Thank you so much for your work, Denis! Even though we already worked a lot on octaves and I also spent a lot of time on applying similar techniques, the explanations in your videos are so clear that it's always a help to watch them.
Thanks Felix. Oh yes it’s actually related to our recent octave experiments a bit, although was recorded much earlier 😊 You’re doing absolutely great anyway, and will play any octaves amazingly very soon, I can see that! [Baba Vanga Mode: On]
I have a question Denis, currently working on Ballade 3 from Chopin. In measure 14. There is this nice phrase using octaves which should be played legato from c, d flat, d, e flat, e , g, ending wirh a 1/32 break and a 1/32 f.. There is no pedai indicated. The upper voicer has the fingering: 5, 4, 5, 3, 4, 5 (National Edition) I move my arm quickly into and out of the keys (relaxed) to hit the black ones. The third finger on E flat is not comfortable at all. Without pedal, legato seems impossible. To me, tempo also seems possible only using the arm. Of course, I keep my wrist relaxed. Fingering for me: 5 4 5 4 5 ... 5. What is your advice here?
A fingering is just a suggestion, and in most of cases belongs to the editor, not composer. Of course if 3-4-5 is too wide and uncomfortable, you’d want to use any other one that is comfortable. I think I demonstrated you a trick once that one may achieve nice legato playing even poking the keys with a pencil, if one phrases well enough and uses pedal sensitively. Any pedal indications in Chopin are just a very approximate and minimalistic draft. Think of it as of a short general idea that you have to develop in a full-size poem. If you need pedal for providing legato that is in your case the only way to provide it - use it of course, but maybe you’d want to treble with your foot gently, so it will be helpful for your goals but almost not noticeable as an effect.
@@DenZhdanovPianist So, I go with a little bit of careful pedaling trying to coordinate all in one movement. Listening to pianists, there are several variations how this is played, faster, slower, with or without pedal,, nevertheless intersting to focus on such details. Your Schubert example here is a guideline! I love watching it, snd of course, each of the lessons.
