Bach - Prelude from English Suite in G minor, BWV 808 (taught by guest artist Dr. Stephen Beus)
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- Опубликовано: 27 авг 2024
- To view the full-length tutorial, click here: joshwrightpian...
This 57-minute video lesson explores an in-depth look at the Prelude from J.S. Bach’s English Suite No.3 in G minor, BWV 808. Renowned concert pianist and professor at Brigham Young University, Dr. Stephen Beus, will walk us through this piece, with areas of focus including developing better touch and sound, an in-depth explanation of style and considerations to make when playing the music of J.S. Bach, the importance of understanding instrumentation in the baroque era, how to develop fluid and clear ornamentation, rhythm and pulse, interpretation, voicing, the concept of orchestration and how this can apply to a keyboard work (and how it affects the performer’s choices with voicing and shaping), and many other concepts to help you become as efficient as possible in your practice sessions.
For more information about Dr. Beus, here’s a link to his faculty page:
music.byu.edu/...
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I just wanted to say a very big THANK YOU to Dr. Beus for this incredible tutorial! Please feel free to share your appreciation for his brilliant teaching in the comments below, and if you'd like to subscribe to his RUclips channel, you can do so here: www.youtube.com/@SRB2185
Pogorelich does magic with this piece
So insightful, a real pleasure to watch and to learn from such an expert. Thank you very much for this video!
Great stuff! Love Dr. Beus's commentary and teaching style!
I heard him in a house concert a few years ago, absolutely incredible!
9:16 Reminds me of something András Schiff said in a master class: "You people think that the piano is a schlagzeuge - a percussion instrument. It's a cantabile! Bach writes always- The art of singing. Cantabile art of playing."
The proper legato touch just seems incredibly hard to master. Which is funny because it's essentially *the* method involved with piano playing. Playing WTC has taken my hands further away from the keyboard - arm and hand weight create momentum and weight and fingers direct those into the keys. The closer you stay to the keys the better you transport that energy in to the keys and the better you know where you are without looking at the keys. Even knowing all of this even basic things seem incredibly hard at times.
Thanks for sharing! In the end it's not about the hammer or string.
There is a 4th topic, also too long to cover, which is Baroque fingering. In many instances, it involves the use, or rather, the nonuse of the thumb. An example would be from the Klavierbüchlein for W.F. Bach. The first piece, Applicatio, is a rare instance where fingering has been noted. What's sure to befuddle the modern pianist is crossing the 3rd finger over the 4th in an upward progression of notes. It makes sense if the two notes were notated as legato.
The problem with the first note sounding like a downbeat is also found in the 2nd Invention. Since none of Bach’s keyboard instruments were capable of playing “piano e forte” he would have had to use articulation and agogic accents to give the listener a clue as to where the beat should be. Playing those first two notes with a light staccato touch and pausing slightly before the true downbeat would seem to be a good solution.
Josh we would like a masterclass of Chopin Waltz op 69 n1 the "farewell waltz" Thank you.
Wonderfull explanation from 12:20 onwards. When i (the untrained ear) listen to pro's playing this piece fast, the dynamic as explained here is almost lost.
I agree with him on the Hannon exercises. I really don't enjoy them and find it saps my creativity. Although an interesting challenge would be to add experimental articulations to Hannon exercises. Maybe change up the articulations with each repetition.
Please do a tutorial video on Bach's Italian Concerto!