This tutorial was very important for my study of this work. Your instructions on how to make the left hand and wrist more flexible were essential for my training. You explain everything in a very nice and clear way! Thank you very much for sharing your knowledge!
I think when you write a piece called Storm, it has to be in d minor because ; Chopin storm prelude op 28 no 24 is in d minor Beethoven tempest sonata no 17 is in d minor Burgmüller etude L'orage is in d minor Coincidense? I dont think so
Phenomenal... This piece has always resembled, among others, a unique specter of magic that piano mastery has to offer. To endure the discomfort of exploring rhythms and embellishment alien to the paradigms of even late classical music has been the most satisfying experience of my life. I enjoy thinking that pieces much like Rachmaninoff's Etude in Ebm were inspired by the depth of this Prelude. Thanks for breaking it down, the perspective really helps. I'd like to do it in time with the left hand, but I heard so many other interpretations; none of which are as precise as yours.
Hi Paul, I just want to tell you how valuable your tutorial videos have been for me. I'm in graduate school for engineering and have limited time to practice and no money for lessons. I'm giving a recital in my home of Beethoven Pathetique & Moonlight Sonatas (both complete), Chopin etudes Op. 10 1 & 12 and Op. 25 no. 12, and preludes 3, 20, 22, and 24. Your tutorials have been extremely helpful in my preparation, in particular this piece, which is difficult to even approach. I'm very grateful.
My God! Paul, you are the best piano teacher on RUclips. You just manage to cover everything in such short videos. I am amazed by your pianisitic skills, not to mention your generosity. Simply amazing. I am just learning this piece and you're making my life so much easier. Thanks again for the great work you put out. Yoan.
Thank you Paul, I had someone who needed this that lives in Spain, a teacher, and my black key technique study also helps classics like this one too. I will send your study on this piano piece, and I know he will inquire of you again, for sure. I was telling him the same in practicing this piece, but it will be nice to have a visual of it that is so well done ~ awesome teaching, like the European Concert Pianist I study with for 6 years.
Thank you so much for this. I've been wanting to learn this and the f minor etude for a few years. Scriabin's op 8/12 is modeled off this prelude. The left hand stamina is much more demanding here I think.
Dear colleague, except for the barefoot, which personally gives me the shivers, you've crafted a terrific mini-master-class with concrete analysis, emotional insight and advice for the piece. Moreover you are also able to convey a really positive attitude as a musician AND as a person. Intelligent and enthralling. As the op 28 closure is true epic, I fancy playing (in public) the last three D's with an outrageously amplifyed both hands gesture, suggesting the nailing of a coffing.
@PaulBartonPiano - Thank you Paul. I've finally memorised the notes of the piece and can play it all at half tempo without errors.. trying to speed it up slowly now. The scales and arpeggio rhythms become less odd-sounding as you speed them up. Thanks, Steve
Thanks Paul, very helpful stuff! I took on this piece to challenge myself as it is at least a level higher in terms of difficulty than other pieces I mastered, and it consists of things that are my weak points - the fast scales and arpeggios. It's a slow and demanding but rewarding work so far and I feel very motivated :)
And yet I still wonder if I can ever get the entire run down to the point where the speed and more importantly the energy is equal to my inner conception of the music!
I hear ya. Your spirit/mind knows what you want the music to be. But you can't yet make your body cooperate and make it sound so powerful and effortless. That's where learning it bit by bit comes in.
Paul, Thank you so much for your talent and for teaching all of us around the world. Your videos have been of the utmost help for me. Could you please do a tutorial on chopin's etude op 10 no 11.
Baby steps for this one as well. But I will work on it. Thanks for the tutorial. The triplet thirds chromatic scale makes more sense now, though it's something I'm really going to have to practice. :)
See the video of Pollini playing this. It is incredible. It doesn't even look like his left hand is doing any work! How is it that these early 20th century pianists make everything look so effortless and even banal? lol Crazy technique.
