Hello!👋🏻 I’ve performed this piece in another video which can be found here: ruclips.net/video/O3lm91Ox2Zo/видео.htmlsi=OXtPNIG4bClOuYNu Thank you for checking out my videos!💚🎹
What a wonderful, wonderful lesson. Thank you! I am an accordion player and all of these principles apply to my playing Bach as well. The same issues with the tempo, the angle of attack, the speed of attack, the overall mood, all of these principles, - all of it was so helpful and applies to my playing the chromatic, five row button accordion. Thank you! Keep up the great work!
@@pennyplaysbach Thank you for your personal reply. I'm deeply honoured to receive a note from such a distinguished artist. Small whimsical suggestion: Instead of referring to "Mr. B" maybe "Herr B" is more accurate and could be playful as in Hair B (a ref to his wig), or Hairy B as in the sometimes maddening complexity of his work that can result in pulling one's own hair out. Anyway thank you for your beautiful spirit that is so well reflected in both your playing and your teaching. David
@@davidsmith9964 Thank you for the kinds words! I've been calling him Mr. B for years, I like calling him that, but you call him Herr B. Whatever works, I say! 😅
I really appreciate all the details you mentioned in your video, this is by far the best Bach piano tutorial on Yu tube, I will incorporate your sharing on my practice. Thank you
Hey, Penny! i drifted on in from your Gould blog. Fantastic. I'm trying to read all the entries. You're helping me with my practicing, too. I feel like I need to pay you a fee or something. Cheers!
@@pennyplaysbach Thanks and will do. Do you still have time to write on your blog? As someone down south who cannot get up to Toronto and the archives, I have found the entries to be most helpful.
@@pennyplaysbach Don't blame you. It's a good channel. I especially like your video about using your arms/body to a create tone... that is something I never really thought about. Keep up the great work. Cheers!
Your explanations, which someone think as "too much speech" were marvelous tips, analogies and comparisons... Those (much speech) help us to create the musical form in our mind to after that transform in sounds. Keep talking, keep playing!
Thanks! Im studying Nos. 4, and 13. This helps. Any recommendations on where to find accurate info on Bach’s musical and or personal goings on while writing these?
Thank you so much for your support!!❤❤ One of my most essential Bach texts, is the biography by Christoph Wolff, entitled Johann Sebastian Bach: The Learned Musician. wwnorton.com/books/9780393322569 Happy practicing to you!🎹
Hi Penny,I watched carefully your video.90 % of your information I got ftom my teacher ,and my teacher came from ex Soviet Union.I ask myself did You have a teacher from eastern Europe or Russia?Many thanks on your video…It is very important that you explain technical matters,what you do,as I read that someone made a comment about the the lack of interpretational points..You do the right thing,because the technical issues are the condition for future interpretation…One can not make the interpretation without knowing a very basic stuffs.I wish more such videos from you.Greetings from Germany!
Thank you, Nikola! I really appreciate your comment and, in fact, only just now discovered your other comment elsewhere in the thread. RUclips doesn’t notify me of exchanges in the comments section and so occasionally I stumble upon them. I try to keep my channel a safe and welcoming space, but sometimes it can be a challenge. Thank you for being here.💜 Regarding your question, I studied with Barry Snyder at the Eastman School of Music and Constance Keene at Manhattan School of Music. What you may be noticing perhaps comes more from the teaching of Ms. Keene. She studied with Abram Chasins, who was a student of Josef Hofmann. Hofmann was a student of Anton Rubinstein so there may be the ingredient you noticed. Ms. Keene was also very close friends with Horowitz and had tutelage links to Leschetizky and Liszt by way of some of her other teachers. She was incredibly fond of Rachmaninoff’s playing, too. Mr. Snyder held links to Tobias Matthay, among others. Their influence has left a deep impression on me, and at the same time, I’ve reformulated a lot of the concepts to suit my own needs at the instrument, as well, my conception of sound. Finally, I just want to say how much I appreciate your comment about the need for sharing practice ideas for future generations. It’s true, each of us has much to share and the future of artistry at the piano depends upon today’s generation. Thank you again for your kind words.
Do you have any general opinions on the Busoni arrangements? I can appreciate many of them, but I always wonder why he wants to add octaves in the left hand for the continuo instead of filling inner voices. I mean no disrespect to him, but the low octaves in the continuo add a character I don't really like to the music, and I find myself enjoying Kempff's arrangements much more due to his integration of the orchestral parts in the inner voices.
