I think you do an amazing job for free. I don’t see you as a salesman rather a passionate and compassionate piano professor. Boldly criticizing your own valuable time is unfair and irrelevant. Your contents are great and worth learning. To my knowledge, it was the first time I even knew you have @ course to sign up. I hope you hit million subscribers soon. ❤❤
I purchased both Hanon and Brahams exercises from Denis. It’s like having Denis with me as I troubleshoot and navigate such technical work. Thank you so much Denis. Ciao
professor DENIS Zh você nos trás informações super. valiosas que nos da prazer em exercitar com alegria e energia absoluta , Obrigado , aceite esse bravíssimo em forma de gratidão pelo seu honesto trabalho ,...Músicos do brasil
I'm definitely ready for these now. It seems more fun than Czerny 299 atm, a bit more fun than Hanon for sure too. I used to not like how these sound but I really like their sound now too, I want to work through a few in many keys. Thank you for the great suggestions on exercises to try, the first one does seem very hard.
Hello! I’ve been interested in these exercises but didn’t have the courage to try. They just looked too difficult for me. Today I watched this video and purchased the course. First of all, thank you for making it so affordable! Looking forward to learning them all! (Could you kindly confirm that I will have access to this course for life? What a great opportunity you’ve created for everyone!) Here’s my quick review in case anyone is hesitant to try the course. I’ve gone through the basics and no.7 and 8. He covers no. 7 main number but not 7a, 7b, which is not a big problem as there’s really no new material other than the descending simple melody on one hand. No.7 has really not much to do but Brahms of course makes it sound cool and fun to play the simple 5-finger chromatic sequences. What I really like is the guidance on no.8. He gives in/ out (I take it as push/ pull with the arm to help out the weak fingers in producing solid, quality sound) suggestions which I find helpful. Also he shows where the harmony structure is hidden. It maybe obvious if you take time but it’s great to have someone guide you. Then you have more time on actual exercises. After studying the harmony of 8a, you realize 8b is just an extended version of 8a. I can play them slowly, not perfectly smoothly, but without looking at the sheet music already. I think I have spent about 30 minutes on both 8a and 8b. I’ll say that’s a quite effective teaching. Thank you for these lessons, again!
I’m sharing 2 short videos I just posted after learning no.7 and no.8 today. I will try to go through all 51 of them and post videos. (As quickly as possible as I go through Denis’s lessons) ua-cam.com/users/shortsEExKf22w0gs?feature=share ua-cam.com/users/shortssC6AWvzYY9Q?feature=share
Always wonderful tips that will help so many musicians! Congratulations on your course and I will be recommending it (and one day taking it)! Brahms has helped my technique immensely- I am only sad I didn’t play his music earlier! :)
Merci beaucoup for this. I will attack this after I've finished my breakfast. What's on the menu? Chops. I'll take your advice and learn more basic techniques since I only started several months ago. I used to be a Chiropractor with a FURS syndrome that caused me to completely change my techniques. I quit manipulating vertevrae and concentrated on other ways to treat the spine, but also the shoulders and hands. And I talked with many shoulder and hand specialists, and followed Applied Kinesiology courses, and developed some techniques and self-treatments that can help pianists...and other people. My daughter is editing the video and it should be out soon. There is a shoulder muscle that needs to be relaxed, and I would suggest doing this either first thing in the morning or before and/or after a learning session at the piano. I liked that you talked about the shoulders, elbows, forearms and wrists without just talking about the fingers. It is a unit, and yes, wonderfully linked to the brain. I demonstrated the importance of the hand on a patient recently by showing the tension he had in his neck (which suffered a sever accident and multiple operations!). He felt the tension in the muscles, then performed a piano exercise, and his neck was much more relaxed. The body is amazing. Stay tuned.
