My God it's so simple when you teach it you should make a tutorial for other parts of the ballad when something is practical like this i find it very helpful
Luckly I found this video, because in 5:23 I was playing that B3 flat one octave under and I wasn't realizing why I was having a big trouble with it😂😂 Thank u I guess
This has quickly become one of my favourite RUclips channels. I love the camera work, the sound quality and your excellent explanations. Even as beginner and having nowhere near the skills required for most of the repertoire you bring to the channel, your videos have clarified a lot of things for me and you approach subjects that most RUclips channels don't even mention. Thanks and keep up the good work
Is there a full video of your performance? Your tips are wonderful and your playing is amazing! It would be a privilege to hear the whole ballade. Best. 🙏
This is very helpful, thank you. The more I practice this, the more pain I'm getting in my right wrist, though, particularly when I try to speed it up. I don't think it's anything to do with having smaller hands, just tension I guess. It's hard to be loose once you reach the coda.
EXCELLENT VIDEO Denis !! Thank you so much for this, i will save it in my favourites playlist and shall come back to jt when the time comes. Also, by the way that comparison you made about those bars at the end like an old car struggling to start made me laugh haha !
I love your explanation. You explain exactly what I need to know to play well. As soon as I discovered your channel, I bought your course on this piece right away. The rest is as good as it gets. Thank you!
Very interesting and useful video, thank you so much. After 1 year of hard work, I can almost play that coda at a decent tempo, excepted those two @#$%# G melodic minor scales !!! To be honest, I don't know how to work them. It seems to be a real challenge to play them at the speed of light (as they should be played, I guess). I've looked up for tutos about practicing fast scales but I can hear everthing and its opposite (slow practice, no slow practice, pier note method, playing syncopated rhythms, hands separately, hands together...). I feel a little bit lost... and frustrated :/
Building technique up to the level of such works is unfortunately a real challenge for adult learners, here one should be just easy on themselves and patient…
For how long do you practice slowly (if you do....) pieces in fast tempos, like Chopin etudes ? do you go back to slow practice once you increase the tempo, or you stay fast ? thanks
I use a very effective strategy: first mastering a part of a piece in a comfortable tempo when you can find maximum efficiency and comfort, synchronizing movements properly. Then you extract a very short fragment, 1-2 bars, bringing it to the real tempo. The trick here is working on very short fragments first, uniting them together later on. It needs a disciplined working routine, but helps mastering a piece much faster, because most of the problems with faster tempo comes from the necessity to play fast for a longer time, playing a fresh material (that you’re not yet confident with) in a flow. Of course you get back to a slower tempo if you feel that something goes out of your total control. Hope that helps
@@DenZhdanovPianist It sounds like you really don't use slow tempo in your practice..... when you use the term "comfortable tempo" it doesn't imply slow.... and then you go on to faster ones..... correct?
Exactly, you don’t need slow tempo for the sake of a slow tempo. You need a tempo in which you can control everything. You use a tempo that meets your current practicing goal, practicing in a slow tempo without a goal might be waste of time.
The goal is to raise tempo in such a way that you would be able to control everything and think in a real time in a “real” tempo. So then you won’t need practicing in a slower tempo so much. Although there are some spots that are difficult to proceed in a real time (that’s individual for everyone and has to do with rather your brain processor speed than with technical ability), for such spots we have to use “maintenance” tempo more frequently.
I am interested in the imagery different teachers use : you describe the last line as like a rusty old car ......another teacher talked about a huge boulder rolling down a mountain and gathering speed and momentum , which I quite like as playing this piece feels like climbing a mountain ! Thank you very much for this very helpful excellent tutorial , it is really inspiring .
Hello Denis. This is fantastic insight! 5:12 I usually Start a bit strong (but not too strong) on this bass octaves, but decresc. to the E natural octave and then start the big cresc. Is that too much? Sometimes I execute it well and I like it, but other times it comes across slight off. Any insight? Thanks!
Quite often it doesn’t matter how crazy or ‘wrong’ is your idea, but how clearly you convey it, and who listens to you. So here I can’t help you. I,myself, had plenty of situations when my teachers would give me some cool ideas, but warn me “just don’t play like this on a competition”
Hi Denis, can I change the fingering for example at beginning from right hand D G Bb as 245 into 135 😂? My handsize is barely octave(more comfortable when pull back), maximum reach 9th edge in such position when stretch as best. I struggle many parts and make reasonable changes, but I am really not sure about coda consider its velocity requirement.
