping with the melodic and rhythmic elements Chopin is working with, his intention is to flatten the sixth degree of Eb (key) - i.e., the C. This happens to be the enharmonic equivalent of B. Regardless, his intentions lead him to write Cb. This is an idiosyncratic feature of the key of Eb. Flattening the sixth of other major scales does not lead to ...


1

I haven't checked the sheet music, but in any case, a Cb is enharmonically the same as a B natural. As is always the case, the flat just lowers the note by a semi-tone.



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