Hi Denis, i am intermediate player, would this course help me to improve my technique and musicality or do you suggest another course of yours? Thank you 🙏
Yes, this course is aimed at intermediate and advanced piano learners, who are interested in Brahms exercises, and seek ways to build more ergonomic playing habits. Due to the nature of these exercises, it will especially help with the romantic type of pieces.
@@DenZhdanovPianist Update. I've started working with a Taubmann-certified teacher who has told me to lay off the Brahms. (I hope he means "lay off for now" because you have me hooked.
Unfortunately, at the moment there are only automatic and thus highly unreliable subtitles might be available on request, but I will release a complete course on technique development this year, with better subtitles on other languages. Stay tuned!
@@DenZhdanovPianist grazie Maestro Zdanov. Sarò ansioso di avere notizie su questa possibilità. Le dico che il Conservatorio "G. Verdi" di Milano e i suoi docenti, sono molto interessati alla sua didattica. Un caro saluto!
Nel Frattempo personalmente , conoscendo bene la lingua inglese, seguirò qualche suo corso. Grazie e complimenti per il suo pianismo di altissimo livello.
Thank you for this video. May I ask, would you recommend doing a bit of daily technique exercises each day, for instance these Brahms ones or perhaps Czerny? Because there's also the argument made by some that we shouldn't focus on general technique exercises, but rather just play the most difficult parts of a piece we're learning first in order to make make the exercises more 'suitable' for the music we're currently learning? Thank you!
I wouldn’t recommend to start a practice session from the most difficult spot, it’s like arriving to a stadium and starting a sprint without warming up. In general, variety is your best friend. Choose a couple by each composer you like, and as soon as you feel okay move to the next ones, rotate them often.
I have a couple of questions, would it make sense to pick out specific exercises that the advanced/proficient pianist feels would be most necessary to play as opposed to playing everything or is it better for them to learn to eventually play the entire set? And my second question is should the fingering be followed precisely throughout or is there any room whatsoever for alteration? Thanks
Sure, I don’t expect people to learn the whole set, there are many other useful pieces and exercises over there, but this course is providing a guidance on how to approach each of them for the convenience of choosing. Since the course offers a life long access, it’s possible to pick up a few exercises, and then change them every few weeks or months. Regarding fingering, everything is just a suggestion. If a standard or suggested by anyone fingering doesn’t work for you, you try out other options. The ultimate goal is that it feels and sounds great, nobody really cares which fingering you are using if you meet these two criteria.
Then, in my opinion, you can work in pretty much any order! The other ones are more advanced, but they are approximately on the same level, with some rare exceptions like no.14, which is just very uncomfortable. Also, a further classification in my opinion is not possible, because each player will find some of them easier or harder not because it is objectively so, but because of the personal unique qualities - someone has a better stretch, someone has difficulty with a specific finger combination, and so on.
@@DenZhdanovPianist thank you for sharing your thoughts. I just liked knowing that there are some easier ones. I’m enjoying your lessons very much, so far.
Great video Denis, you made me think even more about these exercises which I already considered to tackle. And I really liked that the bell sound was exactly when you said "Ravel" 😂
Thanks! The bell timing wasn’t intended, so apparently it’s a “Schicksals-Klingel” for you personally, because in the epoch of Tik-Tok there is no time for a “Schicksals-Symphonie”, you know😂
Thank you for sharing. I'm interested to go further with your lessons on Brahms exercises on your website. Because I find your work excellent, you explain well the gesture and how to be relax when you play. But I wanted to know if you give exercises that teach how to play faster the exercices that must be played faster? Do you see what I mean?
Yes, many of these exercise are meant to be played in a vivid tempo, but in order to be able to do that without loosing the quality and articulation, we first coordinate motions properly.
Sounds beautiful. I guess Brahms exercises are still advansed for my current state. Do you recommend the exercises for people with small hands? I barely make it to 9th.
