I’ve chosen Burgmuller’s E minor “Inquietude” (Restlessness) from the composer’s Twenty-Five Progressive Pieces, to demonstrate a spring forward movement of the wrist used with groupings of three slurred 16th notes that permeate the selection.
I also enlist syllables, “da-lee-dle” to assist with shaping the 3-note figures.
The Schirmer edition is below. I use Palmer/Alfred which doesn’t have accented notes in the bass, just staccato entries.
(Note that the Left Hand plays through the treble rests on the first and second beats) “da-lee-dle” refers to the three note right hand, slurred figures that occur between beats.
TREBLE LINE: rest da-lee-dle, rest da-lee-dle rest da-lee-dle rest daleedle, etc
There’s a slight leaning on the second syllable (lee)
Practicing should begin in slow motion.
(When all is said and done the piece will fly by rapidly, but just the same, in the fast tempo, there must be phrase shaping, an understanding of harmonic rhythm, and a supple wrist motion propelling the music along)
The Left hand triads are springboards into the three note 16th figures so the interdependency is evident. Chordal resolutions from Sub-dominant to Tonic, or from Dominant to Tonic suggest a shaping down. Think LEAN/resolve in these measures.
In the video I demonstrate the need for a supple wrist that should move forward through the three note 16th groupings. It should start its motion from a lower position in order to move forward. (but not too low) If the wrist is too high, there’s no room to go forward. That’s why self analysis is an important component of practicing.
I often recommend starting with the Bass (left hand), being aware of the flow and resolution of chords. The tonic “e” minor chord followed by the sub-dominant “a” minor (in second inversion) suggest a LEAN on the sub-dominant and a relaxation to the tonic (e minor)
In the G Major middle section, a G Major chord is followed by a G diminished chord, which suggests a slight leaning on the diminished and a relaxation to the G Major triad.
After concerted slow practicing, a faster tempo should be approached GRADUALLY.
Even up to tempo, wrist pliancy is always needed and the forward motion remains, though attenuated.
Intertwined with the technical demands of this piece, is the requirement to play expressively in the Romantic genre.