I love how immediately Denis transitioned from calmly explaining something more abstract like visualisation to committing full tilt to performing the prelude. Mastery at work.
I appreciate those who produce educational music lessons. Having said that, I personally think this prelude should be played just a bit slower. I know it will sound a little slow for Bach, but considering the instrument of the period and purpose, he would have probably wanted it played a bit slower.
Thank you, first for the opportunity to close eyes and take in the sonic/emotional landscape of this piece. As I learn it, the vision of holy chordal waves (spirit) purifying and unifying the busy work of the upper register (mind) will reside ever-present in my heart. I’m not a religious man, but Bach’s music opens the soul to an undeniable splendor…beauty appears as the voice of the heart…pardon…never has an instructor asked this of me. I can’t wait to learn this piece that such force may be invoked and it’s waves rode home.
Its beautiful. The ”funny ” thing. I worked in a church in Sweden for more than, four decades. (Im a teacher, not a musician) and we love Bach. The time they are changing. I hope he knows if that is possible.
Excellent analysis, thanks. I didn't realize at 7:10 that this was the German Augmented Sixth chord to Gm (new key it's modulating to) until you played it and paused the notes and verbally expressed how important this chord was in the song. Also the reference to the pedal tones as a function (opposed to analyzing the crazy chords made up by all of the notes) was helpful in a few spots. Thanks!!!
Sir you are Genius. You evaluate the pieces from the grassroot level to it's utmost beauty. Thank you Almighty providing such a great person Dennis, during our existence in this world. I learnt lot of things regarding musicality from him. May God grant him long life, happiness and prosperity throughout his life.❤
Wonderful musical teaching moment. I actually listened three times to make sure I absorbed as much as possible. Beautiful, short piece that I never learned and this is what I am doing now. In closing my eyes I visualized sparkling pure mountain water going down a fast moving stream. Here and there I saw a curve but the water kept on going down stream to its final destination. Why I saw water I don’t know. This is what the music evoked for me.
That’s great, associations are your best friends when working on music, what comes spontaneously to your mind is usually a key to the essence of a piece!
Pour moi, c’est la transcription musicale parfaite d’une pensée interne : quand vous laissez votre esprit voyager, que tout se mélange, c’est cyclique, imprévisible, répétitif, égarant, variable et puis soudainement, quelque chose vient vous sortir de cet état et c’est fini.
What a fantastic lesson with so many great tips! Not just on practice structure (which one might have seen elsewhere and experimented with), but also with so many professional tips on efficiency of playing, releasing of fingers, hand shapes, and even some precious baroque stylistic suggestions. You barely ever find such a thorough tutorial in youtube. I also loved the attention you gave to the LH rests in your explanation; I think the way you verbalized it really sticks. I wish I had seen this video when I studied this piece a couple of years back. Nevertheless it still gave me a lot of food for thought.
Excellent lesson. It was one of my first pieces playing Bach. I think, learning the piece requires slow practice for some time, right? Regarding Bach in general: His music has an effect on my mood, brings you out of depression, fatigue,, opens the mind to more life, more joyfulness. Of course, this also happens with this piece, especially in practice.
Çok teşekkürler... Thank you very very much. As a self-taught amateur, I was feeling a bit afraid of trying this piece. Now, I am going to my piano to start rehearsing :)
Thank You verry much. This piece is originally for Lute, and as often, I find the perfomance to fast. Regarding 'exotic harmonies', Bach has once been reprimanted for having iron in his ears.
Bach was also famous for playing everything in crazily fast tempi. I can easily imagine him to be bored to death with lute tempi folks already around bar 2.
@@DenZhdanovPianist Maybe, I don't know. But the 17th century has been slower in general, I dare say, when a running horse was the fastest thing you could imagine.And the all these dances with those elaborated steps, complicated garmends and hairdresses. Anyway, a very good introduction, thank You again. I appreciate Your chanel very much. Locking forward to the next episode.
Theory well above my ability but when I closed eyes and allowed impression! : Buiild up to a storm at sea, rising and falling waves with a deep oceanic swell underneath. Then the sunshine, all safe. Nice!!
