When I think of a pianist who always goes to the bottom of the key - whether he is whispering or not - I think Emil Gilels. When I think of someone who often doesn't go to the bottom, I think of Gieseking. They have a contrary aesthetic when it comes to tone quality. But Gieseking, for all of his facility, can be spotty, and his double fortes harsh. I just discovered your videos, and am enjoying them.
Nice articulation of this important context. I am working on the arm weight program from the shoulder. It helps with flow and control; now using more arm weight from the shoulder to get the hands into position. Emma Lieuman speaks of "healthy" vs. "unhealthy tension" as general concepts to master; and gives some directions as to how to proceed with learning the techniques; this has been very valuable f me; still working on it as about the 3rd major remake of my technique in a 15 ish year piano journey. Bridge and crane a helpful analogy. Also working on keeping straight hand, middle knuckle, as perfectly aligned as possible with the forearm. A possible tutorial for your channel? You are quite good at explaining in detail, your points. We are fortunate that you are so generous with you time; you are humorous also, a very effective teaching mode. Very creative videography. Thank you; will catch up on previous lessons.
Bottom of key bed vs. different grandations of that-need to work on it. I watch your hands and arms very carefully. Wonderful musicality as vision. Happy to have found your channel.
I've heard very good pianists say to always play to the bottom of the keys, but have also heard (and personally felt) otherwise as well. Really glad to see an esteemed pianist dispel and explain that here. Another mystical topic that could use some explanation - what is a "good" sound, and how to produce it? I've heard many variables that can affect it - curved vs. flat fingers, using arm weight, and which finger you use (apparently every finger sounds different according to Chopin?), and even borrowing resonances from other notes - but none of these really line-up with my understanding of physics, and the mechanics of the piano. I think you would be great at explaining such a thing! But perhaps most importantly, it would be nice to have an explanation for why John Travolta is in the thumbnail.
Thanks, that’s a good idea. I would argue, that there is no good sound per se, but it seems to be pleasing when fits well with the surrounding notes. In other words, nice phrasing is crucial here, but there is also a tiny bit of ‘esoteric’ or rather psychology, and much physiology background to this “mystery” as well. I will cover some of this in the next tutorial video, stay tuned!
I'm working on this with my teacher currently. He has amazing touch speed and evenness. I asked him specifically if you 'always' go to the bottom because he can play Chopin runs softly and it's incredible. He said yes for sure. He said it also produces precision and it does not have to be heavy or have a heavy attack, it's about depth, not weight or pressure he says. Anyways, listening to two teachers from the same area (Belarus/Russia), speak on this same topic from two angles is just so helpful. Being in person though, he will stop me, and tell me I'm not actually going to the bottom always. He then demonstrates and he sounds 'exactly' like me playing, not him playing, LOL! The information is great, but if you can find a teacher that understands these concepts, they can take it the execution level with you as you progress.
Excellent almost never talked about topic. This might be the most important intermediate to advanced piano playing skill to master. This is important also for memorizing hand positions but i like to ask you about one closely related topic : passing fingers. As an intermediate pianist i was always surprised by how much live professional pianists (and my doctoral friends) seemed to love and indulge in exchanging fingers without repeating a note to prepare for what is coming next in slow passages but also not so slow passages i saw it being used a lot especially between thumb and other fingers but also changing 4th finger to 5th finger (on the same key) and i always wondered how is that helpful when technical execution of the piece does not call for it ? I know that on organ this is absolutely necessary since the flutes continue to blow as long as the key is down and on the piano it keeps the key damper up. I still don't do this as much as i should and assume it helps with memorizing music, and provide a greater "blind folded" memory mapping of the playing action. Last it also help relaxing by not having to lift the entire forearm. It's like putting eyes on your finger tips. Is this something you do as well, or what is the motivation for doing this ?
Denis , I am a humble “ fairly “beginner , and what you talk about is above my head, but I still watch every video you post on here more than once, only to be amazed at how you can play these fast pieces and at the same time think about wrist and finger movements . I know you said you practice several hours a day six days a week ,but I could not achieve in a lifetime what you do 😢. THANK YOU.
