I picked two pieces as if I can play???Revolutionary...fascinating! "you need to find a right mood inside"....exactly! I love what you mention...that's the key! indeed. section by section(precisely) 1, 2, 3, not rushing to the learners, Paul's tutorial scores how they were studied by his manner scientifically, we are grateful. Since yesterday, I've been happy to discover "PAUL BARTON's tutorial" amazing! such efficient way of teaching. cheers!
Thank you so much for this tutorial, seriously the tutorial I needed. All the emotions and articulations you talk about are seriously important and useful. Thank you again! 🙂
over 30 years ago, I played this Etude, before (unfortunate and stupidly) giving up practicing… now, to see this clip, was like getting back in time… loved your explanations, the way you transmit your thoughts and subscribed at once to your channel, thank you very much!
Wow!! Sir, I must say. You are a great instructor. I've been playing, off and on for a while. Always dreaming of the day I would dare attempt to learn this piece. Now I have the confidence and the knowledge to start. Your explanations are so insightful. You make it so easy to get the feel for the piece. I was always intimidated by this piece and it's speed. But now I'm going to practice it, until I can play it well. And up to speed. Thank you so much!
bar 27 I noticed you dont play the f in the chord, is this because its a difficult stretch? I cant quite get this chord either, I have difficulty with it, but the score says to play the f, e, a and d together! This chord is very tricky to play. Also the octaves near the end - section 5 onwards, I notice you dont play them at full tempo that matches the left hand semi-quavers, I think its almost impossible to match them, and there is always going to have to be a relaxed left hand, this right?
Hello. Do you know why from bar 29 to 33 there are many sharps instead of „normal” notes In the sheet? We can see it especially in right hand... d sharp instead of E flat... And so on. If you practise, maybe you know the reason.
I don' like piano tutorials, because I think when someone wants to play a difficult piece he has to practice on his own for the purpose of understanding it. But you explain the history, the reasons and explain the meaning and your own interpretation of this piece. That's great :)
I some kind of feel you, since teacher would be best way to learn, but some people tend to self-learn, which piano tutorials like Paul's are better than nothing; to be honest, synthesia piano "tutorials" are good for nothing in terms of learning, it's just cool visualizer
I find that, since I am learning by myself, Paul's tutorials help me understand how to practice more effectively sometimes. I always try to approach each piece finding creative solutions for overcoming the challenges, but sometimes help from an expert expedites the process. With pieces of this level of difficulty, a brief tutorial is not sufficient to remove the challenge or the potentially hundreds of hours required to learn the piece. It's definitely worthwhile double-checking how you are approaching a piece like this with someone who knows what they are doing because un-learning something is much harder than learning it. I have screwed myself over several times by getting used to playing some tricky passages with sloppy fingering, and then had to go back later to fix it when I got an edition of the music with fingerings written in.
Whatever way works for each pianist to learn the notes, they should use. Aural, like Suzuki or folk, is somewhat good, but for classical music, sheet music is by far the best way to learn the basics. Beyond this, there is so much history, depth, context, and understanding to be gleaned that is NOT written on the page. This is why we have piano tutorials, teachers, studio classes, conservatories, recitals, music critics, and why we have a collective musical culture. We as musicians yearn for the deepest, most rich understanding of the pieces we play. Yes, we must not rote copy one single individual's interpretation. Rather, we must constantly take in as much data as we can about a piece, and THEN synthesize it in a personal way and understand it personally. If you're ONLY practicing at the keyboard, you're doing it wrong. You need to think of the piece at the cafe, in bed, in the shower; read about it, listen to it from many different pianists. Gain a holistic knowledge of a piece from whatever sources you can find that are useful and mentally, practice all the time, not just during your X minutes of daily practice.
You must be a natural if you picked up all the technical video content here by yourself. I've been playing this piece for years yet now play it better after this tutorial.
Excellent piece to balance out left hand dexterity to your right hand, I play Fantasie Impromptu and 3rd movement of the moonlight sonata almost flawlessly, this piece is a good way to even out my hands for future dual hand dexterity pieces like etude 25 12
Freddy Fazbear Impromptu aint that hard, build up speed with a metronone and time the 1st, 5fth, 9th and 13th note of the right hand with respectively the 1st, 4th, 7th and 10th note in the left hand in every bar, the other notes will follow. Also I've been playing for 15+ years, but with a lot of quitting in between and doing nothing for months straight lol
Hi I'd just like to say that I love the way that you play the Chopin Etudes. Do you have any suggestions on how to limit strain on your left hand? Thanks.