I don’t know a piece that finishes on the dominant, but the gigue at the end of the English suite in D minor ends on the tonic chord, but is harmonically prepared in a way where it feels like an abrupt stop on a V chord. It’s been a while since I played the piece so I can’t remember the harmony, but certainly my ear has always heard the end of that gigue in a very strange way where it really does not feel like we’ve landed on the final (major) tonic, but rather the V of G minor. Perhaps it’s just my ears, but it’s fascinating to me how the final D chord in the suite feels like it’s about to fall into G minor - like stopping on a ski slope just before the cliff edge haha
Oh that’s an interesting example. G minor is promoted so much during the last page, that we might start to perceive it as a tonal center; yeah, now I remember that I also had this impression. It makes it a bit tricky to interpret, because one would want to provide an epic ultimate ending in that piece, but the end feels like just running out of bullets in the middle of a battle😂.
Been struggling with Bach recently, it's hard to play well and especially hard to impossible to please a layman audience! A video suggestion: it would be interesting to hear your ideas on how to assess the level of a piece and whether you're ready for it. Some people do ABRSM grades in order, some people never try pieces too hard, some are always stretching themselves too much, but the best method often comes up in discussions. It would be interesting to hear your thoughts.
It’s not something I can generalize. Each person is unique in that regard. Some must challenge themselves otherwise they get bored and stop growing, and some get easily frustrated by the smallest challenge. It has much more to do with psychology. For example the best way to motivate my wife is to say her “you will never be able to do that!”
@@DenZhdanovPianist That makes sense. I'm thinking something along the lines of how skills build and develop over time, and how to plan for that. But I understand that may also be too individual.
Thank you for a great tutorial! Question: you suggest using fingers 2 and 3 for the notes in beat 3 for the right hand, but when you perform you use the thumb. Is this because at fast speed there is not enough time to change the hand position? When would you recommend one over the other?
Simply at my level with such pieces it doesn’t matter so I play with random fingers. But if the piece is not too easy for you, it’s important to stick to one fingering option. However any fingering suggestion is individual, so please treat my or any other suggestions as mild suggestions only.
Hi! This became one of my favorite pieces when I learned it yeeeeaars ago. I enjoy playing it because of the pulse. One thing that I found brilliant was that even though the time signature is 3/4, you don't really feel that it is in 3/4... do I make sense? I tried experimenting by exaggerating and playing with accent the notes that fell on the regular beat (e.g. in the 1st bar C, Eb, and G) it just seemed unnatural. The exciting and unusual pulse simply fell into place naturally when you play it. Thank you very much for featuring this music and for the valuable lesson. Cheers!
I would rather feel actively 8 and 16 notes pulse here, as demonstrated in video; as it often happens in Bach thinking in quarter beats only damages musical flow.
Thanks, very nice video. I consider using the pedal during the first half bar, what is your opinion about it? My perspective is that I do not try to reproduce the sound of historical instruments of Bach's time, like Clavicord, which did not have pedal at all, but just seeking for musicality and employing the technical possibilities a modern piano offers. In fact, as far as I know this piece was written for a lute, so the first note would actually sound at least the whole half bar before it dies out on a lute. So I think the sole purpose of the 1/4 pause in the left hand it to make sure the articulation in the left hand is practiced correctly, creating a musical motion from the last two notes of the bar in the left hand to the first in the next bar. So practically, if you make sure this motion is correctly reproduced, nothing speaks against pedaling during of at least the half bar. Or at least degressive pedaling. What are you opinion on this?
I am open to such experiments, however usually I prefer not to pedal through the rests in Bach. But I don’t blame those who do😊 your argumentation makes sense. In general, if there is a tradition that one doesn’t like in a particular situation, in order to be a good musician one must have guts to break it😉
This piece was originally written for lute. I am not sure if it was JS himself or some later editors who made a piano piece out of it, but on lute (and guitar) they usually play it considerably slower than you do. Like half your speed. I wonder why you play it so fast? (I mean just because you can does not mean you should, right?)
@@DenZhdanovPianist Thanks, is it big enough to read well? It looks though. What Ipad by the way? sorry for so many questions 😆I´m looking something like this.
Just take the biggest. I think 12.9’ or so. It is of A4 paper size, perfect. On the newer versions u can also use “gestures” to turn pages hands-free. I use the pedal since I got an older refurbished model.