An inspiring tutorial, Paul. Perseverance really works: after a couple of months most of the scales and left-hand-figurations do not frighten me anymore. I know one day I will play them all in a decent tempo. The only thing which still makes me sad is descending chromatic thirds. I wish I could play only the upper voice, even with only the 4th and the 5th fingers, because as soon as I activate the first finger, the maximal accessible tempo becomes catastrophically low. The progress here is veeeery slow; I am not sure at all that I can play this passage in a normal tempo. Paul, how to approach it? How can you play it so fast? What's the secret?
I'd like to know as well. The other stuff may be doable in a year if I keep at it, but how the heck does one do that scale without fingers just getting into a tangled mess?
Egor Drozdenko Perhaps try playing groups of 3 or 4 thirds at a time, focusing on transitioning fingers. Start slowly and increase speed so long as you don't compromise the transition. Then build an octave from these groups and so on... This helped me
well, op.48 no.1 does require large hands and independant fingers. Normally, like Paul said, as long as you play with flexibility and weight, you will not have any problems playing. - Vidusso's student
Bravo Paul! I recently stumbled across these and have been loving them especially the Chopin. Do you have one on Nocturne Op.27 No.2 by chance? Keep up the excellent work Paul I very much admire your teachings!
The explanation of how to fit in the flurry of notes against the left hand is not very clear to me. In bar 14 the left hand has what adds up to twelve 16th notes. How do you fit in the 28 notes of the right hand against that? Similarly, bars 18, 32 and 66?
7:29 Hi Paul, I see a huge gap before the Fmaf7 arpeggio starts on your sheet , because the first half of the measure ends with a quarter note, whereas it ends with an eigth note on the 2 different editions that I have, so of course it is easier to start earlier, because you can play slower, but which one is right? Or does it matter?
I've also begun recording my pieces. I would very much like to send you recordings of my recital repertoire, if only to say thank you for inspiring my practice.
I feel like with time, all of this piece is possible for me but the right hand m3rd triplet run. I'm curious how you feel about runs like this and how (if even possible) to develop speed with them aside from just 'time and practice'. It seems like the more you try to increase speed the more you have to get into the nitty-gritty details of how not just your fingers, but your entire arm is moving. I feel like I have to 'zoom in' on each third couplet and analyze the movement.
@PaulBartonPiano - I can see you holding down the crotchet third finger A's in bars 1 to 8. Is this really necessary given the fact that the sustain pedal is down? The crotchet motif is not repeated again during the piece, even for the D minor bars. Steve
Hi Paul, I'm learning this piece and I'm having trouble matching the scales to the LH. In my copy the scale notes seem to line up with some of the LH notes, e.g. in bar 14 the RH plays 8 doublets followed by 4 triplets, so synchronising with the 12 semiquavers of the LH, and in bar 36 the RH does 2 doublets, 2 triplets, a quadruplet and a pentuplet to match the 6 semiquavers LH. Is this right or should the runs be at a steady rate independent of the LH? Thank you, Steve
Hello Paul! Thanks for the great tutorial. I'm currently studying this piece (and few others of the Preludes). I was wondering which fingering you use for the double triplets? I use 15-24-23-15-24...So, I slide the 2. finger down from c# to c and from f# to f, respectively. You seem to use a different fingering but I couldn't quite make out what it is. What would you recommend? Thanks!
Paul, what fingering do you use for the chromatic double 3rd? I've figured it out mostly myself but I was wondering if there was a more efficient fingering than the one I'm using
Hi Paul, thank you so much for your tutorials - they are an inspiration and a huge benefit to me. In the left-hand, the second semiquaver is used as a pivot, but held as a crotchet for some bars and not for others... Do you think one should hold this semiquaver wherever possible - was that Chopin's intent (there's no "simile" marking to indicate this) or should one play exactly as written (i.e. letting go of the pivot when that semiquaver appears just as a semiquaver)? Thank you so much again for your tutorials! :-)
Paul, thank you very much for these videos, they are great encouragement for those of us who love to play but will never likely see the concert stage!! I don't know if you're still reading comments on this old a video, but I'm curious as to why you described those descending runs in the opening half as "Fmajor7" and "Cmajor7", when the harmony at that point is clearly an a-minor triad with an upper neighbor and then e-minor with upper neighbor.... Just wondering why you described them the way you did, thanks!
the notes in the scales are not "whole number" multiples of the rhythm of the bass (6 beats per "unit"). (for ex, there are sets of 28 or 22, which are not multiples of 6, which is the "rhythm of the bass", 4 sixteenth notes (4beats) + 1 eighth note (2 beats) ) - do we have to master polyrhythms of 13/6, 14/6 etc in order to be able to play them?
