Super technical video! Amazingly helpful. Appreciate all the tips and wisdom here. The references to anatomy and the nervous system were top notch! Loved the advice on forearm positions, how to notice and get rid of the tension, and also to practice the right hand on a flat surface to really mentally connect to the keyboard instead of relying solely on physical memory. Tons of tidbits that will take time for us amateurs to fully digest. Thank you so much and please keep making these awesome videos!
Adding to what others have said so well: there is phenomenal insight in this video regarding the “hidden links” between your mind and your fingers. I find it very helpful to see someone as achieved as you work through difficult passages in a “problem- identification” way- and the real value here is that you orient us to problems that we may never have even considered! Really great- and I love how you use the études to bring out your teaching points! 😊
Thank you so much. And you are right! I am using the etudes to get across what I think are important points of piano technique! You put it into words what I have been doing without really being conscious of it.
@@JeewonLeepianoPlease check out measure 11 beat 3. In my sheet music There’s no longer double sharp on C. Double sharp occurs only on first beat, and already on the second beat there’s regular C#. 😊 I use Dover Publications, Inc. NY (edited by Paderewski). I’m wondering how it’s edited in your music. In my for example in bars 7-8 it’s A# in right hand. Everybody (including you and myself) plays A natural 😊 I’m wondering about certain editions. In this particular study, because of tremendous amount of difficulties any even slightest alteration from edition to edition may change entire mechanics and flow of it, right ?
Great video ! Yes, the relaxation of a thumb is of UTMOST importance. Not only for thirds, but for everything else as an essential part of pianism. Constant relaxation, at almost every turn is priceless 😊
I love your videos! Thank you! I recently discovered that for me it was important to use practice a clear and distinctive wrist movement with the 16th motes in Chopins pieces. This sorts out very well also in other pieces, etc. the op 10 no 4 or no 8. It consists in playing the first two 16th with a rising wrist (mostly on the 1rst) while completely opening the wrist, but giving the weight on the fingers, and play the third and fourth 16th with a lowering wrist while relaxing the fingers, in order to be prepared for the rising wrist in the next group. This actually accords well to the left hand too. Very surprisingly it is the same throughout the whole etude!
Hi this was so helpful for me a year ago. I was wondering if you have every played ondine. If so if you ever have time and energy could you perhaps do a video?
@@JeewonLeepiano Thank you so much for your consideration! There are many tutorial videos out there on Ondine in the same way there are of 25-6 but I found your video of 25-6 very helpful so I think your insight on Ondine would also be very helpful!
Hello Jeewon Lee, love your content and I'd like to make a small fingering suggestion: Regarding the thumb having to play consecutively (E-F and B-C) during the chromatically ascending double thirds. I don't do that, instead I play consecutively with the 2nd finger by sliding from 23 (D#F#) to 24 (EG) fingering. Also from A#C# to BD I use 23 to 24. I personally find this to be much easier than having to play the thumb consecutively. Let me know if you gave it a try and if you find it comfortable. It took me a little moment to get used to but it's been a game changer for me :)
@@JeewonLeepiano Thanks for your reply! Awesome, glad I could help! 🎉🎉 I do the same for the descending chromatic thirds too btw, though here the consecutive thumb doesn't feel AS bad in comparison, probably because you can kinda slide to the next key with the fingernail like in a short glissando! 🙂 The fingering for descending chromatic thirds that I use is 24 (or 25) to 23, for F#A to FG# as well as for C#E to CD# Cheers ~gluecks~ PS: I play this etude myself but have been stuck at a certain speed. Any faster and it all seems to fall apart, you can probably relate to what I mean!
I’ve been having the same problem and thought I was just going to have to accept the gap. This absolutely works for me. Thank you both… what luck finding this before the thumb move got too ingrained?
Dang Thai Son used the left paw to aid 1 downward scale. Rachmaninoff played it slowly in concerts. Pogorelić played it slowly in the studio recording. Most pianists start the downward scales slowly. There's always a tradeoff between expression, clarity & speed with no-one maxing out all 3. If the greatest pianists who ever lived can't max out all 3, the rest of us deserve a break. Lions believe there's a finite amount of time one can devote to 1 piece.
3rds are always difficult which this etude is.Double 3rds which I consider left and right hands is difficult times ten.Encountered in some of Scriabins etudes. Anyway you play beautifully.
No one's ever asked me yet who's the greatest genius of all Time? There's been alot of geniuses who've worked hard at their craft-- Lennon/McCartney, Jagger, Edison, Picasso, Beethoven, Dali et al. But who took the genre to a new level where pianist struggle for yrs just to play it?? Chopin!!
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Thanks for the attentive and meticulous video. 👍🏽👏🏽👍🏼🙏🏻
Super technical video! Amazingly helpful. Appreciate all the tips and wisdom here. The references to anatomy and the nervous system were top notch! Loved the advice on forearm positions, how to notice and get rid of the tension, and also to practice the right hand on a flat surface to really mentally connect to the keyboard instead of relying solely on physical memory. Tons of tidbits that will take time for us amateurs to fully digest. Thank you so much and please keep making these awesome videos!
Where do we send a donation for your help? This is just as helpful if not more than a piano lesson.
