Verne Reynolds 48 Etudes #26
#26 is pretty straightforward giving you plenty of opportunity to learn staccato playing in the low register. If you have issues with this technique, pull this one out regularly and strive to make it better each time. The key interpretation here is leggiero. Much of this one is at soft and moderate dynamics, so even though leggiero already demands this, heavy hard playing should be avoided (except at the loudest spots). To make this one really work for you, play it often enough so you aren’t merely trying to survive playing the notes, but are actually playing the styles you choose as appropriate. For instance, on lines 5 and 6, really challenge yourself to maintain the same soft style on the low notes as the high ones get farther away. This can be one of those “survival” spots, but don’t survive—meet the challenge!! As a hint on the last two lines, don’t think of these intervals as getting wider and more difficult. In fact, don’t think of the interval at all. Rather, think of two separate ideas—the first being, the low C# is alone, the second is that the upper notes are alone. Your brain is able to consciously direct you to playing the C# as a separate entity and your playing muscles will respond appropriately. Your brain will also be able to direct you to the sequential pattern on the upper notes. We run into trouble playing wide leaps like this because we somehow fear or can’t grasp how to get from one note to another that is far away. The answer--don’t use the two notes to compare the distance, but treat them as the only note you are playing. When you begin a piece on a low C#, you get set and play it. Treat each of these C#’s as a first note, you will notice your muscle memory will take you right back to it after a few tries. Same for the upper pattern—you will hear and recognize this melody and respond as if the C# wasn’t part of the equation. Sounds like hocus pocus—try it, you might be surprised.

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