I realised a little too late that I made an editing mistake and the audio and picture don‘t match up in the final run through - so here is a video of the correct run through that I uploaded just now: ruclips.net/video/UC1yOnfr2K4/видео.html Thank you for letting me know about it, sorry for the trouble and I hope you find it useful! :)
Thank you so much, Danae. I don't play this study, but this doesn't matter, because all these exercises are useful for nearly every piece of classical or romantic era (at least many passages). Great!
I'm working on this etude now. Decided it would be wise to watch a tutorial. Found yours - so helpful! Great ideas - I never would have thought of doing the legato/staccato combination. (I have figured out the value of groupings). TY for this and all your many helpful tutorials. You really should set up a patreon ... you're giving all this for free, very generous of you, and some may want to donate for your efforts. BTW, I'm also working on Moskowski Etude Op 72 no 3. This is a challenging piece! There are not many tutorials on these etudes. Someone needs to do some ! 🙂
You are unique, dear teacher...As always, it was great and professional. Thank you very much for this tutorial ... Please continue sending the video. It is very useful. And we appreciate you
Thank you for the tutorial. I don't have the skills for this one yet. It's always a pleasure watching you play. You're so sweet to take the time to do these tutorials. Looking forward to seeing the next one. 👀
3 года назад
Thank you so much for writing this, so glad you are enjoying the tutorials! :)
The legato staccato method also works great for the double thirds etude, thanks for sharing these tips considered not a lot of people are willing to share how they practice...
Thank you so much! I will definitely make a video on that in the coming months - I still have some other things lined up before that, so it might take some time, but it will come. ;) Generally, I would recommend doing some of the same exercises as in op. 10 no. 1, only for both hands. :)
Thank you for this outstanding tutorial. This is one of the etudes that has always been very difficult for me. May I ask you a question? How do you feel we should interpret Chopin's legato indication in this etude? Is it to be a literal finger legato or does it perhaps mean something else? I suspect a literal finger legato can be achieved at least in the top voice but it seems much more possible with large hands. Also, I have heard many recordings of great artists of note not hesitate to play this etude in quite a detached way which is very different with what a pure finger legato would be if that really is what he wanted. And it really doesn't sound bad to me that way at all. So, am I misinterpreting what Chopin intended when he marked legato or does the marking suggest something else entirely? Is it perhaps a hand size issue? Thank you again for your excellent videos.
2 года назад
Thanks so much! I would agree that, if you do a literal legato, that legato should be in the upper voice only. Everything else is unrealistic. However, I would also see the legato as a hint towards the energy between the notes, a feeling of playing and sounding legato, even though it sometimes may not be physically possible. My teacher used to call that “quasi legato”. When you try to imitate a legato feeling, even when an actual physical legato is not possible. Thanks for watching 🙏🏻
@ Thank you for the kind reply. I suppose that would explain the detached and yet even performances of people like Arrau and Novaes who performances are far from that of using finger legato. I would suspect that strict finger legato in this could even be harmful for those of us with smaller hand spans but who still do not wish to give up the piece. Many Thanks.
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I realised a little too late that I made an editing mistake and the audio and picture don‘t match up in the final run through - so here is a video of the correct run through that I uploaded just now: ruclips.net/video/UC1yOnfr2K4/видео.html
Thank you for letting me know about it, sorry for the trouble and I hope you find it useful! :)
Thank you!!
You are naturally talented for teaching.... something very rare! many people can play but they can't teach, you can !
Thank you so much! 🙏🏻
Thank you for another great Chopin study tutorial! I love it when you make those. 😍 So helpful!
Thank you, I am so glad you like them! :)
Thank you so much, Danae. I don't play this study, but this doesn't matter, because all these exercises are useful for nearly every piece of classical or romantic era (at least many passages). Great!
Great pleasure to watch your videos
🙏🏻🙏🏻
I'm working on this etude now. Decided it would be wise to watch a tutorial. Found yours - so helpful! Great ideas - I never would have thought of doing the legato/staccato combination. (I have figured out the value of groupings). TY for this and all your many helpful tutorials. You really should set up a patreon ... you're giving all this for free, very generous of you, and some may want to donate for your efforts. BTW, I'm also working on Moskowski Etude Op 72 no 3. This is a challenging piece! There are not many tutorials on these etudes. Someone needs to do some ! 🙂
You are unique, dear teacher...As always, it was great and professional. Thank you very much for this tutorial ... Please continue sending the video. It is very useful. And we appreciate you
Thank you Danae.You are enlightening as always.👍
Thanks so much 🙏🏻
Thank you for the tutorial. I don't have the skills for this one yet. It's always a pleasure watching you play. You're so sweet to take the time to do these tutorials. Looking forward to seeing the next one. 👀
Thank you so much for writing this, so glad you are enjoying the tutorials! :)
@ You are so beautiful and sweet I would be happy to write even more for you. Just say the word and I'll start writing.
Good job Danae, congrats for your videos!
Thanks so much! :)
The legato staccato method also works great for the double thirds etude, thanks for sharing these tips considered not a lot of people are willing to share how they practice...
So glad you are finding them useful 🤗
Love your tutorials! Would love a video on tremolos, specifically the 1st movement of the pathetique sonata, I find my hand tires quickly 😔
Thanks for the suggestion, I will definitely put it on the list of videos to make! :)
My favorite teacher 😍
Thanks! 🤗
@ The next tutorial Reflects dans l' eau or Jeux d' eau 😜🙄😙
Another great pro tutorial, thank You
Thank you so much! I will definitely make a video on that in the coming months - I still have some other things lined up before that, so it might take some time, but it will come. ;) Generally, I would recommend doing some of the same exercises as in op. 10 no. 1, only for both hands. :)
Thank you for this outstanding tutorial. This is one of the etudes that has always been very difficult for me. May I ask you a question? How do you feel we should interpret Chopin's legato indication in this etude? Is it to be a literal finger legato or does it perhaps mean something else? I suspect a literal finger legato can be achieved at least in the top voice but it seems much more possible with large hands. Also, I have heard many recordings of great artists of note not hesitate to play this etude in quite a detached way which is very different with what a pure finger legato would be if that really is what he wanted. And it really doesn't sound bad to me that way at all. So, am I misinterpreting what Chopin intended when he marked legato or does the marking suggest something else entirely? Is it perhaps a hand size issue? Thank you again for your excellent videos.
Thanks so much! I would agree that, if you do a literal legato, that legato should be in the upper voice only. Everything else is unrealistic. However, I would also see the legato as a hint towards the energy between the notes, a feeling of playing and sounding legato, even though it sometimes may not be physically possible. My teacher used to call that “quasi legato”. When you try to imitate a legato feeling, even when an actual physical legato is not possible. Thanks for watching 🙏🏻
@ Thank you for the kind reply. I suppose that would explain the detached and yet even performances of people like Arrau and Novaes who performances are far from that of using finger legato. I would suspect that strict finger legato in this could even be harmful for those of us with smaller hand spans but who still do not wish to give up the piece. Many Thanks.