This is such a helpful video. And you happened to pick pieces I'm familiar with to demonstrate these concepts, which made it even easier to understand your already very clear explanations. I love the crane and bridge analogy. Thank you for your content!
I sincerely thank you for this wonderfully informative video. I've always had a question that I've been curious about. Does it make trill playing more effective when one of our fingers is on the keybed while the other does not receive support from the keybed? Sometimes I can play trills very effortlessly and smoothly, but it doesn't always happen. Honestly, I'm curious about what happens when I can do it. Is the idea of not having both fingers on the keybed correct? I'm interested in hearing your thoughts on this. Regards!
Thanks for commenting! Generally, yes, it’s easier to play trills if you can support one finger at a time in the bed of the key, but this is a big topic. I have a special video with more tips on it: ruclips.net/video/zTEg3Sm1Le4/видео.htmlsi=4vanjqh6tadmYllc
Amazing lesson! I wonder if the same concept of leaning points applies to the etude op.10 n1 Chopin. Because when I don't go deep in the keyboard I feel insecure, however when I go deep I feel tired. What points from this etude would be the leaning points?
Yes, it’s a universal concept applicable pretty much at any quick passage. In the case of op10/1, I would lean on 1-2 more when going up, and 5-1 when going down, but this might be individual, so one has to explore different options…
Any advice on how to emphasize a note in a chord (typically the outer note) when it's struck simultaneously? These days I'm really struggling with that. All explanations sound obscure to me when it comes to the simultaneous emission of all the notes (of course there must not be audible unwanted acciaccaturas or arpeggios). Regarding Chopin's passages in smaller notes, I think that he (or also Liszt, though in a different fashion) hints mainly at a more free way to play the passage, intended as a flourished melody where the player can really take his time (sorta rhytmical "a piacere"). Can be more ore less leggero but sure it's comodo. My 2 cents of course.
Yes, you’re right, the improvisational freedom aspect for me is so self-evident, that I forgot to mention it unfortunately. In order to voice chords you basically have to strike the upper note faster, and other notes slower, which will create a difference in dynamics. It’s really tricky, because technically you have to dive through the keys with different keys, but reach the sound point simultaneously with all fingers. What might help is starting from the key, really close to it, and maintaining more tension in the finger which you want to voice, keeping other fingers looser.
Your explanations are absolutely first-rate and excellent, but it is possible to completely avoid the pressure on the bottom of the keys, even in the loudest and fastest passages in piano music. Ideally, each finger can bend and release ten times per second. This means that each hand could play fifty notes per second if the brain is coordinated enough to give the commands. To do this, the extensor muscles of the hand and fingers need to be switched off accordingly. In the beginning, you should only feel the weight of the key with each finger by slowly moving the key downwards through each finger, but without reaching the ground under the key. You can first feel the weight of each finger of the hand by pressing the key upwards, slowly at first and increasingly faster and only in the range in which the key can be still moved. At a certain speed, the hammer will strike the strings as if by itself. The sound is only produced by movement, whether playing the piano or slamming a door, and never by pressure. The loudness of the sound depends only on the speed of the movement: The slower the quieter and the faster the louder. Pressure on the bottom of the keys should therefore be consistently avoided with the THOUGHT THAT THE FINGERS SWING THE KEYS DOWNWARD ONLY BY A VERY SHORT IMPULSE. When playing legato, the keys that are struck should be held down immediately with only half pressure, without touching the floor. In this way, harmful strains in the fingers, hands and elsewhere in the body are avoided and playing will increasingly feel lighter and fresher, as well as being more dynamically differentiated. The ideal feeling when playing the piano is when you imagine that the keys are sucking at your fingers from their tips, while your fingers, hand and whole arm put up no resistance.
