I put in another 60 minutes or so tonight. Started with the usual scales and arps. I know I don't need to start every single practice session with them, but I choose to do so. It gets me "in the mood," so to speak. Yep. Think of scales and arps as the appetizer, or a pre-dinner glass of wine.
I was supposed to practice Liszt tonight. The Bach was still open on the piano, though, so ... I decided to play measures 16-22 through once, just once, before moving on to the Liszt.
Well, what do you know? Did I practice earlier today? Didn't I? I thought I did. But you wouldn't have known it by listening to me. It was like I'd never even learned measures 20-22!
Back to the drawing board.
After all that drilling of measure 20 using the former fingering, my LH was confused about the new fingering. So I had to re-drill it all, as if I were drilling for the first time. I put my nose to the grindstone and my fingers to the keys. I was a woman on a mission. I was going to get measure 20, and play it smoothly and well, even if it meant spending an hour or more on it tonight.
It's still not perfect, but it's much better. It's just a very tricky section. The RH is playing a unison F-double-sharp (I think) that's supposed to be a staccato in the soprano and held note in the alto ... all at once! Also adding to the confusion is (again) the smallness of my hands. At one point, I have to play three notes of the alto melody by alternating my thumbs. All of this while, of course, the other parts of the hands are playing entirely different things.
Such is the joy of the fugue.
I spent all of that time (yes, all of that time) working on those danged measures 20-22. Oh, wait. I did play through the Liszt once at the end of practice. It's beautiful, but it pales in comparison to the fugue. (Now, if I were to practice the Liszt first and really get into it, then I'd probably say the fugue pales in comparison to the Liszt.)
Guess I'll start with Liszt tomorrow!
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