To Paul and All who are learning or who have mastered this piece: Please comment on how you feel it is best to master bars where the sixteenth note pattern in the left hand is played beneath 8th note triplet patterns. While the fractional approach to understanding the rhythm is straight forward, I've yet to come across a demonstrated method to consistently learning difficult rhythms such as this, especially when they are played at such high speeds.
Hey I've been working on it and I find that I can't do the repetition of the section 1 or bar 5, the one where you cascade down with both hands in octave. I find that i can play it in correct speed but i cannot do it continuously, i always have a mistake in the middle. Does that mean that I have to leave this piece and just come back to it when I'm better?
Hi Paul, what would you recommend as the best fingering to opus 10/12 Chopin on the descending left hand and further right hands scales? I want to be able to speed up. Any info Paul would be much appreciated. Thanks
You should use the same fingering as he is using, as it is the easiest. You'll notice that with the left hand on the first scale it repeats in the middle: 2,1,2, 4,3,1,2, 4,3,1, 4,3,1,2, 4,3,1, 2,5,2,5,2,5,2,5,2,5,3 You can view the fingering on the notesheets he's using in this video. Try watching his hand movements frame by frame if you're hesitating.
I personally like doing 2,5,1,5,2,5,1,5,3 for the last part of the descending left hand. It's what my score says and it's easier for me to accent the "2" finger when I'm supposed to.
04:09 When teaching, you're supposed to play slowly to SHOW us what you're doing. We KNOW you can play it. You do more playing (showing off) than teaching. Sorry I had to point that out.
OmgLoLw2gLuvUidkROFL if you're going to attempt a piece like this you should be at a level where you don't need everything slowed down and explained in ridiculous detail. To be honest, in my opinion tutorials like that, that basically show you everything note for note are kind of detrimental even to beginner musicians. Tutorials like this that give you tips on how to approach a piece but don't hold your hand through it are very helpful.
I'm not an authority, but mistakes are so tremendously secondary to me, expression is everything! And if you have doubts about this, please listen to one of the Gods from the Piano Heaven: Vladimir Horowitz! I truly admire him and don't really care about his mistakes (y que los hay, los hay!)
I have worked on this study before. Now i am working on it again and this time i intend to learn it once and for all. Thank you Paul for an inspiring tutorial,.
Worth mentioning is the "Church Bell" effect at 07:40 & 07:44. Last base note will be hit pretty hard from the top. If you set the speed to 0.5 in this video, you can actually hear it!
Paul hi, Big thanks for this and all the other tutorials, they're great value. I'm struggling with the left hand from bar 29. Im using 5421 fingering which I guess is right but can't get the fifth finger out of the way quick enough to stop it catching on the 4th finger. Do you recognise the problem? - Any thoughts on how to fix it?
I’ve often thought that the description you make (and other pianists) at the beginning of the tutorial about how to play the chord is very similar to a Japanese term, Kime. Kime is used in martial arts to describe being relaxed and focussed, and then during the moment of impact, tension/power followed immediately by release of all tension, ready for the next strike. Perhaps pianists can adopt the term. Or perhaps a Japanese person will tell me I’m wrong ;)
Yes! Efficiency of muscle use. Tension, i.e. muscular action, for the split second that it's required, and then immediate release. The energy for that muscular action may come from the whole arm/shoulder complex, or maybe just from the fingers, or perhaps wrist+fingers, or all of the above. When the note has been struck, however, relaxation should follow, lest we are overly tense, slowing us down in quick passages and hurting our hands/wrists long term.
OMG... Why am i discovering this only today??? Why God Why!?! I am a beginner thrash metal guitarist, but, this song is why i falled in love about Chopin... So intense, so expressive and dramatic. Lord Barton, this is pure gold you throw in our faces, even 10 years later. OHHHH MyGodddd !!!!
It's actually a little easier than I anticipated. It is the speed that is the most difficult for me. But I am determined. I like this video, I consider it one of the better tutorials on this piece. For me, the Fantasie Impromptu is more difficult.