Brahms has plenty exercises that are suitable for people with smaller hands. I would not recommend no.14 that I have demonstrated in the beginning of the video, because this one is one of a few monstrosities that this set contains, but there are many others that would work. Furthermore, in the course I explain how to manage many wide spots for people who can’t connect them physically. In general, small hands is not a sentence. I know many professional pianists, including my wife, who barely reach an octave, and nevertheless play brilliantly complete Chopin etudes or Scriabin Sonatas. You then just have to develop your own “smart” approach to difficulties.
@@DenZhdanovPianist Thank you for taking your time answering me. I recognized Elina`s hands while watching your performance the other day, sublime💛💙 the way hands and fingers dancing on piano. The composition by Bezborodko was really cool to watch closely.
Try Dohnanyi “Essential finger exercises for obtaining a sure piano technique” petruccimusiclibrary.ca/files/imglnks/caimg/1/1c/IMSLP461147-PMLP508711-Dohnanyi_SUVINI.pdf
I am currently starting RCM level 5, and I am looking for studies/etudes. Which do you recommend? Brahms 51, Czerny, Hanon, Dohnanyi ? Some people prefer Dohnanyi over Brahms. I need help with fourth and fifth weak fingers.
I personally like Burgmüller op.109, Liszt 12 Etudes d’Exercise. Reg.weak fingers check out my video about 5th finger ua-cam.com/video/vLkm7r5AFp8/v-deo.html And familiarize yourself with -in -out motions that strengthen the 4th finger. I speak about it in detail in the course, but if you’re not up to enrolling in it right now, try searching some hints on UA-cam, for example some Taubman approach videos. I think I have also mentioned that in the recent video about bad habits: ua-cam.com/video/QD9QcmlygKo/v-deo.html
3:23 _and_ 3:34 Moreover, I want to tell you that polyrhythms 3 vs. 2 _and_ 3 vs. 4 will seem like nothing compared to what comes next: 4 vs. 5, 6 vs. 7, _and_ 7 vs. 8 -- how about that? Is that even *realistic* to play?
Yes, it feels normal as soon as you learn how to rely on beats spreading all the notes within a beat more-less evenly in each hand, thus not coordinating note per note, but coordinating beats only. Everything in between is just being spread like butter on a bread.
Liszt 12 Etudes d’exercise and Burgmüller op.109 are also a good addition to Czerny. But in general, there is no need to be crazy about etudes: so many pieces from a concert rep contain enough difficulties to boost your skills.
Great, Denis! Chopin also wrote his Etudes to encourage this kind of whole-hand, whole-body technique; you really can't play them any other way. BTW, if I may share a suggestion: You may find you can move more freely if you sit a bit farther forward on the bench, rather than sitting fully flat upon it. This allows you to move your torso (for largest movements) on a smaller pivot point, without "fighting" the bench's flat surface. Cheers!
I feel the need to point out that it was more than halfway through your video before you even began to discuss any tips for how to play these exercises. I’d recommend thinking hard about whether this is the best approach to videos like this, even if you’re trying to push enrollment in your paid courses. Very few potential viewers are going to give you the benefit of the doubt that you have anything worth saying if you haven’t gotten to the point 5 minutes into a 10 minute video.
I see your point and will consider it, but if you’d see my selling’s stats and UA-cam analytics, you’d be surprised. There is a principal difference in providing learners with the necessary background and clarifying common stereotypes, and an entertaining talking like for example Tiffany Poon’s vlogs.
@@DenZhdanovPianist can the quick release of the key on the thumb and 5th finger in preparation for playing the next hand position be employed in difficult passages like the dominant seventh scales that occur in right and left hands in the 1st movement of the Brahms second concerto ? The fingering in most editions of this concerto is RH.12345 & LH. 54321 notes CEGAB flat and the second time around are notes FACDE Flat in both hands for a span of three octaves taken at break neck speed employing the damper pedal for Legato. How do you achieve a smooth execution of this rather awkward unpianistic scale passage? Which of the Brahms 51 exercises would you recommend for perfection of this section of the B-flat major concerto ? Could you do a video discussing the technical difficulties found throughout this particular composition of Brahms? Masterclasses for the Brahms second concerto are almost non existent on the internet or platforms like UA-cam.