Awesome video even if it will be years before I could consider playing this piece. What does the instruction 'stretto' mean in this context? I've only heard it to describe a fugal writing technique where you overlap the subjects.
in fact those nasty thirds are not so nasty at all, the LH is nasty, but i play them 1/2 speed, but i learn piano only 3 years and on myself, i have small hands and the LH is terrible, lol i ve just notived 8 years ago - so how is it going?
So this prelude is more difficult technically than op 10 no 9? It certainly seems that way. But this conflicts with my initial impression that the etudes are pretty much the most difficult pieces Chopin wrote. Am I right in concluding that most of the etudes are indeed harder, but some, such as this one and no 8 are harder than some of the etudes?
I've been commenting this on like every video of this song because I very much want an answer. Whyyyyy does everyone play this so fast?? It's Allegro. People play it as if it's presto and it's so confusing. It could not be more clearly stated as allegro
Decades ago, after watchin a movie The picture of Dorian Gray, I set down at the piano with bushy tail to play No. 24. In less than 5 minuts, after trying left hand, I gave up.
Well i think i just gave my left hand arthritis... stick to Wolfy's K397 for now if i want D Minor.... :))) 10yrs time my left hand might just be malleable enough!
RS Gnome Chopin's music can take you all the way from the lowest C to the highest F on a modern grand piano. So no. You cannot play this mammoth on your keyboard. I as well want to play this, but I also have a 5-octave keyboard. Plus i'm not at the level to play this ridiculously difficult piece of crap. I'll wait. I have the sheet music for it just in case, but I cannot seem to make out some of the fingerings on it. Those chromatic thirds towards the end, I imagine, must be difficult and hard and exhausting to play, as well as the left hand (which I can only imagine is absurdly ridiculous to execute properly) and those darned scales which have to be played very quickly. The difficulties in this piece are extremely multifarous! That is all I can say. Goodbye!! But I would still love to learn and play it fully through though.
The thunder-lightning effect was amazing! Almost startled me in the end! :)
Thank you very much paul, the years pass by and these videos still help other students around the world ❤
This tutorial was very important for my study of this work. Your instructions on how to make the left hand and wrist more flexible were essential for my training. You explain everything in a very nice and clear way! Thank you very much for sharing your knowledge!
I think when you write a piece called Storm, it has to be in d minor because ;
Chopin storm prelude op 28 no 24 is in d minor
Beethoven tempest sonata no 17 is in d minor
Burgmüller etude L'orage is in d minor
Coincidense?
I dont think so
Memati Baş They are nicknamed like that, not the original names.
@@KerimWirthSuperLps d minor is the "storm scale"
Also, most classical pieces associated with "wind" are in a minor (such as Étude Op. 25 No. 11 and 'Comme le Vent')
@@severusbandaya beat me to it >.
Bach Chaconne in D Minor
Phenomenal... This piece has always resembled, among others, a unique specter of magic that piano mastery has to offer. To endure the discomfort of exploring rhythms and embellishment alien to the paradigms of even late classical music has been the most satisfying experience of my life. I enjoy thinking that pieces much like Rachmaninoff's Etude in Ebm were inspired by the depth of this Prelude.
Thanks for breaking it down, the perspective really helps. I'd like to do it in time with the left hand, but I heard so many other interpretations; none of which are as precise as yours.
I can't begin to thank you for your devotion and time to this channel and project.
So inspiring to see how it all fits together. Thank you so much!
Paul, what a great classical lesson. Wish I'd had videos like this available when I first started playing piano Thank you!
Chopin to najpiękniejsza spuścizna dla ludzkości.
This is a super helpful and clear tutorial!! Thank you for sharing it!
Thank you very much for all of your videos, specially for your tutorials!