When you know you've seen the video but you don't see any signs of your presence.. Just wish I had the physical capability of playing this song..oh well; still a great tutorial, even all these years later
Apology not accepted. Why does it matter how high the seat is? Isn't it the playing that matters? Paul is a great pianist. If Horowitz or Gould were still alive would you "correct" their seat positions too?
It's meant to be played without any pedal throughout. Most interpreters play it with some pedal for performances as it enhances the drama/sound. I heard ppl also say you can use the pedal at your discretion, to blend some notes together.
I learnt piano for a long time when younger, but as a teen I was rather lazy to practice. Now at the age of 29 I've realised that enjoy the piano more than I did and have gotten back to playing. However whilst I can read music, I'm a little slow and deciphering the notes that go above or below the ledger times, making my practice sessions some what slow. Any advice you can offer?
That's a great and super helpful video. Thank you for making it available. I was trying to find the score you are using, the one with pedal marks and etc. I checked at least 6 different versions but none has those kind of details. Could you let me know which version / edition of the score you are using?
@darkwolfevanish No, I thought it sounded better than a normal acoustic piano of this size, and it sounds too much like he´s playing in a concert hall, which he´s obviously not. I would say it´s an electric piano, built in an acoustic case or something. I almost can´t beleve that this is the sound of that piano.
@willemvdr12 of course it is an acustic piano. all instrumints whitch their sound is made by the bibration that is created when you "hit" theme are acustic. maybe you mean that it is not a grand piano ??
I don't know whether it is because I have small hands, but for me, the most difficult part of this work are bars 15 and 16. Unfortunately there's no reference to that section in this tutorial.
May I ask, if anyone faced some difficulties when playing bar 39-40? I use 1-2-3-4, as what my score says, but seems rather troublesome. When playing C-Ab-F, I have to turn my wrist, but then I can't play it at a higher tempo. Can anyone give me some advice?
Sorry for sort of nerve to speak after the Master. If you make mistakes at the high tempo, that means at the slower speed also you weren't correct entirely. Speed isnt a goal - it comes by itself as a consequence of right playing. Theres two ways to play correctly: 1-with high attention; 2-through an automation what's second level of skills. Playing at the master speed you suppose you've reached this level, but you didn't. Make mistakes may mean you get tired. It s a fault.
Paul Barton , parabéns muito bem tocada. Passei literalmente ouvindo essa peça , meu pai era maestro e meu irmão também , os dois tocavam sempre e se foram. Vejo essa peça como uma homenagem para ambos Luciano Trinquinato, meu irmão (faleceu em 2018) muito parecido com o Sr. ....obrigado por esse bálsamo para meus ouvidos .
awesome tutorial. can i just ask for one favor? can you please make a tutorial on beethoven's sonata no 14 op 27 (moonlight) for the 3rd movement... i need some advice on technique because it really hard to get that speed on those main starting notes. pls do a tutorial :)
Fantastic tutorial. Was looking for some help with this piece. I'm cross dominant and mostly play by ear even though I can read sheet music (not a sight reader) so that gives me some trouble. Got the first and second sections down thanks to you! :D Peace.
How about doing some basic piano tutorial videos? As in, for those who want to learn to play piano from beginner level? Just a thought. Cheers, you are such a boss at piano by the way.
Great teacher, impressive pedagogy. I kept training on section 1 for 2 days (2 hours / day). It is ok but still I am slow, and the piece looks odd. Now it is a matter of repetition.
This is a great piece for getting the left hand in shape. I feel like I can tackle this piece now that you have made is so clear on how to approach it.Thank you Paul for posting these great tutorials
I picked two pieces as if I can play???Revolutionary...fascinating!
"you need to find a right mood inside"....exactly!
I love what you mention...that's the key! indeed.
section by section(precisely) 1, 2, 3, not rushing to the learners,
Paul's tutorial scores how they were studied by his manner scientifically,
we are grateful.
Since yesterday, I've been happy to discover "PAUL BARTON's tutorial"
amazing! such efficient way of teaching.
cheers!
Thank you so much for this tutorial, seriously the tutorial I needed. All the emotions and articulations you talk about are seriously important and useful. Thank you again! 🙂
over 30 years ago, I played this Etude, before (unfortunate and stupidly) giving up practicing… now, to see this clip, was like getting back in time… loved your explanations, the way you transmit your thoughts and subscribed at once to your channel, thank you very much!