Go to the bottom of the keys, imagine the bottom is deeper then where it actually is. Some further tips are in my ancient video on the topic: ruclips.net/video/qnHrRfjSYjY/видео.htmlsi=HkUq8VtmhN1McSPM
I can't fathom not going to the bottom of the key. How can one be secure or relaxed if you try to keep your hands fluttering aloft. Also the concept of grasping is also however dangerous. It should be no more different than settling your fingers easily on a flat surface. It just happens to be the case that the keys are an odd obstacle to that wonderful flat surface. This incidentally is of great importance in a tracker organ. You can just end up with starved sounding sound. Anyway, the bit about relaxation is ultimately the most important. Figuring that out leads to efficiency and speed and security.
Your precious input has been an absolute revelation, reminding me just how graciously some individuals handle the fact that not everyone on this planet happens to be born with their language as a birthright! ☺️ [Continues to wave a magic wand, turning water into wine]
![Don't play HANON before watching THIS [Piano Exercises Demystified]](/img/1.gif)
You are an amazing teacher. What a privilege it would be to be your student.
When I think of a pianist who always goes to the bottom of the key - whether he is whispering or not - I think Emil Gilels. When I think of someone who often doesn't go to the bottom, I think of Gieseking. They have a contrary aesthetic when it comes to tone quality. But Gieseking, for all of his facility, can be spotty, and his double fortes harsh. I just discovered your videos, and am enjoying them.
Nice articulation of this important context. I am working on the arm weight program from the shoulder. It helps with flow and control; now using more arm weight from the shoulder to get the hands into position. Emma Lieuman speaks of "healthy" vs. "unhealthy tension" as general concepts to master; and gives some directions as to how to proceed with learning the techniques; this has been very valuable f me; still working on it as about the 3rd major remake of my technique in a 15 ish year piano journey. Bridge and crane a helpful analogy.
Also working on keeping straight hand, middle knuckle, as perfectly aligned as possible with the forearm. A possible tutorial for your channel?
You are quite good at explaining in detail, your points. We are fortunate that you are so generous with you time; you are humorous also, a very effective teaching mode. Very creative videography.
Thank you; will catch up on previous lessons.
Bottom of key bed vs. different grandations of that-need to work on it. I watch your hands and arms very carefully. Wonderful musicality as vision. Happy to have found your channel.
I've heard very good pianists say to always play to the bottom of the keys, but have also heard (and personally felt) otherwise as well. Really glad to see an esteemed pianist dispel and explain that here. Another mystical topic that could use some explanation - what is a "good" sound, and how to produce it? I've heard many variables that can affect it - curved vs. flat fingers, using arm weight, and which finger you use (apparently every finger sounds different according to Chopin?), and even borrowing resonances from other notes - but none of these really line-up with my understanding of physics, and the mechanics of the piano. I think you would be great at explaining such a thing!
But perhaps most importantly, it would be nice to have an explanation for why John Travolta is in the thumbnail.
Thanks, that’s a good idea. I would argue, that there is no good sound per se, but it seems to be pleasing when fits well with the surrounding notes. In other words, nice phrasing is crucial here, but there is also a tiny bit of ‘esoteric’ or rather psychology, and much physiology background to this “mystery” as well. I will cover some of this in the next tutorial video, stay tuned!
Thank you so much Professor 👍🏻🙏🏻
1:00 haha whoever had the idea for that animation is a genius :D
Thank you.
Great video, great concepts, great teacher.
Glad you enjoyed it!😊
I'm working on this with my teacher currently. He has amazing touch speed and evenness. I asked him specifically if you 'always' go to the bottom because he can play Chopin runs softly and it's incredible. He said yes for sure. He said it also produces precision and it does not have to be heavy or have a heavy attack, it's about depth, not weight or pressure he says. Anyways, listening to two teachers from the same area (Belarus/Russia), speak on this same topic from two angles is just so helpful. Being in person though, he will stop me, and tell me I'm not actually going to the bottom always. He then demonstrates and he sounds 'exactly' like me playing, not him playing, LOL! The information is great, but if you can find a teacher that understands these concepts, they can take it the execution level with you as you progress.