A complete performance in the “video reply”, that’s a blast from the past.
Old RUclips is strange and alien, yet comforting
Hi Paul,
I just want to tell you how valuable your tutorial videos have been for me. I'm in graduate school for engineering and have limited time to practice and no money for lessons. I'm giving a recital in my home of Beethoven Pathetique & Moonlight Sonatas (both complete), Chopin etudes Op. 10 1 & 12 and Op. 25 no. 12, and preludes 3, 20, 22, and 24. Your tutorials have been extremely helpful in my preparation, in particular this piece, which is difficult to even approach. I'm very grateful.
My God! Paul, you are the best piano teacher on RUclips. You just manage to cover everything in such short videos. I am amazed by your pianisitic skills, not to mention your generosity. Simply amazing. I am just learning this piece and you're making my life so much easier. Thanks again for the great work you put out. Yoan.
Wow! A very helpful and good quick lesson from you Paul. Thank you!
Thanks, Paul. Nice, useful and concise.
Thank you Paul, you have given me the encouragement to attempt some of it. Don.
Thank you Paul, I had someone who needed this that lives in Spain, a teacher, and my black key technique study also helps classics like this one too. I will send your study on this piano piece, and I know he will inquire of you again, for sure. I was telling him the same in practicing this piece, but it will be nice to have a visual of it that is so well done ~ awesome teaching, like the European Concert Pianist I study with for 6 years.
"... and then you'll find your left hand playing comfortably. well, almost" -- could not agree more :), and excellent tutorial as always.
Thank you so much for this. I've been wanting to learn this and the f minor etude for a few years. Scriabin's op 8/12 is modeled off this prelude. The left hand stamina is much more demanding here I think.
I never knew Scriabin's op 8/12 is based on this prelude. I can definitely hear it though!
Thanks for this. Wow what a great service you offer. A lot of ideas for me to take to my own practice.
Thank you so much for the wonderful tutorial, very informative and inspiring. You are a very talented musicia and teacher.
Wow, absolutely incredible! And this piece is beautiful!
just wonderful
Dear colleague,
except for the barefoot, which personally gives me the shivers, you've crafted
a terrific mini-master-class with concrete analysis, emotional insight and advice for the piece. Moreover you are also able to convey a really positive attitude as a musician AND as a person. Intelligent and enthralling. As the op 28 closure is true epic, I fancy playing (in public) the last three D's with an outrageously amplifyed both hands gesture, suggesting the nailing of a coffing.
@PaulBartonPiano - Thank you Paul. I've finally memorised the notes of the piece and can play it all at half tempo without errors.. trying to speed it up slowly now. The scales and arpeggio rhythms become less odd-sounding as you speed them up. Thanks, Steve
Thanks Paul, very helpful stuff! I took on this piece to challenge myself as it is at least a level higher in terms of difficulty than other pieces I mastered, and it consists of things that are my weak points - the fast scales and arpeggios. It's a slow and demanding but rewarding work so far and I feel very motivated :)
very nice video thank you
great work, thanks Paul
Thank you very, very much!!!
A great tutorial, Paul!
wow, thank you for clarifying, amazing🤗
And yet I still wonder if I can ever get the entire run down to the point where the speed and more importantly the energy is equal to my inner conception of the music!
I hear ya. Your spirit/mind knows what you want the music to be. But you can't yet make your body cooperate and make it sound so powerful and effortless. That's where learning it bit by bit comes in.
Paul, Thank you so much for your talent and for teaching all of us around the world. Your videos have been of the utmost help for me. Could you please do a tutorial on chopin's etude op 10 no 11.
Baby steps for this one as well. But I will work on it. Thanks for the tutorial. The triplet thirds chromatic scale makes more sense now, though it's something I'm really going to have to practice. :)
See the video of Pollini playing this. It is incredible. It doesn't even look like his left hand is doing any work! How is it that these early 20th century pianists make everything look so effortless and even banal? lol Crazy technique.