Wow!! Sir, I must say. You are a great instructor. I've been playing, off and on for a while. Always dreaming of the day I would dare attempt to learn this piece. Now I have the confidence and the knowledge to start. Your explanations are so insightful. You make it so easy to get the feel for the piece. I was always intimidated by this piece and it's speed. But now I'm going to practice it, until I can play it well. And up to speed. Thank you so much!
bar 27 I noticed you dont play the f in the chord, is this because its a difficult stretch? I cant quite get this chord either, I have difficulty with it, but the score says to play the f, e, a and d together! This chord is very tricky to play.
Also the octaves near the end - section 5 onwards, I notice you dont play them at full tempo that matches the left hand semi-quavers, I think its almost impossible to match them, and there is always going to have to be a relaxed left hand, this right?
Hello. Do you know why from bar 29 to 33 there are many sharps instead of „normal” notes In the sheet? We can see it especially in right hand... d sharp instead of E flat... And so on. If you practise, maybe you know the reason.
what type of yamaha is your piano! It sounds amazing!
Very generous of you to create this. It is very helpful.
You'll feel emotionally drained`` thank you, finally someone said it! I thought it was just me!
I don' like piano tutorials, because I think when someone wants to play a difficult piece he has to practice on his own for the purpose of understanding it.
But you explain the history, the reasons and explain the meaning and your own interpretation of this piece. That's great :)
I some kind of feel you, since teacher would be best way to learn, but some people tend to self-learn, which piano tutorials like Paul's are better than nothing; to be honest, synthesia piano "tutorials" are good for nothing in terms of learning, it's just cool visualizer
I find that, since I am learning by myself, Paul's tutorials help me understand how to practice more effectively sometimes. I always try to approach each piece finding creative solutions for overcoming the challenges, but sometimes help from an expert expedites the process.
With pieces of this level of difficulty, a brief tutorial is not sufficient to remove the challenge or the potentially hundreds of hours required to learn the piece. It's definitely worthwhile double-checking how you are approaching a piece like this with someone who knows what they are doing because un-learning something is much harder than learning it. I have screwed myself over several times by getting used to playing some tricky passages with sloppy fingering, and then had to go back later to fix it when I got an edition of the music with fingerings written in.
Whatever way works for each pianist to learn the notes, they should use. Aural, like Suzuki or folk, is somewhat good, but for classical music, sheet music is by far the best way to learn the basics. Beyond this, there is so much history, depth, context, and understanding to be gleaned that is NOT written on the page. This is why we have piano tutorials, teachers, studio classes, conservatories, recitals, music critics, and why we have a collective musical culture.
We as musicians yearn for the deepest, most rich understanding of the pieces we play. Yes, we must not rote copy one single individual's interpretation. Rather, we must constantly take in as much data as we can about a piece, and THEN synthesize it in a personal way and understand it personally. If you're ONLY practicing at the keyboard, you're doing it wrong. You need to think of the piece at the cafe, in bed, in the shower; read about it, listen to it from many different pianists.
Gain a holistic knowledge of a piece from whatever sources you can find that are useful and mentally, practice all the time, not just during your X minutes of daily practice.
You must be a natural if you picked up all the technical video content here by yourself. I've been playing this piece for years yet now play it better after this tutorial.
lol
Excellent piece to balance out left hand dexterity to your right hand, I play Fantasie Impromptu and 3rd movement of the moonlight sonata almost flawlessly, this piece is a good way to even out my hands for future dual hand dexterity pieces like etude 25 12
For how long have you been playing ? And how did u manage the polyrythm in fantasie impromptu ?
Freddy Fazbear Impromptu aint that hard, build up speed with a metronone and time the 1st, 5fth, 9th and 13th note of the right hand with respectively the 1st, 4th, 7th and 10th note in the left hand in every bar, the other notes will follow. Also I've been playing for 15+ years, but with a lot of quitting in between and doing nothing for months straight lol
this was really helpful. I have noticed those details but was a bit confused how what to do with it.
bravo, This video has been a tremendous guide for me, thank you thank you!!
that's great! for a self-learner like me! you're my teacher now, thanks!
Very nice tutorial! This piece seems a lot less daunting now.
