I have played this for decades. I learned multiple ideas to improve on this piece. Wrist tension is a killer here. Late black notes playing top to bottom is very difficult. On a freshly tuned piano, the resonance is just magical. Thank you for your teaching!
Thanks for the great tutorials!!! I'm working on Op.10 No.1 and 4 and this is very useful! You are a very generous professor and I'm sure your channel will grow more and more!
@@ShijunWangPianoChannel I would only suggest improving the sound quality of your speaking. Maybe using some lavalier microphone would do the thing! Thanks again for your generosity, I wish you were my teacher! ^_^
Well, I just verified... I didn't mean the sound quality in this particular video, I was watching some of your other tutorials where your voice wasn't clear enough, like the Op.25 No.2. Anyways, a good lavalier microphone would definitely improve the sound quality in all cases! Good luck and I hope I will be able one day to invite you to give a masterclass and a concert in Tunisia, I checked your bio and it didn't say you came to Africa! :)
Why youtube only feed this video to me today? I think youtube should feed it to me on the day one of this channel! This channel is like a treasure to me. Thank you very much Dr Wang for your kind sharing. Your tips and explanation are very clear, precise and useful. Thank you!
Thank you, Shijun, you helped to improve my playing in a practical and immediate way. Applying the movement of arm as in your exemples, that make the étude easier.
Dear Shijun, I think it's very good tutorial. I liked especially part when hands going down. In another tutorials this problem of pulling is ommited. Thank you for your activity.
@@ShijunWangPianoChannel I can also say I find your insight on this study to be the best I have seen online regarding strategies for releasing unwanted tension, and working towards playing with suppleness and the sense of ease Chopin advocated. I can see Cortot's edition on your piano, however, his instruction only goes so far. He instructs students to carefully avoid overstrain from practising the exercises too long. However, he doesn't mention that learning to play this study without being encumbered by unwanted tension is itself one of its chief difficulties, nor does he provide suggestions on that topic here. It appears to be an issue for almost everyone who attempts it. Also, it's very important to note that not all of his preparatory exercises (particularly where he instructs the student to apply them to the whole study) can or should be attempted by all. People whose hands cope well with a wide stretch between the 2nd and 5th finger, for instance, can deal with one of those in particular, which I couldn't hope to do (my stretch between 2nd and 5th is just about a 7th). The stretch for me between 4th and 5th is also problematic in this study. Those stretches can make bars 29-36 inclusive very difficult indeed, especially when playing close to performance speed and doing so in a way that reduces the potential for a build-up of unwanted tension. Something I noticed in this study is that at almost any point, if tension has been allowed to surface, the situation will not be easily remedied through the rest of the piece. This is why it is so necessary to develop effective strategies to practise and learn the piece with relaxation techniques built in from the start, through all tempos. An approach of patience and trust in the process is also important. Shijun - many thanks - your suggestion for having a feeling that the hand continues to have an outward impetus on the downward runs (in those eight bars in particular!) seems to help. I will be applying it to my practice on this one, while still trying to square that circle by playing the upward and downward runs like bow strokes, as advised by Chopin. :)
@@nickb5323 hi Nick, thank you for your reply. I did spent lots of time thinking about how to teach each of these etudes. Glad that you found it helpful!
Mr Wang thank you for the video . This Etude needs an immense amount of energy ( no doubt ) not just this one all of them . Understanding Each measure and also harmony relationships and being patient . I believe one should practice and analyze the Etudes till he or she is able to see the whole piece relationship in his brain
Hello, I made an experiment in my youtube channel, just spent 2 weeks practising this piece and then made 2 videos (1 at the end of each week), and I was able to do it because of your tutorial, (i mention that in the description of my video), thank you very much!! :)
Thank you for uploading these videos, you are a legend!! For the part where you mentioned the seventh at 10:23, what are your thoughts on using 1345 fingering instead of 1235? I'm having a very hard time quickly establishing the interval with my index finger (I basically have to jump from thumb to index to do it), which is solved with 1345, but maybe this alternative lacks power.
The angle would be uncomfortable for me. But it might fit your right hand? Thank you PacBac, I uploaded these videos 7 months ago, only in the recent weeks people started to discover them:)
Hi Dr Shijun- huge fan of your content! Any advice for when I start to speed up (approaching 130) and I start noticing my RH pinky literally lifting before playing - which I feel is really off and bringing down my tempo and accuracy. At speed, it almost appears like a small “slap” down with that particular finger. Im trying my best to keep my hand rounded as I can and trying to maintain standing on my fingers as much as possible, but it always seems to happen once I speed up. Any advice would be greatly appreciated! Would love to take some lessons with you as well!
