Thanks man! Yeah I kinda wish every piano video was filmed from above and had sheet music. I always want to see what the hands are doing - when there's a video filmed from multiple angles and they cut away from the hands right before a fast passage it's like "nooo why"
Thanks for letting me know about the update! I like to think I caught most of the mistakes, and in one instance I intentionally left a mistake in because I preferred the way it sounded (the EbmM7 chord at bar 27 should be an Ebm7). The transcription by Igor Gerasimenko is pretty good too.
@@Daniel_Berry yeah, I've combined parts of the two. I don't have enough ear for the really small details but there are few things in both that clearly don't sound right. Weirdly the second version by this transcriber doesn't have the f in the E flat minor chord that starts the coda. I'm pretty certain that was right the first time. Also, when the left crosses over in the leggiero bit volodos only plays the top third with it. It's far harder as notated. (oh, I see that you do that anyway).
I agree that there are some slight inaccuracies in both, but in different places. Yeah there's definitely an F in the E flat minor chord at the beginning of the coda. Regarding bar 54, I actually did play two notes with my left hand when it crosses over! Oddly enough I didn't find it too bad, but one of the hardest things for me was the third beat of bar 54 - in the right hand, voicing the melody of the top A flat while simultaneously playing the F a lot softer. I kept inadvertently playing the F at almost the same volume (because there's not a lot of time to control the attack of the notes).
@@Daniel_Berry oh, you play the B flats in the left too? I'm pretty sure volodos only does the third at the top, although perhaps it's so fast it's possible to see. Normally the point of this kind of crossing over is to voice just the top of an arpeggiation. It's a lot harder to pace a smooth build with the left playing extra ones.
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Hot damn that’s some good production value. Amazing playing on top of that! Your hands look like mine so you’ve given me how I can play this one haha
Thanks man! Yeah I kinda wish every piano video was filmed from above and had sheet music. I always want to see what the hands are doing - when there's a video filmed from multiple angles and they cut away from the hands right before a fast passage it's like "nooo why"
Enjoyed this - Thanks for sharing
Thanks for this
There are quite a few mistakes in this version of the score. The same transcriber has made an improved version since then.
Thanks for letting me know about the update! I like to think I caught most of the mistakes, and in one instance I intentionally left a mistake in because I preferred the way it sounded (the EbmM7 chord at bar 27 should be an Ebm7). The transcription by Igor Gerasimenko is pretty good too.
@@Daniel_Berry yeah, I've combined parts of the two. I don't have enough ear for the really small details but there are few things in both that clearly don't sound right. Weirdly the second version by this transcriber doesn't have the f in the E flat minor chord that starts the coda. I'm pretty certain that was right the first time. Also, when the left crosses over in the leggiero bit volodos only plays the top third with it. It's far harder as notated. (oh, I see that you do that anyway).
I agree that there are some slight inaccuracies in both, but in different places. Yeah there's definitely an F in the E flat minor chord at the beginning of the coda. Regarding bar 54, I actually did play two notes with my left hand when it crosses over! Oddly enough I didn't find it too bad, but one of the hardest things for me was the third beat of bar 54 - in the right hand, voicing the melody of the top A flat while simultaneously playing the F a lot softer. I kept inadvertently playing the F at almost the same volume (because there's not a lot of time to control the attack of the notes).
@@Daniel_Berry oh, you play the B flats in the left too? I'm pretty sure volodos only does the third at the top, although perhaps it's so fast it's possible to see. Normally the point of this kind of crossing over is to voice just the top of an arpeggiation. It's a lot harder to pace a smooth build with the left playing extra ones.
Oh I see what you mean now. Yeah I played it like Volodos