Im sure your dog, Blue, would be proud
Do you like Christiane Mathe playing this one? I've heard this piece for very first time ,playing by her, and still love her interpretation.
thanks for the tutorial! appreciate a lot
wooooow, its incredible thanks for upload this tutorials, you help me a lot with my proyects of piano. keep like that;)
THANK YOU SO MUCH!!!!!
thanx for the answer .
Your technique is absolutely superb! You are a professional, right?
Can you make subtitles please?
Hi I'd just like to say that I love the way that you play the Chopin Etudes. Do you have any suggestions on how to limit strain on your left hand? Thanks.
Ive been trying to use a metronome for this work but i'm not sure how to use a metronome. Maybe you can post a video on how to use a metronome.
Thanks
Hope you succeeded and went on to finish all the etudes!
To Paul and All who are learning or who have mastered this piece: Please comment on how you feel it is best to master bars where the sixteenth note pattern in the left hand is played beneath 8th note triplet patterns. While the fractional approach to understanding the rhythm is straight forward, I've yet to come across a demonstrated method to consistently learning difficult rhythms such as this, especially when they are played at such high speeds.
Chopin was 17-18 when he wrote this piece. And he wrote it in one day.
He was somewhere between 23-27 when writing his Etudes.
21 actually. It was written in 1831 during the uprising in Poland against the Russian czar Nicolas. Chopin was born in 1810
@katiush65 Well today I learned the first two measures of it.
My only issue with this piece is the three against four in the fourth section.
In 50, 52 , 55, 56, 60, 62 can someone correspond notes for left and right hands and send me snapshot?
Hey I've been working on it and I find that I can't do the repetition of the section 1 or bar 5, the one where you cascade down with both hands in octave. I find that i can play it in correct speed but i cannot do it continuously, i always have a mistake in the middle. Does that mean that I have to leave this piece and just come back to it when I'm better?
at 06.46, where is his bass line?
find the notes that cause problems and accent them when you practice
Usa pedal sustain nessa música?
its so difficult, i think i can play it in 300 years :'(
Hi Paul, what would you recommend as the best fingering to opus 10/12 Chopin on the descending left hand and further right hands scales? I want to be able to speed up. Any info Paul would be much appreciated. Thanks
You should use the same fingering as he is using, as it is the easiest. You'll notice that with the left hand on the first scale it repeats in the middle:
2,1,2,
4,3,1,2,
4,3,1,
4,3,1,2,
4,3,1,
2,5,2,5,2,5,2,5,2,5,3
You can view the fingering on the notesheets he's using in this video. Try watching his hand movements frame by frame if you're hesitating.
Paul i'm sorry for the late reply. Thank you so much..
Michael Knox I'm not Paul, but no problem.
I personally like doing 2,5,1,5,2,5,1,5,3 for the last part of the descending left hand. It's what my score says and it's easier for me to accent the "2" finger when I'm supposed to.
easy
hey paul how come you seem depressed here? :/
great tutorial but please your rythm is uneven. the dotted eights sixteenths have to be precise. sounds amateurish
04:09 When teaching, you're supposed to play slowly to SHOW us what you're doing. We KNOW you can play it. You do more playing (showing off) than teaching. Sorry I had to point that out.
Thoose tutorial are for avance piano player
As Narciss said , Those Tutorials are for Advanced players :) Who already know a little bit how to play it
But literally a few seconds before he gives a clear explanation of the different interpretations he's about to play...
Captain Obvious Thank you Captain Obvious! (teehee) 😂
OmgLoLw2gLuvUidkROFL if you're going to attempt a piece like this you should be at a level where you don't need everything slowed down and explained in ridiculous detail. To be honest, in my opinion tutorials like that, that basically show you everything note for note are kind of detrimental even to beginner musicians. Tutorials like this that give you tips on how to approach a piece but don't hold your hand through it are very helpful.
I'm not an authority, but mistakes are so tremendously secondary to me, expression is everything! And if you have doubts about this, please listen to one of the Gods from the Piano Heaven: Vladimir Horowitz! I truly admire him and don't really care about his mistakes (y que los hay, los hay!)
Its going to be my goal to learn this song no matter how long it takes.
yeah me too it's an awesome piece. Chopin is my favourite composer!
same as me xD tbh my final goal is ocean or winter winter wind but it will be impossible 😂
+Dinal Aliffiandy Ocean étude is easier than revolutionary étude.
