30 Minutes Pianist's Warm Up - Real-time Hanon Virtuoso Pianist Excercises - Greg Niemczuk
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- Опубликовано: 6 сен 2024
- #hanon #pianotutorial #warmup
I recorded my warm up practice session of Hanon Excercises (1-31). You can try to practice that with me to see if it works for you. After such a 30 minute Hanon playing my fingers are ready for anything!
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I can hear you accenting the first note of each grouping (eg, c , d, e, etc), as well as other combinations. What a great idea! I will try this immediately!!!
Hanon is wonderful for warm up. The film is so important. Sometimes my older students don't belive me 😅 that practicing Hanon's exercises may give them super technical power. Ofcourse ( as you said) after some time😊
Definitely I will recommend them your film.
Those films are briliant. Thank you for sharing. I saw your film about memory, and now( before school year stars ) I have to see film about how to create plan of practise.
I even might say, that your films are like online masterclasses for me. Thank you👍
Great to hear!!!
Love your lessons and your great personality! You inspire me to keep going after not playing the piano for many years. Thank you for all you do !
Thank you!!!! This is the reason I take an effort to make them!
Thank you so much Mr Greg! I was looking for online guidelines on how to go around piano practices and performances, I was a bit loss… your videos are exactly what I needed. You are akin to the light in a tunnel 😂
So happy!!!
It’s so encouraging to see you do this! Yes, yes, I love watching you do your scale and arpeggio exercises.
Ok! Thanks!!! Than I'll upload them!
@@gregniemczuk thanks 🙏
I'm trying to follow your hint.
At present i'm working on the first five exercises at 130: i began with fragments, then the complete pattern, then a couple or three bars. Before with separate hands (to control evenness) and then one octave with both hands together (for synchronicity).
It seems to work well: i think my left hand is having advantages from this practice.
It's a deeply inspiring video for me. I love it. I get a lot of skills from your videos. Thank you so much! Mr. Grek
I have practised the Hanon exercises with both hands together for many years and now I practise them separately. I have realised that my brain works differently and I am surprised when I play with one hand while both hands play flawlessly together 🤣 it was a different game for me, I'm not bored anymore thanks greg !
Wonderful!!! I'm sure you will notice a fundamental improvement of your technique, especially in the left hand!
Yes, the video is amazing, useful and motivating. And I won't try to say anything else, because I'm actually speechless! 😅
Here is a lot joy 🤩 I can see.
Great skills!
Absolutely amazing how you practice all the Hanon drills like trills but I also noticed you only use one hand at the time,. I could never practice that fast but I use both hands at the same time to test the synchronicity but please advise if I'm doing wrong.🤔
Hi! Please watch this video: ruclips.net/video/Iw5Kq8e6_mQ/видео.html I explained there why I recommend hands separately practice
Hello Greg! You don’t know me but I know your wife Anna Lipiak from a masterclass of Popowa some 6 years ago! Awesome job what you have been doing with all the tutorials and dig deep into Chopin’s works! Congrats!
Wow!!! What's your name? I'll tell her! Thank you so much!
@@gregniemczuk Phu, please send her my greetings and congrats on her new album!
@@pianisthenics thanks! She remembers you
Hard job! I do scales and Czerny instead of Hanon, but have done it for a few months. It gets boring pretty easily but it definitely helps fingers to move better.
Hi Greg, thank you for this. I have a question: after you finish the 30 minutes of hanon warmup, you mentioned that you then do all scales and arpeggios. Do you do all 3 types of minor scales each day and also do you do the different major and minor inversions of each arpeggio, dominant and diminished arpeggios etc everyday too? Thank you
Thanks for the question.
No, I'm only doing one type of minor, major. And arpeggios.
First of all, thanks for that! as always, a great video! I've never tried to play Hanon this way, but I'll start exeperiencing it as a systematic warm up! I certainly would like to see scales and arpeggios with you, as well! And I have a question: how do you manage to warm up when you have recitals (both when you have (or not) a proper time for studying on the piano and before (minutes?) performance time? 😀
Usually I do warm up hands and fingers excercises without piano. I move my fingers constantly for 10 minutes or so and stretch every single finger (that's important) and it's enough for me!
@@gregniemczuk Thank you very much! Very important for me to know! 🙂🙏 I'll try to feel more confident doing that when it's not possible to play just before a performance (and practice this situation, of course). :)
Whats your opinions on synthesia and piano tutorials with the falling notes?
What is this?
Interesting! I’m curious about your advice on Brahms’ exercices.
One day......
Loved the video. Do you always practice them hands separately? It never crossed my mind to play them separately.