Dear colleague: why you sit so high with a curved back. Do you know Chopin uses the RH to enhance the harmonics the melody (LH) produces, so not so loud.
I like the “blocked chords” exercise to find next position faster. I always tell my students to do that. But lots my students and I have very small hands, octave is my maximum. What would be your suggestion for us small hands people. :)
Well, I guess we small hands people need to accept that it is not wise to try to learn some piece that’s not fitting our hand well...... :) but I thought of a very interesting fingering on this piece and think it might work. Instead of 1245, how about starting from beat two of first measure, 2135, 2135, 2135, coming down on 4212, 4212, 4212, 4212...
@@rosechen5978 I like that. Will definitely try it. Look Rose, in the end people who don’t have small hands can’t fathom what it’s like. “Wait until you can reach further” means absolutely nothing because that won’t happen if you indeed have small hands. Chopin had larger hands therefore his fingerings will reflect that. If Chopin had been born with small hands the fingerings proposed would not exist, they would be different. So find fingerings which give you a similar feel of flow and elegance and speed and contact with the keys and you’ll be doing exactly what Chopin would’ve been doing himself. Strain is the nemesis of this etude, so take the time to play around with some elegant and effective fingerings and I know Chopin would be perfectly happy about it and so should we ;-) Enjoy playing! 🎹 💫
Hello, i m having trouble in some passages that feel really weird to my hand like bar 31 with F7 arpeggio or bar 34, do u have any tips for practising those?
those two measures that you mentioned are the most awkward ones! Fingerings are simply too short to reach! When that’s the case, extend your fingers with wrist movement!
what is your fingering on the black note section you discuss ? are you starting this particular bar on the way up with 1st finger as usual ? are you using thumb on 3rd note also ? it does not look standard 1245 or 1235 fingering ? is thumb crossing under at different place ?
@@ShijunWangPianoChannel thanks :j you play this phenomenally well congratulations ! hope you might one day play the lizst transcription of beethoven symphony 7 second movement , its on my list but need many tips and a few years and inspiration hearing you thanks
He plays very well, everything he shared was good, and yet, it does not help me in any way..... , it feels like a museum tour guide, they know a lot, and they say all kinds of interesting things, yet they cannot teach you how to paint like the masters at that museum.... teaching is very difficult.....
Haha, yeah.... you have to paint eggs a million times right? If these suggestions can help you to reduce 1/3 of your practice time, it’s a miracle. At the end, we have to practice to discover things.
You can’t beat Paul Barton as far as these piano tutorials are concerned, although I have recently been watching Danae Dörken and she has some good ideas too.
I have played this for decades. I learned multiple ideas to improve on this piece. Wrist tension is a killer here. Late black notes playing top to bottom is very difficult. On a freshly tuned piano, the resonance is just magical. Thank you for your teaching!
I really like the concept of “pushing out” even when it’s descending. Thank you so much for the videos again!!!
Thanks for the great tutorials!!! I'm working on Op.10 No.1 and 4 and this is very useful!
You are a very generous professor and I'm sure your channel will grow more and more!
I am glad they are helpful! Thanks for your kind wishes! Yahya.
@@ShijunWangPianoChannel I would only suggest improving the sound quality of your speaking. Maybe using some lavalier microphone would do the thing! Thanks again for your generosity, I wish you were my teacher! ^_^
Well, I just verified... I didn't mean the sound quality in this particular video, I was watching some of your other tutorials where your voice wasn't clear enough, like the Op.25 No.2. Anyways, a good lavalier microphone would definitely improve the sound quality in all cases!
Good luck and I hope I will be able one day to invite you to give a masterclass and a concert in Tunisia, I checked your bio and it didn't say you came to Africa! :)
Thanks for sharing your passion and experience in your tutorial videos over the years! You have some of the most in depth piano content on RUclips.
Thank you!!
Why youtube only feed this video to me today? I think youtube should feed it to me on the day one of this channel! This channel is like a treasure to me. Thank you very much Dr Wang for your kind sharing. Your tips and explanation are very clear, precise and useful. Thank you!
thanks Amber. I am glad you found my channel helpful.
Well played and clearly explained!
I plan to start this around June! Your dedication in music doesnt only show, but radiates through your teachings!
Thank you Sir.
Thank you, Shijun, you helped to improve my playing in a practical and immediate way. Applying the movement of arm as in your exemples, that make the étude easier.
Very helpful. i.e. move the body, intervals between thumb and second finger. Thank you.
Excellent. Your hands are so smooth and relaxed.
Thank you for this
王老師彈得真好👍
而且優雅又匆容，
有氣質又帥氣🥰
过奖了！多谢支持
Dear Shijun, I think it's very good tutorial. I liked especially part when hands going down. In another tutorials this problem of pulling is ommited. Thank you for your activity.
thank you Jakub. I am so glad that you liked them! Please share it with your other musician friends.
