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This is very helpfull, thank you! It immediately transformed my playing, better tone, more ease, even when playing slower. I notice a better connection of the fingers with the arm. The hand stays much more stable, and the fingers take the keys almost “on the wing” instead of notewise.
i went to a great concert by Grimwood - all Tchaikovsky programme. I remember him saying that Daniel was able to play anything the guests asked him to at some evening or other...
Thank you so much for these practice clinics, they are always full of valuable insights and advice. I always want to get straight back to the piano bench after listening to you!
This is really sound instructions on scale technique. It's not 'every single' thing, but the big two she mentioned the arm leading and the release on certain notes at speed will solve about 95% of problems people have with smooth speed. Amazing details here, many thanks.
This was written for harpsichord. The piano had not yet been invented in Couperin's time. On the harpsichord, there is no sustain pedal. But, the note would ring on as long as you held the key down after it was played, slowly dying away, until you lifted your finger. That's why the so-called "finger pedaling" is so effective in Baroque music. It provides for an illusion of a sustain pedal, when really, it is all done with the hands. And that is why Couperin notated it that way.
Thank you on your valuable tips and information, Wat is your advice on play white keys between black keys (in the back keyboard area), with thick or wide fingers , as 3rd and fourth finger?
You may want to obtain an external overhead camera. So your ph9ne as 1 Camara where it is positioned now and another camera for overhead filming your hands. Otherwise,nice demonstration and analysis!
You may want to obtain an external overhead camera. So your ph9ne as 1 Camara where it is positioned now and another camera for overhead filming your hands. Otherwise,nice demonstration and analysis!
Thank you for the video. Could you tell me your fingering for the downward arpeggios? Play them with the right hand only or break them up into two hands?
Hello Graham, I got surprised to see that my "old" question was featured in this practice clinic. Thank you for taking the time to answer it with much details and correct my misunderstandings. I have also asked my teacher in-between and she was also the one explaining me about the importance of developing reflexes for fast tempo practice.
Fantastic explanation here! The "ta tata ta" really helps. This piece (as with any difficult piece) for me, is going to be practiced VERY slowly until I can get it to speed and more importantly, being able to distinguish the notes and not a blur! I really enjoyed Daniil Trifonov’s version even after hearing Horowitz! (Gasp!)Trifonov is amazing. Here he is and thx for this. it really helps. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-Gy5UHK4EeM8.htmlsi=0b5ApYC6LK0OL7qC
Wow, i know this is a music lesson, but my main take away from this is the true meaning of that saying about pudding haha! Interesting how a lot of idioms lose their original meaning overtime in that way
Thank you ever so much, Graham, for answering my question on the Scriabin piece. I love the shape you give to the piece, I can see your tips are going to transform my practice. Thank you again for sharing your knowledge so generously.
