I've checked out lots of teachers. He's the best I've seen so far. The most important thing...he can perform the advice he gives. There's nothing like a teacher giving advice then playing like a lame duck and making mistakes everywhere. It's actually fun watching him DO what he suggests. I like the way he also mentions what's good or bad about various other methods. Excellent instruction and performance.
I absolutely LOVE every single one of your videos! I started learning piano at 8, then had ever changing teachers who weren't all too good at explaining things and made me question my love for the instrument, then a horribly long break for 14 years without access to a piano - how I survived that I don't know, and eventually came back to my beloved piano a few years ago and don't ever want to let go of it again. -A traumatic journey, if you will. However, none of the teachers I had ever spoke much about any specific technique, which I simply cannot fathom as it is SOOO important, the foundation of everything you do on the piano. Finding a good teacher who really understands your needs is like hitting the right numbers in a lottery - very difficult, and searching on UA-cam, you HAVE to have a little bit of knowledge and critical sense, so finding you is such a gift! Not only do you talk about and explain what I need to learn in order to fill out my holes and gaps at this stage, and in a way so everybody can understand, but you're likeable too; Knowledgable, meticulous and excellent in what you do, but without the arrogance and need to show off. Thank you, thank you, thank you from a Pole in Denmark!!
I'm picking up past lessons from before I discovered you/your channel. Can't say enough in voting for you as supernumerary teacher and player. World class on both accounts, in my view. Too many "liking" comments to read, just read a few. You set the highest standards in selling your method; you seem to know just how to do it, perfeclty matching explanations and demos. You work at a nice pace, never drag. Sprinkling of constant good humor and constant good will; we want to learn from you; resistance is nil. Chromatic scales: I try to use the 3-1 method; sometimes I will go 2-1 for short bursts; the webbing between 2-1 is useful at times, closer web with 2. Very interesting, never seen any multi-finger patterns before using all 5. You can rock the hand back and forth a little better with 3-1 and then 2-1 for white keys together. Also, a new idea for me is that the rotation in this scale, tremolos (I watched your first broken chord video) and trills are around 2nd knucke/finger, not around middle knuckle. This seems so obvious now while I'm sitting here trying it dry. Will apply it to my chrome-scales/riffs, on which I'm working constantly as a jazz player, virtually all arranged at this point. Super-super common element. I have been developing my unique technique around middle knuckle aligned with forearm. I use less ulnar deviation than you show, but you are faster, of course. I WONDER HOW IT WOULD BE TO CONSCIOUSLY WORK IT MOSTLY AROUND KNUCKLE/FINGER 2, FOR MORE COMFORTABLE, SMOOTER AND CONTROLLABLE ROTATION? THAT IS A QUESTION. I'm working on Frank Loesser's "Joey Joey Joey" from "The Most Happy Fella." Features long strings of chromatic sequential third passages; fingering better be efficient. We could sure welcome some jazz tutorials, which would also broaden your appeal, though the school might re-consider your employment. No need. Virtually ever element on which you teach directly translates to my jazz scores and figures. You are a treasure for all of us aspirants out here. As they say in the jazz/pop/blues world, "You're a gas, man." Thank you.
Thank you Denis for this new lesson. It is strange that it comes just at a time when I was looking into exactly this subject. I am an eager follower of your lessons. The "standard" fingering according for chromatic scales is , as you said, RH from C: 1-3-1-3-1-2-3-1-3-1-3-1-2. Both hands can play this in synchrony when using mirrored keys so that the white and black keys are the same. When I practiced the long chromatic scale in Chopin's Fantaisie Impromptu op. 66, I used the 4th finger as well. The rule here is that in the left hand as also in the right hand, and I always find passages where either 1-3-4-5 apply, or 1-2-3. So, on whatever key I start, to avoid the thumb on any black key, fingers can either move 1 to 4, or 1 of 3, downwards, and upwards. So, I see, you are describing this fingering. What I do not understand is where finger 5 could come into play except in the end of a passage or when changing the direction. Another question: Do you recommend to practice chromatic scales starting from any key with both hands and increase tempo gradually? Or is it better to actually use some chromatic passages from literature?
I think chromatic scales from actual pieces is enough, but many people practice these scales specially as well. You may slide from the 5th finger on e flat towards thumb on e, and continue going further, as demonstrated in the video. There is no need to obviously finish the passage on the 5th finger, this fingering is good for any length.
Great English and great explanation! I stumbled on this vid trying to remind myself the chromatic scale fingerings. But I am also learning a Bumblebee boogie by Jack Fina and wondered why I couldn't play it as fast as he did. Then I looked closely to the fingerings that he used and he uses all 5 fingers, while I had mine literally tied up in a knot. Now I can play it faster than him, thanks to you encouraging me to think out of the box. Thank you Denis, you've got a new fan here!