Thank you for the question! I've never felt attracted by the various Bach transcriptions. I guess you could say I prefer to admire them from afar. I don't mind listening to them, when played by a skilled performer (Horowitz playing Bach-Busoni, for example) however it's just not music that I feel I have a key for on my piano keychain, if that makes sense. The pianistic-ization of Bach, as I see it, is a land I don't know how to access very well. It is beautiful music, but just doesn't fit me somehow. I prefer Bach without the extra effects, I can hear more of his ideas that way, as opposed to hearing "the piano" and its effects. I do quite enjoy Kempff's Schubert recordings and your message prompted me to dig out a book of Busoni's writings, so thank you for that!
With all of your talk about the importance of playing the downbeat and the first notes of the piece clearly and emphatically, you never talk about how to finger these first six notes. Many editions suggest starting on finger 2 with an immediate cross under with the thumb. How does using this fingering affect your ability to play the beginning the way you suggest?
Thank you for the question, David. I would say that playing with an energized, clear downbeat here is far easier when one begins with the second finger, as the thumb is therefore already basically in position for the C-sharp later on. I cannot imagine using any fingering other than 2 1 2 3 4 5 to begin the right hand part of this Invention. Even though these are the first few notes of a D-minor scale, which, when played on its own, would begin with the thumb (1 2 3 1 2 3 4 5), the passage here is far more easier to articulate clearly when one begins with 2. I have not seen any other fingerings used for this passage. Your checking of the various editions confirms this. Of course, one is welcome to use any fingering that works. To ensure a clear push-off on the starting note, infusing good energy into the downbeat, I think it's important to approach the key from above, with a natural curve to the fingers, a loose, supple wrist and firm fingers. Strong fingers are essential and these can be achieved through various ways such as Dohnanyi or Philipp exercises, even simple forte staccato practice. Any finger should be able to be called upon to deliver an energized downbeat (not just the thumb). Of course, each piece is different and requires its own solution. I hope that helps!
Thank you for the question, David. I think Simone Dinnerstein has a lovely tone and is very fortunate to play on quality instruments. Her style of playing Bach is quite different from mine, at least with regards to this piece. I hear many swells to the sound in her interpretation of this piece. There are other pianists who do this, too. It's not something I strive for, as I prefer to hear longterm movement by step as much as possible. 🎶
I suppose that when a person decides to create content for RUclips, they expect to receive a hate comment every now and then. I can't please everyone and I'm ok with that. Thanks for the view!
@@pennyplaysbach Definitely NOT ma'am. It is an objectively verifiable opinion. If it is published, comments are enabled. And not all comments are going to be obsequential. Not everyone has to love you... By the way, if you expose yourself online, practice more, to play the piano better, and stop embarrassing others. Greetings 😏
@@juansuran644 I actually do really appreciate the feedback, Juan and will make an effort to talk less. In your first comment, it was your choice of emojis that was hurtful. I suppose everyone is doing their best here on RUclips. Happy practicing to you!
Surely not, I appreciate all the details she so generously shared, the best on line tutorial, her interpretation play is separately recorded, no need for negativity and judgement for a free on line tutorial
One should know first the musicsl basics in order to build certain style and interpretational levels.Penny does the right thing.She explains with great knowledge how this peace of music on its very important,basic and sound level functions…Great job Penny!
Hello!👋🏻 I’ve performed this piece in another video which can be found here: ruclips.net/video/O3lm91Ox2Zo/видео.htmlsi=OXtPNIG4bClOuYNu Thank you for checking out my videos!💚🎹
What a wonderful, wonderful lesson. Thank you! I am an accordion player and all of these principles apply to my playing Bach as well. The same issues with the tempo, the angle of attack, the speed of attack, the overall mood, all of these principles, - all of it was so helpful and applies to my playing the chromatic, five row button accordion. Thank you! Keep up the great work!
That's wonderful to hear! Thank you, Vincent!💚
When I do 10% percent of what Penny says my playing is 100% better.
Thank you so much for trying my practice tips!!♥️♥️
Penny, you're hilarious! You haven't changed a bit over the years. Good to hear you again. Cheers from AZ :)
Thank you, Elias! Yup, it's me! Nice hearing from a former classmate!💙Greetings back from Ontario!🍁
Oh my goodness, I wish I had you as a teacher from the beginning!!! Absolutely love your philosophy!
Thank you, thank you!!
Thank you so much, David! Happy practicing to you!🎶
@@pennyplaysbach Thank you for your personal reply. I'm deeply honoured to receive a note from such a distinguished artist. Small whimsical suggestion: Instead of referring to "Mr. B" maybe "Herr B" is more accurate and could be playful as in Hair B (a ref to his wig), or Hairy B as in the sometimes maddening complexity of his work that can result in pulling one's own hair out.
Anyway thank you for your beautiful spirit that is so well reflected in both your playing and your teaching.