I don't understand why the bass quavers are played staccato, and not legato. Is it to replicate the harpsichord? Or is it to not create a disconnect when jumping to the bass note? Every recording I've heard plays them staccato in the same way you do.
Traditions. If you really want to get an idea about stylistic aspects of Baroque interpretation and how much sophisticated they are, then not just watch YT, but dig into relevant papers on JSTOR and Scribd.
@@DenZhdanovPianist It's an interesting subject area, and I think I might have expected you would, in your video, accounted for why you were playing notes in a style that wasn't marked on the score as such. You obviously have an engrained knowledge of what is considered the traditional way of playing in the baroque style - but it's perhaps an assumption that people watching your videos would know this. I also think there is an interesting conversation to be had about what is "orthodoxy" within the playing of pieces from particular periods, and when this actually is "correct" - is there room for revisionist interpretations that are not slave to the perceived orthodoxies of music interpretation. With different schools of thought. Rachel Podger [or indeed Trevor Pinnock] vs Hillary Hahn [to use a violin example]
Often we prefer to change fingers for repeated notes, it helps to release the hand between them, and it’s easier to avoid accents and clumsiness. However if this piece is played in a modest tempo, it’s not necessary.
@@DenZhdanovPianist I very much like your tutorial on this piece which tackled with most challenges. One more question.: why you suggest going up not horizontal for the leaps? I feel it's more efficient move horizontally and less chance to miss the notes. Also do you mean move up for all the leaps or just the leaps in this piece?
Это прелюдия или гонки Формула 1? Баха очень приятно слушать, как ноты и гармонии переходят в друг друга, но при таком темпе это становится невозможным.
@@DenZhdanovPianist а что, профессиональному музыканту не может быть приятно просто слушать музыку? Я не слышу в Вашем исполнении ни полифонии, ни чувственного наполнения (не забывайте про духовные основы творчества Баха). Послушайте себя со стороны, Вы и в речи бегло говорите. Суетливость и Бах это противоположные явления.
..for the first billion years the moon went: " aaaAAAAAAH!".. The next billion years it went: "OOOOOH!!"... well eventially thats just how the moon rolls... its intense.. but it goes round and round like that..
This is a great lesson, I really liked the way you explain and break down the partitura, but, why does pianist always play it so fast? It losses all the emotion and the sense of the piece. When you hear it on a lute or a harpsichord (the original instruments for what where created) the feelling is soooo diferent, the interpretation and the tempo. As a pianist and teacher my self, I always recomend my students to play it slow, like if it was a lute and the inner melody on the right hand as if they were singing. Just my point of view, any way. Cheers.
Certainly, pianists often lean toward faster tempos in pieces like this for various reasons. One, as Horowitz aptly put it, is simply "because I can." Another lies in the sheer enjoyment derived from playing at a brisk pace. While renditions like Argerich's Capriccio from the second Partita may face criticism from traditionalists, they consistently find success due to the exhilaration they bring. Moreover, our culture tends to favor a faster pace, evident in the evolution of movie frame lengths over the past 50 years. While one can choose a slower, more deliberate lifestyle, the reality is that we live in a fast-paced world. Additionally, it's worth noting that Bach himself possessed an energetic temperament and favored fast tempos when playing and improvising. Having said all that, I agree that this piece unveils a different facet of potential in a slower tempo. However, in my personal opinion, this quality is better showcased on the instruments you mentioned, rather than on a modern piano.
@@DenZhdanovPianist I'm not quite sure about this: "... and favored [Bach] fast tempos when playing and improvising." but I agree on everything else, specially on the "because I can" hehehe. Thanx for taking the time to answer. Happy new year!
@@Bova13 that’s something I have come across a few times in his biographies. But actually yeah, nowadays it’s difficult to be sure about credibility of any stories and myths in the older books on Bach, people were not quite familiar with modern research standards😆
In reality, Bach could indicate a time in three eighth notes and therefore construct the piece with thirty-second quatrains... but he didn't do it. When he wants a virtuosic ternary piece he chooses clearly fast tempos and figures (see Duet BWV7 802). This piece of music is meditative in nature, not brilliant. Furthermore, the eighth notes in the left hand, in the third beat of each bar, should not be played detached, like sixteenth notes: the drama is lost./ This is my opinion. Of course you play well.
