Quick Technique Optimisation & Interpretation Tips: Chopin Etude op.10 No.1
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- เผยแพร่เมื่อ 25 มิ.ย. 2024
- Save a lot of practice time applying these efficiency tips to your practising routine with Chopin's Etude op.10 No.1.
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Tutorial on Etude op.10 No. 2: • "Reasonable Cheating" ...
Tutorial on Etude op.10 No.4: • Masterclass on Piano P...
Check out my in-depth piano tutorials: pianoskillsandmagic.teachable...
01:00 efficiency in ascending arpeggios
03:22 finger release
05:14 descending arpeggios
06:46 two principal wrist motions
07:52 approaching a black key
09:48 black keys arpeggios
10:29 fingering alternatives
12:00 a moment of sadness
12:27 drifting between black and white
13:58 weird but powerful fingering, bar 42
14:52 transition to the recap: tricky spots
16:11 Interpretation advice to hopefully inspire you guys
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#chopin #etude #pianotutorial
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This is a marvellous tutorial.
Along with so many others who have commented, this (Op 10 number 1) is a piece I tried to learn untutored. Particularly with the F major arpeggios which demand fourth jumps from finger to finger, I mistakenly (and painfully) thought that this étude was Chopin's "mechanism" to get the budding pianist to stretch out the bones of the upper hand, much like the tool of torture that Schumann so tragically devised to stretch out his own fingers, only in the form of musical instructions.
As a consequence, I found the piece to be unnaturally stressful and more or less put the études on a shelf as "not for me".
I’m watching your video again. I’ve have been teaching for 50 years and retired in 2019. Now working on my own playing for a change! I’m still working on this Etude and your comments and tutorial is magnificent ! One of my teachers taught in a similar way, like preparing the hand for the next group of notes, high wrist, low wrist, type of touch or forearm, whole arm, finger stroke etc. Your methods are wonderful and I will apply them and comment on my progress with this most challenging but brilliant Etude!
Thanks for your kind feedback, have an easy progress with this piece!
Denis, this is the most helpful tutorial on this etude on the web. You provide amazing interpretive direction and explicate the most treacherous measures. Thank you again for sharing your expertise. We TH-camrs are lucky to have a pianist of your stature.
Bye the bye, I have watched your Chopin XVI performances many times. I was impressed by the incredible evenness of the arpeggios (even at slow speed). Any fault appeared to be an expression of intensity.
Thank you Denis. I had several teachers and was in audience of a few masterclasses and you surpassed all with your easy and highly skilled approach.
Best piano channel on TH-cam. Been having a tough time with the arpeggio runs near the end of Mephisto Waltz and this helped with that
Outstanding. After 14 years off and on practice, I finally played this piece note perfect on April 5th at 12:25am... yes I remember the time clearly! Bar 15, 31, and 35 were the only hurdles I faced for over a decade. I always thought 1-2-3-5 wasn't practical on B31 because I'd have to land the finger so high on the A note between the blacks, but I learned to rotate, almost flick, my wrist up as soon as the thumb released and then played 2-3-5 fast; stop and emphasize 1 slow until I nailed the motion at high speed. B35 fell into line the same way stunningly fast with the same approach. I have never had a project drag on so long and then abruptly come to completion. This video has great advice.
I just found your performance of this etude from the 2010 Chopin competition. OMG! It was up there with Murray Perahia's recording minus the funny mistake at the end, lol. What you did with the voicing starting at bar 37 was miraculous! It created a whole new harmonic world at that spot. I love your use of dynamics, phrasing and accents. I can see why you scored so high after that performance. Thanks for making these videos!
The way you explain is magnificent. Every time I watch your videos I can’t help but thinking where I could be if I was thought this way and techniques since I stared cause if I make a lot of progress now; imagine doing this at the beginning ❤❤🔥👍
It’s hilarious getting a Stephen Ridley piano method ad before this starts playing.
😅😅😅😅😅😅😅😅 lol
Welcome to the world
The techniques you talked about are so essential and the most important to know in order to be able to play this piece. Thank you so much!
Wow, we all are fortunate to be able to watch such a great online lesson by a great musician like you who knows what music really is! What a precious and rare video it is.
Thanks that's an extremely sweet feedback😊
Any pianist struggling to this Etude watching online session.. go back to the music school then.
This is pure gold. 😊 Great video!
Best tutorial format ever!!