I didn't learn the standard 13 - 13 - 123 - etc. Czerny fingering until later. I worked with Bärenreiter scores so I never learned the standard fingerings but ended up rediscovering most of the standard fingerings anyway. Someone taught me the general idea of how to finger scales C major and how you had to change things slightly to play D flat major, B flat major etc. I did practice scales in the beginning but not much. No one showed me the chromatic scale fingering so I just tried to make it match the standard 123 - 1234 fingering as much as possible and that's what I came up with.
Thank you for sharing ! That Beethoven example made me sigh... though it could have been worse, had he lived during the XXth century : we would have had parts of the scales in 9v5, 8v7, 5v3, or some other madness, instead of just 4v3... I remember reading the "5th finger on e-flat" fingering in some Liszt piece a few years back, I've been calling it the "Liszt chromatic scale" since then. I haven't worked on it much, and without special practice it is not so easy to have the scale perfectly smooth ! I guess it's another useful tool you have to practice, so you can choose to use in or not when the music might benefit from it. I also practice the "Liszt scales" (c major fingering in all keys) for that exact reason.
I have a fingering for the chromatic scale using 1234 123 but you have to give up the idea that you can use the same fingering every octave. Starting on middle C going up two octaves. 1234 (Thumb on C) - 123 - 1234 (fourth finger on B flat) - 123 (thumb on B natural, C played with the second finger this time) - 123 (Third finger on E natural) - 1234 - 123 - 1 (Thumb on C). It's really not so complicated once you get the idea. Where I use it (or at least think I still use it) - Beethoven's chromatic scales, some Chopin e.g. Fantasie Impromptu, Mozart concerto in d minor. I like a strong quick finger action and using 5 doesn't do it for me, except passages like Liszt's Chasse Neige then using his finger is almost obligatory.
Thank you so much, having trouble with Buniatishvili sisters arrangement of Libertango with fast chromatic passages, gonna go try this mabye it helps, strength is not so necessary rather than the "glissando" effect in a more show-off tango piece
Forgot to mention-I also appreciated some humour thrown in. I hope the West treats you well and that they benefit from your extensive knowledge. May you and your loved ones be safe ❤
How do you know, hen learning a new piece, if the fingering you’re using is the most efficient in terms of speed?? Because when you first take it you can’t play fast otherwise you’d pick up tension
The axis of rotation depends on the situation. If you play a trill with fingers 3-5, you will rotate around the fourth finger. This rotation might not be as comfortable as rotating around the second finger, which feels best. For the fastest and most efficient rotation you might want to use the thumb and some other finger like 3,4,5, skipping the second finger. Ideally, the forearm rotation should offload the effort from your fingers whenever possible.
@@DenZhdanovPianist Thank you so much; this makes sense; we see that most everything depends on context. Forearm rotation to offload finger effort would be a general principle, then AMAP. I/we appreciate you.
Thank you, Denis, for your amazing lessons! Could you please make a small one on how to play chromatic with 5-4-3. I am struggling to find comfortable hand position and transition movement. And apparently nobody explain this :(
@@DenZhdanovPianist I mean excercise. Chopin recomended this to his students, accordingly to a book "Chopin: pianist and a teacher: as seen by his students"
Thank you for the video. What fingering do you think would work for Beethoven's Pathetique first movement on that long chromatic at the end of the first section? I need to play it faster but I feel 3-1-3-2-1-3-1-3... is too slow
It depends on a particular keyboard. I can easily imagine some finest and light keyboards would allow this fingering to sound quite smoothly, if you’d find a smooth hand motion while approaching that third hand position starting from G#. But in general using the thumb on a black key after the 4th finger creates an awkward situation, and in the best case - the risk of unnecessary accents on G#.
![[UNBANNED] A SCANDALOUS Theory about Horowitz's peculiar Piano Playing Technique](/img/n.gif)
I've checked out lots of teachers. He's the best I've seen so far. The most important thing...he can perform the advice he gives. There's nothing like a teacher giving advice then playing like a lame duck and making mistakes everywhere. It's actually fun watching him DO what he suggests. I like the way he also mentions what's good or bad about various other methods. Excellent instruction and performance.
