Trill Exercises?
Hi,
I have an upcoming piano recital on a Mozart sonata, and in one section I have to play a measure long trill with 2 and 3…not only this, but, the keys on the piano are slightly firm, therefore it is hard to produce a trill at an appropriate level of quality.
Does anybody know any good trill exercises for classical music? I’ve been practicing the trill at the backs of the keys, where the keys are the most firm, but it makes my hand feel fatigued.
Listen to Mitsuko Uchida’s recording of Mozart’s Sonata in C, K. 545 I: Allegro, and listen to the perfect rotations in her long trill at the end of the exposition. That is what I want to achieve.
Thanks,
Scott Turner 
Also know that when I practice the trills at the backs of the keys, I am trying to strengthen my fingers, so playing at the ends of the keys will be easier. I do not play the trills while performing the piece at the backs of the keys
Scott, as you’ve found out, the back of the key is the worst option: the leaver (key) is at its shortest so physics decrees that you need the greatest possible impetus to overcome the inertia. (Put differently, the leaver is doing nothing for you — that’s why you’re getting tired.) Extended trills are three-fingered trills, in whatever finger combination that fits the context of what came before and comes afterwards. The principle is simple: 1-3-2-3-1-3-2-3-1-3-2-3 or 2-4-3-4-2-4-3-4-2-4-3-4, and 3-5-4-5-3-5-4-5-3-5-4–5 etc, in any permutation you choose. For instance, context or sound quality could demand 1-4-2-4-1-4-2-4-1-4-2-4. Adjacent two-finger trills of any appreciable duration, unless dictated by part-writing, are generally avoided. If context demands something like that, 2-4 is preferred over 2-3 because you gain the rotation axis of the wrist in 2-4 which you can use either to increase velocity or power, depending on how you want to deploy it.
For example, when you settle on E, trilling at length to call back the orchestra in Schumann’s Concerto 1st mvt, rh starts the call 1-4 (top speed), lh joins at the octave 3-1 (top speed), rh switches to convenient 3-finger of choice for sustained brilliance, lh adds the wrist axis for weight as you and orchestra meet up, and then you’re off with the band into the coda. You can ‘orchestrate’ trills like that, and that’s just what we do…
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