IL, you can approach this aurally or technically.
I prefer the aural approach. Have in your mind the tone you want to achieve and work until you have got there. This way, your body will adopt the correct technique naturally. It will be doing some of the things I shall describe later without you having spent hours throwing your arm weight around or exhausting your little finger through overwork
If this does not work, then try the technical approach.
In this particular passage, making the melody sing is a simple matter because the melody notes are always played without accompanying rh chords. You can try each of these three approachs, or a combination of them, depending in what suits you best:
- pure finger action. Lift your melody finger (usually the 5th) further and strike the key more quickly than when playing the accompanying chords. This will bring out a melody under any circumstances. The downside of this method is that you are striking
, not caressing the keys - not good when trying to make a melody sing rather than merely louder.
- moving your wrist and elbow towards the melody note as you play it. 'Throwing' your arm weight sideways towards the note is a good way of thinking of it. This is especially useful in the second section, as melody notes climb up and down the arpeggio. It produces extra sound by virtue of using more weight.
- arm weight. If you already use the weight of you arm to produce a cantabile then you will understand the benefit. You play the melody note at the bottom of the downswing, just at the very split second you begin the upswing - your arm and wrist need to be light and flexible. This had the added advantage of taking your weight away from the subsequent accompanying chords. It is also the hardest to do - you will need to be thoroughly comfortable with melodic tone control by arm weight, to be successful.
A couple more tips:
- when playing the accompaniment chords, keep you lower arms as light as possible. Take all the weight with the muscles of your upper arm; your elbows and wrists only do just enough work to stop your hands falling off the keys.
- remember the pedal will sustain the long melody notes for you, so don't hang on to them. Let go of them and you can concentrate on the right touch for the chords. This way, you might even be able to get some gently dynamic shaping into them as well - then you are really
playing this passage.
Hope this helps