Wonderfull ! I am a french piano teatcher and i am happy to fallow your advices. Your Channel is amazing thanks a lot
Happy to hear that! Thanks you!
Brilliant video, Denis! This is a concept I have struggled with.
Thank you very much for such a great information!!...❤
Great video, but it took about a half hour longer than it should have because I had to take time out to go listen to Argerich play Prok 3! 😆
Very important information so helpful thank you so much thank you thank you!!! You play this (just as you do all the others ) so beautifully!!!
You are so welcome! Thanks for commenting!
@@DenZhdanovPianist It is our pleasure🥰🌺🙏🌺💐
Another great video!
Excellent almost never talked about topic. This might be the most important intermediate to advanced piano playing skill to master. This is important also for memorizing hand positions but i like to ask you about one closely related topic : passing fingers. As an intermediate pianist i was always surprised by how much live professional pianists (and my doctoral friends) seemed to love and indulge in exchanging fingers without repeating a note to prepare for what is coming next in slow passages but also not so slow passages i saw it being used a lot especially between thumb and other fingers but also changing 4th finger to 5th finger (on the same key) and i always wondered how is that helpful when technical execution of the piece does not call for it ? I know that on organ this is absolutely necessary since the flutes continue to blow as long as the key is down and on the piano it keeps the key damper up.
I still don't do this as much as i should and assume it helps with memorizing music, and provide a greater "blind folded" memory mapping of the playing action. Last it also help relaxing by not having to lift the entire forearm. It's like putting eyes on your finger tips. Is this something you do as well, or what is the motivation for doing this ?
Denis , I am a humble “ fairly “beginner , and what you talk about is above my head, but I still watch every video you post on here more than once, only to be amazed at how you can play these fast pieces and at the same time think about wrist and finger movements . I know you said you practice several hours a day six days a week ,but I could not achieve in a lifetime what you do 😢. THANK YOU.
Thank you, I truly appreciate your kind feedback, and I wish you a fast and enjoyable progress in piano playing!
Wonderful explanation. Thank you so much for this!!
Very educational, thank you very much 👌
you are the best !
This is such a helpful video. And you happened to pick pieces I'm familiar with to demonstrate these concepts, which made it even easier to understand your already very clear explanations. I love the crane and bridge analogy. Thank you for your content!
I sincerely thank you for this wonderfully informative video. I've always had a question that I've been curious about. Does it make trill playing more effective when one of our fingers is on the keybed while the other does not receive support from the keybed? Sometimes I can play trills very effortlessly and smoothly, but it doesn't always happen. Honestly, I'm curious about what happens when I can do it. Is the idea of not having both fingers on the keybed correct? I'm interested in hearing your thoughts on this. Regards!
Thanks for commenting!
Generally, yes, it’s easier to play trills if you can support one finger at a time in the bed of the key, but this is a big topic. I have a special video with more tips on it:
ruclips.net/video/zTEg3Sm1Le4/видео.htmlsi=4vanjqh6tadmYllc
@@DenZhdanovPianist Thank you!!
Amazing lesson! I wonder if the same concept of leaning points applies to the etude op.10 n1 Chopin. Because when I don't go deep in the keyboard I feel insecure, however when I go deep I feel tired. What points from this etude would be the leaning points?
There is a special video on that one on this channel! ruclips.net/video/frh62OnH5yk/видео.htmlsi=xv-fI9ijiGoqGOGb
@@DenZhdanovPianistthanks! I've already watched your video, but I got curious about if the same concept can be applied in this case.
Yes, it’s a universal concept applicable pretty much at any quick passage. In the case of op10/1, I would lean on 1-2 more when going up, and 5-1 when going down, but this might be individual, so one has to explore different options…
Any advice on how to emphasize a note in a chord (typically the outer note) when it's struck simultaneously? These days I'm really struggling with that. All explanations sound obscure to me when it comes to the simultaneous emission of all the notes (of course there must not be audible unwanted acciaccaturas or arpeggios).