An inspiring tutorial, Paul. Perseverance really works: after a couple of months most of the scales and left-hand-figurations do not frighten me anymore. I know one day I will play them all in a decent tempo. The only thing which still makes me sad is descending chromatic thirds. I wish I could play only the upper voice, even with only the 4th and the 5th fingers, because as soon as I activate the first finger, the maximal accessible tempo becomes catastrophically low. The progress here is veeeery slow; I am not sure at all that I can play this passage in a normal tempo. Paul, how to approach it? How can you play it so fast? What's the secret?
I'd like to know as well. The other stuff may be doable in a year if I keep at it, but how the heck does one do that scale without fingers just getting into a tangled mess?
Egor Drozdenko Perhaps try playing groups of 3 or 4 thirds at a time, focusing on transitioning fingers. Start slowly and increase speed so long as you don't compromise the transition. Then build an octave from these groups and so on... This helped me
Thank you!!
well, op.48 no.1 does require large hands and independant fingers.
Normally, like Paul said, as long as you play with flexibility and weight, you will not have any problems playing.
- Vidusso's student
Bravo Paul! I recently stumbled across these and have been loving them especially the Chopin. Do you have one on Nocturne Op.27 No.2 by chance? Keep up the excellent work Paul I very much admire your teachings!
The explanation of how to fit in the flurry of notes against the left hand is not very clear to me. In bar 14 the left hand has what adds up to twelve 16th notes. How do you fit in the 28 notes of the right hand against that? Similarly, bars 18, 32 and 66?
7:29 Hi Paul, I see a huge gap before the Fmaf7 arpeggio starts on your sheet , because the first half of the measure ends with a quarter note, whereas it ends with an eigth note on the 2 different editions that I have, so of course it is easier to start earlier, because you can play slower, but which one is right? Or does it matter?
I've also begun recording my pieces. I would very much like to send you recordings of my recital repertoire, if only to say thank you for inspiring my practice.
I feel like with time, all of this piece is possible for me but the right hand m3rd triplet run. I'm curious how you feel about runs like this and how (if even possible) to develop speed with them aside from just 'time and practice'. It seems like the more you try to increase speed the more you have to get into the nitty-gritty details of how not just your fingers, but your entire arm is moving. I feel like I have to 'zoom in' on each third couplet and analyze the movement.
@PaulBartonPiano - I can see you holding down the crotchet third finger A's in bars 1 to 8. Is this really necessary given the fact that the sustain pedal is down? The crotchet motif is not repeated again during the piece, even for the D minor bars. Steve
Hi Paul, I'm learning this piece and I'm having trouble matching the scales to the LH. In my copy the scale notes seem to line up with some of the LH notes, e.g. in bar 14 the RH plays 8 doublets followed by 4 triplets, so synchronising with the 12 semiquavers of the LH, and in bar 36 the RH does 2 doublets, 2 triplets, a quadruplet and a pentuplet to match the 6 semiquavers LH. Is this right or should the runs be at a steady rate independent of the LH? Thank you, Steve
Hello Paul! Thanks for the great tutorial. I'm currently studying this piece (and few others of the Preludes). I was wondering which fingering you use for the double triplets? I use 15-24-23-15-24...So, I slide the 2. finger down from c# to c and from f# to f, respectively. You seem to use a different fingering but I couldn't quite make out what it is. What would you recommend? Thanks!
Paul, what fingering do you use for the chromatic double 3rd? I've figured it out mostly myself but I was wondering if there was a more efficient fingering than the one I'm using
ok thank you.
la classe!!
Hi Paul, thank you so much for your tutorials - they are an inspiration and a huge benefit to me. In the left-hand, the second semiquaver is used as a pivot, but held as a crotchet for some bars and not for others... Do you think one should hold this semiquaver wherever possible - was that Chopin's intent (there's no "simile" marking to indicate this) or should one play exactly as written (i.e. letting go of the pivot when that semiquaver appears just as a semiquaver)? Thank you so much again for your tutorials! :-)
Paul, thank you very much for these videos, they are great encouragement for those of us who love to play but will never likely see the concert stage!!
