Apropos those jumps in the LH, and making sure you're on the keys to be played before the attack, my previous teacher used to say. "Don't let the energy it took to get your arm/hand/fingers across a long jump be the energy with which you play the notes you've arrived at."
Thank you. Your advice about how you move your eyes and look at where you will place your hands next is very insightful. This is new to me, but I believe it will be very powerful combined with placing your fingers correctly before pressing the keys. Another very helpful video.
So proffesionaly and true, i playd this piece a year ago and actually my great and amazing teacher was telling my exaclly the same things. I love your videos so much and i learn from them so much! Thank you maestro!
SO WONDERFUL AS ALWAYS, MAESTRO!!!!! Thank you for my favourite Chopin's "Black Keys" Etude and for your great tutorial, really this masterpiece is beyond my abilities (it's possible to break all fingers), again my best regards, have a nice relaxing weekend. Joanna
Thanks for the video. I was previously able to play it through at moderato tempo. I took a break from the piece because that was my limit at that time. I will incorporate your practice ideas and give it another try. Your videos always inspire me to practice more!
Thanks a lot. It gives me some more possibilities to practise. It is not easy to get it in a good tempo. My fingers could do that, but I can not think so fast right now. 😅It is really funny. Thats the drill . Have a wonderful weekend . 🙋♀️
Your tutorial videos are very helpful! 💖 In every video until now you explained at least one new technique very detailed. In this videos I especially liked your demonstration about thinking fast and grouping several notes. I am going to try this in the future. I already tried your method of imagining how I play a piece and how it it feels like to play a piece of music when I am not sitting at the piano. At first it was really difficult but now I am able to do it with a short czerny etude. I can see every movement and every position of my hand at the keyboard and even when I press the keys. This feels really great and I think that it helps me very much. I didn't know that I could do this ^^. Thank you very much! 🙏😊
Użyteczny materiał, Panie Grzegorzu! 😀 P. S. Otrzymałem dziś zamówione przez moją mamę partytury Preludiów. Mam zamiar wykonać je na moim ukachanym Konkursie Chopinowskim i zamierzam obejrzeć Pana materiały, żeby lepiej się przygotować. 😁
So good to see you again. I hadn't seen any new videos coming on and I really missed you as you and your teaching are a bright spot in my day !!! God bless you dear sir !!!
@@gregniemczuk oh I see. Well I wish I could see any and all of your concerts in person but that can't happen. In the 70s I was able to attend a Liberace concert and in 2007 I attended an Emile Pandolfi concert. I wish you the best !!
I realize now the way to practicegetting the notes in your hand should be in the natural groupings that lie in the hand . Later one has to practice it as Music. But now I realize better how to practice and set a foundation for each piece . I've been playing ten of these etudes for over 20 years and now I want to undo all that bad habit . Maybe that unpractice is impossible I don't know . I think the major problem in all music study is KNOWING HOW TO WORK OR PRACTICE . Teachers need to make this the foundation of their training . Many of us are practicing HOW To Play Poorly and unmusically . Oh Dear ! I like how you use patterns and harmonic shapes to make memorization easier . We should always ask ourselves what is the hand doing and what is most natural. One simple remark decades ago helped me in tthe first etude and body,hand,torso direction should always be a question in practice .
It's so important what you write!!! Exactly, on my lessons I focus almost exclusively on HOW TO PRACTICE rather than how to play. Everyone is musical but most of students practice badly and get nowhere!
Hey Greg, Your suggestions for 'preparation' while you practise for hand positions are exactly in tune with what I had learnt from my late teacher, who had been studying in Poland. I think we could be traced back to the same lineage!
@@gregniemczuk You are welcome, I've watched the other analysis and I found it superb, with loads of feelings which are not normally expressed even in other pianist's performances, your enthusiasm is something that will pay off one day if it hasn't by now. I am really grateful to have people like you sharing their content on youtube, not only you have taught me something new that I probably wouldn't have experienced (at least not everything) but you also motivated me to learn this piece even more than before. I really hope you'll continue to post videos like that, it is your energy that gets the public, not only the content!
Logical, practical, and sound advice for learning in segments. Thank you! When first learning this étude a couple years ago (currently trying to refresh it), I invented an aspect of interpretation for the coda (after the big RH arpeggio - pp delicato smorz. - roughly measure 69?). Chopin was a loyal student of Bach, yet in the second repetition of this material (roughly m. 73) there's a hidden parallel octave between the RH and the LH (G-flat to D-flat). In the first ("a tempo"), I bring out the alto line *G-flat, D-flat, A-flat, F, G-flat", and in the second I bring out the "tenor" (B-flat, D-flat, C-flat, A-flat, B-flat), as that voice leading "cancels" the parallel octave. Granted, one needs pretty strong fingers to bring out the tenor in that passage, what are your thoughts on that / keeping a contrapuntal mindset when playing and interpreting Chopin's music?
