Inside Edna's Studio: Double Thirds -- Part 3
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- เผยแพร่เมื่อ 28 มี.ค. 2024
- This is the third video on Double Thirds for the 'Inside Edna's Studio' series.
In this series, world-renowned piano pedagogue, the leading authority on the
Taubman Approach and the co-founder of The Taubman Institute and The Golandsky Institute, Edna Golandsky provides in-depth insight and Taubman-based solutions to issues pianists bring into her studio weekly.
▶️Watch the Part 1 and 2 on Double Thirds Here:
Part 1: • Inside Edna's Studio |...
Part 2: • Inside Edna's Studio: ...
✅Subscribe: / @edna-golandsky
🎼Music Examples Used:
@ 1:56 -- Chopin. Barcarolle, Op. 6, m. 23-26
@ 4:36 -- Mendelssohn. Rondo Capriccioso.
@ 5:05 -- Beethoven. Sonata in C Major, m. 1 (Op. 2, no, 3), mm. 1-4
@ 8:48 -- Chopin. Etude in G# Minor (Op. 25, no, 6), m. 1-4
@ 10:01 -- Chopin. Etude in G# Minor (Op. 25, no, 6), m. 44
@ 11:07 -- Chopin. Etude in G# Minor (Op. 25, no, 6), m. 27
To stay up to date on Edna's latest videos from this series, and for more information, private lessons, and additional resources please visit www.ednagolandsky.com
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#insidednastudio #taubmanapproach #doublethirds #piano #pianotutorial
#doublethirds #trills #chopinpiano #etude #beethovenpianosonata
I was struggling with the decsending 3rds on the 4th page of Clair de Lune. Watching this series immediately helped me to change how I play that section and improved my playing of it. In addition, listening to other Taubman videos, from this channel and others, I understand what my son's piano teacher is teaching, and I'm listening even more closely than ever before. It really is transformative.
Best piano teacher in the world 💕
Trying It on Feux Follets and Saint-saëns Op 111 no.1...It feels really pleasant and as if the hand is telling you how it wants to play. The problem Is increasing the tempo!
Amazing Edna! Will you please go over how to comfortably play the right hand tremolos in Mephisto Waltz no.1? (they're almost double thirds, but not really)
I can't get them to speed without losing one of the notes in the trill. Thank you for this!
I have not learned this piece, but here's what I know just from looking at the passage.
They're all single rotations except the first, which is a double since it comes from an interval. All the rotations are very small in speed. Play back on the finger that plays by itself, forward on the interval. The forearm plays down on every note because of mixed single and double notes.
Experiment with fingering - I think a lot of people would like 2-3, but try 3-4, and on the one between B-flat and C natural try 2-4 and 3-5, which will require the walking hand and arm to be a bit further to the left. I also wonder if the left hand can helpfully take some of the lower notes to divide up the work.
If none of this works, it would be great if you could specify which notes tend to disappear, and as many sensations as you can possibly put into words that you feel as you try to play the passage in different ways (e.g. which fingers feel uncomfortable, what is the upper arm doing, do any of the notes feel unbalanced, etc.).
@@KingstonCzajkowski This is a very helpful summary thank you very much! I needed confirmation about the rotation but that's exactly what i was doing.
I'm using 2 and 3 for all of them almost except for the second one where the interval is bigger.
Thought about trying with 3-5, but them realized i should be able to do it with every possibly fingering, and shouldnt give up on it.
It's usually the 2nd finger the sometimes gets stuck inside and can't play fasy, I think I feel it not letting go/releasing fast enough to play again. It's hard to work on that.
@@yuvalavital2357 You shouldn't necessarily be able to do it with every fingering, some will fit better in your hand and some may just not work (for instance, I think 4-5 would be a bad choice on the wide one). I like 2-3.
Are you thinking of the 2 as staccato? The passage is so fast that any repeated notes have to be released instantly.
That certainly helps. on the journey of fixing my technique i constantly have to remind myself to release immediately, so i sometimes drill the passage staccato and slow. however i think another problem lies on the fact that i feel like my arms are locked with tension as i approach the tremolos. How do I work against that issue? Thank you for your guidance! @@KingstonCzajkowski
@@yuvalavital2357 Tension is a difficult problem to deal with and can be caused by many things. Do you work with a Taubman teacher in person?