I don't know if you're still reading comments on this old a video, but I'm curious as to why you described those descending runs in the opening half as "Fmajor7" and "Cmajor7", when the harmony at that point is clearly an a-minor triad with an upper neighbor and then e-minor with upper neighbor.... Just wondering why you described them the way you did, thanks!
the notes in the scales are not "whole number" multiples of the rhythm of the bass (6 beats per "unit"). (for ex, there are sets of 28 or 22, which are not multiples of 6, which is the "rhythm of the bass", 4 sixteenth notes (4beats) + 1 eighth note (2 beats) ) - do we have to master polyrhythms of 13/6, 14/6 etc in order to be able to play them?
Paul, how far do your hands stretch (how many notes), and how hard do you think these pieces are depending on hand sizes? Thank you!
Awesome video even if it will be years before I could consider playing this piece. What does the instruction 'stretto' mean in this context? I've only heard it to describe a fugal writing technique where you overlap the subjects.
Thanks for your wisdom. For what it's worth, I think your 10/2 is excellent. And speaking of Winter Wind, tutorial part 2? :p
MAYbe in 20 years I'll be playing this......lento or grave. Ha.
One hundred years for those nasty descending thirds. Thanks Paul for some insight.
in fact those nasty thirds are not so nasty at all, the LH is nasty, but i play them 1/2 speed, but i learn piano only 3 years and on myself, i have small hands and the LH is terrible, lol i ve just notived 8 years ago - so how is it going?
I have a (very) small hand, mm..this is a roblem to play this prelude? for the extensions of the left hand (sorry my english is not too good)
I can't play this piece for the same reason I can't play Chopin's Ballades no. 2 because of those 7th's descending
So this prelude is more difficult technically than op 10 no 9? It certainly seems that way. But this conflicts with my initial impression that the etudes are pretty much the most difficult pieces Chopin wrote. Am I right in concluding that most of the etudes are indeed harder, but some, such as this one and no 8 are harder than some of the etudes?
Thank you.Your videos are wonderful.
do you have technique suggestions. I practice daily a couple of hours, Mostly Hannon, Pischna. Others??
5:35
Please do Op 28 no 12 in G-sharp minor
Humm good, what piano vídeo?
i can only reach an octave can i still play this piece?
I've been commenting this on like every video of this song because I very much want an answer. Whyyyyy does everyone play this so fast?? It's Allegro. People play it as if it's presto and it's so confusing. It could not be more clearly stated as allegro
Decades ago, after watchin a movie The picture of Dorian Gray, I set down at the piano with bushy tail to play No. 24. In less than 5 minuts, after trying left hand, I gave up.
can you give more help with the left hand?
Beautiful.
Yours Sara
2:13 to 2:15 is the hardest for me. The crossing over fingers just kill me
Eh this oak can play! Proper nice sound set up as well. Tutorial piano sounds better than most famous recordings available on youtube. Nice
How hard is this prelude?
oh my god ! that thing has more chords than the piano keys O_o
Having a small hands.....
It is impossible plays...😢
Well i think i just gave my left hand arthritis... stick to Wolfy's K397 for now if i want D Minor.... :))) 10yrs time my left hand might just be malleable enough!
These pieces are not friendly to people whose hands are small.
Don't I know it! :)
I play a 5 octave keyboard, can it be played in 5 octaves?
Faraz Rahman no way
RS Gnome Chopin's music can take you all the way from the lowest C to the highest F on a modern grand piano. So no. You cannot play this mammoth on your keyboard. I as well want to play this, but I also have a 5-octave keyboard. Plus i'm not at the level to play this ridiculously difficult piece of crap. I'll wait. I have the sheet music for it just in case, but I cannot seem to make out some of the fingerings on it.
Those chromatic thirds towards the end, I imagine, must be difficult and hard and exhausting to play, as well as the left hand (which I can only imagine is absurdly ridiculous to execute properly) and those darned scales which have to be played very quickly. The difficulties in this piece are extremely multifarous! That is all I can say. Goodbye!! But I would still love to learn and play it fully through though.
Here Paul talks conversationally, but in his new releases he talks rather robotically. I wonder why🤔
I love you!! Marry me!
Paul, what a great classical lesson. Wish I'd had videos like this available when I first started playing piano Thank you!