Working on this one now. This is one of very few videos which specify EXACTLY how to practice this one to get up to tempo. Much appreciated from Texas, USA!
Wow! The advice regarding where to direct your eyes in advance of where your hands land- as well as practicing your right hand with your eyes closed- is invaluable! Thank you!
Thank you so much for these videos! Is there any chance you will do the Nouvelles Etudes? One of my favorite pieces of Chopin is Nouvelles Etudes number 2, for me this piece is so touching, I would love to hear your analysis :D
Hi maestro, I have some doubts with the rhythm of this piece especially the long phrase middle part and the coda of the piece. When I play it fast, it is difficult to think of the triplet and I tend to play on four for the middle section and two on the middle part of the coda section. Should we be always thinking of triplet throughout the whole etude?
@@LeeLinTao when you play fast you don't have to think about the triplets. Just think about the whole group of notes. When you play slowly you can think about the triplets and it helps with good articulation
@@gregniemczuk Thank you, maestro. Luckily I do not have to practice from start again hahaha. Is this a different scenario with etude op 25 no.2 maybe because of the time signature?
Apropos those jumps in the LH, and making sure you're on the keys to be played before the attack, my previous teacher used to say. "Don't let the energy it took to get your arm/hand/fingers across a long jump be the energy with which you play the notes you've arrived at."
Very smart!
I absolutely hate that part because three of the four leaps are octaves but the second one is only a sixth. It's a bit disorienting.
Thank you. Your advice about how you move your eyes and look at where you will place your hands next is very insightful. This is new to me, but I believe it will be very powerful combined with placing your fingers correctly before pressing the keys. Another very helpful video.
So happy to hear that!
So proffesionaly and true, i playd this piece a year ago and actually my great and amazing teacher was telling my exaclly the same things.
I love your videos so much and i learn from them so much!
Thank you maestro!
SO WONDERFUL AS ALWAYS, MAESTRO!!!!! Thank you for my favourite Chopin's "Black Keys" Etude and for your great tutorial, really this masterpiece is beyond my abilities (it's possible to break all fingers), again my best regards, have a nice relaxing weekend. Joanna
Thanks for the video.
I was previously able to play it through at moderato tempo.
I took a break from the piece because that was my limit at that time.
I will incorporate your practice ideas and give it another try.
Your videos always inspire me to practice more!
Thanks a lot. It gives me some more possibilities to practise. It is not easy to get it in a good tempo. My fingers could do that, but I can not think so fast right now. 😅It is really funny. Thats the drill .
Have a wonderful weekend . 🙋♀️
Your tutorial videos are very helpful! 💖 In every video until now you explained at least one new technique very detailed. In this videos I especially liked your demonstration about thinking fast and grouping several notes. I am going to try this in the future. I already tried your method of imagining how I play a piece and how it it feels like to play a piece of music when I am not sitting at the piano. At first it was really difficult but now I am able to do it with a short czerny etude. I can see every movement and every position of my hand at the keyboard and even when I press the keys. This feels really great and I think that it helps me very much. I didn't know that I could do this ^^. Thank you very much! 🙏😊
Wow, very good tips. This horror tempo of this etude can be mastered in this way. Thank you very much.
It's definitely a horror!
Thanks Greg!
Użyteczny materiał, Panie Grzegorzu! 😀
P. S. Otrzymałem dziś zamówione przez moją mamę partytury Preludiów. Mam zamiar wykonać je na moim ukachanym Konkursie Chopinowskim i zamierzam obejrzeć Pana materiały, żeby lepiej się przygotować. 😁
Cudownie!!! Życzę powodzenia i dużo wytrwałości!
Amazing tips! Thank you! ❤️I think I am going to die trying. 😂
Hi, nice tutorial. For the three-note Bb arpeggio in the left hand - is there a technique so you're not snagging adjacent notes?
great! :)
So good to see you again. I hadn't seen any new videos coming on and I really missed you as you and your teaching are a bright spot in my day !!!
God bless you dear sir !!!
Yes, because I'm in Romania performing at the Festival. I'll be back at the beginning of March
@@gregniemczuk oh I see. Well I wish I could see any and all of your concerts in person but that can't happen.
In the 70s I was able to attend a Liberace concert and in 2007 I attended an Emile Pandolfi concert.
I wish you the best !!
