Some of the best teaching/advice one will ever receive! An open-minded, MUSICAL approach to playing an instrument. None of that extra-musical nonsense. Fantastic.
She s a real Queen of scale play technique who brings enlightning to me. She makes scale practice attractive and interesting more than ever imagined.Thanks❤
Sarah has been teaching piano for decades now and it’s just funny to come here and read comments critiquing her method. If you don’t like her approach then move on to someone you agree with.
@@reynaarias3380on the contrary, she makes many mistakes in the video. The saint-saens scale in particular is fragmented and messy, not a very good advertisement for her advice on how to play it.
I agree that it isn't "cheating" (6:10) to intelligently use different fingering or hand-distribution options to make something more playable... except in the case of an etude that has been composed to challenge the player in a specific way. That said, even if you use all the possible assistance your LH can give in Chopin's 2nd Etude, your RH 4th and 5th fingers will still get a pretty good workout!
There are plenty of letters and changes in editions that shows that composers of the time adapted the written music to their students. If a students had bad octaves and great scales, sn octave passage could be changed into a scale passage, gor example. I understand the argument that it's different regarding etudes, but maybe one should at least consider it..
I used to have a similar view on technique like her “technique is like money”, but I really felt my pianism improved once I realized that was such a false way of thinking.
Your (and other's) use of "Cheating," I call Procedural Technique, and is consistent with the thought that a score is not a set of instructions for what goes INTO the instrument, but rather a symbol of what comes OUT of the instrument. All of the training a pianist undergoes (especially for independence of the fingers) as well as the differences between many "authoritative" editions of the same work prove this principle.
Idk, I fully agree with music but with Chopin's only study that doesn't sound like a concert study? In practice studies shouldn't really be cheated, in performance it seems fair to cheat, It's just this one is already so musically void (comparatively) most of the joy in hearing a pianist play it comes from their technical finesse
@@kia.hadipour i think you've missed the fact that some pieces are designed as studies/etudes. They are to develop a specific technique and not just for performance
A better word my teacher in college used to say. Trick of the trade. He was a concert pianist and they have so many tricks up their sleeves. Some techniques, that even if it didn't seem very relevant at the moment, in the future, made learning some more advanced pieces much easier.
Rearranging is fine much of the time, especially if it sounds no different, or even better, but one needs to make sure that it doesn’t create problems, such as unwanted accents (as seen in the saint-saens concerto). In the case of op 10, no. 2, I think rearranging those notes to facilitate the piece defeats the purpose of the Etude.
I completely agree. You don’t play Op. 10 No. 2 to express feelings; you play it to show off how seamlessly you can perform a chromatic scale with the weaker fingers along with a chord on some notes - and a lot more - using only one hand (plus the accompaniment).
@@felleg4737 well I don’t mean to not be expressive when you play a Chopin etude. I would never say that. What I mean is that you just are not getting the benefit of the piece if you rearrange the right hand.
@@gojewla I think we are on the same page :) I’m also not saying that you don’t need to shape a Chopin etude (especially a Chopin etude!) musically. However, the emphasis is on the difficulty/task of certain etudes and how well you can overcome/solve and execute them. In fact, you should perform them so well that their technical challenges do not become an obstacle to expressing your feelings through the etude.
What is “the purpose of the Etude”? So far as I know Chopin never stated a purpose, and in any case we are allowed to use the piece for any purpose of our own. So you can use the piece as an exercise to improve your technique or as a beautiful piece to play at recitals or maybe both. So there’s nothing inherently wrong with redistribution in an etude. A Chopin etude is not an athletic event like diving or gymnastics where certain rules must be followed.
@@richardcarnes2834 the purpose of the Etude is, among many other things, to understand release of chords. If you are unable to attack and release the chords with ease, you will tighten up and be unable to play the piece properly because it will cause the 3rd, 4th and 5th fingers to lock up. Playing a chromatic scale with 3, 4 and 5 is not really that difficult. Many teachers suggest for students to practice this piece without the chords in the right hand, which is a good idea, but ultimately doesn’t solve the problem of playing the piece when you add in the thumb and 2nd finger back in. Chopin etudes are pieces, but they are also etudes. You benefit more greatly from them if you play them in the way they were pianistically intended, which was my original point.
