6. Allegro Molto

This prelude is technically quite challenging. To be able to play it, the left hand must be very strong. The left hand covers a considerably low register on the keyboard and is required to execute fast movements in a heavy key position.

As you can see from the score, in the left-hand triplets, the last of the three notes is overwhelmingly played by the first finger. Therefore, the third note is not much of a problem. However, the first and second notes are played by fingers 4-2, or 5-2, 5-3. If these fingers are not firmly pressed deep into the keys, "missing notes" will occur when the tempo is increased. The left hand must be practiced in isolation.

I will teach you a partial practice method using the first measure. Let's take HDFis, the first triplet in the first beat, as an example. Since Fis is played by the first finger, place the first finger on Fis and keep it there. While holding Fis, perform a tremolo with the remaining H and D. If you find it difficult to apply enough force, significantly reduce the speed. Once you've slowed down to a tempo where you can apply sufficient force, continue the tremolo at that speed. Any slow tempo is fine. Pay attention to the finger shape, ensuring they are not overextended.

By performing this exercise on all chords, you will eliminate missing notes. "All chords" means you only need to practice the ones you struggle with, skipping those you can play. By practicing the first HDFis, your 2-4 fingers should already be stronger, and this will have a positive effect on other chords as well.

From measure 8 onwards, the first note of the triplet becomes an octave. Initially, only the right hand plays octaves, but later the left hand also adds octaves. In this case, the two notes other than the octave tend to become loose. The practice method is the same as before: hold down the octave and tremolo the remaining two notes.

As you progress, you may encounter sections that seem "somewhat impossible." These are measures 17-19. While measure 17 is still manageable, I will provide my fingerings for measures 18-19 for your reference. For measure 18, the right hand is 123532 123532, and the left hand is 532123 532123. For measure 19, the right hand is 124521, and the left hand is 521135. After this (from the third triplet onwards), it returns to normal. Now, with these fingerings for measure 19, it is naturally impossible to play in tempo. It is acceptable to take some time here. Musically, this is also a section where "Broading (slightly slowing down the tempo in a certain section to make the music sound grander)" is appropriate. Consider measure 22 similarly to measure 19 and think about the fingerings. Broading is also acceptable for measures 24-25 and measure 29.

Regarding the musical aspect, the shaping of the melody line might be a point of discussion. While this is subjective, Russian music tends to "move towards long notes." The H note written as a half note at the beginning of measure 6 is the final note of the theme that begins from the end of measure 2. In typical music, the final note, especially when descending to end as it does here, is often played with less force. However, from my personal subjective view, I believe ending with a forte towards this H is appropriate. This is subjective, so it is neither right nor wrong. Please take it as a reference.

As a result, the melody line will often be played with the same fingers. Therefore, instead of aiming for a smooth horizontal flow, strive to play it somewhat roughly, marcato, clearly, heavily, as if with difficulty, yet quickly.

Regarding the character of the piece, this Prelude No. 6 is a condensation of Kabalevsky's tremendous energy, and a large volume is indispensable. There should be no momentary relaxation of tension; although it is a piece of just over one minute, maintain high tension until the very end.