Absolutely the best tutorial on this piece! I have seen many too
This is an excellent tutorial! Thank you for taking the time to make it.
Splendid! I totally agree: the most helpful tutorial on this etude on the web, both in terms of technique and expressiveness. Congrats!
am working on this piece and i came across this through my recommendations; first tutorial of yours i've ever watched. subscribed not even halfway through. thank you!
Excellent concepts! I’m starting to make progress with this! It’s an amazing experience!
Dear Mr. Zhdanov, once again many many thanks for your videos. These came right in time because I am learning this etude at the moment. Among other things, your alternative fingering of bar 31 is something like a gift from heaven.
Brilliant!!! Thank you so much!!
brilliant !!! many thanks and look forward to more great tips and lessons that we all wish we knew at the beginning ;)
Great suggestions on the fingering! I will have to revisit this piece after throwing it off the side for the never-ending practices of the right hand arpeggios!
Thank you soo much for this tutorial. After three weeks of practicing and watching, I notice that I am improving, which lifts my motivation. I can play faster day by day, make fewer mistouches, and am tension-free ( well, most of the time...), I am really grateful for your lessons.
Best regards from Japan.
Thank you so so much for all your brilliant glorious technical knowledge you teach us!!!! Besides you are playing so delightfully so beautifully that I can't help watching everything you play and teach Denis Thank you!!!🙏🙏🙏🙏
Brilliant! One of the things that struck me about the video of your playing in the Chopin competition was the glorious tone you produced. And it's the same here. Just show's where the sound comes from.
this channel is just exquisite. the level of proficiency on your piano playing (besides the fact you competed on the chopin competition) is incredible. thank you! i'll be buying some of your courses for sure.
Excellent tips.
Amazing tutorial. I first got to know you through watching your performance of this etude in the Chopin competition from ten years ago! One of the best renditions I've ever heard. Been a fan since then. I recently just started practicing this etude, hope I can perform it well one day in the near future. Please keep up the good work! Look forward to more uploads.
Thanks for commenting! Have fun with piano💪
Thank you so much for your teaching and sharings!!
Fantastic lecture.
Wow, your awesome tutorial gives me hope, I might be able to tackle this piece in due time, so much valuable knowledge here
You really provide great advice!!!!!
Very useful content, thank u!
Great tutorial, thank you very much!
Excellent lesson Maestro.
wow, could listen for hours to your lessons. 10/10
Best tutorials rial on this piece hands down
Muitíssimo obrigado por compartilhar conosco seu conhecimento! Ganhou mais um inscrito!
Considering I first "discovered" you via the TH-cam video of your performance of this etude at the Chopin competition, this was delightful to see! 🧡 Also because last March I decided I'd work on at least the first page of this etude (at about quarter note 100 - 110 for now, ha ha) as my COViD "lockdown/stay at home" project. This video is *very* helpful! Thank you!
Thanks! Glad to help!
Veramente bellissimo lavoro
Oh my god!! I was struggling so hard with that passage @11:55 . That bar and the one right before were just impossible to play for me. But that fingering is brilliant!! Thank you so much!!
Thank you so much.
thanks for sharing all the tips! I truly enjoy your interpretations for this piece during your time at Chopin Competiton, I still think it’s one of the best interpretations I have ever heard so far. Keep up the good work!!
You're very welcome! Thank you!
Thanks you this helped me so much I hope Hof blesses you
That's the problem a lot of people started before the internet and struggled for years with faulty technique
Now a few videos have come out helping enormously like this one but the damage has unfortunately been done and now people have to unlearn their techniques
I strangely enough found this natural after a few dead ends years ago
I learnt this in the nineties when I was nine
Very usefull lesson
thank you!
Wow this deserves a lot more views. Great content mate.
Thanks!☺️
Ohh, hey antario what's up?
This helped with the the right hand descending arpeggio in the Waldstein. Improved my accuracy and comfort in minutes. Wow. Thanks!
I am very happy, thanks for commenting!🙏
Thank's a lot , you are a Master
Love your tutorials always so useful keep doing these pls never stop
Thanks, will do!
Denis, I just watched your Chopin competition performance of this etude. You brought tears in me! I couldn’t tell what mistake you’re talking about…😊
Your video has the best advices on this particular etude. Thanks!
Wow, thank you! I am glad you liked it!
Great teacher, great interpreter. An absolute must for anyone who takes the risk of climbing this Mount Everest of piano playing.