David
@@davidsmith9964 Thank you for the kinds words! I've been calling him Mr. B for years, I like calling him that, but you call him Herr B. Whatever works, I say! 😅
Thank you!! A very hands on approach to the invention. I recommend having your instrument at disposal during the lesson
@@andredelacerdasantos4439 Thank you, André!
Very helpful, Penny, and also motivating.
@@douglasmccarthy4367 Thank you so much, Douglas!😀
Secrets of the Craft !!!
Outstanding performance and artistic interpretation information. 👍
Thank you so, so much!! 🎶
I really appreciate all the details you mentioned in your video, this is by far the best Bach piano tutorial on Yu tube, I will incorporate your sharing on my practice. Thank you
Thank you so much! I'm really glad to hear this! Happy practicing to you!🎹
Thank you for this tutorial. I learnt several things I had no idea about from learning Bach's Inventions. I must put them into practice.
Thank you so much, Susan! Happy practicing!🎹
Excellent 🎉
Thank you, James!☺
It was simply amazing, thank you very much. I love the way you drawing the picture of music. ❤
Thank you so much, Romuald!!❤️
Hey, Penny! i drifted on in from your Gould blog. Fantastic. I'm trying to read all the entries. You're helping me with my practicing, too. I feel like I need to pay you a fee or something. Cheers!
Hi there and thank you so much for both reading my blog posts and watching my videos! Happy practicing!🎹
@@pennyplaysbach Thanks and will do. Do you still have time to write on your blog? As someone down south who cannot get up to Toronto and the archives, I have found the entries to be most helpful.
@@westernkentucky5956 Thank you! Once in a while, I put up a post on the blog. These days, I am primarily focused on growing my channel.
@@pennyplaysbach Don't blame you. It's a good channel. I especially like your video about using your arms/body to a create tone... that is something I never really thought about. Keep up the great work. Cheers!
I'm currently working this piece. This is going help !!!
Thank you, I'm so glad to hear it!
A very interestng presentation Penny. Thank you!👏
Thank you, Gary!🎹
Your analogies are phenomenal.
Thank you so much, David! I often wonder if my analogies are helpful for others. They certainly are to me and I enjoy coming up with them!✨
Great lesson!
Thank you, Ian! ✨
Great class. So many interesting details. Thank you so much!
Thank you so much, Carlos!🎹
Your explanations, which someone think as "too much speech" were marvelous tips, analogies and comparisons... Those (much speech) help us to create the musical form in our mind to after that transform in sounds.
Keep talking, keep playing!
@@mestrecarloscardoso 💙💙💙
i was getting struggling by the trills, very helpful video
Thank you, David!🎵
Very helpful! Thank you.
Thank you!✨🎹
Think you for your help to play this piece ..🙏
You are most welcome, Marie! And thank you for your kind comment!🥰
Thank you for your helpful insights into this piece. Which fingers would you recommend for the right hand trill and left hand trill?
Thank you! In my RH, I use 4-2 for a few rotations and then switch to 4-1. My LH would use 1-3.
Hi Penny! Have you tried this invention playing the sixteenth notes with syncopation, its really fun, I even feel playing Art of fugue Cp 2!
Hi Erich! That's a great idea, I just tried it at the piano. You're right, it's really fun, quite catchy! Beatnik Bach!😅
Thanks! Im studying Nos. 4, and 13. This helps. Any recommendations on where to find accurate info on Bach’s musical and or personal goings on while writing these?
Thank you so much for your support!!❤❤ One of my most essential Bach texts, is the biography by Christoph Wolff, entitled Johann Sebastian Bach: The Learned Musician. wwnorton.com/books/9780393322569 Happy practicing to you!🎹
Thanks!
Thank you so much, Brenda, for your support!!❤🎹❤
Thank you....
Glad to help!🎹
Hi Penny,I watched carefully your video.90 % of your information I got ftom my teacher ,and my teacher came from ex Soviet Union.I ask myself did You have a teacher from eastern Europe or Russia?Many thanks on your video…It is very important that you explain technical matters,what you do,as I read that someone made a comment about the the lack of interpretational points..You do the right thing,because the technical issues are the condition for future interpretation…One can not make the interpretation without knowing a very basic stuffs.I wish more such videos from you.Greetings from Germany!