I generally agree with the take on "cheating" in playing piano, but the thing that makes op 10 no 2 one of the hardest chopin etudes is the fact that we have to use the index finger and thumb in order to complete the harmony, and to do this at a recital, concert or any other public playing, to a study which isn't meant to be "cheated" on as you're just "cheating" on yourself and never really learned the technique seems to be a disservice to oneself
You have to do that pattern a bunch anyway when you can’t take it with the left hand. You aren’t cheating yourself at all by doing that. As much as they are etudes, they are pieces of music first and foremost and in concert doing what you need to to make the music come through is the priority.
I'm all for applying the kind of 'cheats' that Sara suggests. Except that in an etude like Chopin Op.10 No.2 it does not feel right to do so. It is very tempting as it's such a bastardly hard piece, but where's the end ? This way I could perhaps finally master Op.10 No.1 by using the middle pedal to hold down the low octaves, and then playing all the arpeggios (or as many as possible) with both hands. I'm sure that would make it a LOT easier. But it would not look right though....
(11:23) This passage in Liszt's 2nd Paganini Etude is puzzling: some of the scale-figures are written out more or less as you would actually play them; for others, Liszt's notation is totally unhelpful!
I love playing the B-Major scales with both hands in the 2nd movement of Rach 2! What kills me is playing the scales near the end of Hungarian Rhapsody No. 2, it's awful!
I personally think anyone complaining about changing the fingering in the Chopin needs to get off their high horse. Pianists change fingering all the time in Chopin’s etudes, no one has an issue with it. How is this really any different? It is music, and the music is first and foremost. If doing it like that serves the music essence of the piece, then great. If it results it in being clunky or awkward, then it’s a detriment. You can play the etudes as exercises, or you can play them as music. It’s different for everyone, and I have no idea how anyone can say ‘this is wrong’. People just love complaining about something.
Hi am Reagan ssewagudde from Uganda am an intermediate pianist i teach my self but how can i practice scales to take away tension in my fingers and i have to first master one key to it at a terrible speed and then i shift to another key i don't know what to do but really i appreciate your teaching thanks
Start really slow, try to play with a metronome, train the motion of changing keys slowly, try to loose your muscels and play with your arm and wrist instead of using only your fingers.
It's very interesting how different hands find one technique easier or harder. I tried Sara's suggestion for the 2nd Chopin Etude, and it's a nightmare, lol. The way Chopin wrote it is much easier to me.
7:34 but that's definitely cheating. The whole idea of the etude is a study using precisely those fingers Chopin wanted.. Fair enough uf it's easier to use different fingering and sharing notes in other types of music but not in this case
I disagree. A pianist can do what they want with it to convey the music as Chopin intended. No notes or dynamic markings or articulations are being changed. I always think if it’s indistinguishable on an audio recording that the fingering is changed, go for it. People change fingering all the time in the Chopin etudes, not a big deal
The fingering in the Chopin etude is absolutely cheating because it is not a mere piano piece it's an etude to address the very same problem she's avoiding.omg...so silly. If you can't play it as is, then you have an almost unlimited resource of other repertoire to choose from. Every pianist finds their specialty overtime based on what works best for them musically and technically. Chopin etudes live performances are not required to have a concert career
There are 2 problems I have with this tutorial: 1) Why does she constantly pedal thru all the scales? That is a no-no. She has such great fingers, but the scales are not clear because of this terrible pedalling. 2) She emphasizes speed over clarity. This is usually not a good thing. Listen to the eveness of her fast scales. They are not even. The sweep is there, but that should not be at the expense of the clarity abd rythmic definition. The best part of her advice I agree with--always re-arrange to make the passage easier when you can, but if you use two hands in a written-single-handed scale, it must sound to the listener like one hand.
You may be right - partly - , but from a practical point of view she's doing alright. I think, she's a master in playing and teaching, with very good musicality.
In Tonebase's Piano Camp (sterling experience), I had two lessons with Sara. She is a power house.
*he
Some of the best teaching/advice one will ever receive! An open-minded, MUSICAL approach to playing an instrument. None of that extra-musical nonsense. Fantastic.
She s a real Queen of scale play technique who brings enlightning to me. She makes scale practice attractive and interesting more than ever imagined.Thanks❤
I absolutely love the way she expresses her ideas
i had the pleasure of watching her play a piano concerto here in south brazil. simply astonishing!