Sure, you don’t connect positions physically releasing the hand, and of course find an ergonomic hand motion between positions. I would suggest you first practice with a good support/leaning sensation on the thumb and releasing the hand after the fifth finger, making a gap between positions while releasing the hand in between. Then gradually smoothening transitions
Personally---I used Brahms opus 24 Handel Variations & Fugue & all incarnationions of Paganini Variations including Brahms,Schumann,Liszt,Lutisliwski & Rachmaninoff. Also the 27 Chopin Etudes & 26 complete Liszt Transcendental, Paganini & Concert Etude set. Do I really need exercise? 1000% NO. currently I play Gaspard de la nuit/ Petroushka & Balikeriev's Islamey daily for my " exercises". Humans have limited time---spending time w rather useless exercise rather than pieces that double as " exercise, & concert performance repertoire is a misappropriation of time& effort.
@@DenZhdanovPianist my teacher studied w Alfred Cortot ( who also taught Dinu Lapatti & Horowitz in Paris)& as they both opined : all repertoire is " technique---specific not general ,often non-applicable as in so many finger bender exercise permutations. ( just saying....)
Reminded me a brilliant joke: A man is standing in front of the Mona Lisa, looking at her and saying, "What's so great about her, this Mona Lisa? I don't like her...” A senior lady next to him says: "Young man! You know, for so many centuries, so many people like her, that she can allow herself to choose - who would like her and who would not".
Guys, I talk as much as I want on my channel. Piano playing on a decent level needs patience and/or intelligence. A person who has at least one of those qualities would either be able to listen an introduction for a few minutes, or use time-codes provided in description to skip it. Why would I be interested in teaching people who are neither patient nor smart?
![Don't play HANON before watching THIS [Piano Exercises Demystified]](http://i.ytimg.com/vi/76gVBrwNx08/mqdefault.jpg)
OK, I've had the course for a month, and I've never had so much enjoyment playing exercises. Buy the course! Really!
I think you do an amazing job for free. I don’t see you as a salesman rather a passionate and compassionate piano professor. Boldly criticizing your own valuable time is unfair and irrelevant. Your contents are great and worth learning. To my knowledge, it was the first time I even knew you have @ course to sign up. I hope you hit million subscribers soon. ❤❤
37a, 16a, 40a are my morning routine. 16a in addition on being so useful is also very beautiful
Yeah, 16 is among my favorites too!
I’ve gotten a lot from Hanson, Schmitt, and Berlinger… looking forward to trying out these Brahms exercises. Your videos are excellent. Thank you
I purchased both Hanon and Brahams exercises from Denis. It’s like having Denis with me as I troubleshoot and navigate such technical work. Thank you so much Denis. Ciao
I wish you a fast and enjoyable progress!
This looks brilliant. Will definitely purchase!
Thanks!
professor DENIS Zh você nos trás informações super. valiosas que nos da prazer em exercitar com alegria e energia absoluta , Obrigado , aceite esse bravíssimo em forma de gratidão pelo seu honesto trabalho ,...Músicos do brasil
I'm definitely ready for these now. It seems more fun than Czerny 299 atm, a bit more fun than Hanon for sure too.
I used to not like how these sound but I really like their sound now too, I want to work through a few in many keys.
Thank you for the great suggestions on exercises to try, the first one does seem very hard.
Hello! I’ve been interested in these exercises but didn’t have the courage to try. They just looked too difficult for me. Today I watched this video and purchased the course. First of all, thank you for making it so affordable! Looking forward to learning them all!
(Could you kindly confirm that I will have access to this course for life? What a great opportunity you’ve created for everyone!)
Here’s my quick review in case anyone is hesitant to try the course.
I’ve gone through the basics and no.7 and 8.
He covers no. 7 main number but not 7a, 7b, which is not a big problem as there’s really no new material other than the descending simple melody on one hand.
