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Practice Guide for Rachmaninov’s Prelude Op. 23 No. 5

I. Jumps

Consider this jump:

Here’s one way to practice this jump.

(1) Quietly play the third chord in the jump:

Mentally scan your n!ers" hands" arms" and shoulders. #e aware o$ their positions.

(%) &nce those positions are clear to your mind" play the same chord a!ain" 'ut this

time" 'y droppin! your hands on the eys $rom a hei!ht o$ around three inches.

Mae sure you are droppin! your hands and not intentionally moin! them * let

!raity do the wor. +lay the chord seeral times in a row without a mistae.


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,ach time you play the chord" a!ain" mentally scan your n!ers" hands" arms" and

shoulders. #e aware o$ their positions.

(-) e/t" play the chords o$ the jump this way:

0hen moin! $rom the second to the third chord" moe your hands throu!h the air

in an arc*lie path. (he arc should 'e low.) he third chord should 'e played 'y

droppin! your hands" as in the preious step.

2!ain" 'e aware o$ how your n!ers" hands" arms" and shoulders $eel. 3o this at a

slow" rela/ed speed seeral times" until you can consistently play the third chord

accurately and com$orta'ly.

(4) &nce you can do that" start playin! the passa!e in the preious step $aster and

$aster" acceleratin! in small increments. 2lways mae sure your hands $ollow an arc*

lie path" and the third chord is played 'y droppin! your hand.

ote that the $aster you play the passa!e" the less isi'le the arc and the drop will

'e.

Continue acceleratin! until you sense that your 'ody is not ready to !o any $aster.

Tip: Between repetitions of the passage, stop and breathe. This helps

keep your mind relaxed and focused.

Tip: If you start missing the third chord, slow down to a speed where you

can consistently hit that chord. Repeat the passage several times at this

slower speed.

(5) 6epeat step three. his helps your mind reiew in slow*motion how the jump

$eels.

7o throu!h these steps eery day. 8astin! improement rarely comes $rom a sin!le

day o$ practice.


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he same steps can 'e applied to all similar jumps throu!hout the whole piece"

such as these:

9inally" ll in the $ollowin! ta'le to eep trac o$ your pro!ress.

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II. 8e$t Hand 2rpe!!ios

Consider this le$t hand arpe!!io:

Here’s one way to practice this arpe!!io.

(1) +lay the arpe!!io in this rhythm:


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Mae sure that you use the correct n!erin! and that your n!ers" hands" wrists"

and arms are rela/ed. our wrists need to 'e especially loose and rela/ed here. +lay

this seeral times in a row without any mistaes.

(%) e/t" play the arpe!!io in this rhythm:

he comments $rom the preious step apply here too.

(-) e/t" play the arpe!!io in this rhythm:

he comments $rom step one also apply here.

(4) 9inally" play the arpe!!io as is" plus the rst note o$ the ne/t arpe!!io:

;eep repeatin! the pattern until you can play it seeral times without any mistaes.

7o throu!h these three steps eery day. 2!ain" lastin! improement rarely comes

$rom a sin!le day o$ practice.

hese steps can 'e applied to the arpe!!ios on pa!e three and $our. 9eel $ree to

modi$y the practice patterns to suit the arpe!!ios on the score.

9inally" ll in the $ollowin! ta'le to eep trac o$ your pro!ress.

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-ther )ractice Tips:

#/ 0ake a table similar to those used in this practice guide to keep track

which sections of the piece you have been working on. If you have a

metronome, you may 1ll in each box with the fastest comfortable speed

at which you practiced the corresponding section.

!/ 2on3t spend a lot of time practicing sections you are comfortable with.

4pend more time 1xing problematic spots or learning new sections.

$/ s much as possible, focus on the music while you practice. If you are

distracted by other thoughts, your practice time will be less e5cient.

%/ lways l isten to the sound of your playing. 6ou should always be

aware of how loudly or softly you are playing, of whether you can hear the

melody over the accompaniment, and so on.

&/ )ractice shorter sections of music 1rst. -nce these smaller sections

are mastered, put them together to play longer sections. If you cannot

play shorter sect ions of a musica l passage, you wi ll be unlikely to play the

whole passage itself.


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