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19

Yes, you'll want to play E♭–F–E♭ before the final two sixteenth notes. My personal suggestion is more along the lines of: But some purists will insist on the rhythm of the D–E♭ being precisely as written, and therefore: This is where your own interpretation comes into play. I recommend listening to as many recordings of this opening as you can find; you'll ...


14

You retain the accidental. In this case, it is pretty unambiguous since the lead note is immediately preceding the note (baroque trills would even start with the upper note). If there is more of a distance to the preceding use of a changed pitch, one would lean towards adding a reminder accidental to the trill.


13

The distinction here is presumably one between a measured tremolo and a trill open to your interpretation. With the trill, you can determine how quickly you play it (16ths, 32nds, triplets, or something else?), how consistently you play it (will it begin at the same speed that it ends, or that it is in the middle?), etc. But the measured tremolo here must ...


11

Both other answers overlook a crucial point. In Mozart (and contemporaries and earlier composers) trills should generally start on the upper note, which is the case here. However, many professional pianists do not know this and start on the lower note anyway. This is, historically, simply wrong. There are plenty of sources on this, for example CPE Bach’s ...


10

You're absolutely correct; this is a very challenging technique to pick up, it is 100% normal to have difficulty building speed, and you will get faster as you train your hands. This is one of those (few) times that I consider Hanon's virtuoso pianist exercises to be actually useful. You want to look at exercise 46 (page 76-77 of this edition). The ...


10

Do it VERY slow and do it over and over. Not necessarily for a long time but do it often. You're talking about getting your muscles used to a very specific set of movements, and that has to be taught over a long time, and takes the same getting used to as it took you to stand up on your legs and bending your knees the very very first time. How long it takes ...


9

According to Bach's father's own Explication concerning the trills and ornaments, we are given a guide on how to interpret the trills. The Expliation was later expanded on by C.P.E. Bach. There is no question that an historically correct interpretation will start the trill on the upper auxiliary note (in this case the A). The ornament does not descent to an ...


9

Trills are (unfortunately) one of those things that only constant repetition will aid. Your body is not naturally used to the movements required for trills. When you constantly practice them, your brain will eventually pick up on the movements and it will become natural to you. Note, by "constant", I don't mean a two hour crash course session playing ...


8

This is what the top two side keys are for. From a throat A, adding the top side key results in a B.


8

You are correct that the side-key trill is not a very good sound. There is really no way to produce a better trill for that one combo of notes. We all live with it.


7

The 2nd trill key is used for the higher C-D trill. Better sound quality.


6

This type of technique is known as a timbral trill where normal fingerings are toggled with false or alternate fingerings in order to produce subtle timbral shifts without actually changing pitch. Technically speaking, it is actually a repeat tremolo as the pitch is being changed at the microtonal level due to tuning and intonation of the instrument and ...


6

There is a good deal of room for interpretation in how trills are played, for example how many repetitions of the trill notes you should use in a given example, whether you start a little before, right on, or a little after the beat, whether you start on the upper or lower note, and so on. Different things factor into why a trill is played the way it is ...


5

My advice: relax. You can't make a trill faster by straining; as soon as you notice you start straining, take a step back and begin slowly and relaxed again. I would advice against flicking, since this will induce unnecessary strains in your finger, and will not be a viable option in the long term. Another trick: my piano teacher always used to try and have ...


4

These are in fact all different. The D and G and bars 6 and 8 are in square brackets by the editor to indicate that they should be re-attacked, since the preceding note is the same. Bar 8 is not a trill. It should be played as two eighth notes G and F. Bar 12 is a normal trill where its first note (F#) was not the last one played, so no need to indicate it ...


4

Having just done an acid test, for me, trills using a proper piano action are easier to execute than doing them on an 'organ' type 'board. This may be because I play a lot more on pianos than keyboards, though. The bounce back seems to help the control. Having said that, there are lots of trill type bits in Bach's organ works, so it is quite possible to do ...


4

Czerny has an exercise for right hand trills on all finger pairs: Exercise #36 in "125 Exercises in Passage Playing, Opus 261, Book 1". It's short just musical enough to not be overly boring. A little Czerny every day has really helped my technique.


4

Well, if you can fit two trills there, it's certainly better. At least it's what some performers do, despite the fast tempo. In that case, you certainly do not care about the timing inside the beat and play it basically as one long ornamentation of the quarter Eb note. I hope my ears don't betray me and here it's really played as Eb--Eb-F-Eb-F-Eb-D-Eb:


4

The notated value of grace notes at the end of a trill is conventional, though it is usually approximately correct (e.g. you are more likely to see 32nd-notes in a slow movement than in a fast one). The termination of the trill should be at the same speed as the trill itself. That said, if you can play triplets (or 32-notes as suggested in a comment) for ...


3

Start small and work your way up. Start with a hammer-on, for example, on the A string between frets 7 and 9, between index and ring fingers. This is probably the easiest place to trill, at least it is for me. Get that hammer-on good and solid. Try your best to make it faster. Once you master that hammer-on, immediately do a pull-off, and let the lower ...


3

The mere existence of that thrill key is an indication, that there is a problem with the combination in question. Therefore the standard fingerings are unlikely to be combinable in sufficient speed and/or tone quality. For bassoon (I'm better acquainted with) there are special fingering tables for trills and it is more likely that they are different than the ...


3

That shows the note above the printed one to be played first (G), then the F, then G and F again, before the tune note of E, (printed), followed by the last E in the bar.The stave lines are not special, except that a note shown on a line belongs on a line. In this case, the two lines of stave shown happen to be the E and G lines. Or the F might be F#...


3

Wow I did this type of theory work but a week ago. The use of the grace not is trying to indicate that the composer wants you to use the turn motif at the end of the trill. You give no indication on the tempo of the piece so it is not all that clear if they want a long trill or a short one. Also whether it is a baroque trill or a modern one I cannot say ...


3

I think it's the note that is directly above the starting note in the key. For example if I was in G major and i saw the trill sign on the note B I would play a C because it's the next note in the scale. Or if I was in F♯ minor key and the trill was on the note F♯ I would play the trill with G♯ because that's next in the scale. However there could be an ...


3

The ABRSM edition (pub 1982) - an Urtext edition, as much as is possible with Mozart - has these notes, from Stanley Sadie: Editorial realizations of ornaments are shown in small notes above the text at the first occurrence of the ornament concerned in each movement. These realizations are based on the leading sources contemporary with Mozart, such ...


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