No.7 has really not much to do but Brahms of course makes it sound cool and fun to play the simple 5-finger chromatic sequences.
What I really like is the guidance on no.8. He gives in/ out (I take it as push/ pull with the arm to help out the weak fingers in producing solid, quality sound) suggestions which I find helpful. Also he shows where the harmony structure is hidden. It maybe obvious if you take time but it’s great to have someone guide you. Then you have more time on actual exercises. After studying the harmony of 8a, you realize 8b is just an extended version of 8a. I can play them slowly, not perfectly smoothly, but without looking at the sheet music already. I think I have spent about 30 minutes on both 8a and 8b.
I’ll say that’s a quite effective teaching.
Thank you for these lessons, again!
I’m sharing 2 short videos I just posted after learning no.7 and no.8 today. I will try to go through all 51 of them and post videos. (As quickly as possible as I go through Denis’s lessons)
ua-cam.com/users/shortsEExKf22w0gs?feature=share
ua-cam.com/users/shortssC6AWvzYY9Q?feature=share
Thank you for your feedback! Yes, by purchasing, you get a life-time access to any of my courses.
Advanced piano technique: all the stuff we told you to NOT do, start doing it
One of the best videos seen recently, congratulations!
Thanks😇🦄🔥🎶
Always wonderful tips that will help so many musicians! Congratulations on your course and I will be recommending it (and one day taking it)! Brahms has helped my technique immensely- I am only sad I didn’t play his music earlier! :)
😊🙏💙💛
дякую за вашу працю!
I’m new here …. and you have my compliments - thank’s !!!
Merci beaucoup for this. I will attack this after I've finished my breakfast. What's on the menu? Chops. I'll take your advice and learn more basic techniques since I only started several months ago.
I used to be a Chiropractor with a FURS syndrome that caused me to completely change my techniques. I quit manipulating vertevrae and concentrated on other ways to treat the spine, but also the shoulders and hands. And I talked with many shoulder and hand specialists, and followed Applied Kinesiology courses, and developed some techniques and self-treatments that can help pianists...and other people. My daughter is editing the video and it should be out soon.
There is a shoulder muscle that needs to be relaxed, and I would suggest doing this either first thing in the morning or before and/or after a learning session at the piano. I liked that you talked about the shoulders, elbows, forearms and wrists without just talking about the fingers. It is a unit, and yes, wonderfully linked to the brain.
I demonstrated the importance of the hand on a patient recently by showing the tension he had in his neck (which suffered a sever accident and multiple operations!). He felt the tension in the muscles, then performed a piano exercise, and his neck was much more relaxed. The body is amazing.
Stay tuned.
Amazing, looking forward to seeing your video, please drop me the link!
Great advice! Love the picture with hammers transforming to noodles for fingers!
Hi Denis, i am intermediate player, would this course help me to improve my technique and musicality or do you suggest another course of yours? Thank you 🙏
Yes, this course is aimed at intermediate and advanced piano learners, who are interested in Brahms exercises, and seek ways to build more ergonomic playing habits. Due to the nature of these exercises, it will especially help with the romantic type of pieces.
@@DenZhdanovPianistthank you so much!
i enjoyed it. this one is a little difficult, but I'll practice some exercises from it.
Just bought the course. I've had the Brahms for years, but never could find a way in.
Good luck! I worked hard to explain them as clear as possible!
@@DenZhdanovPianist Update. I've started working with a Taubmann-certified teacher who has told me to lay off the Brahms. (I hope he means "lay off for now" because you have me hooked.
Vídeo maravilhoso amei suas explicações
Gentile Maestro Zdanov , vorrei seguire i suoi corsi aggintivi . Esistono anche i sottotitoli in Italiano o Francese? Grazie.
Ps) la domanda gliela pongo poiché riguarda anche molti pianisti interessati di Milano e Varese( Italy).