Well you can surely try, but it’s gonna be a bit tricky with A that follows. Try then to throw your 2 finger for that A over after the chord, making sure to release the hand immediately. Imagine that these fingers 135 are getting immediately numb after the hit, and throw over to A not just the 2nd finger, but like the whole hand palm. Other option is to think how to approach that chord with a traditional fingering but avoiding stretch.
amazing tips and phrasing ideas.thats my interpertation 2 years ago but now after watching this video i wanna work again on this coda ruclips.net/video/oCrSPRTf3Ak/видео.html
I wonder why so many play the grace notes at the end so quickly. Have you ever experimented with dragging them out for more contrast they way Emmanuel Ax does?
@@DenZhdanovPianist interesting. I think your interpretation is marvelous .... I do think more pianists should play the grace notes differently. In Ax's interpretation it doesn't seem pretentious at all - it seems...right.
@bens.664 thanks! it’s typical that what suits to one musician doesn’t work as convincingly to another, I can easily imagine Ax or someone else sounding great with this. Maybe in 20 years I also will feel it only this way, who knows.
![Eminem - Fuel (feat. JID) [Official Lyric Video]](http://i.ytimg.com/vi/t5H_CewqpKA/mqdefault.jpg)
Thank you, I have been struggling to get the coda perfect and this helped me!
When chopin struggles with his own pieces
Jk hows your coda going?
@@qqma4791 I'm done with the piece finally!!!
@@fredericchopin2593 thats great!
@@fredericchopin2593 You should post it on YT!
@@JaxDaBest I would but I haven’t played it in like 6 months…
My God it's so simple when you teach it you should make a tutorial for other parts of the ballad when something is practical like this i find it very helpful
Of course there is a full course on the piece available, the link is in the description.
Luckly I found this video, because in 5:23 I was playing that B3 flat one octave under and I wasn't realizing why I was having a big trouble with it😂😂 Thank u I guess
This is simply amazing, you played and explained it so well !! Wish you do more of these hard pieces tutorial.
Thanks!
I will
Thank you for the very informative video.
Now I practice this. Thank U so much. 😀😀😀😀😀😀😀😀😀
The way the coda is timed perfectly with the subscribe bell at 2:07 gets me! 😂 Thank you for the tips!
Thanks for the sub! Yes took me a bit to get that bell right🤣
This has quickly become one of my favourite RUclips channels. I love the camera work, the sound quality and your excellent explanations. Even as beginner and having nowhere near the skills required for most of the repertoire you bring to the channel, your videos have clarified a lot of things for me and you approach subjects that most RUclips channels don't even mention.
Thanks and keep up the good work
Thanks, truly happy to hear that🤗☺️
thanks so much, this actually helped a lot ♥️
Very glad to have discovered your channel. Thank you
What an awesome lesson!!!❤
i learned so much thank you!!!
Excellent instruction, my friend.
Is there a full video of your performance? Your tips are wonderful and your playing is amazing! It would be a privilege to hear the whole ballade. Best. 🙏
ruclips.net/video/wWjD62EhkgI/видео.htmlsi=vTIAVFU7UUNXwziJ
Thanks for commenting!
This is very helpful, thank you. The more I practice this, the more pain I'm getting in my right wrist, though, particularly when I try to speed it up. I don't think it's anything to do with having smaller hands, just tension I guess. It's hard to be loose once you reach the coda.
Thank you, wonderful teacher. 😊
EXCELLENT VIDEO Denis !! Thank you so much for this, i will save it in my favourites playlist and shall come back to jt when the time comes.
Also, by the way that comparison you made about those bars at the end like an old car struggling to start made me laugh haha !
Cannot wait to apply all of this.
🤞
I love your explanation. You explain exactly what I need to know to play well. As soon as I discovered your channel, I bought your course on this piece right away. The rest is as good as it gets. Thank you!
👏👏👏 incredible tips and phrasing ideas, thank you for sharing your expertise!!
Thanks for commenting!
I want you for my teacher! VERY helpful
Thanks.
I do teach online effectively, FYI.
Thank you. It really helped me!!
I am very happy to hear that! Thanks for commenting!
Now I am your fan. you saved my wrists and fingers 🤣 thank you - from South Korea
Thanks, wonderful lesson !
Hello, out of reach for me but many advice I can transfer to other pieces. Thank you.