I absolutely LOVE every single one of your videos! I started learning piano at 8, then had ever changing teachers who weren't all too good at explaining things and made me question my love for the instrument, then a horribly long break for 14 years without access to a piano - how I survived that I don't know, and eventually came back to my beloved piano a few years ago and don't ever want to let go of it again. -A traumatic journey, if you will. However, none of the teachers I had ever spoke much about any specific technique, which I simply cannot fathom as it is SOOO important, the foundation of everything you do on the piano. Finding a good teacher who really understands your needs is like hitting the right numbers in a lottery - very difficult, and searching on UA-cam, you HAVE to have a little bit of knowledge and critical sense, so finding you is such a gift! Not only do you talk about and explain what I need to learn in order to fill out my holes and gaps at this stage, and in a way so everybody can understand, but you're likeable too; Knowledgable, meticulous and excellent in what you do, but without the arrogance and need to show off. Thank you, thank you, thank you from a Pole in Denmark!!
Thanks for a kind feedback, and I wish you much joy on your musical path!
@@DenZhdanovPianist Thank you so much. Music will be my life companion till life is no more
I'm picking up past lessons from before I discovered you/your channel. Can't say enough in voting for you as supernumerary teacher and player. World class on both accounts, in my view. Too many "liking" comments to read, just read a few. You set the highest standards in selling your method; you seem to know just how to do it, perfeclty matching explanations and demos. You work at a nice pace, never drag. Sprinkling of constant good humor and constant good will; we want to learn from you; resistance is nil.
Chromatic scales: I try to use the 3-1 method; sometimes I will go 2-1 for short bursts; the webbing between 2-1 is useful at times, closer web with 2. Very interesting, never seen any multi-finger patterns before using all 5. You can rock the hand back and forth a little better with 3-1 and then 2-1 for white keys together. Also, a new idea for me is that the rotation in this scale, tremolos (I watched your first broken chord video) and trills are around 2nd knucke/finger, not around middle knuckle. This seems so obvious now while I'm sitting here trying it dry. Will apply it to my chrome-scales/riffs, on which I'm working constantly as a jazz player, virtually all arranged at this point. Super-super common element.
I have been developing my unique technique around middle knuckle aligned with forearm. I use less ulnar deviation than you show, but you are faster, of course.
I WONDER HOW IT WOULD BE TO CONSCIOUSLY WORK IT MOSTLY AROUND KNUCKLE/FINGER 2, FOR MORE COMFORTABLE, SMOOTER AND CONTROLLABLE ROTATION?
THAT IS A QUESTION.
I'm working on Frank Loesser's "Joey Joey Joey" from "The Most Happy Fella." Features long strings of chromatic sequential third passages; fingering better be efficient. We could sure welcome some jazz tutorials, which would also broaden your appeal, though the school might re-consider your employment. No need. Virtually ever element on which you teach directly translates to my jazz scores and figures.
You are a treasure for all of us aspirants out here. As they say in the jazz/pop/blues world, "You're a gas, man."
Thank you.
Thank you Denis for this new lesson. It is strange that it comes just at a time when I was looking into exactly this subject. I am an eager follower of your lessons.
The "standard" fingering according for chromatic scales is
, as you said, RH from C: 1-3-1-3-1-2-3-1-3-1-3-1-2. Both hands can play this in synchrony when using mirrored keys so that the white and black keys are the same.
When I practiced the long chromatic scale in Chopin's Fantaisie Impromptu op. 66, I used the 4th finger as well. The rule here is that in the left hand as also in the right hand, and I always find passages where either 1-3-4-5 apply, or 1-2-3. So, on whatever key I start, to avoid the thumb on any black key, fingers can either move 1 to 4, or 1 of 3, downwards, and upwards. So, I see, you are describing this fingering.
What I do not understand is where finger 5 could come into play except in the end of a passage or when changing the direction.
Another question: Do you recommend to practice chromatic scales starting from any key with both hands and increase tempo gradually? Or is it better to actually use some chromatic passages from literature?
I think chromatic scales from actual pieces is enough, but many people practice these scales specially as well.
You may slide from the 5th finger on e flat towards thumb on e, and continue going further, as demonstrated in the video. There is no need to obviously finish the passage on the 5th finger, this fingering is good for any length.
Great English and great explanation! I stumbled on this vid trying to remind myself the chromatic scale fingerings. But I am also learning a Bumblebee boogie by Jack Fina and wondered why I couldn't play it as fast as he did. Then I looked closely to the fingerings that he used and he uses all 5 fingers, while I had mine literally tied up in a knot. Now I can play it faster than him, thanks to you encouraging me to think out of the box. Thank you Denis, you've got a new fan here!
Glad it was helpful! Welcome aboard!
I didn't learn the standard 13 - 13 - 123 - etc. Czerny fingering until later. I worked with Bärenreiter scores so I never learned the standard fingerings but ended up rediscovering most of the standard fingerings anyway. Someone taught me the general idea of how to finger scales C major and how you had to change things slightly to play D flat major, B flat major etc. I did practice scales in the beginning but not much. No one showed me the chromatic scale fingering so I just tried to make it match the standard 123 - 1234 fingering as much as possible and that's what I came up with.
