Can’t say enough thank you 🙏🙏🙏! This is super helpful! It answered a lot of my questions as I am struggling to be more expression during my learning! I enjoyed every second of this lesson and already watched twice. I am sure that I won’t be my last watch! Thank you Mr. Fitch! You are amazing👍👍👍
I feel exactly the same way. His advice, demonstrations and suggestions are translatable, I imagine, all other instruments (I play the harp) beyond the piano.
Hopefully this will help me with chopin nocturne op 9 no.1. I have the polyrhythms, a soft/fluid left hand, and pretty much everything else down, but the damn repeated notes in the main melody are SO hard to get to sound beautiful. They're easy to play, but it's quite difficult to consistently make sound cantabile, soft, portato, and do a crescendo.
A great lesson on phrasing and balancing chords, but how does one produce a beautiful singing tone, with a single keystroke? How does one develop the technical ability to produce a palette of various tone colors at will? These are tangential subjects (heh), but there's more to it. Let me also make a comparison to singers: If a singer has a bad sound, it does not matter if their dynamics and their phrasing is correct. I'm not sure what you mean by "intonation" in piano playing. If you're not changing the actual pitch of the tone, then why call it intonation?
Is there such thing as a beautiful tone? Physics-wise, the piano only cares about the speed with which the hammers hit the strings, so you can't change the tone of the piano. Maybe the "beautiful tone" is just an effect caused by how you connect the notes, how you handle the subtle changes in dynamics, tempo, phrasing, rubato and so on... I asked my piano professor about this, and while he agreed with it, he also said that there seem to be some things going on that physics can't explain.
On an acoustic piano the distance the felts and dampers are from the keys matters, too. How long you hold the key even by nanoseconds matters. As soon as you let go, the dampers go back onto the keys. The hammer will have already gone back but not to the resting position. If you keep the key depressed until the hammer rebounds, the sound is much nicer than letting go as the hammer rebounds,
![Twenty One Pilots - The Line (from Arcane Season 2) [Official Audio]](http://i.ytimg.com/vi/XCz7WUotXs8/mqdefault.jpg)
Any of Mr.Gaham,s video lesson is worthwhile preserving. He inspires piano players greatly.
Can’t say enough thank you 🙏🙏🙏!
This is super helpful! It answered a lot of my questions as I am struggling to be more expression during my learning!
I enjoyed every second of this lesson and already watched twice. I am sure that I won’t be my last watch!
Thank you Mr. Fitch! You are amazing👍👍👍
And all of a sudden everything is starting to fall into place. Thank you so much for the best explanations on the subject I've ever heard
I feel exactly the same way. His advice, demonstrations and suggestions are translatable, I imagine, all other instruments (I play the harp) beyond the piano.
Simply superb!!
amazing. Pure musicality
I rewatch this video from time to time and each time it has given me new ideas. Thank you maestro Graham!!
Such wonderful demonstrations and explanations, love it❤
Beautiful lesson - thank you!
Great lesson on phrasing! Thank you.
I was inspired of this video lesson as a beginner
Commenting in an attempt to bury the terrible spam comments on this great video.
are there really any?
@@alexeykulikov2739 They are all gone now because they got reported. It was mostly ads for
pornography.
Thank you Graham. Annette McCann, Fife.
sir you the best maestro
Great help. Thank you!
Thank you sir!
This is great stuff
Thank you!
Learning the last one now yesss! See you in Dec Graham! 👏🏼
Thank you great video
Thank you.
Hopefully this will help me with chopin nocturne op 9 no.1. I have the polyrhythms, a soft/fluid left hand, and pretty much everything else down, but the damn repeated notes in the main melody are SO hard to get to sound beautiful. They're easy to play, but it's quite difficult to consistently make sound cantabile, soft, portato, and do a crescendo.
So it's all about Dynamics
Uy bueno
What is the name of the second song?
A great lesson on phrasing and balancing chords, but how does one produce a beautiful singing tone, with a single keystroke? How does one develop the technical ability to produce a palette of various tone colors at will? These are tangential subjects (heh), but there's more to it. Let me also make a comparison to singers: If a singer has a bad sound, it does not matter if their dynamics and their phrasing is correct.
I'm not sure what you mean by "intonation" in piano playing. If you're not changing the actual pitch of the tone, then why call it intonation?
Is there such thing as a beautiful tone? Physics-wise, the piano only cares about the speed with which the hammers hit the strings, so you can't change the tone of the piano.
Maybe the "beautiful tone" is just an effect caused by how you connect the notes, how you handle the subtle changes in dynamics, tempo, phrasing, rubato and so on...
I asked my piano professor about this, and while he agreed with it, he also said that there seem to be some things going on that physics can't explain.
On an acoustic piano the distance the felts and dampers are from the keys matters, too. How long you hold the key even by nanoseconds matters. As soon as you let go, the dampers go back onto the keys. The hammer will have already gone back but not to the resting position. If you keep the key depressed until the hammer rebounds, the sound is much nicer than letting go as the hammer rebounds,