Quickest Way to Master SPEED and ACCURACY?! 

Awesome!!

That was a pretty slow search by Google, then😊

I search that like 5 times per day like i’m praying for my religion, please grant me dexterity 🙏🏻

I was just thinking about that

And are u fast now?... It's been 7 months u c. 😅

Frustration should only naturally come when the learning is counterproductive. I feel it when trying to play Bach’s third invention at Czerny’s speed of dotted quarter = 92. I bet Lisitsa feels frustrated, because even for her seems to be impossible.

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And what do you think about the idea that the note occurs way before the finger reaches the bottom of the keyboard ? In fact you don't need to go to the bottom and hurt something.

People pay money to get a customized teaching according to their level, physical and mental technique as well as a follow up on their progress. These are generic ideas, (which are good, don’t get me wrong) but its application vary from person to person and need constant supervision in the lesson and weekly to achieve proper progress. So people pay money for that.

The curious thing is that Chopin demanded strict time in the left hand for his music, “as per” Mikuli and many others. Why after so much practice then, virtually no one is able to play his mad music in strict time? Is it impossible? Has any recording ever achieved that? Have the marcati in his Revolutionary Etude been ever sounded at full speed? Is she playing too fast here? Yes, because we have created an idea that this is the speed Chopin wanted, but research has shown that it is not the case - one can easily look it up. There are no quotations speaking about Chopin being a sadist that asked for an unhealthy art or by which people complained about he being a torturer.

Human bodies and musical machines have physical limitations. Composers knew this. Unless they wanted to create frustration for hundreds and then thousands of people as primary goal, their asked speed should be tolerated and treated as a sacrosanct impossibility that in the long term seems to reinforce frustration and worse yet: physical lameness and injury. If that was not the composers’ goal, though, then we should raise the aesthetic, psychological and historical question of their art. Luckily there have been people addressing the issue, of the outrageous tempi, during the last century. Every serious musician should delve into it, I believe. Frustrated musician, here, too.

@@peacegod7337 I know, and this video’s master’s output, not only here but in her channel is truly a testament to that! But surely no human brain can make enough mental and physical gymnastics to play at a rate of 29 notes per second as in the second page for Beethoven’s Op.31 No. 3 Sonata, where according to Czerny one has to play at 144 BPM and at a strict tempo. Or follow Cellarius’s indications of six waltz-steps in less than a second according to his metronome mark. What I want to hint at is to the most important problem that has plagued the classical music world during the last 100 years: that there are problems with the speeds indicated in scores by a big amount of composers from the past, and the thereby-justified research had until recently not able to provide an answer. If you have not heard or known about this problem, you can thank many factors of our culture, among most importantly the complacency and collusion of our arts and culture influencers and teachers that, maybe a lot unaware of it, quell question-asking and talking about it, as anyone with common sense would expect. That includes videos like this without a footnote that would say: this speed is one in which the artist prefer to play. But to say that this speed was intended by the composer? The artist has to stick to a metronome mark of either 84 or 100 Strictly (Chopin made clear that that was the way he wanted his music be played). But neither the artist or all of pianists in the world will, for this piece. Or all his works at what we would commonly nowadays interpret as his metronome speeds indicated on his scores.

@@peacegod7337 84 or 100 half notes, that is! (168 or 200 quarters).

@@peacegod7337 which by the way, I have to clarify that these speeds were not written down by Chopin but by two different editors, that’s why there are two speeds. But then we have also the problem with Chopin‘s very own metronome marking for the opus 10 number 12 étude where he asks for marcati to be played in the first 16th note of each descending four-16th notes groups. (No one seems to be able to play them at full speed). And many other works. Thank you,

@@peacegod7337 Here are some quotes about how Chopin wanted us to play his music, independent of how fast or slow he indicated: His pupil Friederike Streicher wrote in her diary that Chopin "required adherence to the strictest rhythm, hated all lingering and dragging, misplaced rubatos as well as exaggerated ritardandos." “Nothing was more foreign to Chopin’s nature than overemphasis, affectation or sentimentality: ‘“Je vous prie de vous asseoir” ["Please sit down", like saying “please, do take your time”], he said on such an occasion with gentle mockery’“ Other quotes on Chopin’s tempo-keeping: “'The left hand,' I often heard him say, 'is the choir master: it mustn't relent or bend,. It's a clock. Do with the right hand what you want and can” “Chopin, as Mme Camille Dubois explains so well, often required simultaneously that the left hand, playing the accompaniment, should maintain strict time, while the melodic line should enjoy freedom of expression with fluctuations of speed” "In keeping time Chopin was inexorable, and some readers will be surprised to learn that the metronome never left his piano. Even in his much maligned tempo rubato, the hand responsible for the accompaniment would keep strict time, while the other hand, singing the melody, would free the essence of the musical thought from all rhythmic fetters, either by lingering hesitantly or by eagerly anticipating the movement with a certain impatient vehemence akin to passionate speech."

In case you havent seen the new video about chopin jazz :)

Study Godowsky’s fingerings! His works are like an encyclopedia for this,

@@AlbertoSegovia. Agree 100 percent !

@@chopholtz4950u could’ve just said, “different fingerings result in different sounds”

Thanks for sharing. As a beginner, this is immensely helpful to know.

Fascinating:-)) Yes, those can be applied to piano practice as well, I use them! Thank you for sharing, it's interesting to learn about the other instruments.

@@JuliaPikalova Very cool! Thanks for the reply :)

It’s incredible, the human ability. Being at her level comes through a lot of hard work. And it’s a delight to watch!

@@AlbertoSegovia.Yes, its obvious that she’s practiced a lot over the years. But she knows how to practice -which is even more important.

Assuming a skill like this is due to a “differently wired brain” is exactly why most people never advance to the next level in what they do. If you put in the hours, you would understand how simple it becomes. I haven’t met someone who couldn’t learn a lot of musical information in a short amount of time with the proper coaching. Just takes time and dedication, just like everything else.

@@taiteyard3567very true

I am not sure that I understand what you mean, but I would like to understand your strategy. Would you mind explaining in another way or giving an example?

@jordanbpiano I can try! Take a group of 4 notes that are all the same length. Instead of playing them with the written rhythm, play the first and third notes as dotted, and the second and fourth notes as half the original value. You've then practised moving from note 2 to note 3 at double speed. Then swap the dotted notes and the shortened ones - notes 2 and 4 are now dotted, and notes 1 and 3 are half length. Playing like this, you practise moving from note 1 to note 2, and from note 3 to note 4, at double speed. Putting both of those together, you've now practised every move between two notes at double speed! And you can of course extend this to much larger groups of notes using the same idea.

Ah, okay! A former teacher taught me that strategy, and it has helped immensely. Thank you for taking the time to explain.

Terrific strategies and also love that 'winging it' stage where you can find your baseline!