Unfortunately, at the moment there are only automatic and thus highly unreliable subtitles might be available on request, but I will release a complete course on technique development this year, with better subtitles on other languages. Stay tuned!
@@DenZhdanovPianist grazie Maestro Zdanov. Sarò ansioso di avere notizie su questa possibilità. Le dico che il Conservatorio "G. Verdi" di Milano e i suoi docenti, sono molto interessati alla sua didattica. Un caro saluto!
Nel Frattempo personalmente , conoscendo bene la lingua inglese, seguirò qualche suo corso. Grazie e complimenti per il suo pianismo di altissimo livello.
Thank you for this video. May I ask, would you recommend doing a bit of daily technique exercises each day, for instance these Brahms ones or perhaps Czerny? Because there's also the argument made by some that we shouldn't focus on general technique exercises, but rather just play the most difficult parts of a piece we're learning first in order to make make the exercises more 'suitable' for the music we're currently learning? Thank you!
I wouldn’t recommend to start a practice session from the most difficult spot, it’s like arriving to a stadium and starting a sprint without warming up.
In general, variety is your best friend. Choose a couple by each composer you like, and as soon as you feel okay move to the next ones, rotate them often.
Hello. What book (or author) do you recommend to acquire a basic solid piano technique?
It’s not about a specific book, it’s more about whether you have a good teacher who can help you acquiring good playing habits
I have a couple of questions, would it make sense to pick out specific exercises that the advanced/proficient pianist feels would be most necessary to play as opposed to playing everything or is it better for them to learn to eventually play the entire set? And my second question is should the fingering be followed precisely throughout or is there any room whatsoever for alteration? Thanks
Sure, I don’t expect people to learn the whole set, there are many other useful pieces and exercises over there, but this course is providing a guidance on how to approach each of them for the convenience of choosing. Since the course offers a life long access, it’s possible to pick up a few exercises, and then change them every few weeks or months.
Regarding fingering, everything is just a suggestion. If a standard or suggested by anyone fingering doesn’t work for you, you try out other options. The ultimate goal is that it feels and sounds great, nobody really cares which fingering you are using if you meet these two criteria.
Hi Denis, after those numbers (you mentioned in this video) to start with, may I ask you to please give a recommended order to learn the rest of 51?
Then, in my opinion, you can work in pretty much any order! The other ones are more advanced, but they are approximately on the same level, with some rare exceptions like no.14, which is just very uncomfortable.
Also, a further classification in my opinion is not possible, because each player will find some of them easier or harder not because it is objectively so, but because of the personal unique qualities - someone has a better stretch, someone has difficulty with a specific finger combination, and so on.
@@DenZhdanovPianist thank you for sharing your thoughts. I just liked knowing that there are some easier ones. I’m enjoying your lessons very much, so far.
Do you have an opinion on Frederick weicke’s studies?
Great video Denis, you made me think even more about these exercises which I already considered to tackle. And I really liked that the bell sound was exactly when you said "Ravel" 😂
Thanks!
The bell timing wasn’t intended, so apparently it’s a “Schicksals-Klingel” for you personally, because in the epoch of Tik-Tok there is no time for a “Schicksals-Symphonie”, you know😂
Is this course for beginners as well?
No, I would suggest these exercises for rather intermediate players
Thank you for sharing. I'm interested to go further with your lessons on Brahms exercises on your website. Because I find your work excellent, you explain well the gesture and how to be relax when you play. But I wanted to know if you give exercises that teach how to play faster the exercices that must be played faster? Do you see what I mean?
Yes, many of these exercise are meant to be played in a vivid tempo, but in order to be able to do that without loosing the quality and articulation, we first coordinate motions properly.
Sir I want to learn online... I am From India.. Plz guide.. Thank you 🙏
I allways start around play 1 month, will be continuing the end. Hope some day I can play him 1, 2piano concertos, thinks.
can you do a course on czerny 299?