Yes, always. I explained it here: ruclips.net/video/Iw5Kq8e6_mQ/видео.html
Dear Greg, In your opinion, what are the similarities and differences for the development of piano technique between Hanon and Schmitt Op. 16?
I don't know Schmitt so well. I have to look at it
Hi,
You motivated me since 2 months to start practicing Hanon your way, and it woks really well!
I am doing C and C#M (but still mastering the first ones only (6), and I currently reached a good tempo.
I can definetly see an improvement, thank you so much !♥️
My question is: If I practice also in C# Major should I do all the 31 excercises in C and C#M ? I ask you this because then I'm scared that I will be too tired for practicing my repertoire after.
Do you usually start ahead practicing as soon as you finished "warming up" with Hanon ?
Thank you so much for your time if you will reply, these lessons for me are pure gold !
P.s. I would love to see how you practice all the scales after the Hanon session, much love, keep doing what you do, I think you're the best here on RUclips 🎹🎶
Thank you so much!
You touched a very good point. All depends on how much time do you have and what are your goals. For example, when I memorize, this is generally the first thing I'm doing even before Hanon. Hanon can be a warm up but doesn't have to be. It can be practiced also as the last thing of the day when your brain is tired! You practice it to improve your technique. I think you can choose yourself what's better for you. I hardly ever played all the 31 in a row in both keys. I did sometimes but very rarely!
@@gregniemczuk Thank you so much for the kind reply ! 🤍
As a warm up piece I like to play the 2nd movement (Allegro molto e vivace) of Beethoven's Piano Sonata No. 13 in E flat, Op. 27 No. 1. It exercises the left and right hand in a quasi-symmetrical way, with some nice "breathing passages" to allow from some relaxation between the more vigorous sections. I play it slowly to start and gradually build up speed. There are four thematic sections which you can repeat in a endless loop, until you feel your fingers are thoroughly warmed up. And besides all that, it's an exciting piece to play. Here is Brendel's interpretation ruclips.net/video/ORzj8D_yziI/видео.html. Barenboim is good too. I never get tired of hearing it.
Yes, I played this Sonata for many many years.
But for me warming up without thinking about being musical is much better as I don't get emotionally tensed.
@@gregniemczuk I would love to hear your interpretation of this sonata if you have a recording somewhere
@@finnianreilly1831 I'll look for it on my computer! I loved playing it!
Hi Grieg. Some years ago I tried a few Dohnannyi exercises , they were difficult, but they seem to make my fingers more flexible. But I feel there’s not much appreciation for his exercises. Some think they may hurt your fingers. What do you think? BTW thanks for your endeavors of teaching us with so much eagerness ❤
I don't know them. I have to check them. Of course, when something is painful, do it carefully and for little time!
Hello Greg
your videos are often very interesting, but in this case, I really don't understand why a classical pianist, for whom technique and perfect execution are fundamental, would give priority to speed over quality of execution.
you insist on respecting hanon's instructions and playing the whole piece in half an hour, is that the reason?
for me, Hanon is perfect on three conditions: perfect execution, more than speed, transposition, and rhythmic variations (like those proposed by the author in this method), by the way, the maximum tempo suggested by Hanon himself is 108 (and he was a virtuoso himself).
Thank you. I explain. For me playing Hanon the way he instructed is a waste of time. I need to work out my fast thinking and fast fingers which is my problem, and for that my way of practicing Hanon is very useful. I think Hanons recommenations are for beginners.
Ok, thank's for you response. I understand better, but I don't know if an unclear execution, even a quick one, brings more inconvenience than progress... I think you know what you're doing...
I think it's important to specify, as you do, that this way of playing Hanon is specific to your particular problem and will not suit the average pianist.@@gregniemczuk
@@PianoStudioNancy yes, maybe I should pointed it out more clearly. Everyone has a little different story and problems and of course all the technical improvement should be supervised by some experienced teacher.
The shirt doesn't really go with the exercises, lol. Try some cocktail jazz! I like the idea of running your hands up and down the keys, but it just sounds so boring, I would die of musical boredom! 🤣 Yes, I may never have perfect technique, but at least I won't have cut off my own ears.
Yeah, it depends on your goals and personal decisions. I fully understand that. But I prefer 30 minutes of this rather than hundreds of hours of boring Czerny.
It worked for me anyway.
The shirt is because we have 30+ degrees here, lol.
...it is indeed dangerous...you mentioned jazz, jazz pianists do not make hanon, it is intrinsic of jazz of thinking to harmony, cords and tonality, overall to music, independent on the instrument.
