I need advice. I have issue with getting these polyrhytms to play evenly. When I play hands separate, everything is perfect. But when I start playing with both hands, rhytm in left hands gets deformed. I hold 1st note of every triplet for a bit longer and play 2nd and 3rd a bit faster. So instead of this (first line): X X X X X X X X - left hand plays something like this (second line). I practice each hand separately, doing pulse things you were doing in video, alternate hands, practice like this for 20-30 minutes..even with metronome. Then put hands together and my left hand rhytm is deformed again. Any advice?
I believe the secret of playing Bach is the sensitive treatment of dissonance. It seems you are leaning in that direction without actually saying so. It's great to hear a pianist getting away from the prevalent and awful "sublime sewing machine" conception of Bach playing. Bach is a very lyrical composer, in many voices simultaneously. And the bass is not always staccato....
Here I am again. Awsom to know! But could you also « teach » me how to open and play with my I-pad with sheet music on it put directly on the piano? Tnx and kind regards, Dona (from Belgium)
Hello Steven, this is great. I adore playing the piano, but not used to computer… don’t you have to pay IMSLP for membership then? Can you suscribe for sheet music for free? Tnx for your reply. Dona (from Belgium)
Thanks for that clarification man! When I played Waldstein and Debussy Feux d'Artifice last year I had good and effortless technique, but since that I managed to fall on the wrong track techniquely, injuring my wrists because I used too much weight, playing all the way to the bottom (even past) like you did at the end there, etc. I guess it's all about "aiming at the point of sound" and not hit the keys in a way that it hits you back in a bad way, as the Taubman approach talks about.
Edited versions: Schnabel, Arrau, Goldenweizer, Martinsson. Several EMB (particularly Bartok) and also Liszt (not that Japan Zen-on) is very good too. You could see Liszt pedalling in Bowsworth edition.
Very, very nice! Such a beautiful piece. I used to play this 20 years ago and I'm coming back to it now. You offer such wonderful and pithy commentary. I enjoyed every moment. Your love of these pieces clearly shines through. It's just what i needed coming back to this. Thank You Steven.
not very helpful - the advice given is basically "relax your hand", we already knew that... that's like giving advice "just practice" or "just get good" 😀usually people give tips on _how_ to practice a thing efficiently, how to decompose the practiced thing into smaller parts that are easier to execute, etc... on the topic of long jumps other educators advice: practice thumb-pinky jumps first (shorter distance, mentally), then just thumbs or just pinkies first before doing the entire octave-octave, or octave-chord with full hand. another tip i heared is spring of the low octave as fast as possible to give you more "travel time" before you have to hit the upper octave or chord. and lastly, and unhelpfullly, prepare to burn possibly many hours or weeks on this.
Steven, Outstanding video. I'm learning everything I can about the mechanics and playing of the piano, and I have had this question in my head for about 4 days now. You answered it perfectly, convincingly, and accurately. I'm now convinced, as you say in your words, "Put the thumb on the damn black keys when it's convenient too; that's totally cool." The piano world needs more people like you. Respect, Cheers, and Thank you. Thumbs up, and I subscribed.
I think a lot of piano theory is dependent on hand physiology to a certain extent. I have med sized hands, very wide palms and not very long, thick fingers. I have excellent finger control for quick movement. It I do have some difficulty getting between the black keys. As he mentioned the keys are “heavier” in between the black keys, specifically for an upright, because you’re closer to the center point of your fulcrum. Where the key pivots in the pin. The slower you are to the center of a lever, the more work it takes to depress. In the next 5 years I will trade in my Yamaha U-1 for a 6’ grand. Hopefully a Steinway!
Helps to have a teacher to advise of shortcuts to memorizing these buggers. My Steinway L keeps saying, “use me or lose me!” It does take constant practice to keep pace with even the simplest Bach compositions.
This is an extraordinary masterclass. You made the whole piece much easier for me. This is my first etude, I'm self taught but eventually I'll get a teacher when I can afford it. Thank you
Great Steve! No one explains piano technique and interpretation in a simple and understandable way like you do. Thank you so much from an amateur but perfectionist Italian pianist and Chopin enthusiast.
I just started Fugue in C - sharp major WTC2 and Your insight is helpfull. There was a mention of an composer early in the video..Was it Katanec? Thanks for content keep it up!