At some point
'3 against 4' instant op 10 Ballade flashbacks
I really appreciate the thumbnail
Sounds beautiful. I guess Brahms exercises are still advansed for my current state. Do you recommend the exercises for people with small hands? I barely make it to 9th.
Brahms has plenty exercises that are suitable for people with smaller hands.
I would not recommend no.14 that I have demonstrated in the beginning of the video, because this one is one of a few monstrosities that this set contains, but there are many others that would work. Furthermore, in the course I explain how to manage many wide spots for people who can’t connect them physically.
In general, small hands is not a sentence. I know many professional pianists, including my wife, who barely reach an octave, and nevertheless play brilliantly complete Chopin etudes or Scriabin Sonatas.
You then just have to develop your own “smart” approach to difficulties.
@@DenZhdanovPianist Thank you for taking your time answering me. I recognized Elina`s hands while watching your performance the other day, sublime💛💙 the way hands and fingers dancing on piano. The composition by Bezborodko was really cool to watch closely.
Try Dohnanyi “Essential finger exercises for obtaining a sure piano technique”
petruccimusiclibrary.ca/files/imglnks/caimg/1/1c/IMSLP461147-PMLP508711-Dohnanyi_SUVINI.pdf
I am currently starting RCM level 5, and I am looking for studies/etudes. Which do you recommend? Brahms 51, Czerny, Hanon, Dohnanyi ? Some people prefer Dohnanyi over Brahms. I need help with fourth and fifth weak fingers.
I personally like Burgmüller op.109, Liszt 12 Etudes d’Exercise.
Reg.weak fingers check out my video about 5th finger ua-cam.com/video/vLkm7r5AFp8/v-deo.html
And familiarize yourself with -in -out motions that strengthen the 4th finger. I speak about it in detail in the course, but if you’re not up to enrolling in it right now, try searching some hints on UA-cam, for example some Taubman approach videos. I think I have also mentioned that in the recent video about bad habits: ua-cam.com/video/QD9QcmlygKo/v-deo.html
3:23 _and_ 3:34
Moreover, I want to tell you that polyrhythms 3 vs. 2 _and_ 3 vs. 4 will seem like nothing compared to what comes next:
4 vs. 5, 6 vs. 7, _and_ 7 vs. 8 -- how about that? Is that even *realistic* to play?
Yes, it feels normal as soon as you learn how to rely on beats spreading all the notes within a beat more-less evenly in each hand, thus not coordinating note per note, but coordinating beats only. Everything in between is just being spread like butter on a bread.
Hi Denis good video btw didn’t you study with my teacher Shintaro Kawahara in Lucerne with Konstantin?
Yes I studied with K.Lifschitz
@@DenZhdanovPianist Oh nice before Shintaro was my teacher you really helped me thanks!
We didn’t cross much with Shintaro, I think he has finished right before or shortly after I came in, but please tell him my warmest wishes!
@@DenZhdanovPianist I will!
Dennis what technique progression would you recommend after Czernys School of velocity
Brahms Exercises 😂😉
Czerny op. 740 is also a great set
Liszt 12 Etudes d’exercise and Burgmüller op.109 are also a good addition to Czerny.
But in general, there is no need to be crazy about etudes: so many pieces from a concert rep contain enough difficulties to boost your skills.
Great, Denis! Chopin also wrote his Etudes to encourage this kind of whole-hand, whole-body technique; you really can't play them any other way.
BTW, if I may share a suggestion: You may find you can move more freely if you sit a bit farther forward on the bench, rather than sitting fully flat upon it. This allows you to move your torso (for largest movements) on a smaller pivot point, without "fighting" the bench's flat surface. Cheers!
It depends how tall and how squishy the foam on the bench is. Also if it has a slight forward angle light a Hidrau bench.
I feel the need to point out that it was more than halfway through your video before you even began to discuss any tips for how to play these exercises. I’d recommend thinking hard about whether this is the best approach to videos like this, even if you’re trying to push enrollment in your paid courses. Very few potential viewers are going to give you the benefit of the doubt that you have anything worth saying if you haven’t gotten to the point 5 minutes into a 10 minute video.