"This piece of music is meditative in nature, not brilliant. Furthermore, the eighth notes in the left hand, in the third beat of each bar, should not be played detached, like sixteenth notes: the drama is lost." Yours is the best explanation I have ever heard about why this piece should not be treated as a virtuosic speed-fest, also the opinion about the third beat of each left hand bar also addresses the unfortunate tendency of Gould and others to play everything staccato. Thanks so much.
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
I love how immediately Denis transitioned from calmly explaining something more abstract like visualisation to committing full tilt to performing the prelude. Mastery at work.
RIGHT!!!! he was just instantly immersed
I appreciate those who produce educational music lessons. Having said that, I personally think this prelude should be played just a bit slower. I know it will sound a little slow for Bach, but considering the instrument of the period and purpose, he would have probably wanted it played a bit slower.
I read that this piece was written for lute originally, and sounds so much better on that instrument on piano
You are not just a good teacher, you are also a great performer.
The look into the camera at 6:12 is FIRE - great lesson!!!! Thank you
Thank you, first for the opportunity to close eyes and take in the sonic/emotional landscape of this piece. As I learn it, the vision of holy chordal waves (spirit) purifying and unifying the busy work of the upper register (mind) will reside ever-present in my heart. I’m not a religious man, but Bach’s music opens the soul to an undeniable splendor…beauty appears as the voice of the heart…pardon…never has an instructor asked this of me.
I can’t wait to learn this piece that such force may be invoked and it’s waves rode home.
Its beautiful. The ”funny ” thing. I worked in a church in Sweden for more than, four decades. (Im a teacher, not a musician) and we love Bach. The time they are changing. I hope he knows if that is possible.
Thanks!
Thank you for your support!☺️☺️☺️
Perfectly explained! I’m currently practicing this piece and I’m in love with it. Thank you for breaking it down!
Excellent analysis, thanks. I didn't realize at 7:10 that this was the German Augmented Sixth chord to Gm (new key it's modulating to) until you played it and paused the notes and verbally expressed how important this chord was in the song. Also the reference to the pedal tones as a function (opposed to analyzing the crazy chords made up by all of the notes) was helpful in a few spots. Thanks!!!
Glad it was helpful! Thanks for commenting!
Beautifully and professionally done.
Ви чудовий викладач. Дякую ❤
you teach realy pedagogic , i learnt so many thing from you.. thank you master pianist.
Sir you are Genius. You evaluate the pieces from the grassroot level to it's utmost beauty. Thank you Almighty providing such a great person Dennis, during our existence in this world. I learnt lot of things regarding musicality from him. May God grant him long life, happiness and prosperity throughout his life.❤
Thank you and God bless you on your path!
Wonderful musical teaching moment. I actually listened three times to make sure I absorbed as much as possible. Beautiful, short piece that I never learned and this is what I am doing now. In closing my eyes I visualized sparkling pure mountain water going down a fast moving stream. Here and there I saw a curve but the water kept on going down stream to its final destination. Why I saw water I don’t know. This is what the music evoked for me.
That’s great, associations are your best friends when working on music, what comes spontaneously to your mind is usually a key to the essence of a piece!
Pour moi, c’est la transcription musicale parfaite d’une pensée interne : quand vous laissez votre esprit voyager, que tout se mélange, c’est cyclique, imprévisible, répétitif, égarant, variable et puis soudainement, quelque chose vient vous sortir de cet état et c’est fini.
Excellente analyse harmonique, un vrai support pour jouer cette pièce. Merci mille fois.
What a fantastic lesson with so many great tips! Not just on practice structure (which one might have seen elsewhere and experimented with), but also with so many professional tips on efficiency of playing, releasing of fingers, hand shapes, and even some precious baroque stylistic suggestions. You barely ever find such a thorough tutorial in youtube. I also loved the attention you gave to the LH rests in your explanation; I think the way you verbalized it really sticks. I wish I had seen this video when I studied this piece a couple of years back. Nevertheless it still gave me a lot of food for thought.
Спасибо, очень полезный разбор и понятные объяснения!
Wonderfull! I'm learning and progressing. Please make more tutorials for The little preludes and other more accessible Bach pieces. Thank u!
This is a great in-depth lesson. Many thanks.