“Even a scale can be beautiful,” what a good story and advice
Sarah has been teaching piano for decades now and it’s just funny to come here and read comments critiquing her method. If you don’t like her approach then move on to someone you agree with.
@@RhotenXxX that’s what we should expect! Musicians are the most opinionated people in the world!
She’s flawless for god’s sake😅 you notice she’s up to no games😅😅😅
@@reynaarias3380on the contrary, she makes many mistakes in the video. The saint-saens scale in particular is fragmented and messy, not a very good advertisement for her advice on how to play it.
Well said
*he
SDB was a great teacher for the piano repertoire class I took at Manhattan School of Music 150 years ago!
Lol are you a vampire?
@@ever-pj9qf yes. I was enrolled in the night school program
Sorry, how many years?
I went to MSM too but it was more like 20 yrs ago lol
@@bellatopiaaa8397 I was there 2000-2002
Very interesting! I always hated practising scales. But now I have a different view on scales. Thank you very much.!
i’ve taken lessons from Sara, and she is one of the most phenomenal pianists i have ever heard.
that Liszt Paganini Etude was lovely!
I agree that it isn't "cheating" (6:10) to intelligently use different fingering or hand-distribution options to make something more playable... except in the case of an etude that has been composed to challenge the player in a specific way. That said, even if you use all the possible assistance your LH can give in Chopin's 2nd Etude, your RH 4th and 5th fingers will still get a pretty good workout!
Wonderful! I was curious about Chopin Ballade op23's end scales. When kid, my teacher had said (from Mickiewicz): laugh of the Satan.
The video was really informative and the explanations were really good. Thank you very much!
Fabulous lesson !! Instantly want to try this. Thank you ❤
I believe it was Liszt himself who indicated the five-finger scales in Rhapsodie Espagnole, not Cortot or Jonás
Yes indeed. This was Liszt’s fingering in the first edition.
“Intelligent facilitation” hahaha! I am stealing that! 😂🎉🎉🎉
I like this lady. I’ve always “cheated” by sharing chords and scales between the hands but she gives a great reason and explanation. Bravo!
Excellent and informative, explained with kindness and passion. Thank you!
That was excellent, thank you so much.
Bellissima lezione, grazie mille🌹💕🤗
I’m all for finger redistributions in the repertoire…but, the whole point of the Chopin Etude is to play it as its written.
There are plenty of letters and changes in editions that shows that composers of the time adapted the written music to their students. If a students had bad octaves and great scales, sn octave passage could be changed into a scale passage, gor example.
I understand the argument that it's different regarding etudes, but maybe one should at least consider it..
@@SimonDanellPiano I think if you can make it _sound_ exactly as you want it to sound it doesn't matter if you're hitting keys with your nose!
Phantastic 🧡
I used to have a similar view on technique like her “technique is like money”, but I really felt my pianism improved once I realized that was such a false way of thinking.
Your (and other's) use of "Cheating," I call Procedural Technique, and is consistent with the thought that a score is not a set of instructions for what goes INTO the instrument, but rather a symbol of what comes OUT of the instrument. All of the training a pianist undergoes (especially for independence of the fingers) as well as the differences between many "authoritative" editions of the same work prove this principle.
Idk,
I fully agree with music but with Chopin's only study that doesn't sound like a concert study?
In practice studies shouldn't really be cheated, in performance it seems fair to cheat,
It's just this one is already so musically void (comparatively) most of the joy in hearing a pianist play it comes from their technical finesse
@@em8714 You practice (study) a piece in order to perform it, these are not two different isolated worlds!
@@kia.hadipour i think you've missed the fact that some pieces are designed as studies/etudes. They are to develop a specific technique and not just for performance
A better word my teacher in college used to say. Trick of the trade. He was a concert pianist and they have so many tricks up their sleeves. Some techniques, that even if it didn't seem very relevant at the moment, in the future, made learning some more advanced pieces much easier.
I am very appreciate, thank you !❤
Amazing!
Wow...Just Wow!!
I like to write from scales ❤it makes practice less mundane lol ❤
I sure wish I'd had these courses when i was taking piano lessons, I would have been a MUCH better pianist later on!!
We are soo lucky to live in Sara's time. ❤
Thank you very much !!!!!!
The great genius of Buechner!
