I searched for this video because my dream is to play Fantasie Impromptu but I have a lot of difficulty with polyrhythms. When you used it as an example it made my day!
A piece I know that has plenty of different polyrhythms is Chopin's Nocturne in D-flat (No. 2 Op 27). In that piece you get 2 against 3, 3 against 2, 2 against 5, 4 against 5, 4 against 6 (similar to 2 against 3), and 6 against 7. Have fun with that!
Graham... usually I watch videos first and then comment... I have seen some others of yours, but this time I had to stop in mid-watch and say THANK YOU. Your method of explanation really brings it home for me. Thank you! -Joe
At 4:40 - (triplets in one hand and fours in the other hand)Graham said: “The first time you do it, it will probably go wrong”…. He was correct, I got it wrong heaps and heaps of timesGraham said: “Don’t immediately go back to the hand together” … I didn’t’....“Go back to the beginning stages” …. Yes, followed his advice …. for several days… vacillating between hands together and hands separate“It’s a little bit like riding a bicycle, you’ll fall off several times before you get it right and then you’ll never get it wrong again”My goodness.... he was spot on!Thanks Graham - I love your work
Play a bar f.ex. of a Bach choral from sigh and try to repeat it with your ears and closed eyes. Them try again, reducing the difficulties if needed. After you do something right, repeat it close until it gets boring and you lose attention. Them go to the next bar. The same thing. After that the two bars. And them the third, and so on.
Hi, I've been following the master class series and have been pleasantly finding how helpful they are. Now how do you practice polyrhythm in one hand? In particularly in m. 28 of the last mvt of Brahms' cello sonata No.2? I'm at a wall now....
I've been struggling to no end trying to properly count the 4s when playing 4:3. I had only heard the phrase pass the [insert 2 syllable word here] butter, which was great from when I was playing triplets in the right hand, but the opposite just threw me off completely. It wasn't until I heard your phrase "What did you work today" along with your other techniques that I'm finally not pulling my hair out trying to get it. I don't know all my scales though so maybe I need to back up a bit...
Liszt etude 8, middle section. It's definitely harder than a 'normal' polyrhythm, due to the jumps in the left hand, and the tune being in the right hand. Most people focus on the right hand tune, but I personally prefer the sound of the left hand, with the right accompanying the left. Those who've played it, or are learning will understand how difficult this piece is for someone who still hasn't done their 8th grade.
"Pass the golden Butter" - Okay, when you merge the 2 lines together, this isnt anymore a polyrhythm! I recommend playing first only one tone or chord in each hand. Then, when you feel comfortable after a while, try to leave some milliseconds space between both hands (2 ways possible) on the first beat of the bar. Play with that gap.
Many thanks Kimmobiino. I have actually came across this piece shortly after I asked the question. I will have to look for the performance of Olga Pashchenko though.
She is young but I find she has talent, no 'show' at all.. She seems to be quite good at classical period music to my ears and listening to fortepianos is nice for a change.. From the young ones I also like Yakhlakova, her Romantic era playing ability is something quite special though she hasn't recorded this yet to my knowledge..
I've recently bought the magazine and learned a few things and still learning although in moderation cause this still complex stuff as I am a beginner.
It's a shame that this channel like everything else limits itself to conventional classical music and completely ignores the great giants of contemporary music such as Ligeti or Xenakis. Playing two rhythms against each other in a simple context of harmony and melody like in the Chopin doesn't do the topic justice, since it's possibly to both apply this system on a much grander scale of 3, 4 or more lines going against each other at the same time (see ''mists'' by Xenakis), or it's possible to take it way beyond this by expanding the rhythmic meter or actually playing different meters at the same time, again like Ligeti did. It's a great and underrated topic and can create brilliant rhythmic complexity that could be compared to the wonders of melodic counterpoint. Hopefully the rise of new microtonality (41x5 equal temperament etc.) will make new music popular again and these topics will actually be covered.
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I searched for this video because my dream is to play Fantasie Impromptu but I have a lot of difficulty with polyrhythms. When you used it as an example it made my day!
A piece I know that has plenty of different polyrhythms is Chopin's Nocturne in D-flat (No. 2 Op 27). In that piece you get 2 against 3, 3 against 2, 2 against 5, 4 against 5, 4 against 6 (similar to 2 against 3), and 6 against 7. Have fun with that!
+tubbie0075 but those i don't think are meant to be played precisely
Graham... usually I watch videos first and then comment... I have seen some others of yours, but this time I had to stop in mid-watch and say THANK YOU. Your method of explanation really brings it home for me. Thank you! -Joe
that 4 over three thing.. never saw in this way. awesome!
that was fabulous Graham - many thanks from Perth WA.... your simple rhymes just work so elegantly
Outstanding lesson!