Thanks, that´s very clear and detailed! Nice augmented 6th chord at 7:15.
Excellent lesson. It was one of my first pieces playing Bach. I think, learning the piece requires slow practice for some time, right? Regarding Bach in general: His music has an effect on my mood, brings you out of depression, fatigue,, opens the mind to more life, more joyfulness. Of course, this also happens with this piece, especially in practice.
Çok teşekkürler... Thank you very very much.
As a self-taught amateur, I was feeling a bit afraid of trying this piece.
Now, I am going to my piano to start rehearsing :)
Looks like a great lesson ! I have been learning that piece for a few weeks now and it is not easy at all :)
Merci beaucoup pour cette leçon professeur
Excellent video!! Congrats and Thank you 🙏🏻
Thank you too!
Thank You verry much. This piece is originally for Lute, and as often, I find the perfomance to fast. Regarding 'exotic harmonies', Bach has once been reprimanted for having iron in his ears.
Bach was also famous for playing everything in crazily fast tempi. I can easily imagine him to be bored to death with lute tempi folks already around bar 2.
@@DenZhdanovPianist Maybe, I don't know. But the 17th century has been slower in general, I dare say, when a running horse was the fastest thing you could imagine.And the all these dances with those elaborated steps, complicated garmends and hairdresses.
Anyway, a very good introduction, thank You again. I appreciate Your chanel very much. Locking forward to the next episode.
Theory well above my ability but when I closed eyes and allowed impression! : Buiild up to a storm at sea, rising and falling waves with a deep oceanic swell underneath. Then the sunshine, all safe. Nice!!
I don’t know a piece that finishes on the dominant, but the gigue at the end of the English suite in D minor ends on the tonic chord, but is harmonically prepared in a way where it feels like an abrupt stop on a V chord.
It’s been a while since I played the piece so I can’t remember the harmony, but certainly my ear has always heard the end of that gigue in a very strange way where it really does not feel like we’ve landed on the final (major) tonic, but rather the V of G minor. Perhaps it’s just my ears, but it’s fascinating to me how the final D chord in the suite feels like it’s about to fall into G minor - like stopping on a ski slope just before the cliff edge haha
Oh that’s an interesting example. G minor is promoted so much during the last page, that we might start to perceive it as a tonal center; yeah, now I remember that I also had this impression. It makes it a bit tricky to interpret, because one would want to provide an epic ultimate ending in that piece, but the end feels like just running out of bullets in the middle of a battle😂.
I practice this peice of Bach ..Thats video was very very usefull for me👌
Thank you for this video! Have you, or could you create a video on learning Jeux d'eau?
One day I will, but likely not soon!
@@DenZhdanovPianist but I'm studying it now. 😅
When can we expect the Chopin Op . 58 sonata video Denis? I'm very excited!
The complete 2.5 hour course is already published on Teachable.
A shorter RUclips video with tricks for the most difficult spots coming on Saturday
You just casually dropped my new favorite performance of this piece in a tutorial lol
😊
Been struggling with Bach recently, it's hard to play well and especially hard to impossible to please a layman audience!
A video suggestion: it would be interesting to hear your ideas on how to assess the level of a piece and whether you're ready for it. Some people do ABRSM grades in order, some people never try pieces too hard, some are always stretching themselves too much, but the best method often comes up in discussions. It would be interesting to hear your thoughts.
It’s not something I can generalize. Each person is unique in that regard. Some must challenge themselves otherwise they get bored and stop growing, and some get easily frustrated by the smallest challenge. It has much more to do with psychology. For example the best way to motivate my wife is to say her “you will never be able to do that!”
@@DenZhdanovPianist That makes sense. I'm thinking something along the lines of how skills build and develop over time, and how to plan for that. But I understand that may also be too individual.
Thanks Denis for the lesson, it's helpful. Please allow me to buy you a coffee
Thanks,great
Thank you for a great tutorial! Question: you suggest using fingers 2 and 3 for the notes in beat 3 for the right hand, but when you perform you use the thumb. Is this because at fast speed there is not enough time to change the hand position? When would you recommend one over the other?
Simply at my level with such pieces it doesn’t matter so I play with random fingers. But if the piece is not too easy for you, it’s important to stick to one fingering option. However any fingering suggestion is individual, so please treat my or any other suggestions as mild suggestions only.