@@ShijunWangPianoChannel I can also say I find your insight on this study to be the best I have seen online regarding strategies for releasing unwanted tension, and working towards playing with suppleness and the sense of ease Chopin advocated.
I can see Cortot's edition on your piano, however, his instruction only goes so far. He instructs students to carefully avoid overstrain from practising the exercises too long. However, he doesn't mention that learning to play this study without being encumbered by unwanted tension is itself one of its chief difficulties, nor does he provide suggestions on that topic here. It appears to be an issue for almost everyone who attempts it. Also, it's very important to note that not all of his preparatory exercises (particularly where he instructs the student to apply them to the whole study) can or should be attempted by all. People whose hands cope well with a wide stretch between the 2nd and 5th finger, for instance, can deal with one of those in particular, which I couldn't hope to do (my stretch between 2nd and 5th is just about a 7th). The stretch for me between 4th and 5th is also problematic in this study. Those stretches can make bars 29-36 inclusive very difficult indeed, especially when playing close to performance speed and doing so in a way that reduces the potential for a build-up of unwanted tension.
Something I noticed in this study is that at almost any point, if tension has been allowed to surface, the situation will not be easily remedied through the rest of the piece. This is why it is so necessary to develop effective strategies to practise and learn the piece with relaxation techniques built in from the start, through all tempos. An approach of patience and trust in the process is also important.
Shijun - many thanks - your suggestion for having a feeling that the hand continues to have an outward impetus on the downward runs (in those eight bars in particular!) seems to help. I will be applying it to my practice on this one, while still trying to square that circle by playing the upward and downward runs like bow strokes, as advised by Chopin. :)
@@nickb5323 hi Nick, thank you for your reply. I did spent lots of time thinking about how to teach each of these etudes. Glad that you found it helpful!
Excellent. Many consider this to be the most difficult Etude to play well. Thanks for your insights.
Great tutorial! The
Great tutorial!
thank you Angelica. Please subscribe for the newest videos:)
Very useful concepts. Thank you! ✨🎹
Nice played. Bravo
Hello Mr. Wang. You have great content, so glad that I found your channel. Hope no meet you one day. Thanks for the channel!
Likewise! We stay safe before we get over this craziness
Hello !
I study like this. I agree with you.
I love how you explain.
Bye
Thank you!
you are so smooth i love ur piano ❤❤❤
十八届肖赛的正赛开始啦，真的希望王老师能每天点评一下呀 :-）
包括预赛在内op10 no1很多选手都弹了，但这首巨好听的练习曲真的好像噩梦一样，想在live performance弹出彩太难了。
Mr Wang thank you for the video . This Etude needs an immense amount of energy ( no doubt ) not just this one all of them . Understanding Each measure and also harmony relationships and being patient . I believe one should practice and analyze the Etudes till he or she is able to see the whole piece relationship in his brain
I like the wheelbarrow analogy. Following your videos!
Hello, I made an experiment in my youtube channel, just spent 2 weeks
practising this piece and then made 2 videos (1 at the end of each
week), and I was able to do it because of your tutorial, (i mention that
in the description of my video), thank you very much!! :)
wow! This is big encouragement! I will check your channel out!
@@ShijunWangPianoChannel thank you for your work in putting out these videos!
讲得太好了，受益匪浅
Отличная техника, и образ хорош
Thank you for uploading these videos, you are a legend!!
For the part where you mentioned the seventh at 10:23, what are your thoughts on using 1345 fingering instead of 1235? I'm having a very hard time quickly establishing the interval with my index finger (I basically have to jump from thumb to index to do it), which is solved with 1345, but maybe this alternative lacks power.
The angle would be uncomfortable for me. But it might fit your right hand? Thank you PacBac, I uploaded these videos 7 months ago, only in the recent weeks people started to discover them:)
謝謝！
Really helpful! What do you think of Argerich's rendition?
Love it of course!
Thank you Professor Wang. I wonder, do you base your technique on that of Arrau?
definitely learned from the book!
yay
I´m studing this etude and my little finger hurts.
Having worked on this etude for well over 10 years, I still find it incredibly difficult and unfun to play. Beautiful though!
Same feeling!
totally agree, very unfun to play this.
Thanks for the tips! How do you project power with flat fingers?
Mostly with arm weight and arm movement.
Hi Dr Shijun- huge fan of your content! Any advice for when I start to speed up (approaching 130) and I start noticing my RH pinky literally lifting before playing - which I feel is really off and bringing down my tempo and accuracy. At speed, it almost appears like a small “slap” down with that particular finger. Im trying my best to keep my hand rounded as I can and trying to maintain standing on my fingers as much as possible, but it always seems to happen once I speed up. Any advice would be greatly appreciated! Would love to take some lessons with you as well!
