I am back in the heat of the summer. What I have learned from this video dear Greg is that I have to learn each hand separatedly. The right hand and the left hand. They must be beautiful. It is touching the keyboard with flat fingers. Each note is important to be played differently. It is not easy for an amateur. Thank you dear Greg for your teaching.
I am a new intermediate student and all of your videos especially this one are so incredibly helpful to me. I watched your chopin nocturne op 37 no 1 video several times as I prepared for my recital for almost two months! The recital was a resounding success! Thank you so much I will be consuming all of your content again and again as I further develop as a pianist. Thank you so much I feel indebted to you!
This is very impressive. I've been trying to do this for many years and I confirm it. It's not easy at all. But eventually it actually works. Thank you very much Greg. ❤❤
Quite interesing, I am going to try to do this with Bach's prelude in c major - the first music I'd like to learn - focusing on Hanon's first exercise and C Major scale for now.
Thank you Greg. I have found that it helps to play Bach fugues from the Well Tempered Clavier. By marking the main theme with a highlighter and following it through and playing only the main theme, then adding the rest of the voices at a much lighter tone, it helps to learn to bring out the melody in a piece and achieve the desired balance in the sound. I also find listening to singers sing arias very helpful. Listen to their phrasing and how they breathe and follow the lyrics and see how they emphasize the words/notes to bring out the meaning of what they are singing. That’s how we, as pianists, need to emphasize the notes and make the notes sing on the piano. The standard of any performance is the singing voice. Thanks again. You are so helpful in your videos.
@@donniereagan Donnie, yes, Puccini was a master for sure. Also, I listen to Schubert and Schumann lieder which often express a lot of human suffering. Thinking about suffering and pain helps in playing any instrument in a more musically expressive way.
Most concise explanation I have heard on balancing the left and rights hands. Best demo on the importance of right hand needing to balance the top voice(s) with the inner voices.
I am coming back this afternoon. It is of the utmost interest to know and to be aware of the Left Hand and Right Hand to obtain a singing sound on the piano. Thank you dear Greg in the heat of the summer.
@@gregniemczuk It sounded so much nicer with the left hand being softer. And now I sing the notes as I play the right hand by itself, to mirror what a singer would do with it, leading to a more beautiful rendition of the melody. Exactly like what I see you do in your videos. THANK YOU SO MUCH, Greg.
Excellent !! This is special, direct, dynamic with incremental steps to achieve the special flow we seek. Specifically, this addresses most Waltz with impérative Left hand softness. Unless, of course for upbeat dance as in polka. ❤ Youre the best at explaining.
Putting high density rockwool in the corners of the room should help absorb some of that bass too, the room's too reverberant causing the sound to reflect unnaturally, once you deal with this in the room, you will not be so scared of the bass as the sound starts reflecting and interacting within the piano properly. You can then be soft in the bass without the insecurity and fear of the bass, you will feel control from a point of view of having effort to play the soft note rather than trying to control something that's too loud so you can feel comfortable when playing, as I know what you're going through with the fear of controlling the bass to get this sound you've discovered.
Hi Matthew, thank you for your advices. I do have this in my room. But I think you didn't understand my point. I was talking about playing in big concert halls as well, with fantastic acoustics. It has nothing to do with the acoustics, it's the mechanic of the piano. Bass strings are 10 times more powerful then violin ones in every single piano, regardless the acoustics.
I got just 2 piano teachers in life, many years ago, but nobody tell me that right way .... make me think it can work even just still don't try, really thanks for that lesson :- )
Thank you sooo much. I have been struggling for years with this precise nocturne of Chopin. I can play all the notes ok but it nevers sounds right to me. Always heavy and clumsy in the left hand. I have the same issue with Chopin's "Suffocation" which at first glance seems like an easy piece, but to make it sound beautiful, boy oh boy, not easy. I've always known it's the weakness in my left hand control. I shall definitely be trying all your recommendations. Many thanks. Regards from France. Love your videos 🙏
Thank you dear Greg for your wonderful teaching the piano. I am back at my piano. And I have tried what you showed us on this video with Sonate en UT dièse mineur N°14 from Beethoven. I wish so much that I could play it beautifully. This is a project for me to play it beautiful. Thank you again and happy to be with you in your course with videos.
Thank you for reminding me of this precious technique which I had recently put aside and which in the past had allowed me to play Liszt's dream of love and the Op. 10 no. 3 by Chopin which, both, have a melody among many voices that must be rendered in the background ... it's an excellent technique, I learn here, also for the cantabile ... thanks again!
Wow, that's the question and requirement I'm after, how to make piano sound like singing. I'm older and just started learning piano. Don't pursue high-tech fingering techniques, but just focus on pursuing good sounds. This episode of yours is exactly what I wanted. Of course, this left-hand silent exercise you taught is not easy! This is kind of like Cortot's first finger exercise lesson (which I'm doing right now). What do you think of Cortot’s Daily keyboard gymnastics? Thank you!
