Great analogy between the hurdle runner and the elevation of fingers. Equally good is the advice to make the two lower notes nearly staccato. Thank you! After many years of playing this Etude as a left-hander I was able to progress with the following: playing only the fingers 3, 4, 5 very legato while bringing fingers 1 and 2 over their respective keys but without playing them, concentrating in gaining strength in the smaller fingers. A further improvement came by playing groups of 4 notes syncopated, stretching one of the four notes and rotating which of the four in successive passes of the Etude, to gain uniformity, continuity.
Chopin didn't mark forte, because he himself never performed with that velocity. According to witnesses of his concerts, Chopin's max velocity was about mezzoforte marking. He didn't like to bang the instrument, like Flizst. Chopin also did only about 30 concerts.
Yes Sure. His instrument, the Pleyel Piano was really soft compare to the other piano brands like broadwood... He had many public appereances in the Salon, but if you only count the ones with large audiences, like the ones he self-organized in Vienna and the England trip witch damaged his health, yeah, around 30...
Hi Dr. Shijun, I am a big fan of your videos and watched many of them. You appear to be one of the most knowledgeable people with Chopin so I was wondering if you could answer one of my question about this piece. I would appreciate it greatly if you could help with an answer. My question is, would you consider it “cheating” to use alternate fingering for this piece? I wondering this because changing fingering for piano music is often common practice. This piece is unique in that it is the only piece where Chopin indicated the right hand fingering for every upper note. This would imply to me that changing fingering is going against the wishes of the composer. So would you consider it cheating? If someone performed it with altered fingering, how much would it effect your views on its difficulty? Thanks!
@@ShijunWangPianoChannel Thanks! I did notice that some people refuse to change the fingering for op10 no 2 (in another tutorial for this piece, the video uploader was criticized for recommending people change the fingering). I guess it makes sense to change the fingering for performance reasons, or maybe if you are learning the entire op 10 set, but technique wise it seems better to use the original fingering. I personally see op 10 no 2 as more of a drill/exercise then a musical piece. If I wanted expressive music, there are tons of other etudes that are better sounding for that. Just me personally, I just think it defeats the purpose of this piece to alter the fingers since it’s main purpose is to exercise and develop independence of the 3,4,5 right hand fingers. So while it isn’t cheating to make changes I guess it makes sense to say that it at least defeats the purpose of the etude. There are quite a few videos of this piece being played in some ridiculous circumstances (ie being played significantly faster then original tempo, or being played by a 10 year old). It makes sense that in these cases the original fingering was not used.
@@ShijunWangPianoChannel ı understand but in taubman they are saying you can rotate your wrist left or right if how can we play this piece without rotating?
Chopin made sure all of his etudes were playable. He would sit at the keyboard for hours and work out any tension that may cause error in his playing. He had the same hands that you and me have!
@@ShijunWangPianoChannel @Shijun Wang Of course, in a-minor a N6 would be a B flat major chord with D in the bass. Here however it is not even a 6th chord, it is a D flat 7th chord (D flat in the bass) serving as a Dominant 7th to G flat. Nevertheless, these are great tutorials, by the way!
@@ShijunWangPianoChannel I know what you mean, but as I said, it is not a 6th chord, which definitely rules out the N6. For me, if anything it sounds more like a deceptive cadence C to D flat.
He is a great pianist, but this is just a description of the piece..... I doubt a student would actually be able to pay it by what he said. China has produced unbelievable super stars like Lang Lang and Yuja Wang among others, I burn of curiosity to see their teachers in action, I don't believe they play the way the do just by talent alone. The true heroes are those superb Chinese pedagogues that actually know the way, and understand how to show it to their students. And no, I don't believe when one reads the resumé of these two super monster pianists as Yuya and Lang Lang, that technical arsenal happened at the Curtis Institute, instead.... because they had it by the time they auditioned, they were accepted. I"m not in any way diminishing the prestige of the institution, but from all those who attended Curtis, only these two, play at the level they do..... and at interviews faculty members have said, they impressed them at their audition.....
![SAFEPLANET - ดาวเคราะห์ [ THE PLANET ]](http://i.ytimg.com/vi/4X1XL3I_k3c/mqdefault.jpg)
This is the best!
Very very moving...
Fantastic...
Great stuffs prof
Thank you!
Thanks for your free lessons😊😊😊
Great analogy between the hurdle runner and the elevation of fingers. Equally good is the advice to make the two lower notes nearly staccato. Thank you!