☺️🫶thanks
I have been playing since I was 5, and i am 46 now. Unfortunately, my teachers just focused on Hanon, scales and then just 3-4 pieces every year for ABRSM practical exams. I passed Grade 8 without ever studying a single Chopin Etude. My technique was just crap, I don't even know how I was able to pass the exams. I was actually completely unaware about the existence of these Etudes. I discovered them around 8 years ago, and started studying a few them. This is one of the etudes I am currently working on, I am still playing at a metronome speed of 85-90, and hope to get up to in a few months.
Thanks for the tutorial, there are so many great tips specially for the difficult parts.
Hopefully one day, I will be able to play most of the Chopin Etudes.
You may be grateful to your teachers, if these pieces are approached too early, they may do more harm than good.
23:10 you gotta be a fan of ashkenazy. Thank you very much for that video - I learned a lot.
Thank you very much for this video Sir Denis, i am working on this etude, my hands are tiny, i wanted to challenge myself, im happy if someday I could play it half your speed😁
Thank you very much for all those very valuable information they help a lot!!!♥️🙏♥️Just one think I have problem with: When I rotate on my tumb and rotate back and hit on my pinky my pinky is hurt very much....I dont know am I the only one having difficulty on this.. But I am applying it anyway in a more gantle way...all your information help a lot I am applying all of them. Thank you very much🙏🙏🙏💐💐💐💐🌺🌺🌺♥️♥️♥️
You have very gifted hands, because 10-1 doesn't forgive, and needs to be played by pianists that really have understood deeply the power that Chopin wanted to extract from the piano with this majestic piece; and it is an etude that reveals who is a real top pianist. Really thank you so much Denis for sharing your technique and knowledge.
Thanks
I was just practicing up to 6 hours a day since I am 9, including all the Christmas and Summer vacations as one is supposed to do if wants to play piano professionally. All those fellow pianists I know who has started early enough and were practicing a lot have reached a similar technical level.
Why everyone keeps telling us we are just gifted 🤣
@@DenZhdanovPianist Yeah correct! :D ... I meant that you have very brilliant fingers, and I meant also that you deep understand the composer's interpretation, expecially with Chopin. And for sure you had ( and have ) unbeliaveble perseverance, tenacity and willpower. And is beautiful that you share with us the fruits of your hard work.
This a very advanced tutorial. Definitely, your suggestions are extremely helpful because they help to solve the main difficulties of this study. I wish you would make another video where you could help less advanced pianist how to approach it, meaning relaxation of the right hand, direction of the hand, keeping acting fingers and all other basic things to consider. This is not one of the hardest Chopin etudes to start with but it is possible one of the good ones that helps you to solve advanced technical difficulties for more advanced pieces
Thanks for a feedback
Yes, of course I try to post stuff of different levels, and this etude is definitely composed for very advanced players. In my opinion, this is one of the trickiest etudes by Chopin indeed, if to strive for a professional standard, and this masterpiece deserves nothing less. In this video I was covering exactly these topics that you mentioned. However, if that explanation was too difficult to comprehend, I would suggest to learn a set of other easier etudes first as a preparatory step to this one.
@@DenZhdanovPianist thank you for you response. I completely agree on what you are saying.
When I’m learning a piece, I’m also trying to think as how a teacher could explain it. This is why while I was watching this video, etude op 25 no 12 was always on my mind. If you are struggling here or in other Chopin Etudes like op 25 no 11, you must go there first. Then I saw you already have a video on that etude.
Excellent work you are doing here, unveiling details that will help pianists to master these pieces.
Op.10 1 seems the hardest, with double third and Op.10 2.
It's confirmed by many graduations types, Henle, RCM, ABRSM. I'll show you the link of the precise level when I'll be on my computer.
Eternal thanks Denis, this is the best tutorial I’ve seen so far and you bring it across with great humour. One question that remains is pedal utilization. I typically practice without pedal but am uncertain how / where to add pedal when I do. Any advice?
Short version: change it whenever harmony changes. A long version might need another full-length video!
Who needs Tonebase when we have you on TH-cam! 🙏❤️
Thanks, this is a big compliment.
But as far as I know they have a good content.
Digging in your comment deeper, I’d say that one can’t publish everything only on TH-cam if wants to somehow make a living. Good things must come with a price, otherwise people who are any good in producing them will simply extinct. My TH-cam is also rather an addition to my comprehensive courses on Teachable and Tête-à-Tête teaching.