Thank you, Nikola! I really appreciate your comment and, in fact, only just now discovered your other comment elsewhere in the thread. RUclips doesn’t notify me of exchanges in the comments section and so occasionally I stumble upon them. I try to keep my channel a safe and welcoming space, but sometimes it can be a challenge. Thank you for being here.💜 Regarding your question, I studied with Barry Snyder at the Eastman School of Music and Constance Keene at Manhattan School of Music. What you may be noticing perhaps comes more from the teaching of Ms. Keene. She studied with Abram Chasins, who was a student of Josef Hofmann. Hofmann was a student of Anton Rubinstein so there may be the ingredient you noticed. Ms. Keene was also very close friends with Horowitz and had tutelage links to Leschetizky and Liszt by way of some of her other teachers. She was incredibly fond of Rachmaninoff’s playing, too. Mr. Snyder held links to Tobias Matthay, among others. Their influence has left a deep impression on me, and at the same time, I’ve reformulated a lot of the concepts to suit my own needs at the instrument, as well, my conception of sound. Finally, I just want to say how much I appreciate your comment about the need for sharing practice ideas for future generations. It’s true, each of us has much to share and the future of artistry at the piano depends upon today’s generation. Thank you again for your kind words.
Do you have any general opinions on the Busoni arrangements? I can appreciate many of them, but I always wonder why he wants to add octaves in the left hand for the continuo instead of filling inner voices. I mean no disrespect to him, but the low octaves in the continuo add a character I don't really like to the music, and I find myself enjoying Kempff's arrangements much more due to his integration of the orchestral parts in the inner voices.
Thank you for the question! I've never felt attracted by the various Bach transcriptions. I guess you could say I prefer to admire them from afar. I don't mind listening to them, when played by a skilled performer (Horowitz playing Bach-Busoni, for example) however it's just not music that I feel I have a key for on my piano keychain, if that makes sense. The pianistic-ization of Bach, as I see it, is a land I don't know how to access very well. It is beautiful music, but just doesn't fit me somehow. I prefer Bach without the extra effects, I can hear more of his ideas that way, as opposed to hearing "the piano" and its effects. I do quite enjoy Kempff's Schubert recordings and your message prompted me to dig out a book of Busoni's writings, so thank you for that!
With all of your talk about the importance of playing the downbeat and the first notes of the piece clearly and emphatically, you never talk about how to finger these first six notes. Many editions suggest starting on finger 2 with an immediate cross under with the thumb. How does using this fingering affect your ability to play the beginning the way you suggest?
Thank you for the question, David. I would say that playing with an energized, clear downbeat here is far easier when one begins with the second finger, as the thumb is therefore already basically in position for the C-sharp later on. I cannot imagine using any fingering other than 2 1 2 3 4 5 to begin the right hand part of this Invention. Even though these are the first few notes of a D-minor scale, which, when played on its own, would begin with the thumb (1 2 3 1 2 3 4 5), the passage here is far more easier to articulate clearly when one begins with 2. I have not seen any other fingerings used for this passage. Your checking of the various editions confirms this. Of course, one is welcome to use any fingering that works. To ensure a clear push-off on the starting note, infusing good energy into the downbeat, I think it's important to approach the key from above, with a natural curve to the fingers, a loose, supple wrist and firm fingers. Strong fingers are essential and these can be achieved through various ways such as Dohnanyi or Philipp exercises, even simple forte staccato practice. Any finger should be able to be called upon to deliver an energized downbeat (not just the thumb). Of course, each piece is different and requires its own solution. I hope that helps!
The Hal Leonard Intermediate Bach Classics has a different fingering that is quite awkward.
What do you think of Dinnerstein’s take on this piece?
Thank you for the question, David. I think Simone Dinnerstein has a lovely tone and is very fortunate to play on quality instruments. Her style of playing Bach is quite different from mine, at least with regards to this piece. I hear many swells to the sound in her interpretation of this piece. There are other pianists who do this, too. It's not something I strive for, as I prefer to hear longterm movement by step as much as possible. 🎶
Too much speech... and too little interpretation 🤦😖
I suppose that when a person decides to create content for RUclips, they expect to receive a hate comment every now and then. I can't please everyone and I'm ok with that. Thanks for the view!
@@pennyplaysbach
Definitely NOT ma'am.
It is an objectively verifiable opinion.
If it is published, comments are enabled. And not all comments are going to be obsequential. Not everyone has to love you...
By the way, if you expose yourself online, practice more, to play the piano better, and stop embarrassing others.
Greetings 😏
@@juansuran644 I actually do really appreciate the feedback, Juan and will make an effort to talk less. In your first comment, it was your choice of emojis that was hurtful. I suppose everyone is doing their best here on RUclips. Happy practicing to you!
Surely not, I appreciate all the details she so generously shared, the best on line tutorial, her interpretation play is separately recorded, no need for negativity and judgement for a free on line tutorial
One should know first the musicsl basics in order to build certain style and interpretational levels.Penny does the right thing.She explains with great knowledge how this peace of music on its very important,basic and sound level functions…Great job Penny!