Hanon without sound really is beautiful 😜 Edit: All jokes aside, thanks to your Hanon videos, I played 1-31 today, and then some of them in C#, and genuinely enjoyed it for the first time! I knew they were important but have been approaching them all wrong for years it seems, thank you yet again!
Thank you Greg. I should follow your advice! Only problem is my age. And my stubbornness! Therefore, I do not allow myself enough time to practice each hand separately and, as a result, am very often far too impatient to wait for the left hand to do what my right hand needs.
Very interesting and much appreciated. You are my go-to person for technic, psychology and analysis. I have learnt already so much, you are a gem on so many levels. ❤
Dear Greg, this is incredibly helpful and beautiful advice. The type of advice that as amateur pianists, without professional lessons, we could go for years and years without considering such a thing. Things that you have the heart and passion and will to share it here. I will surely think of it the next time i play Op. 9 No.2, but in fact i will think of your words for the rest of my amateur pianist lifetime now. I am very grateful that i came across your video here and your channel in general. Thank you for this !
Greg , you are absolutely correct in emphasizing that the left hand must be softer, quieter than the right. I use that principle in player Waltz 3/4. 🙏 grazie molto!
You are amazing, but not perfect 😊 . It is not just left and right hand, it is Melodie, different Voices and the Accompanying. Sometimes we play with one hand different voices, melodies and accompaniments
![How to master trills on piano? [TUTORIAL] - Greg Niemczuk.](http://i.ytimg.com/vi/PEP7WbtEVwM/mqdefault.jpg)
I am back in the heat of the summer. What I have learned from this video dear Greg is that I have to learn each hand separatedly. The right hand and the left hand. They must be beautiful. It is touching the keyboard with flat fingers. Each note is important to be played differently. It is not easy for an amateur. Thank you dear Greg for your teaching.
I am a new intermediate student and all of your videos especially this one are so incredibly helpful to me. I watched your chopin nocturne op 37 no 1 video several times as I prepared for my recital for almost two months! The recital was a resounding success! Thank you so much I will be consuming all of your content again and again as I further develop as a pianist. Thank you so much I feel indebted to you!
I am so happy Matt! These personal stories of all of you here are my fuel to continue doing that!!! Thanks and good luck in the New Year!
Thanks Greg😊
This is very impressive. I've been trying to do this for many years and I confirm it. It's not easy at all. But eventually it actually works. Thank you very much Greg. ❤❤
Thank you for all these useful informations. You are a great pianist and also a grat teacher.😊
Quite interesing, I am going to try to do this with Bach's prelude in c major - the first music I'd like to learn - focusing on Hanon's first exercise and C Major scale for now.
Greg this is amazing! I will pracrice with hands seperately more!
Thank you Greg. I have found that it helps to play Bach fugues from the Well Tempered Clavier. By marking the main theme with a highlighter and following it through and playing only the main theme, then adding the rest of the voices at a much lighter tone, it helps to learn to bring out the melody in a piece and achieve the desired balance in the sound. I also find listening to singers sing arias very helpful. Listen to their phrasing and how they breathe and follow the lyrics and see how they emphasize the words/notes to bring out the meaning of what they are singing. That’s how we, as pianists, need to emphasize the notes and make the notes sing on the piano. The standard of any performance is the singing voice. Thanks again. You are so helpful in your videos.
Thank you Grace! Yes, it's a very good strategy !
Grace, you are correct about operatic arias. Puccini was a master at shaping phrases like spoken sentences.
@@donniereagan Donnie, yes, Puccini was a master for sure. Also, I listen to Schubert and Schumann lieder which often express a lot of human suffering. Thinking about suffering and pain helps in playing any instrument in a more musically expressive way.
Most concise explanation I have heard on balancing the left and rights hands. Best demo on the importance
of right hand needing to balance the top voice(s) with the inner voices.
Thank you!
I am coming back this afternoon. It is of the utmost interest to know and to be aware of the Left Hand and Right Hand to obtain a singing sound on the piano. Thank you dear Greg in the heat of the summer.
Yet another super lesson, so much good advice packed into a short video. I am going to sit at my piano now and do that. Thank you again, Greg.
Let me know how it went!
@@gregniemczuk It sounded so much nicer with the left hand being softer. And now I sing the notes as I play the right hand by itself, to mirror what a singer would do with it, leading to a more beautiful rendition of the melody. Exactly like what I see you do in your videos. THANK YOU SO MUCH, Greg.
Excellent !! This is special, direct, dynamic with incremental steps to achieve the special flow we seek. Specifically, this addresses most Waltz with impérative Left hand softness.
Unless, of course for upbeat dance as in polka. ❤ Youre the best at explaining.
Putting high density rockwool in the corners of the room should help absorb some of that bass too, the room's too reverberant causing the sound to reflect unnaturally, once you deal with this in the room, you will not be so scared of the bass as the sound starts reflecting and interacting within the piano properly. You can then be soft in the bass without the insecurity and fear of the bass, you will feel control from a point of view of having effort to play the soft note rather than trying to control something that's too loud so you can feel comfortable when playing, as I know what you're going through with the fear of controlling the bass to get this sound you've discovered.