Really nice tips! Can you do op. 25 No. 9?
Thanks!
I hope sometimes… but unfortunately not too soon..
I’m not a professional pianist or a conservatory student. But I love Chopin. I have played all my life, but my technique is not so good. Is it possible to learn this peace in maybe half or 75 % of your tempo with an average practice of 1 houser a day and maybe 2 hours a day in the weekends? I have already spend a lot of hours for only learning the notes in a slow tempo. So now I will practice for how to speed up the tempo a bit.
I wish you success, but there is absolutely no way of giving you a progress prediction without working with you.
I would definitely approach it after mastering some other arpeggio etudes like Czerny, Burgmüller, Moszkowski etc.
So many great lessons! At 17:42 the pinky presses down and away off the piano at each appregio. What's going on here? This doesn't look like the exaggerated technique in 2:48.
Thanks for the video. One thing I would recommend is not using a highly sensitive condesor mic on your voice. It's cracking and popping on play back and makes it really hard to listen to the audio.
Thanks for your input, I’ve noticed of course😏
This channel doesn’t bring me any substantial income yet. You can support me using links in the description, this allows me to slowly upgrade my equipment.
13:43 is the most difficult part in this piece for me
Are the prescribed fingerings Chopins own, or editorial?
Hi Denis, what equipment and software do you use to make videos? I like to make videos to help my students but don't know what to use. Thanks!
There are tons of possible options, and I suggest you to try a few different options with an option to return your equipment if you don’t like it.
I use Nikon Z6, Blue Yeti Pro for the voice (it’s great for USB, but really sucks in XLR mode, I have to actually upgrade it), budget-friendly Rode NT5 for piano, although I dream of Sennheisers MKH8020, an audio interface Steinberg UR44C, reference earphones AKG 702, Cubase 5 for audio and Premiere Pro for video, not counting softboxes and other lighting devices.
All those skills and gear took me a huge amount of time to master, and was quite an investment… so maybe you want to start from some simpler options.
If I practice slowly, how long should I take to get it smoothly or stop cause it may not be for me yet?
Please explain the 'descending' finger positions - especially in the Ocean 25,12 or Beethoven 27,2, 3rd.
I think you might find answers in my corses dedicated to these pieces.
Hi, have you do op10 no5 tutorial before?
No
T’hank you very much for this excellent tutorial. I am studying this piece and I am trying to increase speed. I wonder if notes cabb stil be connected when tempo increases?
What is notes cabb?
@@DenZhdanovPianist Oh! Sorry. I write on a French Iphone. I was wondering if a legato play was still possible when you increase the speed? H
Physical legato remains only in narrow spots, finger release for wide spots that need stretching is essential for a smooth playing in a faster tempo
@@DenZhdanovPianist yes thank you. But in a way this contradict a bit the wrist movements I guess which is made for the physical legato. Anyway it is an excellent practice. Thank you for your videos.
Yes wrist does uniting motions while fingers disconnect in order to avoid painful stretch which would slow you down. This is one of the most typical efficient piano playing tips
10:56
9:54 it is C for 4 finger there, not Bb.
Do you suggest or implement practice in rhythmic groups?
Sure, I even have a video called dotted rhythm as a learning method, as one of the examples of such approach
Which tablet/software do you use for music sheet?
Ipad 12.8 inch, it’s ca.A4 paper size. Software: ForScore. I am completely in love with it, it’s incredibly professionally done. I never print out music anymore, absolutely no need.
@@DenZhdanovPianist thank you! Great video!
Listening to your descriptions, one would think that the 4th and 5th finger would play by themselves solely on having the wrist higher at the point the need to play, reducing their activity to rotation, but watching closely as you play, I see they are ferociously active..... yes you use rotation, but as one component not instead of finger action. At least that's the impression I get by watching your hands. If you think what I say is not accurate, I would love to hear a clarification. Thanks!
Thanks, that's an important topic.
A finger that hits the key is never ever rigid of course. This claim should probably be loudly proclaimed in the beginning of each my video just in case.
However, what I attempted to demonstrate here, is how we can drastically diminish a muscle effort of a finger increasing stability in the knuckles and optimising wrist motions. So yes, the finger is active, but basically I just gain stability in it for a fraction of a second while hitting the key. But the very hitting motion is being executed not so much by finger itself, but thanks to the well coordinated motions of the hand, wrist, and arm.
