I just applied and practiced these techniques to understand the rhythm and play of some measures in Chopin’s Ballade number 1 (specifically measures 170-175) and it not only helped learning it immensely, it made understanding it more fun! Thank you so much for this video!
I loved your explanation of why Chopin used these polyrhythms and what it sounded like if he didn't use them. Amazing the difference. I've always struggled a little with these as in Debussy Arabesque and Brahms 118 #2. All are some of my favorites. I cant wait to try this. Thank You Prof Kate!
Thank you so, so much for this video and all of the others you have created. I hope you know that you are REALLY helping me and I’m sure loads of other people. I so appreciate the time you take to put these videos together. You are an amazing musician and teacher, and it is so generous of you to share your knowledge with the rest of us.
Yay, another great explanation! I had to work this out for myself for 'cello playing a long time back as a child, essentially the maths way. But having switched to the piano, I can see it is not really sufficient for the Fantaisie-Impromptu. Your explanation of learning the two hands separately will be really useful when I come to try it! Sometime soon I hope, 2024 or 2025 maybe? I am not really a hands separate learner by instinct (I separate hands to solve problems and work out dynamics etc, but generally start both hands together slowly), but having a go at Rach Prelude Op 23#6 (a tough piece for me) I have been forced to admit it is necessary for some pieces! 🙂
Great - good luck with the Rachmaninoff! Sometimes hands separate practice in tricky sections can be a time-saver, as it gives your brain the bandwidth to fully understand what each hand is doing.
Works very well that “I would like some apples” Thank you! I tough myself Liszts Consolation 3 and played the 4 embellishments notes in the right hand in measures 6,10,22 27, etc. (last beat) conform the 3 against 4, as the score suggests. But then a professional concert pianist told me that the 4 embellishment notes should not be played like 3 against 4 in this piece. Just before the last of the triplets is played in the left hand the 4th note in the right hand has to be sounded he said and demonstrated it. Play 4 just before the last of the 3 triplets is played😳He had no mnemonic or math to make it clear. And it looks impossible to me to calculate that. I finally managed to play it like him but it remains a mystery. Do you have a clue?
I've struggled with the 4 against 3 in the Debussy Prelude from Suite Pour le Piano in measures 75-90 especially the 2nd figure where not only do you have the 4/3 pattern but it's slurred in a hemiola grouping. Any suggestions? Thanks!! P.S. Love your channel.
Yes, that part is really tricky. It's important to feel the large beat and be able to play everything evenly within it. In the spot you're referencing in m 87 it's basically a big 3:2 - with the RH playing 3 (the hemiola triplets in groups of 2) and the LH playing 2 (2 groups of 4). Let the LH govern with the big quarter note beat (the 2) and then fit the RH groups (3) around it. Good luck! 👋
![How to Play TWO Against THREE Rhythms on the Piano - [Feat. Debussy's Arabesque No. 1]](http://i.ytimg.com/vi/iLAhgSL6tr8/mqdefault.jpg)
Watch next: ruclips.net/video/PhTmRZVbca0/видео.html
I’m just learning this piece after avoiding it for 40 year. I avoided it because of the polyrhythm. You’ve explained it so well. Thank you.
Wonderful! Good luck with it!!
I just applied and practiced these techniques to understand the rhythm and play of some measures in Chopin’s Ballade number 1 (specifically measures 170-175) and it not only helped learning it immensely, it made understanding it more fun! Thank you so much for this video!
Wonderful! Glad to hear it!
I love you teacher !!!
Aww thanks!
Great advice. Love the silent hand exercise. I hope your students appreciate you.
Thanks!
I loved your explanation of why Chopin used these polyrhythms and what it sounded like if he didn't use them. Amazing the difference. I've always struggled a little with these as in Debussy Arabesque and Brahms 118 #2. All are some of my favorites. I cant wait to try this. Thank You Prof Kate!
Yay! Good luck!
Thank you so, so much for this video and all of the others you have created. I hope you know that you are REALLY helping me and I’m sure loads of other people. I so appreciate the time you take to put these videos together. You are an amazing musician and teacher, and it is so generous of you to share your knowledge with the rest of us.
Thanks so much - your comment made my day! Happy practicing!😊 🎹
Fantastic lesson on this topic!
Thanks! 😃
Very helpful! I have never heard of the butter or apple mnemonic device before
Glad it was helpful!
Love it! Love your class! From Brasil. Thank you! Now, I know!!
Thanks for your comment - good luck with your polyrhythms! Greetings from Indianapolis! 😊🎹
Many thanks! Looking forward to your July OMTA presentation 🎹
Thanks! Me too! 🥳
"Golden butter" keeps our grandmas happy, haha, so wholesome
😇
I think this was very good advice. Thank you.
Glad it was helpful!
Yay, another great explanation!
I had to work this out for myself for 'cello playing a long time back as a child, essentially the maths way. But having switched to the piano, I can see it is not really sufficient for the Fantaisie-Impromptu. Your explanation of learning the two hands separately will be really useful when I come to try it! Sometime soon I hope, 2024 or 2025 maybe?
I am not really a hands separate learner by instinct (I separate hands to solve problems and work out dynamics etc, but generally start both hands together slowly), but having a go at Rach Prelude Op 23#6 (a tough piece for me) I have been forced to admit it is necessary for some pieces! 🙂
Great - good luck with the Rachmaninoff! Sometimes hands separate practice in tricky sections can be a time-saver, as it gives your brain the bandwidth to fully understand what each hand is doing.
Works very well that “I would like some apples” Thank you! I tough myself Liszts Consolation 3 and played the 4 embellishments notes in the right hand in measures 6,10,22 27, etc. (last beat) conform the 3 against 4, as the score suggests. But then a professional concert pianist told me that the 4 embellishment notes should not be played like 3 against 4 in this piece. Just before the last of the triplets is played in the left hand the 4th note in the right hand has to be sounded he said and demonstrated it. Play 4 just before the last of the 3 triplets is played😳He had no mnemonic or math to make it clear. And it looks impossible to me to calculate that. I finally managed to play it like him but it remains a mystery. Do you have a clue?
3v5. Another great tip.
If one can't play one hand silently on the piano, an alternative could be to play one hand on your leg and the other on the piano.
Yes! Great suggestion!
I've struggled with the 4 against 3 in the Debussy Prelude from Suite Pour le Piano in measures 75-90 especially the 2nd figure where not only do you have the 4/3 pattern but it's slurred in a hemiola grouping. Any suggestions? Thanks!! P.S. Love your channel.
Yes, that part is really tricky. It's important to feel the large beat and be able to play everything evenly within it. In the spot you're referencing in m 87 it's basically a big 3:2 - with the RH playing 3 (the hemiola triplets in groups of 2) and the LH playing 2 (2 groups of 4). Let the LH govern with the big quarter note beat (the 2) and then fit the RH groups (3) around it. Good luck! 👋
@@ThePianoProfKateBoyd Thank you so much!!
It s some hard to first time.
Can I see a book?