Hello there, Josh! I believe what you perceive as momentum has lots to do with the notated movement of this piece, which is Largo. In my native latin language, largo means to stretch/ in a dragging manner. For example , in andante (pace of walking), a largo would be like walking through water (slightly slower than Andante, or andantino). In my humble opinion. 🌻
I learned this piece years ago from the Schirmer edition, which has E natural on the 4th beat of measure 3. So when I heard you play Eb I thought it was a mistake. Then I checked Henle urtext edition which agrees that Eb is probably what Chopin intended. It will take some getting used to the different sound. Thanks for the videos!
very interesting. I have the Schirmer myself (v2104, which doesn't appear to say who the editor is, though it's usually Joseffy for Chopin/Schirmer). I would assume the editor felt the original was a mistake. How do you decide which edition to trust?
100% - thanks for confirming my own performance timing. One of the things that always struck me was how Rachmaninoff often went way beyond the written note timings to great effect. His arrangement of Kreisler's Liebesleid is something I play a lot now.
Good morning brother Josh, thanks a ton for your video. I do love Neapolitan Chord, would it possible to please elaborate more on this chord later? Have a blessed weekend :) Sam 🎵♥️
Great video, i do have a question please, as a humbly self taught pianist myself, from the age of 15yrs old, iam 54yrs old now, i have been teaching myself to play Mozart sonatas, humbly doing well, can play k331 1st and 3rd alla turca, k545 1st and 2nd, learning 3rd, k309 1st and 3rd and k283 1st, learning 3rd mov, i also can play the 3 movements of k332, when i play the lovely section going down the base in the 1st, there is a slur, so does that indicate like a pause to go into the base then the circle of fifths chords, or should it cont without a pause, just a thought, greetings from wales uk 😀
Does this work for the Pathetique (grave) ? Been struggling to get the rhythm correct for the first 4 bars and similar sections. My teacher says that I'm late on the short notes and then not holding the long notes for long enough. I've tried counting the the rhythm the same way as i would for the 16th and 32nd notes in bars 5 and beyond. This seems to work ok but feels inprecise.
I agree with other commentator - count in sixteenths. It's easiest for subdividing the long notes and for counting the thirty-second notes, since there are two of them per 16th note. I still mentally count 16ths every time I begin that piece.
Nice to see you talking about this. I have had this conversation with many students who are extremely math and precision focused. It's hard to get them to think differently. I will use examples of how "red" isn't always exactly the same "red". There can be thousands or more shades of "red". And if you bring up French Baroque such as Couperin and how dotted notes work, students (and some teachers!) absolutely lose their minds! You could have a Part 2 of this video talking about Chopin's tuplets, such as any Nocturne with 8th notes in the left hand with 22 notes in the right hand, for example. So many students (and teachers!!!) try to figure out the math to "line up" the hands perfectly. In no scenario should that ever be done, unless perhaps in modern music with a footnote indicating as such!
Spot on! Adding passion by coloring and stretching tempo in a phrase is very important in the expression.
Hello there, Josh! I believe what you perceive as momentum has lots to do with the notated movement of this piece, which is Largo. In my native latin language, largo means to stretch/ in a dragging manner. For example , in andante (pace of walking), a largo would be like walking through water (slightly slower than Andante, or andantino). In my humble opinion. 🌻
I learned this piece years ago from the Schirmer edition, which has E natural on the 4th beat of measure 3. So when I heard you play Eb I thought it was a mistake. Then I checked Henle urtext edition which agrees that Eb is probably what Chopin intended. It will take some getting used to the different sound. Thanks for the videos!
very interesting. I have the Schirmer myself (v2104, which doesn't appear to say who the editor is, though it's usually Joseffy for Chopin/Schirmer). I would assume the editor felt the original was a mistake. How do you decide which edition to trust?
@@mkplante, generally the one that makes the most harmonic sense..
Viele Dank für teilen, wunderbare Video!!!
I never thought about this properly before! Thanks Josh :)
Thanks for the master class
So helpful, Josh!! Also so good to take time this afternoon to listen and learn from you once again. I appreciate you!!!
Thank you so very much, Josh. This is so helpful.
100% - thanks for confirming my own performance timing. One of the things that always struck me was how Rachmaninoff often went way beyond the written note timings to great effect. His arrangement of Kreisler's Liebesleid is something I play a lot now.
I believe sixteenths should also be quieter as they are merely transition to another anchor chord. Thanks for your ideas, Josh!
Thanks Josh!! you the best
Good morning brother Josh, thanks a ton for your video.
I do love Neapolitan Chord, would it possible to please elaborate more on this chord later?
Have a blessed weekend :)
Sam 🎵♥️
Hi there!!
So happy to see you’re doing well….
Curios on how your skin is doing?? Do you think it was in fact TSW??
Yep love it
Thanks
any tips on playing Schumann's Kinderszenen? I find a lot of potential character choices there.
Great video, i do have a question please, as a humbly self taught pianist myself, from the age of 15yrs old, iam 54yrs old now, i have been teaching myself to play Mozart sonatas, humbly doing well, can play k331 1st and 3rd alla turca, k545 1st and 2nd, learning 3rd, k309 1st and 3rd and k283 1st, learning 3rd mov, i also can play the 3 movements of k332, when i play the lovely section going down the base in the 1st, there is a slur, so does that indicate like a pause to go into the base then the circle of fifths chords, or should it cont without a pause, just a thought, greetings from wales uk 😀
Does this work for the Pathetique (grave) ? Been struggling to get the rhythm correct for the first 4 bars and similar sections. My teacher says that I'm late on the short notes and then not holding the long notes for long enough. I've tried counting the the rhythm the same way as i would for the 16th and 32nd notes in bars 5 and beyond. This seems to work ok but feels inprecise.
Count in sixteenths.
I agree with other commentator - count in sixteenths. It's easiest for subdividing the long notes and for counting the thirty-second notes, since there are two of them per 16th note. I still mentally count 16ths every time I begin that piece.
Nice to see you talking about this. I have had this conversation with many students who are extremely math and precision focused. It's hard to get them to think differently. I will use examples of how "red" isn't always exactly the same "red". There can be thousands or more shades of "red". And if you bring up French Baroque such as Couperin and how dotted notes work, students (and some teachers!) absolutely lose their minds!
You could have a Part 2 of this video talking about Chopin's tuplets, such as any Nocturne with 8th notes in the left hand with 22 notes in the right hand, for example. So many students (and teachers!!!) try to figure out the math to "line up" the hands perfectly. In no scenario should that ever be done, unless perhaps in modern music with a footnote indicating as such!