But you're right, it's difficult to explain these concepts not leaving any room for misunderstanding.
@@DenZhdanovPianist I think the very subtle nature of using fingers, hand and arm in piano playing , might lead to confusion inadvertently when describing a particular component of the process, my intention was only to point out that your fingers are very actively engaged, and it was worth mentioning it .
I was mentioning an importance of gaining stability in the knuckle bridge, and this is exactly what makes fingers active enough.
If I’d say “keep your fingers active” 99% of students will get tense way too much, confusing activity and physical tension.
All this is subtle and as said, no way to absolutely avoid misinterpretation, people are too different in perception.
I heard somewhere that this etude can be described succinctly as a study in expansion and contraction. Isn't that essentially what's going on throughout most of the etude?
Never heard of this, but yeah most advanced pieces can serve as an opportunity to practice this skill.
@@DenZhdanovPianist I mean, that basically, your hand is stretching to cover the arpeggio that spans, on average, a 10th and almost simultaneously has to close to get to the first note of the next arpeggios lowest note. And this goes on back and forth throughout the piece. It seems to me like that's what is going on. Almost like a leopard or cheetah running across the keyboard.
I´m a bit frustrated with this etude. Been on it for 5-6 months and still can´t go up the speed above 80, maybe 90. I don´t know if that´s a good progress and velocity will come with time or I´m stuck. I don´t know if I have to rest a little bit some weeks with this piece. Sometimes when I practice a lot a piece and I let it for some time strangely I play it better.
I am sorry to hear that! Yes, in such situations the best way is to take a break and meanwhile master a few easier pieces with some similar technical challenges. If you’re stuck with it for a half of year, it means the piece is above your current level. In my opinion it’s unreasonable to try jumping above the head, more productive would be to find a way for a natural growth.
Other option: we should not run for speed itself, you can play a piece in a slower tempo than average, but use it in your advantage for uncovering musical beauty that is actually usually lost in the standard tempo.
@@DenZhdanovPianist Thank you for this answer. Sorry for not responding before. I did not see it.
Well described. Not many piano students will able to understand how to play this way. One needs a teacher next to them to guide them through achieving the proper arm weight technique. Not an easy concept.
Unfortunately you might be right😅, but there are some people that are really smart (yeah that’s a surprising fact that should keep us optimistic about future of humanity 😂), and also there are many students that were already introduced to these concepts sometime ago, and just need a friendly reminder in order to apply these tips to this particular piece🤞
Hello
Does anybody know what he means by inside the keyboard?
Do you mean “in the keyboard?”
It’s when you move your forearm slightly forward while pressing the keys, thus sharpening the angle between the fingers and the hand palm. It helps to offload fingers and stabilize the metacarpophalangeal joints
I'm a very motivated beginner, is this too hard for me? 😬
It’s not about motivation, it’s just about gradual building of playing skills that would probably need years (if you’d have a wise guidance) in order to reach the level when you could play that more or less okay.
Think about a computer game, in order to approach a boss you must gain experience lvl and best armor through the whole game.
This etude is a Boss Monster😂
@@DenZhdanovPianist That makes sense! Love the analogy.
How about learning one or two measures and playing suuuuuuuper slow just to get a few for the movements? 🙃
@@cesaralves2303 haha sure, you may play whatever you want, it was just a warning to avoid a disappointment if you'd decide to work on it seriously and still not reaching a goal of playing it amazingly well. But I'd suggest to have a look on other arpeggio etudes by Lemoine, Czerny, Burgmüller, etc., that may help you building your skills in a smoothier and consistent way, as well as prepare you to finally approach this one without much struggle.
I can play a C major triad arpeggio. Am I ready for this etude? 🤡
😅😂
@@DenZhdanovPianist Actually, I'm working on a selection of Czerny Op. 299 etudes in your course. I'm also working on Bach's BWV 847 with your assistance. And the Durand Valse in E-Flat major, which is quite lovely and I'm proud that I can actually play with some fluency.
This and all the tutorials on Chopin's studies automatically become useless when studying higher level works with the same difficulty as for example Czerny Op.756 number 6, Henselt Op.5 number 2m I can mention more works but these studies do not allow that any of those who read my comment be given the opportunity to search and try other works, there are even works with other difficulties that make Chopin's studies a piece of cake