This is very meaningful, this makes the difference between nealing the piece or failing because of the trill. Mozart and Clamenti are the kind of composers you have to play very clean
Hi Cory, it is a great name for it and you are doing a great job with your tutorials! You can see that pianists use that (Ingrid Haebler - Mozzart K545) and some others (3 against two trills - please pay attention to all three trills she plays - bar 4 (quintuplets), 15 (poly) and 23 (poly), but also a gentleman from RUclips (search tutorial K545) suggests it but not using same terminology - his name is Gregpry Taboloff. Kind regards Alex
I’ve been looking for a tutorial on how to properly execute trills over triplet 16th notes for a long time ever since I learned the allemande from English Suite No. 4 due to the trills over the triplet 16th notes in bar 2. I am self taught and have been having trouble with how to approach this. Would it be possible for you to make a video explaining different methods for approaching this in that allemande? I will use this video to practice those trills more logically now so thank you very much for your very helpful videos, but I was curious if you would make a short video about this allemande. I have listened to the Netherland Bach Society version of English suite 4 and once even slowed it down using DAW software simply to understand what is happening in that recording but even with good software it is very hard to keep track of what the musician siebe henstra is doing. It would also be helpful if in said video you gave your thoughts on what is going on there. Thank you again very much.
That is a perfect example of a 4:3 polyrhythm trill like I demonstrated in the Clementi. First, you need to practice hands alone for that trill with a metronome with a precise 8 notes in the RH and 6 notes in the LH. When played correctly, the RH will play 4 trill notes at the same time as three LH notes. This the only way to do it. Also, notice that in the RH Bach has a trill with two terminating notes. This is an indication that he wanted a measured trill with a total of 8 notes (all 32nds). I would suggest learning how to play 4:3 polyrhythms. This I really the only way you will master that kind of trill.
With proper hand independence, you can let the trill be free from the left hand up until the 'and' of the last beat and dispense with overthinking in polyrhythms.
It's not overthinking. If you can play polyrhythms well it is natural and not overthinking at all. In my opinion, 2:3 should be required for any pianist Grade 3 or above. The problem is you get pianists who have played 10 years+ who have no idea how to play a simple 2:3 polyrhythm.
@@BachScholar polyrhythms in any ratio, 2:3, 3:4, etc should be studied by all pianists, but holding 2:3 polyrhythm for trills makes trills less expressive than if the hands are independent and the trill, free.
I think this is right, the triplets approach is off-putting. Listen to horn players do their lip trills in the Mozarts, they don't seem to be bound by strict meter.
When the number of notes in each hand are not multiples of each other (like 2:3 or 3:4 or 3:5) and need to be played in the same time frame. For example, 2 eighth notes in one hand and 3 triplet notes in the other hand need to be played equally in a quarter note's time.
![How to Play THREE Against FOUR Rhythms on the Piano [Feat. Chopin Fantasie Impromptu]](http://i.ytimg.com/vi/gNnKFnqQjKs/mqdefault.jpg)
This is very meaningful, this makes the difference between nealing the piece or failing because of the trill. Mozart and Clamenti are the kind of composers you have to play very clean
Grazie per questa lezione👍
cory this is michelle suit mei shan from toronto Happy victroia day , and wish u have a early happy fathers day cory you trill make me high!
Hi Cory, it is a great name for it and you are doing a great job with your tutorials! You can see that pianists use that (Ingrid Haebler - Mozzart K545) and some others (3 against two trills - please pay attention to all three trills she plays - bar 4 (quintuplets), 15 (poly) and 23 (poly), but also a gentleman from RUclips (search tutorial K545) suggests it but not using same terminology - his name is Gregpry Taboloff. Kind regards Alex
I’ve been looking for a tutorial on how to properly execute trills over triplet 16th notes for a long time ever since I learned the allemande from English Suite No. 4 due to the trills over the triplet 16th notes in bar 2. I am self taught and have been having trouble with how to approach this. Would it be possible for you to make a video explaining different methods for approaching this in that allemande? I will use this video to practice those trills more logically now so thank you very much for your very helpful videos, but I was curious if you would make a short video about this allemande. I have listened to the Netherland Bach Society version of English suite 4 and once even slowed it down using DAW software simply to understand what is happening in that recording but even with good software it is very hard to keep track of what the musician siebe henstra is doing. It would also be helpful if in said video you gave your thoughts on what is going on there. Thank you again very much.
That is a perfect example of a 4:3 polyrhythm trill like I demonstrated in the Clementi. First, you need to practice hands alone for that trill with a metronome with a precise 8 notes in the RH and 6 notes in the LH. When played correctly, the RH will play 4 trill notes at the same time as three LH notes. This the only way to do it. Also, notice that in the RH Bach has a trill with two terminating notes. This is an indication that he wanted a measured trill with a total of 8 notes (all 32nds). I would suggest learning how to play 4:3 polyrhythms. This I really the only way you will master that kind of trill.
With proper hand independence, you can let the trill be free from the left hand up until the 'and' of the last beat and dispense with overthinking in polyrhythms.
It's not overthinking. If you can play polyrhythms well it is natural and not overthinking at all. In my opinion, 2:3 should be required for any pianist Grade 3 or above. The problem is you get pianists who have played 10 years+ who have no idea how to play a simple 2:3 polyrhythm.
@@BachScholar polyrhythms in any ratio, 2:3, 3:4, etc should be studied by all pianists, but holding 2:3 polyrhythm for trills makes trills less expressive than if the hands are independent and the trill, free.
I think this is right, the triplets approach is off-putting. Listen to horn players do their lip trills in the Mozarts, they don't seem to be bound by strict meter.
What is polyrythm?
When the number of notes in each hand are not multiples of each other (like 2:3 or 3:4 or 3:5) and need to be played in the same time frame. For example, 2 eighth notes in one hand and 3 triplet notes in the other hand need to be played equally in a quarter note's time.