5 Estudios Para Piano

6 Estudios para PianoAdrin Doa Mateo

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6

COMENTARIO

El presente documento digital ha sido creado, editado y publicado con el fin de divulgar

varias ideas acerca del mtodo de estudio de los estudiantes de piano en general, pero en

particular a los que cursan los primeros ciclos de Enseazas Profesionales. Las obras

anteriormente expuestas sern referidas a continuacin para especificar los

procedimientos de estudio comunes y los propios de cada pieza, haciendo especial incapi en

los aspectos tcnicos que cada una pretende trabajar, de manera que se puedan aplicar

correctamente para obtener un resultado satisfactorio y apropiado.

Para empezar, se tratarn los sistemas de estudio genrico y que sern aplicables a

prcticamente cualquier obra msical, independientemente de la duracin, dificultad u

otros factores que, primeramente, podran parecer determinantes. El primer mtodo, y que

aparenta ser ms obvio, es estudiar la pieza una velocidad considerablemente menor a la

que la propia partitura indica. As, conseguiermos ser capaces de leerla con tranquilidad y

observando los detalles y adems, ms tarde, nos ser muy til para corregir los errores

puntuales que se cometen una y otra vez en alguna parte determinada de la obra. El tempo

al que debemos rebajar el estudio depender inversamente de la dificultad tcnica que

presente este. De esta manera, el estudio no. 1 , de menor complejidad, requerir un

desajuste mnimo de la velocidad final, mientras que otros, como el no. 3 o el no. 4 ,

necesitarn un tempo incial bastante menor.

En segundo lugar, se encuentra el procedimiento de dividir la obra en varias partes o

secciones de manera lgica y posibilitando una adecuada interpretacin de estas,

consecutiva y sin ningn tipo de corte o parada. Este mtodo se deber llevar a cabo de

forma sistemtica y estudiando musicalmente la obra, prestando especial atencin a su

forma y estructura. De este modo, y tomando como ejemplo el estudio no. 4 , se deber

comenzar practicando cada comps individualmente, debido a su dificultad. Una vez

afianzado cada uno, se pasar a unirlos con estructuras de frases y semifrases de entre dos y

cuatro compases, para, ms tarde y en este caso, estudiar la primera seccin hasta la doble

barra ( comps 6 ). Asimismo, se obtendrn resultados de forma notablemente ms veloz

para poder centrarse antes en aspectos como la musicalidad y la expresin.

A continuacin, sern expuestos las tcnicas de estudio especficas y exclusivas de

cada uno de los estudios, que se tratarn por separado:

ESTUDIO NO. 1: Esta obra pretende trabajar la habilidad expresiva de cada mano

por separado. As, se comienza con la meloda en la mano derecha para pasar ms tarde a la

izquierda y, por ltimo, concluir con la derecha. La dificultad de este estudio reside en que

se debe intentar respetar el movimiento meldico de cada voz para conseguir una fluidez y

corriende musical adecuadas. Para consguir esto, se debe leer primeramente la obra (tarea

bastante fcil en este caso) y, una vez consolidadas las notas, centrarse simplemente en la

expresin. Ante todo, se quiere obtener un sonido bello y agradable acorde con cada una de

las articulaciones de cada mano.

ESTUDIO NO. 2: Esta vez, se trabajan especialmente la repeticin de notas y los

saltos de plano. En este caso, la meloda se encuentra en la mano derecha, aunque no

siempre aparece con el mismo ritmo: en los dos primeros compases la llevan las notas

inferiores y en los ltimos reside en las superiores. Al tratarse de una pieza con un tempo

final rpido, se har especial incapi en estudiarla despacio, al menos hasta que se

considere oportuno. En este tipo de obras, y sobre todo al intentar estudiarlas nicamente a

alta velocidad, se suelen cometer fallos repetidamente en los mismos lugares; ante este

7incidente se recomienda volver a repasar lentamente el fragmento en cuestin.

ESTUDIO NO. 3: Este estudio trabaja principalmente la agilidad de la mano derecha

a la hora de ejecutar arpegios a gran velocidad. Adems de esto, tambin se presenta la

dificultad de los saltos que lleva a cabo la mano izquierda. Para estudiar debidamente esta

obra, se debe comenzar con un tempo lento y acentuando el primer valor de cada grupo de

semicorcheas (cuatro en este caso). De esta manera conseguiremos que la mano se aferre a

las teclas y aprenda, por medio de la memoria muscular, los diferentes pasajes. Una vez

estudiada de esta manera, se pasar a aumentar la velocidad intentado relajar ms la mano

(sin olvidar nunca el acento, que dar ms estabilidad) y apoyndose exclusivamente en el

tempo que marca la mano izquierda. No obstante, es probable que haya determinados

fragmentos que en los que la mano se atranque; en estos casos, es necesario trabajar

formando grupos de arpegios, es decir, se escoge una nota y se mantiene pulsada mientras

se prepara para tocar las siguientes a la mayor velocidad posible hasta el prximo punto de

apoyo. Estos grupos han de tener una longitud de cuatro, ocho o diecisis notas seguidas, en

orden progresivo de dificultad.

ESTUDIO NO. 4: En esta ocasin, se presenta una obra que pretende trabajar la

agilidad de la mano en cuanto a acordes se refiere. Se propone una sucesin continua de

notas simultaneas a una velocidad considerable, por lo que, y como se ha indicado antes, se

comenzar a estudiar a un tempo cmodo y relajado. Al igual que en el estudio anterior, se

marcar notablemente el acento que se produce al inicio de cada tiempo para llevar un

ritmo seguro y homogneo. Un aspecto importante de este estudio es la digitacin; se

recomienda utilizar siempre la misma digitacin y, si es necesario, anotarla manualmente.

De esta manera, se educa la mano en un movimiento adecuado y fiable. Adems, se aconseja

utilizar el dedo nmero 4 sobre teclas negras en lugar del 5 para conseguir una posicin

natural. Una vez lograda la seguirdad a velocidad media, no supondr ningn reto

aumentar esta a la final aunque sera apropiado intercalar las interpretaciones rpidas con

otras ms lentas para evitar vicios.

ESTUDIO NO. 5: Esta pieza fomenta la tcnica utilizada al realizar mordentes y

adornos rpidos, as como la empleada a la hora de llevar a cabo pasajes con octavas. La

primera parte de la obra ( Compases del 1 al 8 ), dedicada a la primera especialidad, deber

ser practicada prestando mucha atencin a cada valor rtmico, de manera que est cada uno

en su lugar exacto. No obstante, a partir de la segunda parte ( Compases del 9 al 19 )

aprecen en la mano derecha octavas. Estas deben ser ejecutadas usando un leve y natural

movimiento de mueca para poder llevarlas a cabo con mayor agilidad. De mismo modo que

en el estudio anterior, las octavas sobre notas negras requerirn el uso del dedo 4 para la

nota superior aunque esto no es siempre posible.

Music engraving by LilyPond 2.18.2www.lilypond.org

5 Estudios Para Piano

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