Thanks! This really helped me on my Beethoven op. 7 first movement
Thank you for another masterclass.
Thank you for sharing ! That Beethoven example made me sigh... though it could have been worse, had he lived during the XXth century : we would have had parts of the scales in 9v5, 8v7, 5v3, or some other madness, instead of just 4v3...
I remember reading the "5th finger on e-flat" fingering in some Liszt piece a few years back, I've been calling it the "Liszt chromatic scale" since then. I haven't worked on it much, and without special practice it is not so easy to have the scale perfectly smooth ! I guess it's another useful tool you have to practice, so you can choose to use in or not when the music might benefit from it. I also practice the "Liszt scales" (c major fingering in all keys) for that exact reason.
I have a fingering for the chromatic scale using 1234 123 but you have to give up the idea that you can use the same fingering every octave. Starting on middle C going up two octaves. 1234 (Thumb on C) - 123 - 1234 (fourth finger on B flat) - 123 (thumb on B natural, C played with the second finger this time) - 123 (Third finger on E natural) - 1234 - 123 - 1 (Thumb on C). It's really not so complicated once you get the idea. Where I use it (or at least think I still use it) - Beethoven's chromatic scales, some Chopin e.g. Fantasie Impromptu, Mozart concerto in d minor. I like a strong quick finger action and using 5 doesn't do it for me, except passages like Liszt's Chasse Neige then using his finger is almost obligatory.
Thank you so much, having trouble with Buniatishvili sisters arrangement of Libertango with fast chromatic passages, gonna go try this mabye it helps, strength is not so necessary rather than the "glissando" effect in a more show-off tango piece
Forgot to mention-I also appreciated some humour thrown in. I hope the West treats you well and that they benefit from your extensive knowledge. May you and your loved ones be safe ❤
Thank you
In Liszt's chasse neige there are very fast chromatic scale that you can use the alternative fingering for both hands
How do you know, hen learning a new piece, if the fingering you’re using is the most efficient in terms of speed?? Because when you first take it you can’t play fast otherwise you’d pick up tension
Experience! But sometimes we do change a fingering if later come up with better ideas!
Should all rotation be around 2nd finger and knuckle, rather than middle knuckle? Does it generally apply across technique when possible?
The axis of rotation depends on the situation. If you play a trill with fingers 3-5, you will rotate around the fourth finger. This rotation might not be as comfortable as rotating around the second finger, which feels best. For the fastest and most efficient rotation you might want to use the thumb and some other finger like 3,4,5, skipping the second finger.
Ideally, the forearm rotation should offload the effort from your fingers whenever possible.
@@DenZhdanovPianist Thank you so much; this makes sense; we see that most everything depends on context. Forearm rotation to offload finger effort would be a general principle, then AMAP.
I/we appreciate you.
3:29 Don't worry Denis...as they say....great minds think alike.
👍
Thank you, Denis, for your amazing lessons! Could you please make a small one on how to play chromatic with 5-4-3. I am struggling to find comfortable hand position and transition movement. And apparently nobody explain this :(
Can you specify the piece and the spot?
@@DenZhdanovPianist I mean excercise. Chopin recomended this to his students, accordingly to a book "Chopin: pianist and a teacher: as seen by his students"
@@kasia7062 That would be Chopin’s second etude. Denis has a video on it
Thank you for the video.
What fingering do you think would work for Beethoven's Pathetique first movement on that long chromatic at the end of the first section? I need to play it faster but I feel 3-1-3-2-1-3-1-3... is too slow
Fighting the battle of Chasse Neige. They all show 5 on the end notes & 4-3-2-1 fingerings. Fuggedabout 3-2-1 for that piece.
What's your thought on this?: Starting on C, 1234 1234 1(Thumb on black key)234?
It depends on a particular keyboard. I can easily imagine some finest and light keyboards would allow this fingering to sound quite smoothly, if you’d find a smooth hand motion while approaching that third hand position starting from G#. But in general using the thumb on a black key after the 4th finger creates an awkward situation, and in the best case - the risk of unnecessary accents on G#.
You can place your thumb on any augmented chord with this fingering and it works very well
What type of fingering do you suggest for Eb in chromatic?
Depends on the context and speed
@@DenZhdanovPianist just for practicing Eb chromatic
i just us 2-3 if its fast cromatic scales is that normal
llike a trill all they waty down or up the piani in 5 sec
it is not ergonomic since your wrist is constantly bent and the shift over F# to G puts strain on your wrist with 4-2
I found that out the hard way, lol i use much better fingering
@@TrayyTurner 👍
That's what she said
I also love to play the HoeEcstatic scale