@@gregniemczuk Ah, we can only dream of such temperatures here in the UK. Global warming badly needed.😄
Io le facevo piu lente, a mani insieme, con le varianti ritmiche e in tutte le tonalita
I think it's enough to practice in C major and C-sharp major.
@@gregniemczuk grazie, in effetti i tasti neri sono ben variati in c#
I watched the whole video, without playing, but being focused to what you do as if I was playing. If I may, I think that there are numerous flaws (sound and body movements and tensions), which you play and you do not correct, which is causing a certain permeation of flaws into your toolbox of movements (in a nutshell you are learning sub perfect and worse movements).
I also was surprised that you invoked Hanon, which is very mechanical, and very focused on fingers, and based on a very small subset of pianist movements; in particular, no extensions (eg., wide chords or arpeggios as in 1 op. 10), no wrist technique (eg., like invoked in Mazeppa), no soft vs shining sound (most of Debussy, Ravel, Albeniz..), no repetition (Mazeppa and lot of Liszt's, Gaspard de la nuit..), no jumps (Mazeppa, Semaine grasse, Prokofiev..), no shoulders, no muscle vs weight, no funny thumb passages and other rotations (Godowsky études, Liszt, Ravel..). This leads to a limited warmup, which is not preparing for a certain class of pieces (eg., repetitions, jumps, loud sounds).
In the mechanical approach, why don't you prefer Brahms exercises ? Or Liszt exercises ?
Why don't you use something like JS Bach WTC, toccata (BWV 91x), or a selection of études (Debussy (!!!), Chopin, Liszt, Godowsky...) ? or even the pieces you are working on, but played in a certain way (extracts, transpositions, metamorphosis..) ?
I believe that warmup is for waking up the muscle physiology (aerobic glycolyse in particular), and calibrate the muscles (actually not the muscle but the brain(s) for proprioception, imaging, and hearing) and the brain for "musical attention" and "movement attention", and calibrate with the piano we have in front of ourselve. When one start warmup with fast movements, one activate anaerobic glycolyse, which is a huge problem because we are depleting the muscle from its energy (glycogene); a good warmup up would invoke slow movements, and when the aerobic glycolyse is well started, we can go for faster movements without depleting the glycogene, allowing better stamina / endurance for the session / day / concert. I like to put into my warmup tricky movements that I want to master; eg., the first two repeated motifs of Godowsky étude 36, for left hand, and two hands together, and which I transpose (semitone per step) over 5 octavas, selected motifs of Stravinsky's Semaine grasse, etc.
Many tanks for the video, good food for thoughts !
Very interesting!
Hanon saved my technique when I was 19,20 y.o. and I was changing everything. I didn't have fast fingers and I was all tensed. So it helped me a lot. All the movements that you mention I have no trouble with but thinking fast was always my problem therefore I prefer Ganon. Also because I'm very musical and passionate so in every other excercises (like Brahms etc) I start to play musically and I get tensed. When I study technique I need to focus only on the technique. That's why Hanon. Just like painters who learn how to draw a line. Without emotions. How to control their hand.
I explained everything in my video: how to practice Hanons efficiently. Try to find it and let me know what do you think.
@@gregniemczuk I understand and it makes sense. The video you mentionned is very good, and your movements are much better !
It is not clear however if you do or recommend some wrist and elbow movements a) volontarily in order to check the relaxation or b) as a consequence of your playing or c) something to be included in the "technique" in order to improve something. I receive the teaching from the Paderewsky/Sztompka/Fassina school and I recognize many things your are practicing or recommending. In that context, I think that only a) is good, but it is not very clear in your videos; I think that c) is not good (or OK for beginners), I believe that those side movements should not be included at first, but should be a consequence of an optimal movement, found in movement research, itself a consequence of musical and sound research.
I had the opposite story: about 10 yo I had to practice Hanon and Czerny études, but I was bored as hell, and not motivated and not enjoying; I had then another teacher, and I made most of my technique progress because I was crafting bits and parts of the pieces with the motivation of the music that could emerge after; but I had not problem to practice those bits without tension (with or without musical feeling).
I had however once a tension problem, during a concert (1h40 improvisations), at some point I was so tense that I was not able to do exactly what I wanted (musically especially but also technically), but in the end I used this weird state musically, and the final result was interesting.
Today, I think I may improve certain things with Hanon, even with custom variations (I thought for instance about practicing all harmonies, introducing +1 and -1 octava jumps at each recurrence of the motif, all in thirds, sixts, octavas, octavas+thirds, etc) but I won't have time for that; I have other practices, which I believe to be more varied and with stronger consequences, but indeed maybe not as "complete" or equal (my left hand and right hand are not very symmetrical in terms of progress and technique).