@Denis Zhdanov Thank you again!
Thank you for this detailed breakdown. Enjoy the drink 🍺
Thank you Micha!💙💙💙
Hi! This became one of my favorite pieces when I learned it yeeeeaars ago. I enjoy playing it because of the pulse. One thing that I found brilliant was that even though the time signature is 3/4, you don't really feel that it is in 3/4... do I make sense? I tried experimenting by exaggerating and playing with accent the notes that fell on the regular beat (e.g. in the 1st bar C, Eb, and G) it just seemed unnatural. The exciting and unusual pulse simply fell into place naturally when you play it. Thank you very much for featuring this music and for the valuable lesson. Cheers!
I would rather feel actively 8 and 16 notes pulse here, as demonstrated in video; as it often happens in Bach thinking in quarter beats only damages musical flow.
makes me feel everything is going to be ok
Well I bet we all will die at some point, but apart of that I truly believe everything will be great!
Thanks, very nice video. I consider using the pedal during the first half bar, what is your opinion about it? My perspective is that I do not try to reproduce the sound of historical instruments of Bach's time, like Clavicord, which did not have pedal at all, but just seeking for musicality and employing the technical possibilities a modern piano offers.
In fact, as far as I know this piece was written for a lute, so the first note would actually sound at least the whole half bar before it dies out on a lute. So I think the sole purpose of the 1/4 pause in the left hand it to make sure the articulation in the left hand is practiced correctly, creating a musical motion from the last two notes of the bar in the left hand to the first in the next bar. So practically, if you make sure this motion is correctly reproduced, nothing speaks against pedaling during of at least the half bar. Or at least degressive pedaling.
What are you opinion on this?
I am open to such experiments, however usually I prefer not to pedal through the rests in Bach. But I don’t blame those who do😊 your argumentation makes sense. In general, if there is a tradition that one doesn’t like in a particular situation, in order to be a good musician one must have guts to break it😉
This piece was originally written for lute. I am not sure if it was JS himself or some later editors who made a piano piece out of it, but on lute (and guitar) they usually play it considerably slower than you do. Like half your speed. I wonder why you play it so fast? (I mean just because you can does not mean you should, right?)
Similarly to stocks, past performance does not guarantee future results. I felt it that way in that particular moment.
@@DenZhdanovPianist Good point 😀
Great. For me this sounds more like a Etude.
That is beautiful, also like your humorous inputs . Thank you.
Could you tell me what you are using to read the sheet music? what device? Thank you.
Ipad + ForScore
@@DenZhdanovPianist Thanks, is it big enough to read well? It looks though. What Ipad by the way? sorry for so many questions 😆I´m looking something like this.
Just take the biggest. I think 12.9’ or so. It is of A4 paper size, perfect. On the newer versions u can also use “gestures” to turn pages hands-free. I use the pedal since I got an older refurbished model.
@@DenZhdanovPianist Thank u, very kind!
I don't understand why the bass quavers are played staccato, and not legato. Is it to replicate the harpsichord? Or is it to not create a disconnect when jumping to the bass note? Every recording I've heard plays them staccato in the same way you do.
Traditions. If you really want to get an idea about stylistic aspects of Baroque interpretation and how much sophisticated they are, then not just watch YT, but dig into relevant papers on JSTOR and Scribd.
@@DenZhdanovPianist It's an interesting subject area, and I think I might have expected you would, in your video, accounted for why you were playing notes in a style that wasn't marked on the score as such. You obviously have an engrained knowledge of what is considered the traditional way of playing in the baroque style - but it's perhaps an assumption that people watching your videos would know this. I also think there is an interesting conversation to be had about what is "orthodoxy" within the playing of pieces from particular periods, and when this actually is "correct" - is there room for revisionist interpretations that are not slave to the perceived orthodoxies of music interpretation. With different schools of thought. Rachel Podger [or indeed Trevor Pinnock] vs Hillary Hahn [to use a violin example]
why you use finger 3 and 2 for the repeated notes in right hand in beat 3? why not finger 1/1 or 2/2? thanks!
Often we prefer to change fingers for repeated notes, it helps to release the hand between them, and it’s easier to avoid accents and clumsiness. However if this piece is played in a modest tempo, it’s not necessary.