+Dinal Aliffiandy you are thinking like a loser
TheCheezeur78 srsly dude, that song are not easy
I have worked on this study before. Now i am working on it again and this time i intend to learn it once and for all. Thank you Paul for an inspiring tutorial,.
Per Amundsson how’d it go?
@@Dustyholes How'd it go?
This man is great! What a fantastic musician!!!
Worth mentioning is the "Church Bell" effect at 07:40 & 07:44. Last base note will be hit pretty hard from the top. If you set the speed to 0.5 in this video, you can actually hear it!
Paul hi, Big thanks for this and all the other tutorials, they're great value. I'm struggling with the left hand from bar 29. Im using 5421 fingering which I guess is right but can't get the fifth finger out of the way quick enough to stop it catching on the 4th finger. Do you recognise the problem? - Any thoughts on how to fix it?
Thank you very much of this tutorial.
I’ve often thought that the description you make (and other pianists) at the beginning of the tutorial about how to play the chord is very similar to a Japanese term, Kime.
Kime is used in martial arts to describe being relaxed and focussed, and then during the moment of impact, tension/power followed immediately by release of all tension, ready for the next strike.
Perhaps pianists can adopt the term.
Or perhaps a Japanese person will tell me I’m wrong ;)
Yes! Efficiency of muscle use. Tension, i.e. muscular action, for the split second that it's required, and then immediate release. The energy for that muscular action may come from the whole arm/shoulder complex, or maybe just from the fingers, or perhaps wrist+fingers, or all of the above. When the note has been struck, however, relaxation should follow, lest we are overly tense, slowing us down in quick passages and hurting our hands/wrists long term.
your much better than corey hall....you have talent he doesnt
Master class Paul 👍👍👍
OMG... Why am i discovering this only today??? Why God Why!?!
I am a beginner thrash metal guitarist, but, this song is why i falled in love about Chopin... So intense, so expressive and dramatic.
Lord Barton, this is pure gold you throw in our faces, even 10 years later. OHHHH MyGodddd !!!!
Friends reference!?
It's actually a little easier than I anticipated. It is the speed that is the most difficult for me. But I am determined. I like this video, I consider it one of the better tutorials on this piece. For me, the Fantasie Impromptu is more difficult.
You are a wizard! Thanks for this video and thanks for explaining the mental aspect of the piece!
When you know you've seen the video but you don't see any signs of your presence..
Just wish I had the physical capability of playing this song..oh well; still a great tutorial, even all these years later
Wonderful playing but when you speak,wish audio louder
I managed to play Section 1 & 2. Thank you.
sorry for being pedantic, but isn't your seat a tad bit high?
+Jim Zheng Yea i agree
+Jim Zheng Watch how high Sviatoslav Richter sits at the piano
Apology not accepted. Why does it matter how high the seat is? Isn't it the playing that matters? Paul is a great pianist. If Horowitz or Gould were still alive would you "correct" their seat positions too?
Hard to tell how great the man is based on the quality of the recording.
Yeah, but all that comes after! You gotta be able to play the piece first! LOL
^..^~~
I’m on section 4 right now left hand is so tricky, I have to actually to write down the fingering for it and play really slow
Your link in the description for the music download doesn't work
Paul You seem so shy in this video comapred to your recent tutorials!
A few months ago I just dreamed about playing this and now I'm actually learning this xD
Here's a video with more on the technique! th-cam.com/video/-wI4r6ecYvg/w-d-xo.html
I came here for help on section 4 and it felt like he nearly skipped over it...
I’ve found when playing the left hand run for the first bit your hand naturally accents the F and B
+Paul Barton Any tips on pedaling in this piece? Except for the signs on your sheet music (which I don't have on mine strangely enough)
It's meant to be played without any pedal throughout. Most interpreters play it with some pedal for performances as it enhances the drama/sound. I heard ppl also say you can use the pedal at your discretion, to blend some notes together.
Screw Steinway. I want a Yamaha instead.
I learnt piano for a long time when younger, but as a teen I was rather lazy to practice. Now at the age of 29 I've realised that enjoy the piano more than I did and have gotten back to playing. However whilst I can read music, I'm a little slow and deciphering the notes that go above or below the ledger times, making my practice sessions some what slow. Any advice you can offer?
Sight reading factory and practice sight reading. It costs money. You can also buy books and read through them.
Oh, I'm favoriting this! I wanna add this piece to my etude repertoire one day. Thanks for showing the way!
exellent merci paul !!!