I got interested in polyrhythms back in the 90's. Got to the point where I could do them by feel. Great way to make hands more independent.
Sir, thank you so much. I am currently learning Fantasie Impromptu and the 3/4 = 6/8 realization you bestowed upon me is helping dramatically.
Great teacher!
Truly a master class! Thank you Steinway Piano
At 4:40 - (triplets in one hand and fours in the other hand)Graham said: “The first time you do it, it will probably go
wrong”…. He was correct, I got it wrong heaps and heaps of timesGraham said: “Don’t immediately go back to the hand together”
… I didn’t’....“Go back to the beginning stages” …. Yes, followed his
advice …. for several days… vacillating between hands together and hands
separate“It’s a little bit like riding a bicycle, you’ll fall off
several times before you get it right and then you’ll never get it wrong again”My goodness.... he was spot on!Thanks Graham - I love your work
EXCELLENT GRAHAM! Thanks VERY much!
Good video. With the 3 against 4 rhythm, we used to use, "See the big brown piggy." :)
I hate polyrhythms so much. Can never get them down perfectly.
Very useful as always. Any chance of a video on memorization?
Play a bar f.ex. of a Bach choral from sigh and try to repeat it with your ears and closed eyes. Them try again, reducing the difficulties if needed. After you do something right, repeat it close until it gets boring and you lose attention. Them go to the next bar. The same thing. After that the two bars. And them the third, and so on.
I love that series 😇
Nice reference to Dudu (Pukwana) here, who loved polyrhythms!
a Great help for students
Great!! Many thanks
Hi, I've been following the master class series and have been pleasantly finding how helpful they are. Now how do you practice polyrhythm in one hand? In particularly in m. 28 of the last mvt of Brahms' cello sonata No.2? I'm at a wall now....
lovely
I've been struggling to no end trying to properly count the 4s when playing 4:3. I had only heard the phrase pass the [insert 2 syllable word here] butter, which was great from when I was playing triplets in the right hand, but the opposite just threw me off completely. It wasn't until I heard your phrase "What did you work today" along with your other techniques that I'm finally not pulling my hair out trying to get it. I don't know all my scales though so maybe I need to back up a bit...
Liszt etude 8, middle section. It's definitely harder than a 'normal' polyrhythm, due to the jumps in the left hand, and the tune being in the right hand. Most people focus on the right hand tune, but I personally prefer the sound of the left hand, with the right accompanying the left. Those who've played it, or are learning will understand how difficult this piece is for someone who still hasn't done their 8th grade.
What is that first song? Piano piece in the intro.
"Pass the golden Butter" - Okay, when you merge the 2 lines together, this isnt anymore a polyrhythm!
I recommend playing first only one tone or chord in each hand. Then, when you feel comfortable after a while, try to leave some milliseconds space between both hands (2 ways possible) on the first beat of the bar. Play with that gap.
Can anyone tell me what is the piece played at the beginning of this video during Steinway advert ? I will appreciate your help.
Mendelssohn Variations Serieuses Op. 54 (I have a recording by Olga Pashchenko)
Many thanks Kimmobiino. I have actually came across this piece shortly after I asked the question. I will have to look for the performance of Olga Pashchenko though.
She is young but I find she has talent, no 'show' at all.. She seems to be quite good at classical period music to my ears and listening to fortepianos is nice for a change.. From the young ones I also like Yakhlakova, her Romantic era playing ability is something quite special though she hasn't recorded this yet to my knowledge..
But... what about 7 against 8 and 7 against 10 like Beethoven 32 variations?
Hurray!
I've recently bought the magazine and learned a few things and still learning although in moderation cause this still complex stuff as I am a beginner.
↓where ↓did-u↑ ↓work ↑today↓
It's a shame that this channel like everything else limits itself to conventional classical music and completely ignores the great giants of contemporary music such as Ligeti or Xenakis. Playing two rhythms against each other in a simple context of harmony and melody like in the Chopin doesn't do the topic justice, since it's possibly to both apply this system on a much grander scale of 3, 4 or more lines going against each other at the same time (see ''mists'' by Xenakis), or it's possible to take it way beyond this by expanding the rhythmic meter or actually playing different meters at the same time, again like Ligeti did. It's a great and underrated topic and can create brilliant rhythmic complexity that could be compared to the wonders of melodic counterpoint. Hopefully the rise of new microtonality (41x5 equal temperament etc.) will make new music popular again and these topics will actually be covered.
Doo Doo😂😂😂😂😂😂😂😂😂😂🤣🤣🤣🤣🤣🤣🤣🤣
i understood none of that. well, back to the drawing board.