Excelente! Muchas gracias ❤
Very interesting and useful video, thank you so much. After 1 year of hard work, I can almost play that coda at a decent tempo, excepted those two @#$%# G melodic minor scales !!! To be honest, I don't know how to work them. It seems to be a real challenge to play them at the speed of light (as they should be played, I guess). I've looked up for tutos about practicing fast scales but I can hear everthing and its opposite (slow practice, no slow practice, pier note method, playing syncopated rhythms, hands separately, hands together...). I feel a little bit lost... and frustrated :/
Building technique up to the level of such works is unfortunately a real challenge for adult learners, here one should be just easy on themselves and patient…
For how long do you practice slowly (if you do....) pieces in fast tempos, like Chopin etudes ? do you go back to slow practice once you increase the tempo, or you stay fast ? thanks
I use a very effective strategy: first mastering a part of a piece in a comfortable tempo when you can find maximum efficiency and comfort, synchronizing movements properly. Then you extract a very short fragment, 1-2 bars, bringing it to the real tempo. The trick here is working on very short fragments first, uniting them together later on. It needs a disciplined working routine, but helps mastering a piece much faster, because most of the problems with faster tempo comes from the necessity to play fast for a longer time, playing a fresh material (that you’re not yet confident with) in a flow. Of course you get back to a slower tempo if you feel that something goes out of your total control.
Hope that helps
@@DenZhdanovPianist It sounds like you really don't use slow tempo in your practice..... when you use the term "comfortable tempo" it doesn't imply slow.... and then you go on to faster ones..... correct?
Exactly, you don’t need slow tempo for the sake of a slow tempo. You need a tempo in which you can control everything.
You use a tempo that meets your current practicing goal, practicing in a slow tempo without a goal might be waste of time.
The goal is to raise tempo in such a way that you would be able to control everything and think in a real time in a “real” tempo. So then you won’t need practicing in a slower tempo so much. Although there are some spots that are difficult to proceed in a real time (that’s individual for everyone and has to do with rather your brain processor speed than with technical ability), for such spots we have to use “maintenance” tempo more frequently.
I am interested in the imagery different teachers use : you describe the last line as like a rusty old car ......another teacher talked about a huge boulder rolling down a mountain and gathering speed and momentum , which I quite like as playing this piece feels like climbing a mountain ! Thank you very much for this very helpful excellent tutorial , it is really inspiring .
Hello Denis. This is fantastic insight!
5:12 I usually Start a bit strong (but not too strong) on this bass octaves, but decresc. to the E natural octave and then start the big cresc. Is that too much? Sometimes I execute it well and I like it, but other times it comes across slight off. Any insight?
Thanks!
Quite often it doesn’t matter how crazy or ‘wrong’ is your idea, but how clearly you convey it, and who listens to you. So here I can’t help you. I,myself, had plenty of situations when my teachers would give me some cool ideas, but warn me “just don’t play like this on a competition”
@@DenZhdanovPianist aah I see. Thanks for the insight!
Solid😊
Спасибо
Hi Denis, can I change the fingering for example at beginning from right hand D G Bb as 245 into 135 😂?
My handsize is barely octave(more comfortable when pull back), maximum reach 9th edge in such position when stretch as best.
I struggle many parts and make reasonable changes, but I am really not sure about coda consider its velocity requirement.
Well you can surely try, but it’s gonna be a bit tricky with A that follows. Try then to throw your 2 finger for that A over after the chord, making sure to release the hand immediately. Imagine that these fingers 135 are getting immediately numb after the hit, and throw over to A not just the 2nd finger, but like the whole hand palm. Other option is to think how to approach that chord with a traditional fingering but avoiding stretch.
@@DenZhdanovPianist Thanks a lot!
I will rethink, I think it is playable in some what situation
RX-5!!!
amazing tips and phrasing ideas.thats my interpertation 2 years ago but now after watching this video i wanna work again on this coda ruclips.net/video/oCrSPRTf3Ak/видео.html
I wonder why so many play the grace notes at the end so quickly. Have you ever experimented with dragging them out for more contrast they way Emmanuel Ax does?
Sure. I found it a bit pretentious in the context of this furious coda and dropped the idea.
@@DenZhdanovPianist interesting. I think your interpretation is marvelous
.... I do think more pianists should play the grace notes differently. In Ax's interpretation it doesn't seem pretentious at all - it seems...right.
@bens.664 thanks!
it’s typical that what suits to one musician doesn’t work as convincingly to another, I can easily imagine Ax or someone else sounding great with this. Maybe in 20 years I also will feel it only this way, who knows.