Absolutely brilliant 👏👏👏
MARVELOUS lecture. Perfect!
GREAT workshop, Sara... the second Chopin Impromptu... what a great work and example for this topic!
If it wasn't for my brain, my hands would be my biggest obstacle...
Great advice
Rearranging is fine much of the time, especially if it sounds no different, or even better, but one needs to make sure that it doesn’t create problems, such as unwanted accents (as seen in the saint-saens concerto). In the case of op 10, no. 2, I think rearranging those notes to facilitate the piece defeats the purpose of the Etude.
I completely agree. You don’t play Op. 10 No. 2 to express feelings; you play it to show off how seamlessly you can perform a chromatic scale with the weaker fingers along with a chord on some notes - and a lot more - using only one hand (plus the accompaniment).
@@felleg4737 well I don’t mean to not be expressive when you play a Chopin etude. I would never say that. What I mean is that you just are not getting the benefit of the piece if you rearrange the right hand.
@@gojewla I think we are on the same page :) I’m also not saying that you don’t need to shape a Chopin etude (especially a Chopin etude!) musically. However, the emphasis is on the difficulty/task of certain etudes and how well you can overcome/solve and execute them. In fact, you should perform them so well that their technical challenges do not become an obstacle to expressing your feelings through the etude.
What is “the purpose of the Etude”? So far as I know Chopin never stated a purpose, and in any case we are allowed to use the piece for any purpose of our own. So you can use the piece as an exercise to improve your technique or as a beautiful piece to play at recitals or maybe both. So there’s nothing inherently wrong with redistribution in an etude. A Chopin etude is not an athletic event like diving or gymnastics where certain rules must be followed.
@@richardcarnes2834 the purpose of the Etude is, among many other things, to understand release of chords. If you are unable to attack and release the chords with ease, you will tighten up and be unable to play the piece properly because it will cause the 3rd, 4th and 5th fingers to lock up. Playing a chromatic scale with 3, 4 and 5 is not really that difficult. Many teachers suggest for students to practice this piece without the chords in the right hand, which is a good idea, but ultimately doesn’t solve the problem of playing the piece when you add in the thumb and 2nd finger back in.
Chopin etudes are pieces, but they are also etudes. You benefit more greatly from them if you play them in the way they were pianistically intended, which was my original point.
Thank❤ you!!❤❤
Thanks!
That was amazing
Sara videos are my favorite!
Some really great advice. Thank you !
I generally agree with the take on "cheating" in playing piano, but the thing that makes op 10 no 2 one of the hardest chopin etudes is the fact that we have to use the index finger and thumb in order to complete the harmony, and to do this at a recital, concert or any other public playing, to a study which isn't meant to be "cheated" on as you're just "cheating" on yourself and never really learned the technique seems to be a disservice to oneself
You have to do that pattern a bunch anyway when you can’t take it with the left hand. You aren’t cheating yourself at all by doing that. As much as they are etudes, they are pieces of music first and foremost and in concert doing what you need to to make the music come through is the priority.
Helpful!
DAmn Sara, gotta start the video off all flashy and such... Holy hell you're incredible!
Phenomenal!
8:36 and my mind was blown into shreads
And they way she flicks those last notes like UGHHHH I'M HYPNOTIZED!!!
So good
Tomado desde piezas musicales, genial ❤
wow wow what a video
Very Good Played - See you soon ❤ i Like your Channel ❤
Can you please make a video/tutorial on rachmaninoff piano concerto 1 pleasssseee!!!! thx
The piece playing in the background of the intro, is it Saint-sains 2nd piano concerto?
Listen to Rubenstein or Horowitz do this repertoire it's a whole other world.
Will I get there with 5 min practice?
Thanks
The start of this video had me falling off my piano stool and I hurt my hand so sorry I can't play anything on todays lesson sorry.
I'm all for applying the kind of 'cheats' that Sara suggests. Except that in an etude like Chopin Op.10 No.2 it does not feel right to do so. It is very tempting as it's such a bastardly hard piece, but where's the end ? This way I could perhaps finally master Op.10 No.1 by using the middle pedal to hold down the low octaves, and then playing all the arpeggios (or as many as possible) with both hands. I'm sure that would make it a LOT easier. But it would not look right though....