Adding to what others have said so well: there is phenomenal insight in this video regarding the “hidden links” between your mind and your fingers. I find it very helpful to see someone as achieved as you work through difficult passages in a “problem- identification” way- and the real value here is that you orient us to problems that we may never have even considered! Really great- and I love how you use the études to bring out your teaching points! 😊
Thank you so much. And you are right! I am using the etudes to get across what I think are important points of piano technique! You put it into words what I have been doing without really being conscious of it.
@@JeewonLeepianoPlease check out measure 11 beat 3. In my sheet music There’s no longer double sharp on C. Double sharp occurs only on first beat, and already on the second beat there’s regular C#. 😊
I use Dover Publications, Inc. NY (edited by Paderewski). I’m wondering how it’s edited in your music. In my for example in bars 7-8 it’s A# in right hand. Everybody (including you and myself) plays A natural 😊 I’m wondering about certain editions. In this particular study, because of tremendous amount of difficulties any even slightest alteration from edition to edition may change entire mechanics and flow of it, right ?
Great video ! Yes, the relaxation of a thumb is of UTMOST importance. Not only for thirds, but for everything else as an essential part of pianism. Constant relaxation, at almost every turn is priceless 😊
I love your videos! Thank you! I recently discovered that for me it was important to use practice a clear and distinctive wrist movement with the 16th motes in Chopins pieces. This sorts out very well also in other pieces, etc. the op 10 no 4 or no 8. It consists in playing the first two 16th with a rising wrist (mostly on the 1rst) while completely opening the wrist, but giving the weight on the fingers, and play the third and fourth 16th with a lowering wrist while relaxing the fingers, in order to be prepared for the rising wrist in the next group. This actually accords well to the left hand too. Very surprisingly it is the same throughout the whole etude!
Yes,keeping the wrist flexible lets the fingers do their job efficiently!
Thank you so much!
Thanks so much for this. I shall apply your ideas as best I can.
Very insightful! I'll use this mentality when I'm learning new pieces from now on!
Thank for your tips and analysis!!
These practice videos are invaluable. Thank You so much!
Thank you so much💕
Hi this was so helpful for me a year ago. I was wondering if you have every played ondine. If so if you ever have time and energy could you perhaps do a video?
Hi! Glad it helped! I was always intimidated by the idea of attempting Gaspard but maybe I can give Ondine a try!
@@JeewonLeepiano Thank you so much for your consideration! There are many tutorial videos out there on Ondine in the same way there are of 25-6 but I found your video of 25-6 very helpful so I think your insight on Ondine would also be very helpful!
Hello Jeewon Lee, love your content and I'd like to make a small fingering suggestion:
Regarding the thumb having to play consecutively (E-F and B-C) during the chromatically ascending double thirds. I don't do that, instead I play consecutively with the 2nd finger by sliding from 23 (D#F#) to 24 (EG) fingering. Also from A#C# to BD I use 23 to 24. I personally find this to be much easier than having to play the thumb consecutively. Let me know if you gave it a try and if you find it comfortable. It took me a little moment to get used to but it's been a game changer for me :)
Wow that's a big tip! I can tell you even without trying, that this is a good idea. I wish I had thought of that. 😄Thank you!
@@JeewonLeepiano Thanks for your reply! Awesome, glad I could help! 🎉🎉
I do the same for the descending chromatic thirds too btw, though here the consecutive thumb doesn't feel AS bad in comparison, probably because you can kinda slide to the next key with the fingernail like in a short glissando! 🙂 The fingering for descending chromatic thirds that I use is 24 (or 25) to 23, for F#A to FG# as well as for C#E to CD#
Cheers
~gluecks~
PS: I play this etude myself but have been stuck at a certain speed. Any faster and it all seems to fall apart, you can probably relate to what I mean!
I’ve been having the same problem and thought I was just going to have to accept the gap. This absolutely works for me. Thank you both… what luck finding this before the thumb move got too ingrained?
Dang Thai Son used the left paw to aid 1 downward scale. Rachmaninoff played it slowly in concerts. Pogorelić played it slowly in the studio recording. Most pianists start the downward scales slowly. There's always a tradeoff between expression, clarity & speed with no-one maxing out all 3. If the greatest pianists who ever lived can't max out all 3, the rest of us deserve a break. Lions believe there's a finite amount of time one can devote to 1 piece.
Vero good playing and nice advices. They are helpful
Glad it was helpful!
3rds are always difficult which this etude is.Double 3rds which I consider left and right hands is difficult times ten.Encountered in some of Scriabins etudes.
Anyway you play beautifully.
Informative ,lucid . A times ,difficult to hear your speaking voice over your impressive piano,
I will have to balance the two sounds better. Thank you!
excellent speed.
once this piece is mastered there's no need of additional warming up exercises ! i think!
Bravo, "un point"!
Very good video.
LOLLL as well as those in the Chopin competition is so real.
No one's ever asked me yet who's the greatest genius of all Time? There's been alot of geniuses who've worked hard at their craft-- Lennon/McCartney, Jagger, Edison, Picasso, Beethoven, Dali et al. But who took the genre to a new level where pianist struggle for yrs just to play it?? Chopin!!
You give the impression that it is possible to do it. You seem to say: If I succeed why not you?