The key here is to try to generate the power from the wrist instead of the fingers.
@@ShijunWangPianoChannel wow! Thank you for such a fast response! I’ll focus more on the wrist then! Appreciate your help and all of your videos!
Do you know any arpeggios
Dear colleague: why you sit so high with a curved back. Do you know Chopin uses the RH to enhance the harmonics the melody (LH) produces, so not so loud.
I like the “blocked chords” exercise to find next position faster. I always tell my students to do that. But lots my students and I have very small hands, octave is my maximum. What would be your suggestion for us small hands people. :)
On op10 no1？ don’t learn it until the hands can at least reach a 9th
@@ShijunWangPianoChannel :-/ poor small handed peeps
Well, I guess we small hands people need to accept that it is not wise to try to learn some piece that’s not fitting our hand well...... :) but I thought of a very interesting fingering on this piece and think it might work. Instead of 1245, how about starting from beat two of first measure, 2135, 2135, 2135, coming down on 4212, 4212, 4212, 4212...
@@rosechen5978 I like that. Will definitely try it.
Look Rose, in the end people who don’t have small hands can’t fathom what it’s like. “Wait until you can reach further” means absolutely nothing because that won’t happen if you indeed have small hands.
Chopin had larger hands therefore his fingerings will reflect that. If Chopin had been born with small hands the fingerings proposed would not exist, they would be different. So find fingerings which give you a similar feel of flow and elegance and speed and contact with the keys and you’ll be doing exactly what Chopin would’ve been doing himself.
Strain is the nemesis of this etude, so take the time to play around with some elegant and effective fingerings and I know Chopin would be perfectly happy about it and so should we ;-)
Enjoy playing! 🎹 💫
Hello, i m having trouble in some passages that feel really weird to my hand like bar 31 with F7 arpeggio or bar 34, do u have any tips for practising those?
those two measures that you mentioned are the most awkward ones! Fingerings are simply too short to reach! When that’s the case, extend your fingers with wrist movement!
what is your fingering on the black note section you discuss ?
are you starting this particular bar on the way up with 1st finger as usual ? are you using thumb on 3rd note also ?
it does not look standard 1245 or 1235 fingering ? is thumb crossing under at different place ?
one of the phrases， I used 2-3-1-3, the thumb crossing under the 3rd finger
@@ShijunWangPianoChannel thanks :j you play this phenomenally well congratulations !
hope you might one day play the lizst transcription of beethoven symphony 7 second movement , its on my list but need many tips and a few years and inspiration hearing you thanks
@@ShijunWangPianoChannel This fingering is amazing. Thank you for sharing!!!
Do you offer lessons?
online only. But I run out of regular spots, just one or two here and there..
@@ShijunWangPianoChannel can I contact you for more information?
@@ShijunWangPianoChannel just sent you one. Thank you!
Thx for the advices, do you have any tips about 0:34 ?
Smaller wrist angle and flater finger. And lots of praying.
Thanks 👍
@Justin Yeom no he means playing
I think he literally means praying
@@moguk1 Yes, he means "praying", indicating that there is some amount of luck involved in this passage
How long did it take you to play it that good?
This one is a old one. I used it for my college audition.
Hi, is small hand (only can stretch 8th) able to play this?
It will be hard.
Shijun Wang doesnt it depend more on the techniques of the wrist and the translation of the hand as a whole？
@@jianguan8119 yes, but it does also require some wide stretches. If the hand is small, the stretches are wider and creates more tension..
Shijun Wang 谢谢您
王教授🐂🍺🎉
He plays very well, everything he shared was good, and yet, it does not help me in any way..... , it feels like a museum tour guide, they know a lot, and they say all kinds of interesting things, yet they cannot teach you how to paint like the masters at that museum.... teaching is very difficult.....
Haha, yeah.... you have to paint eggs a million times right? If these suggestions can help you to reduce 1/3 of your practice time, it’s a miracle. At the end, we have to practice to discover things.
@@ShijunWangPianoChannel I reiterate, everything you said was fine, nothing wrong, but it would not touch/modify my playing in any way....
Man, it’s cool. Keep in mind a trick or two when you practice this mister piece. You might find it easier to play.
@@ShijunWangPianoChannel ...it's like the thin line between description and analysis.... very similar yet different....
You can’t beat Paul Barton as far as these piano tutorials are concerned, although I have recently been watching Danae Dörken and she has some good ideas too.
OMGGGGGGGGGWHATTHEF**K
??