@@DenZhdanovPianist I very much like your tutorial on this piece which tackled with most challenges. One more question.: why you suggest going up not horizontal for the leaps? I feel it's more efficient move horizontally and less chance to miss the notes. Also do you mean move up for all the leaps or just the leaps in this piece?
Это прелюдия или гонки Формула 1? Баха очень приятно слушать, как ноты и гармонии переходят в друг друга, но при таком темпе это становится невозможным.
Not everyone is given the gift of perceptual flexibility.
«Приятно слушать» - это аматорский подход.
@@DenZhdanovPianist а что, профессиональному музыканту не может быть приятно просто слушать музыку? Я не слышу в Вашем исполнении ни полифонии, ни чувственного наполнения (не забывайте про духовные основы творчества Баха). Послушайте себя со стороны, Вы и в речи бегло говорите. Суетливость и Бах это противоположные явления.
It's a grade 7 piece on classical guitar.
min 5..in parts, immediately.. succesivelly.
..for the first billion years the moon went: " aaaAAAAAAH!".. The next billion years it went: "OOOOOH!!"... well eventially thats just how the moon rolls... its intense.. but it goes round and round like that..
This is a great lesson, I really liked the way you explain and break down the partitura, but, why does pianist always play it so fast? It losses all the emotion and the sense of the piece. When you hear it on a lute or a harpsichord (the original instruments for what where created) the feelling is soooo diferent, the interpretation and the tempo. As a pianist and teacher my self, I always recomend my students to play it slow, like if it was a lute and the inner melody on the right hand as if they were singing. Just my point of view, any way. Cheers.
Certainly, pianists often lean toward faster tempos in pieces like this for various reasons. One, as Horowitz aptly put it, is simply "because I can." Another lies in the sheer enjoyment derived from playing at a brisk pace. While renditions like Argerich's Capriccio from the second Partita may face criticism from traditionalists, they consistently find success due to the exhilaration they bring. Moreover, our culture tends to favor a faster pace, evident in the evolution of movie frame lengths over the past 50 years. While one can choose a slower, more deliberate lifestyle, the reality is that we live in a fast-paced world. Additionally, it's worth noting that Bach himself possessed an energetic temperament and favored fast tempos when playing and improvising.
Having said all that, I agree that this piece unveils a different facet of potential in a slower tempo. However, in my personal opinion, this quality is better showcased on the instruments you mentioned, rather than on a modern piano.
@@DenZhdanovPianist I'm not quite sure about this: "... and favored [Bach] fast tempos when playing and improvising." but I agree on everything else, specially on the "because I can" hehehe. Thanx for taking the time to answer. Happy new year!
@@Bova13 that’s something I have come across a few times in his biographies. But actually yeah, nowadays it’s difficult to be sure about credibility of any stories and myths in the older books on Bach, people were not quite familiar with modern research standards😆
In reality, Bach could indicate a time in three eighth notes and therefore construct the piece with thirty-second quatrains... but he didn't do it. When he wants a virtuosic ternary piece he chooses clearly fast tempos and figures (see Duet BWV7 802). This piece of music is meditative in nature, not brilliant. Furthermore, the eighth notes in the left hand, in the third beat of each bar, should not be played detached, like sixteenth notes: the drama is lost./
This is my opinion.
Of course you play well.
Yes! You are absolutely correct!
It is also absolutely correct, that Bach was famous for his love to playing in extreme tempi!😉
"This piece of music is meditative in nature, not brilliant. Furthermore, the eighth notes in the left hand, in the third beat of each bar, should not be played detached, like sixteenth notes: the drama is lost." Yours is the best explanation I have ever heard about why this piece should not be treated as a virtuosic speed-fest, also the opinion about the third beat of each left hand bar also addresses the unfortunate tendency of Gould and others to play everything staccato. Thanks so much.
@@blueshark3098 👍😉
Slow it down we are not in a race. Remember this is a harpsichord piece not a piano piece. 73
I am playing a piano piece the way I like it.
@@DenZhdanovPianist still it's too fast it's not a race. Enough said 73
Play it on a guitar/lute, or don't play it. It doesn't sound good on piano.
Sounds great on piano. Instruments nazism is inappropriate.
@@DenZhdanovPianist I disagree. And I disagree.