Thank you very much for this video!
p.s. you may want to try Chopin op25 no.7
just a different style:)
Certainly is!
th-cam.com/video/Rh8n56MR_6Q/w-d-xo.html
That's a great and super helpful video. Thank you for making it available. I was trying to find the score you are using, the one with pedal marks and etc. I checked at least 6 different versions but none has those kind of details. Could you let me know which version / edition of the score you are using?
why the fuck i quit piano
He looks like he got a letter
What grade is this piece?
I could play this in the end but it would not sound like it should. Maybe you have to beleave in it;)
@darkwolfevanish
No, I thought it sounded better than a normal acoustic piano of this size,
and it sounds too much like he´s playing in a concert hall, which he´s obviously not.
I would say it´s an electric piano, built in an acoustic case or something.
I almost can´t beleve that this is the sound of that piano.
The left hand run downs are hella difficult. I'm guessing it takes most people a long time learning this piece..
@willemvdr12 of course it is an acustic piano. all instrumints whitch their sound is made by the bibration that is created when you "hit" theme are acustic. maybe you mean that it is not a grand piano ??
Its nice to watch Steve from Blue´s clues giving us clues to play Chopin
I don't know whether it is because I have small hands, but for me, the most difficult part of this work are bars 15 and 16. Unfortunately there's no reference to that section in this tutorial.
Paul you are a hero👍😎
May I ask, if anyone faced some difficulties when playing bar 39-40? I use 1-2-3-4, as what my score says, but seems rather troublesome. When playing C-Ab-F, I have to turn my wrist, but then I can't play it at a higher tempo. Can anyone give me some advice?
Sorry for sort of nerve to speak after the Master. If you make mistakes at the high tempo, that means at the slower speed also you weren't correct entirely. Speed isnt a goal - it comes by itself as a consequence of right playing. Theres two ways to play correctly: 1-with high attention; 2-through an automation what's second level of skills. Playing at the master speed you suppose you've reached this level, but you didn't. Make mistakes may mean you get tired. It s a fault.
I like your comments very much. I think that you try realy honestly to help your viewers. But the sound.. Chopin on a E-Piano-Module???
Paul Barton , parabéns muito bem tocada. Passei literalmente ouvindo essa peça , meu pai era maestro e meu irmão também , os dois tocavam sempre e se foram. Vejo essa peça como uma homenagem para ambos Luciano Trinquinato, meu irmão (faleceu em 2018) muito parecido com o Sr. ....obrigado por esse bálsamo para meus ouvidos .
Thank you Paul ,you help me a lot with these tutorials ! I would love if you'd do Etude Op.25 No 10 .
just a wrong note LH at 9.46 ? He is a splendid teacher
awesome tutorial. can i just ask for one favor? can you please make a tutorial on beethoven's sonata no 14 op 27 (moonlight) for the 3rd movement... i need some advice on technique because it really hard to get that speed on those main starting notes. pls do a tutorial :)
i am grade 5 on piano love to play this but can not play it .its just to hard . shell i keep trying as i love this .piece
Fantastic tutorial. Was looking for some help with this piece. I'm cross dominant and mostly play by ear even though I can read sheet music (not a sight reader) so that gives me some trouble. Got the first and second sections down thanks to you! :D
Peace.
Gracias!!
How about doing some basic piano tutorial videos? As in, for those who want to learn to play piano from beginner level? Just a thought.
Cheers, you are such a boss at piano by the way.
CHECKOUT Francesco Libetta : Chopin Godowsky Revolutionary Etude doing it with one hand amazing
lol for some reason, my score(which came from my Yamaha piano named as 50 greats for the piano) does not have pedal markings
It's really helpful. Thank you very much for posting this!
Great teacher, impressive pedagogy.
I kept training on section 1 for 2 days (2 hours / day). It is ok but still I am slow,
and the piece looks odd. Now it is a matter of repetition.
I've been playing this piece for years yet now play it better after this tutorial.
Thanks, very good.......awesome!
This is a great piece for getting the left hand in shape. I feel like I can tackle this piece now that you have made is so clear on how to approach it.Thank you Paul for posting these great tutorials
Was the "cork in between the fingers" an effective method for Chopin?
que bueno paul, me ayudo mucho el tutorial. un abrazo desde argentina