I see your point and will consider it, but if you’d see my selling’s stats and UA-cam analytics, you’d be surprised.
There is a principal difference in providing learners with the necessary background and clarifying common stereotypes, and an entertaining talking like for example Tiffany Poon’s vlogs.
5.43 in and it feels like an advert - i’m out
Lol 5:43 Perfect timing! No patience no reward!😂
@@DenZhdanovPianist can the quick release of the key on the thumb and 5th finger in preparation for playing the next hand position be employed in difficult passages like the dominant seventh scales that occur in right and left hands in the 1st movement of the Brahms second concerto ? The fingering in most editions of this concerto is RH.12345 & LH. 54321 notes CEGAB flat and the second time around are notes FACDE Flat in both hands for a span of three octaves taken at break neck speed employing the damper pedal for Legato. How do you achieve a smooth execution of this rather awkward unpianistic scale passage? Which of the Brahms 51 exercises would you recommend for perfection of this section of the B-flat major concerto ? Could you do a video discussing the technical difficulties found throughout this particular composition of Brahms? Masterclasses for the Brahms second concerto are almost non existent on the internet or platforms like UA-cam.
Sure, you don’t connect positions physically releasing the hand, and of course find an ergonomic hand motion between positions. I would suggest you first practice with a good support/leaning sensation on the thumb and releasing the hand after the fifth finger, making a gap between positions while releasing the hand in between. Then gradually smoothening transitions
I think it will save time if you directly practice Chopin op.25 no.1 and no.12
Personally---I used Brahms opus 24 Handel Variations & Fugue & all incarnationions of Paganini Variations including Brahms,Schumann,Liszt,Lutisliwski & Rachmaninoff.
Also the 27 Chopin Etudes & 26 complete Liszt Transcendental, Paganini & Concert Etude set.
Do I really need exercise?
1000% NO.
currently I play Gaspard de la nuit/ Petroushka & Balikeriev's Islamey daily for my " exercises".
Humans have limited time---spending time w rather useless exercise rather than pieces that double as " exercise, & concert performance repertoire is a misappropriation of time& effort.
😂😂😂 that’s an amazing level of reasoning.
I don’t need smth so no one needs.
@@DenZhdanovPianist my teacher studied w Alfred Cortot ( who also taught Dinu Lapatti & Horowitz in Paris)& as they both opined : all repertoire is " technique---specific not general ,often non-applicable as in so many finger bender exercise permutations.
( just saying....)
I don't like Brahms' exercices. I don't think it improves your technique. Of course, you find one in Liszt.
Reminded me a brilliant joke:
A man is standing in front of the Mona Lisa, looking at her and saying, "What's so great about her, this Mona Lisa? I don't like her...”
A senior lady next to him says: "Young man! You know, for so many centuries, so many people like her, that she can allow herself to choose - who would like her and who would not".
Random guy opinion vs professional pianist advice, I'll definitely take the professional pianist advice lol
im too dumb to understand i will stick to only my guitar
Try to make it more enjoyable though
you talk too much...less talking and more demonstyrating
Thanks for promoting the channel by commenting. Specially for you next video will be ONLY talking, no demonstrations😉
Lmaooo 🤣
shut up, you must have an IQ of zero if you think this is too much talk to process.
this comment is somehow true though.
Guys, I talk as much as I want on my channel.
Piano playing on a decent level needs patience and/or intelligence.
A person who has at least one of those qualities would either be able to listen an introduction for a few minutes, or use time-codes provided in description to skip it.
Why would I be interested in teaching people who are neither patient nor smart?
please talk less play more ffs
Roger that! You will definitely like this one!
ua-cam.com/video/n-ve9P9OzfE/v-deo.html
@@DenZhdanovPianist
🤣🤣👍