(11:23) This passage in Liszt's 2nd Paganini Etude is puzzling: some of the scale-figures are written out more or less as you would actually play them; for others, Liszt's notation is totally unhelpful!
I love playing the B-Major scales with both hands in the 2nd movement of Rach 2!
What kills me is playing the scales near the end of Hungarian Rhapsody No. 2, it's awful!
叫AI幫忙翻譯
這看起來很棒。 這聽起來很棒。
而且我敢說，我覺得這簡單得像小菜一碟。
這是一個非常棒、非常棒的技巧。
音階是鋼琴演奏的支柱。不論你是剛開始學習，還是已經掌握了這項技藝。
但說實話，我們很容易忘記
為什麼我們花這麼多時間練習音階。
「音階」這個詞本身帶有一點負面的聯想，當我跟學生提到它時，他們總是會有點皺眉。
然而，它們當然是非常重要的。
不用擔心。
今天，出色的鋼琴家Sara Davis Buechner
會幫助我們回想
為什麼我們一開始要練習音階。
她會帶我們走一趟
鋼琴曲目中一些最具代表性的音階時刻...
同時她會提供一些有用的
建議，教我們如何輕鬆自如地演奏這些段落。
你可以說這是作弊，
但我稱之為聰明的簡化。
今天你看到的所有材料都來自Sara
在Tonebase Premium的新課程。
她在那裡提供了一個完整的七部分課程，涵蓋所有進階鋼琴技巧的各個方面。
我覺得學生們並不真正了解什麼是技巧。
甚至有些進階的專業人士也經常對技巧抱持著一種漠不關心的態度。
這段影片是關於如何以幾乎每一種可能的方式練習音階的完整課程的一部分，而這只是冰山一角。
其他課程還包括如何練習反覆音、顫音、手指延伸等許多技巧。
技巧就像金錢。擁有得越多，你就感覺越好，能完成的事情也越多。
然而，僅僅為了展示技巧而展示，這是非常不好的行為。
如果你準備好將鋼琴演奏提升到下一個層次，請點擊描述中的鏈接查看 Tonebase Premium，並開始14天的免費試用。
此外，想要了解更多現在就能使用的音階技巧，請務必查看我們幾個月前的影片，其中有大量的練習可以幫助你入門。
別忘了點讚這部影片並訂閱我們的頻道。
這對我們有很大幫助，可以繼續為你帶來像 Sara 和許多其他大師這樣的深入有趣的內容。
那麼，現在就讓我們開始吧。
顯然，在學習各種曲目時，很容易找到需要注意的音階段落，但讓我們仔細審視一下這些片段。
這樣我們就能確切地知道其中包含了什麼。
這顯然是一種炫技的練習，關於 E 大調的知識，而貝多芬將其寫成了某種節奏型，看起來應該是這樣的。
當然，他並不是要你精確地以這種方式演奏。
所以你必須對 E 大調感到足夠熟悉，這些旋繞其中的音符，並沒有延續到音階的結尾。
你，E 大調和G 之前，當然，很多音階並不需要那麼多的重音和力度。
這裡有個很好的例子，來自蕭邦的F大調第二即興曲。
真正需要強調的並不是右手的音階，而是左手的部分。
因此，你必須能夠以極大的流暢度和輕鬆感來處理這些內容，並且音色要有很好的強調，讓音階聽起來不會機械化。
這一點非常重要。
如果我們在討論將音階練習作為每日活動，那麼你不應該自動將這些東西演奏得機械化，而是應該帶著音樂性的思考或是帶著某種觸鍵的想法。
這一點我是吃過苦頭才學到的。
我在人生中學到許多東西都是靠吃苦頭，像是從偉大的鋼琴家魯道夫·菲庫希尼身上學到。
我與他第一次上課時，我還記得彈奏《瓦爾德斯坦奏鳴曲》的速度幾乎能與超音速噴射機媲美。
我為自己感到非常驕傲，直到他對我說：“嗯，聽起來有點像策尼。”
接著，他走向鋼琴，彈了一個慢速的C大調音階，帶著無縫的連奏和漸強。
這比我剛才彈的美妙多了。
他看著我說...“你知道嗎，音階也可以很美。”
我從未忘記這一課。
另一個著名的片段來自蕭邦的練習曲Op.10 No.2。
這是一個我自己從未感到很舒服的曲子。
練習這首特定的練習曲時，我的手的上部，這整個腕部必須非常鬆弛和靈活。
而且我幾乎不能給第一和第二指所彈的低音鍵任何重量。
現在我想在這裡簡單說一下所謂的“作弊”或一些人稱之為“作弊”的東西。
我不認為音樂裡存在作弊這回事。
這只是運用你的大腦或不運用你的大腦。
當我看到像這樣寫的樂譜時，我內心的一部分立刻會想到：“嗯，我可以用左手來彈10度的音，這樣我的手就能自由地開始這個旋律，並用食指來彈奏。”這樣要進入音樂就容易多了。