I realize now the way to practicegetting the notes in your hand should be in the natural groupings that lie in the hand . Later one has to practice it as Music. But now I realize better how to practice and set a foundation for each piece . I've been playing ten of these etudes for over 20 years and now I want to undo all that bad habit . Maybe that unpractice is impossible I don't know . I think the major problem in all music study is KNOWING HOW TO WORK OR PRACTICE . Teachers need to make this the foundation of their training . Many of us are practicing HOW To Play Poorly and unmusically . Oh Dear ! I like how you use patterns and harmonic shapes to make memorization easier . We should always ask ourselves what is the hand doing and what is most natural. One simple remark decades ago helped me in tthe first etude and body,hand,torso direction should always be a question in practice .
It's so important what you write!!! Exactly, on my lessons I focus almost exclusively on HOW TO PRACTICE rather than how to play. Everyone is musical but most of students practice badly and get nowhere!
Most underrated channel on youtube!
Thanks!!!
Working on it now along with 10 #6. Can't wait for that one.
Check that first, before the tutorial. Good luck!
ruclips.net/video/RqInbww4eoE/видео.html
Hey Greg,
Your suggestions for 'preparation' while you practise for hand positions are exactly in tune with what I had learnt from my late teacher, who had been studying in Poland.
I think we could be traced back to the same lineage!
Thank you so much!! Great advices👍👍👍
Thank you very much. It's very helpful.
Thank you Maestro's explanation! 😍😍😍
Thank you, i see perspective of work
Great!
Thank you, it's much helpful for me.
Jesteś z polski ?
Tak
Great guide!! Thank you for your effort, I wish you all the best!
Thank you!!!!
@@gregniemczuk You are welcome, I've watched the other analysis and I found it superb, with loads of feelings which are not normally expressed even in other pianist's performances, your enthusiasm is something that will pay off one day if it hasn't by now. I am really grateful to have people like you sharing their content on youtube, not only you have taught me something new that I probably wouldn't have experienced (at least not everything) but you also motivated me to learn this piece even more than before. I really hope you'll continue to post videos like that, it is your energy that gets the public, not only the content!
@@enricozincani2384 your words are my food! Thank you deeply!
@@gregniemczuk You are welcome, I wish you all the best and please keep up with your effort; I will surely help with the views!
Kocham lewa reke w tej etiudzie
Super!!!
Logical, practical, and sound advice for learning in segments. Thank you!
When first learning this étude a couple years ago (currently trying to refresh it), I invented an aspect of interpretation for the coda (after the big RH arpeggio - pp delicato smorz. - roughly measure 69?). Chopin was a loyal student of Bach, yet in the second repetition of this material (roughly m. 73) there's a hidden parallel octave between the RH and the LH (G-flat to D-flat). In the first ("a tempo"), I bring out the alto line *G-flat, D-flat, A-flat, F, G-flat", and in the second I bring out the "tenor" (B-flat, D-flat, C-flat, A-flat, B-flat), as that voice leading "cancels" the parallel octave. Granted, one needs pretty strong fingers to bring out the tenor in that passage, what are your thoughts on that / keeping a contrapuntal mindset when playing and interpreting Chopin's music?
It's very interesting!!! Well, we can thinking about it but not always it sounds better when we ephasize it too much
Working on this one now. This is one of very few videos which specify EXACTLY how to practice this one to get up to tempo. Much appreciated from Texas, USA!
Wonderful Ted! Happy to hear that! Good luck!
Wow! The advice regarding where to direct your eyes in advance of where your hands land- as well as practicing your right hand with your eyes closed- is invaluable! Thank you!
I'm so happy that it's useful!!!
You are so cool!
Thank you so much for your tutorial. It really helps!
Thank you!
Love these….Polish accent is the icing on the cake!!😊
🙂🙂🙂🙂🙂🙂🙂🙂
Thank you so much for these videos! Is there any chance you will do the Nouvelles Etudes? One of my favorite pieces of Chopin is Nouvelles Etudes number 2, for me this piece is so touching, I would love to hear your analysis :D
Yes, I will, quite soon. Maybe still in March, I'll see. I like them very much!
@@gregniemczuk Fantastic :D Thank you for the reply and thank you once more for the beautiful series!
Hi maestro, I have some doubts with the rhythm of this piece especially the long phrase middle part and the coda of the piece. When I play it fast, it is difficult to think of the triplet and I tend to play on four for the middle section and two on the middle part of the coda section. Should we be always thinking of triplet throughout the whole etude?
Hi, thanks for the question. Are you talking about the right hand?
Ya, maestro. When I play it fast, it is difficult to think of the triplet.
@@LeeLinTao when you play fast you don't have to think about the triplets. Just think about the whole group of notes. When you play slowly you can think about the triplets and it helps with good articulation
@@gregniemczuk Thank you, maestro. Luckily I do not have to practice from start again hahaha. Is this a different scenario with etude op 25 no.2 maybe because of the time signature?
@@LeeLinTao yes, it's different because the essence of that etude is that the left hand and right are NOT even