Regarding Chopin's passages in smaller notes, I think that he (or also Liszt, though in a different fashion) hints mainly at a more free way to play the passage, intended as a flourished melody where the player can really take his time (sorta rhytmical "a piacere"). Can be more ore less leggero but sure it's comodo. My 2 cents of course.
This may not help at all but for me just imagining doing it in my head helps me bring it out subconsciously
Yes, you’re right, the improvisational freedom aspect for me is so self-evident, that I forgot to mention it unfortunately.
In order to voice chords you basically have to strike the upper note faster, and other notes slower, which will create a difference in dynamics. It’s really tricky, because technically you have to dive through the keys with different keys, but reach the sound point simultaneously with all fingers.
What might help is starting from the key, really close to it, and maintaining more tension in the finger which you want to voice, keeping other fingers looser.
thank you for the precious advice @@DenZhdanovPianist I will try for sure (with the help of my teacher, too)
Thanks
Thank you for your support!
감사합니다.
Thank you!😊
The thumbnail has me cracking up
Thanks God!
What could be more frightening in 2023 then an indifferent response to a thumbnail.
Well, maybe only cancer or death lol.
Your explanations are absolutely first-rate and excellent, but it is possible to completely avoid the pressure on the bottom of the keys, even in the loudest and fastest passages in piano music. Ideally, each finger can bend and release ten times per second. This means that each hand could play fifty notes per second if the brain is coordinated enough to give the commands. To do this, the extensor muscles of the hand and fingers need to be switched off accordingly. In the beginning, you should only feel the weight of the key with each finger by slowly moving the key downwards through each finger, but without reaching the ground under the key. You can first feel the weight of each finger of the hand by pressing the key upwards, slowly at first and increasingly faster and only in the range in which the key can be still moved. At a certain speed, the hammer will strike the strings as if by itself. The sound is only produced by movement, whether playing the piano or slamming a door, and never by pressure. The loudness of the sound depends only on the speed of the movement: The slower the quieter and the faster the louder. Pressure on the bottom of the keys should therefore be consistently avoided with the THOUGHT THAT THE FINGERS SWING THE KEYS DOWNWARD ONLY BY A VERY SHORT IMPULSE. When playing legato, the keys that are struck should be held down immediately with only half pressure, without touching the floor. In this way, harmful strains in the fingers, hands and elsewhere in the body are avoided and playing will increasingly feel lighter and fresher, as well as being more dynamically differentiated. The ideal feeling when playing the piano is when you imagine that the keys are sucking at your fingers from their tips, while your fingers, hand and whole arm put up no resistance.
How to avoid ghost notes when playing pp?
Go to the bottom of the keys, imagine the bottom is deeper then where it actually is. Some further tips are in my ancient video on the topic:
ruclips.net/video/qnHrRfjSYjY/видео.htmlsi=HkUq8VtmhN1McSPM
@@DenZhdanovPianist Thank you so much for your reply, I will watch!
Just wanted to say going beyond the bed of the key and trying to push 150% through will result in finger injuries, from experience.
🥺 yes… I am sorry for your experience!..
I can't fathom not going to the bottom of the key. How can one be secure or relaxed if you try to keep your hands fluttering aloft. Also the concept of grasping is also however dangerous. It should be no more different than settling your fingers easily on a flat surface. It just happens to be the case that the keys are an odd obstacle to that wonderful flat surface. This incidentally is of great importance in a tracker organ. You can just end up with starved sounding sound. Anyway, the bit about relaxation is ultimately the most important. Figuring that out leads to efficiency and speed and security.
UHG! Not a “trick” a “skill”. There are no tricks in learning how to improve playing the piano. If you want to lean tricks, go to a magic school.
Your precious input has been an absolute revelation, reminding me just how graciously some individuals handle the fact that not everyone on this planet happens to be born with their language as a birthright!
☺️
[Continues to wave a magic wand, turning water into wine]