同樣地，下一個和弦，我可以用左手來彈下部的音，這也讓我的手更加靈活。
在這裡，我用左手來彈，再一次用了一些“作弊”的方法。
我從來不認為這是拙劣的作弊，我也不覺得弗朗茲·李斯特或費魯喬·布索尼會認為這是作弊。
這是彈奏音樂時為了適應自己的手所必須做的調整。
我沒有李斯特的手，我沒有蕭邦的手。
我有的是Sara Davis Buechner的手。
主要的目標是讓音樂聽起來像它應該的樣子。
如果我需要用鼻子或腳，或任何身體部位來達到這個目標，我會這麼做。
我一直建議我的學生們也這樣做。
我從學生們那裡學到了各種我從未想到的創意指法和技術，僅僅因為他們的手和我的手不同。
這可能就是我對鋼琴演奏的哲學，但這與我在大師班中看到的，還有許多偉大鋼琴家們的貢獻非常一致。
就是這樣。
在艾德華·格里格的鋼琴協奏曲中，有一個非常著名的音階片段，它被記譜成這樣，在極短的時間內有大量音符。
我總是推薦用雙手來彈奏這段，運用音階的四拍和三拍原則。
我在右手彈四個音，左手彈三個音，這樣我就可以非常快速地彈出這段，等等。
當然，在練習中，你必須非常熟練地掌握雙手的定位。
這和伊格納茲·弗里德曼所解釋的手的動作安排有點關聯，他在練習中讓雙手交叉、顛倒，所有這些小技巧都是為了在幾毫秒內彈奏出一個片段。
當我想到如何在雙手之間分配音階時，另一個想到的片段來自卡米爾·聖桑的G小調第二鋼琴協奏曲。
我已經開始用左手來彈，然後是一個長音階，必須非常快速地彈奏。
我甚至曾經有指揮家問我：“你想讓我在這個音階上給你多少拍？”
因為他們曾經看到鋼琴家用一隻手來彈奏這段，但當我告訴他們其實照原譜彈就可以時，他們都感到非常驚訝。
這段出自詼諧曲樂章。
另一個非常著名的快速音階片段是李斯特的《西班牙狂想曲》。
我想大多數學習這首曲子的鋼琴家對這個指法都非常熟悉。
我相信這最早是由阿爾弗雷德·科爾託提出的，我在他的版本中看到過，它在許多樂譜中都得到了重現。
這是一個非常精彩的快速音階練習，它包含三部分，並都有具體的指法標記。
一、二、三、四、五。
練習音階的一個好方法是將它們作為一組來彈奏，像是E大調音階。
我記得當我學習這首曲子時，這就是一個例子，展示了我以前的技術練習已經讓我能夠應對這段落。我不需要學習新的技術來彈奏它。對此我真的感到非常、非常開心。
我最喜歡演奏的其中一首曲子是帕格尼尼-李斯特的第二首練習曲，裡面有一系列的地方需要你以非常快的速度交替分享音階。
所有這些段落都必須慢慢練習，但同時也要快慢結合地練習，以快速的方式組合音符。所以這涉及速度加上手的編排。
在鋼琴文獻中有無數其他音階的例子，你自己也可以找到很多。但在練習各種片段時要問自己，是否需要兩隻手交替？是否需要某種新的指法？觸鍵如何？速度如何？音色如何？
這些都是鋼琴技巧中的重要部分，所以保持對音階的練習是鋼琴練習的必要元素。
非常感謝今天的參與。
Sara 展示的更多技巧只在 Tonebase Premium 上提供，包括完整的音階練習課程，從初學到專家級。如果你喜歡今天所看到的，請點擊描述中的連結來檢查 Tonebase Premium，並開始14天的免費試用。
再次感謝今天的參與，我們下次再見。
Sara ♥️💐♥️
I personally think anyone complaining about changing the fingering in the Chopin needs to get off their high horse. Pianists change fingering all the time in Chopin’s etudes, no one has an issue with it. How is this really any different? It is music, and the music is first and foremost. If doing it like that serves the music essence of the piece, then great. If it results it in being clunky or awkward, then it’s a detriment. You can play the etudes as exercises, or you can play them as music. It’s different for everyone, and I have no idea how anyone can say ‘this is wrong’. People just love complaining about something.