After many years of playing this Etude as a left-hander I was able to progress with the following: playing only the fingers 3, 4, 5 very legato while bringing fingers 1 and 2 over their respective keys but without playing them, concentrating in gaining strength in the smaller fingers. A further improvement came by playing groups of 4 notes syncopated, stretching one of the four notes and rotating which of the four in successive passes of the Etude, to gain uniformity, continuity.
thank you! Great to hear from another pianist:)
Thank you. Very helpful
Thank you Jusak! I am glad you found it helpful!
The best one. Bravo
Wow! 👍🏻🙌🏻
Chopin didn't mark forte, because he himself never performed with that velocity. According to witnesses of his concerts, Chopin's max velocity was about mezzoforte marking. He didn't like to bang the instrument, like Flizst. Chopin also did only about 30 concerts.
Yes Sure. His instrument, the Pleyel Piano was really soft compare to the other piano brands like broadwood... He had many public appereances in the Salon, but if you only count the ones with large audiences, like the ones he self-organized in Vienna and the England trip witch damaged his health, yeah, around 30...
Hi Dr. Shijun, I am a big fan of your videos and watched many of them. You appear to be one of the most knowledgeable people with Chopin so I was wondering if you could answer one of my question about this piece. I would appreciate it greatly if you could help with an answer.
My question is, would you consider it “cheating” to use alternate fingering for this piece?
I wondering this because changing fingering for piano music is often common practice. This piece is unique in that it is the only piece where Chopin indicated the right hand fingering for every upper note. This would imply to me that changing fingering is going against the wishes of the composer. So would you consider it cheating? If someone performed it with altered fingering, how much would it effect your views on its difficulty?
Thanks!
No, I don’t think it’s cheating if it sounds good. Our hands were built differently. Just don’t leave out notes!
@@ShijunWangPianoChannel Thanks! I did notice that some people refuse to change the fingering for op10 no 2 (in another tutorial for this piece, the video uploader was criticized for recommending people change the fingering). I guess it makes sense to change the fingering for performance reasons, or maybe if you are learning the entire op 10 set, but technique wise it seems better to use the original fingering.
I personally see op 10 no 2 as more of a drill/exercise then a musical piece. If I wanted expressive music, there are tons of other etudes that are better sounding for that. Just me personally, I just think it defeats the purpose of this piece to alter the fingers since it’s main purpose is to exercise and develop independence of the 3,4,5 right hand fingers. So while it isn’t cheating to make changes I guess it makes sense to say that it at least defeats the purpose of the etude.
There are quite a few videos of this piece being played in some ridiculous circumstances (ie being played significantly faster then original tempo, or being played by a 10 year old). It makes sense that in these cases the original fingering was not used.
Sir , your playing is great. What do you think of taubman method approach?
Very useful especially for people with tight techniques.
@@ShijunWangPianoChannel ı understand but in taubman they are saying you can rotate your wrist left or right if how can we play this piece without rotating?
Chopin originally put quarter notes under the chromatics!!?? I am starting to question if Chopin had human hands...
Me too!! At least he had human compassion!
Chopin made sure all of his etudes were playable. He would sit at the keyboard for hours and work out any tension that may cause error in his playing. He had the same hands that you and me have!
omg... good
很棒啊😊
Now, I know why I should not try to perform this etude in public, even a very accomplish pianist like you cannot do well.
Haha, good point. Don’t think I am a very accomplished pianist though
9:03 it is not a Neapolitan 6th chord, actually not even a 6th chord at all. 😉
Well, not N6 of a minor of course. But the key of that moment.
@@ShijunWangPianoChannel @Shijun Wang Of course, in a-minor a N6 would be a B flat major chord with D in the bass. Here however it is not even a 6th chord, it is a D flat 7th chord (D flat in the bass) serving as a Dominant 7th to G flat. Nevertheless, these are great tutorials, by the way!
D-flat chord right after C major chord. Right? For a moment, the feel is n6
@@ShijunWangPianoChannel I know what you mean, but as I said, it is not a 6th chord, which definitely rules out the N6. For me, if anything it sounds more like a deceptive cadence C to D flat.
I see what you mean!
He is a great pianist, but this is just a description of the piece..... I doubt a student would actually be able to pay it by what he said. China has produced unbelievable super stars like Lang Lang and Yuja Wang among others, I burn of curiosity to see their teachers in action, I don't believe they play the way the do just by talent alone. The true heroes are those superb Chinese pedagogues that actually know the way, and understand how to show it to their students. And no, I don't believe when one reads the resumé of these two super monster pianists as Yuya and Lang Lang, that technical arsenal happened at the Curtis Institute, instead.... because they had it by the time they auditioned, they were accepted. I"m not in any way diminishing the prestige of the institution, but from all those who attended Curtis, only these two, play at the level they do..... and at interviews faculty members have said, they impressed them at their audition.....
贼帅！