Hi Matthew, thank you for your advices. I do have this in my room. But I think you didn't understand my point. I was talking about playing in big concert halls as well, with fantastic acoustics. It has nothing to do with the acoustics, it's the mechanic of the piano. Bass strings are 10 times more powerful then violin ones in every single piano, regardless the acoustics.
Great advice! Thank you very much
This was very useful information. It really makes a difference.
Thanks Greg for teaching these very important techniques. Its very helpful for me as I dont’t have a teacher now.
I'm happy to be helpful!! Don't get discouraged!
@@gregniemczuk I found your videos on Hanon today and will start to practise very soon.
@@skfan5166 great!
Dziękuję. Świetna lekcja. Jestem leworęczna i często mam kłopoty z opanowaniem siły w lewej ręce. Będę tak ćwiczyć.
I got just 2 piano teachers in life, many years ago, but nobody tell me that right way .... make me think it can work even just still don't try, really thanks for that lesson :- )
I'm happy to read this. Thanks!
Thank you very much!! 💐
Thank you sooo much. I have been struggling for years with this precise nocturne of Chopin. I can play all the notes ok but it nevers sounds right to me. Always heavy and clumsy in the left hand.
I have the same issue with Chopin's "Suffocation" which at first glance seems like an easy piece, but to make it sound beautiful, boy oh boy, not easy.
I've always known it's the weakness in my left hand control. I shall definitely be trying all your recommendations.
Many thanks. Regards from France.
Love your videos 🙏
Thank you dear Greg for your wonderful teaching the piano. I am back at my piano. And I have tried what you showed us on this video with Sonate en UT dièse mineur N°14 from Beethoven. I wish so much that I could play it beautifully. This is a project for me to play it beautiful. Thank you again and happy to be with you in your course with videos.
Thank you so much dear Elisabeth!
Thank you for reminding me of this precious technique which I had recently put aside and which in the past had allowed me to play Liszt's dream of love and the Op. 10 no. 3 by Chopin which, both, have a melody among many voices that must be rendered in the background ... it's an excellent technique, I learn here, also for the cantabile ... thanks again!
Inspiring !!!
Thank you so so much for doing this lesson. Definitely will try it out.
Your tutorials have improved my playing immensely!
I'm so happy to hear that!!!!
Hi Greg! Thanks for this great advises. I am working on Nocturnes op.48/1 and op. 62/2 - so it’s definitely needed. 🙋♀️
Beautiful Nocturnes!!!!
Beautiful expressive playing. Thank you, you are fantastic
Thank you dear Victoria
Wow, that's the question and requirement I'm after, how to make piano sound like singing. I'm older and just started learning piano. Don't pursue high-tech fingering techniques, but just focus on pursuing good sounds. This episode of yours is exactly what I wanted. Of course, this left-hand silent exercise you taught is not easy! This is kind of like Cortot's first finger exercise lesson (which I'm doing right now). What do you think of Cortot’s Daily keyboard gymnastics? Thank you!
Hanon without sound really is beautiful 😜
Edit: All jokes aside, thanks to your Hanon videos, I played 1-31 today, and then some of them in C#, and genuinely enjoyed it for the first time! I knew they were important but have been approaching them all wrong for years it seems, thank you yet again!
Thank you Greg. I should follow your advice! Only problem is my age. And my stubbornness! Therefore, I do not allow myself enough time to practice each hand separately and, as a result, am very often far too impatient to wait for the left hand to do what my right hand needs.
My problem too!
I know that feeling....
Tylko Ty Maestro to potrafisz! Zgłębiłeś tajemnicę!!!
Thank you very much. Hello from Ukraine ❤
Very interesting and much appreciated. You are my go-to person for technic, psychology and analysis. I have learnt already so much, you are a gem on so many levels. ❤
Fantastica spiegazione
Does this apply to classical period music.I'm learning sonatina in F major by Beethoven. Do I need to apply this to both movement?
Yes it does! But especially for slower, singing parts
Dear Greg, this is incredibly helpful and beautiful advice. The type of advice that as amateur pianists,
without professional lessons, we could go for years and years without considering such a thing. Things that you have the heart and passion and will to share it here. I will surely think of it the next time i play Op. 9 No.2, but in fact i will think of your words for the rest of my amateur pianist lifetime now. I am very grateful that i came across your video here and your channel in general. Thank you for this !
Greg , you are absolutely correct in emphasizing that the left hand must be softer, quieter than the right. I use that principle in player Waltz 3/4. 🙏 grazie molto!
Very nice and important for each musician!!! Thank you very much!!! You are a great teacher
Zajebiste
You are amazing, but not perfect 😊 . It is not just left and right hand, it is Melodie, different Voices and the Accompanying. Sometimes we play with one hand different voices, melodies and accompaniments
co sądzi pan o wykonaniu tego nokturnu przez Rachmaninofa
Wszystko wykonane przez Rachmaninowa jest na swój sposób genialne