Arpeggios are one of the fundamental aspects of technique in piano playing as they are constantly seen in classical literature. Edna uncovers the way one can play arpeggios with confidence and offers an example from an excerpt from Op. 31 No. 2
- 0:00 – 4:00 Rotation
- 4:00 – 4:50 Minimizing
- 4:50 – 5:35 Moving In/Out
- 5:35 – 7:05 Shaping
- 7:05 – 11:10 Beethoven’s Op.31 No. 2
Edna displays the multiple aspects that goes into playing these arpeggios and demonstrates the proper rotations, in/out movements, and more. She also briefly addresses the small leap at the end of this passage.
- 00:00 – 2:07 Rotation (1st line of arpeggios).
- 2:08 – 4:22 In and Out and Shaping (1st line of arpeggios).
- 4:23 – 6:40 Rotation, In and Out, Shaping and Leaps (2nd line of arpeggios)
The figuration in the opening of this etude, as well as in the rest of the work, can be facilitated with the right knowledge of rotation and subtle over-shaping. Edna demonstrates these concepts as well as including the importance of moving the torso to keep the forearm aligned with the hand
Some pianists have claimed that this passage is so tiring that it leaves one fatigued just by playing it. Edna talks about how to prevent this through concepts such as torso movement and shows how moving in the black keys will assist by preventing twisting.
Pianists of all backgrounds and skill levels come with questions about how to play arpeggios with comfort. Edna uses this etude to show how the marriage of rotation and in and out will assist in playing arpeggios. She also touches on the subtleties of shaping and its ability to “smooth” out ones rotations in playing.
In appreciation of the beautiful melody of Granados, we may forget that the LH arpeggios should receive attention so that they are played with control of efficient choreography. Edna discusses utilizing In and Out so that one becomes comfortable rotating into each note.