I prefer the Gieseking Method.
What is the name of the book?
really easy as pi
❤❤❤❤❤❤
If one has to drop a note, do so. Hardly a soul will notice.
Preaching to the choir, here. I’ve dropped more notes than you’ve played in your life, baby.
7:02 by this rational, why don’t we play the arpegios in the first etude alternating hands and holding the octaves with pedal??
0:37 she really said cringe!!
Well, scales are pretty... it makes somebody want to smoke a cigar in the corner. They're difficult to get perfectly
It might not be the scales they’re cringing at…….
Sorry why is that surprising?
🤨
Easy as pie! (?)
😂
She came to my Highschool and performed several pieces!
12:27
❤👏👏🇧🇷
Wonderful presentation! Thank you so much Sara. : )
Hi am Reagan ssewagudde from Uganda am an intermediate pianist i teach my self but how can i practice scales to take away tension in my fingers and i have to first master one key to it at a terrible speed and then i shift to another key i don't know what to do but really i appreciate your teaching thanks
Start really slow, try to play with a metronome, train the motion of changing keys slowly, try to loose your muscels and play with your arm and wrist instead of using only your fingers.
WAY above my skill level, but wow
His ability to to relay so much information with such clarity is admirable
Her*
She has admirable ultra-speed in her scales. But the way to that speed is still unclear to me after the video!
8:53 in what study of Ignaz Friedman does he explain the choreography...?
It's very interesting how different hands find one technique easier or harder. I tried Sara's suggestion for the 2nd Chopin Etude, and it's a nightmare, lol. The way Chopin wrote it is much easier to me.
I think that’s the point…different hands require adjustments. Whatever works best!
Did Liszt really played it this way I wonder?
Only intelligent people can afford this amount of fecetiousness and humor as this woman did.
'cheating' in an etude does seem a bit incongruous
Redistribution. Not cheating.
7:34 but that's definitely cheating. The whole idea of the etude is a study using precisely those fingers Chopin wanted.. Fair enough uf it's easier to use different fingering and sharing notes in other types of music but not in this case
I disagree. A pianist can do what they want with it to convey the music as Chopin intended. No notes or dynamic markings or articulations are being changed. I always think if it’s indistinguishable on an audio recording that the fingering is changed, go for it. People change fingering all the time in the Chopin etudes, not a big deal
Great 🌈🦋🫶🏽
quite an aggressive style of playing
Well, obviously.
Young Karen Smith Edward Brown Jason
The fingering in the Chopin etude is absolutely cheating because it is not a mere piano piece it's an etude to address the very same problem she's avoiding.omg...so silly. If you can't play it as is, then you have an almost unlimited resource of other repertoire to choose from. Every pianist finds their specialty overtime based on what works best for them musically and technically. Chopin etudes live performances are not required to have a concert career
Easy as pie? Oh stop it you!!!!
Scales are like money-they are the root of all evil
I wasn’t expecting to see her play that fast, jaw bout fell off.
Scales are a bit.......fishy. (joke)
There are 2 problems I have with this tutorial: 1) Why does she constantly pedal thru all the scales? That is a no-no. She has such great fingers, but the scales are not clear because of this terrible pedalling. 2) She emphasizes speed over clarity. This is usually not a good thing. Listen to the eveness of her fast scales. They are not even. The sweep is there, but that should not be at the expense of the clarity abd rythmic definition. The best part of her advice I agree with--always re-arrange to make the passage easier when you can, but if you use two hands in a written-single-handed scale, it must sound to the listener like one hand.
You may be right - partly - , but from a practical point of view she's doing alright. I think, she's a master in playing and teaching, with very good musicality.
Useless suggestoins.
Waste of time