Another wonderful encore piece is Scriabin Op. 11, No. 11. The melody is to die for. The left hand is kicking my butt right now but hopefully I'll get the hang of it eventually. Your youtube videos are like having a in home expert piano teacher on call 24/7. I've learned a ton. Thanks!!
Nice job Cordelia (as usual)! Keep up the great work! It's fun to listen to this and in parallel, listen to the way Scriabin plays this piece on the Welte Mignon Piano Rolls. I hope some day you have time and will offer tips on Scriabin's Etude #5 Op. 42 (another fiendishly difficult but beautiful piece)!
I'm working on this, and you answered my question - in the last measures, whether to be "mathematical" about it or start the left hand on the "downbeat" of each group of 5 in RH. I think it makes more sense musically to play them together, as you said. Thank you! Also, I don't see how the bar lines add any "information" on how the piece should be played, not sure why Scriabin wrote it that way.
I actually do think it adds something to how you play, because the beginning of each bar is a harmonic tension. So that gives it a sense of leaning and releasing, very organic. If you imagine the barlines two quavers earlier the whole piece would sound much heavier and would lose that lovely feeling of being slightly off-kilter. Good luck!
Thank you for so effectively articulating that observation of the effect of the bar lines. I have been trying to put words to that effect the whole time I'm practicing this piece! And thank you for the excellent insight and practice suggestions. Beautiful playing!@@CordeliaWilliams
What a coincidence, I started watching Scriabin videos yesterday- I am a classical guitarist though and heard a video score of this and noticed the cross rhythms. Then this morning saw your video then soon after a Radio 4 program with you and your help of a talented Kenyan who now studies in Birmingham exactly where I did too.
Another wonderful encore piece is Scriabin Op. 11, No. 11. The melody is to die for. The left hand is kicking my butt right now but hopefully I'll get the hang of it eventually. Your youtube videos are like having a in home expert piano teacher on call 24/7. I've learned a ton. Thanks!!
Thank you, Cordelia
A type-setter's nightmare! What an excellent mini-class, great advice.
😂
Nice job Cordelia (as usual)! Keep up the great work! It's fun to listen to this and in parallel, listen to the way Scriabin plays this piece on the Welte Mignon Piano Rolls. I hope some day you have time and will offer tips on Scriabin's Etude #5 Op. 42 (another fiendishly difficult but beautiful piece)!
Thank you very much, this was very helpful!
Thank you for these videos! I love your teaching style 🙏
Thank you so much, and you are welcome
Blind practice of the big jumps at the end of Schumann's op 17 mvt 2 helped me a lot ! Thanks Codelia for the useful tip.
YES brilliant example!
I'm working on this, and you answered my question - in the last measures, whether to be "mathematical" about it or start the left hand on the "downbeat" of each group of 5 in RH. I think it makes more sense musically to play them together, as you said. Thank you! Also, I don't see how the bar lines add any "information" on how the piece should be played, not sure why Scriabin wrote it that way.
I actually do think it adds something to how you play, because the beginning of each bar is a harmonic tension. So that gives it a sense of leaning and releasing, very organic. If you imagine the barlines two quavers earlier the whole piece would sound much heavier and would lose that lovely feeling of being slightly off-kilter. Good luck!
Thank you for so effectively articulating that observation of the effect of the bar lines. I have been trying to put words to that effect the whole time I'm practicing this piece! And thank you for the excellent insight and practice suggestions. Beautiful playing!@@CordeliaWilliams
What a coincidence, I started watching Scriabin videos yesterday- I am a classical guitarist though and heard a video score of this and noticed the cross rhythms. Then this morning saw your video then soon after a Radio 4 program with you and your help of a talented Kenyan who now studies in Birmingham exactly where I did too.
Shouldn't it be in 10/8 instead of 2/2?
Couldn't this piece more sensibly have a time signature of 5/8 and be barred accordingly?