Many people will say playing this at full speed harms musicality but I'll never get over Kate Liu's rendition of this at the 2015 Chopin competition. Fast, clean, AND musical, with superb voicing.
This makes so much more sense musically at 116! I like how you were more grounded in the left hand and the right hand becomes more like a sparkling texture than a melody which makes it all feel lighter. I like it
It's not just the metronome markings. The limitations of the instruments of the composers' days should also not be ignored, along with the physical limitations of the average human being who does not want to risk injury while doing something as harmless as music making. Most importantly, many categories of musical detail that composers carefully notated in their manuscripts are ignored because they are nearly impossible either to play or hear precisely because of excessive speeds.
What limitations of the instruments are you talking about? What makes you think that Chopin's Etudes are for "the average human being"? As for the details, perhaps you can't hear them. You need to train your ears as well as your fingers to deal with rapid tempi. A review article about Chopin's Etudes in a Parisian musical magazine of 1833, ranking piano compositions by difficulty on a scale of 1 to 12, put them at 12.
@@DismasZelenka In Chopin's time, keys were slightly smaller, and had a lighter attack making certain maneuvers easier to do. It is why modern edited editions will recommend a BPM of ~100 instead of Chopin's original metronome marking. Most people playing these etudes should not play it at 116BPM, and don't need to. The musicality of Chopin's set not withstanding, the main point of the etudes is still to advance technique, not to break your wrist. The average pianist who plays these etudes indeed does not want to risk injury by playing something the instrument can't do.
@S.Lijmerd Thanks, I agree entirely. There are people around who advocate for very much lower speeds, on various specious pretexts, one being a belief that one couldn't play fast on the pianos of Chopin's time, and another being that fast playing obscures musical detail. Chopin was advancing technique both pianistically and compositionally (if that word exists), taking Bach's preludes to another level. It takes a much better than average pianist to do them full justice.
@@DismasZelenkaI would like to hear and see you actually playing the piano rather than just talking about it.😊 There's a saying that talk is cheap. Action speaks louder than words.
Hey...😁 As a pianist myself I would say your 'normal' speed (108bpm) is perfect because you can experiment more with the dinamics, colour, etc...of the piece than if you play it at the original tempo. Chopin's piano was different from today's Grand piano so maby he would slower the speed a little bit (like 108bpm) if he played on a Grand piano today...
@kanondough1137 It was different. My teacher has an original Pleyl piano of Chopin's time. Keys are MUCH lighter and the distance between keys is a bit shorter. It is a more direct playing as well.
This also would nicely explain why Beethoven pieces today are played substantially slower than Beethoven's or Czerny's indications which seem to be neck breaking speed (unless you subscribe to double metronome pulse theory).
Your 108 was beautiful. Faster is not always better!! As you imply, playing a bit within yourself, you get a lot more control! Oh, and 108 last longer :-)
Are you using the metronom often? Does it help to speed up? In steps? Gradually? How do you increase? What about mistakes creeping in? Are you slowing down to half tempo in between? Lots of questions 😅
First cut the piece in short parts and start slow with separated hands, practicing every rythmical variant possible. Then try hands together. Repeat the process every time you increase metronome speed, before increasing you should make sure you can play flawlessly without any mistake at the speed you practiced. With patience you'll get to the execution speed without mistakes. There obvioulsy are some parts more challenging than other, which require more time, use this system correctly and i garantee you that you wont make any mistakes. Dont start learning something if you think that your technique and you hands are not developed enough yet.
@alisonburger2666 Thank you. Well explained. Generally said, I can play such pieces near tempo, but the last 20% are often taking 80% of my time, and I know almost all recommendations to speed up (if I believe the piece sounds better that way). I usually go back to very slow playing to repeat my understanding of the smalles bits of a phrase, of hand and body movements. It is still a challenge. I think that the secret is the ability of the brain to keep not involved muscles relaxed all the time and to use natural movements following gravity. How this is done seems to differ from master to master.
This can depend on a lot of things. Classic wisdom is to get everything perfect before increasing speed. I can’t speak for pianists because I’m not one, but on cello it’s more complicated. For instance, the speed you play can drastically change what bow techniques are effective, so spending a ton of time playing slowly can actually train you to do things that will never work at your desired tempo. Trying things out at tempo, even if they’re not 100% accurate and solid yet, is necessary on cello. You need to know what playing fast feels like so you don’t develop unhelpful habits from the slow playing. I find that doing both slow and fast practice in each session is best-they’re both necessary. Piano is very different from cello, but there’s food for thought.
Another point is that most discussions about piano playing these days focus on velocity playing. Much less often do we hear about aesthetics, expressiveness, phrasing, articulation, dynamic contrasts and gradation, tempo management as opposed to mere speed, pedalling, posture, manner, etc. etc. The real content of the music is ignored nearly totally, like melodic and motivic invention, construction and development, harmonic language, accompaniment patterns and styles, tonality or atonality, overall architecture of the music, and so on. It is as though these are far less important than speed, speed, and yet more speed. We risk turning music making into mere sport by focussing on just the mechanistic aspect of piano playing. That of course would be easier to bicker and emote about than deeper discussions of the core aspects of real musicianship.
It depends on what character you want the piece to have. I think all three speeds are viable and have their own character. And remember 1) we're not sure how accurate Chopin's metronome was; 2) his piano wasn't the same as a modern piano (lighter touch, narrower keys, different sound); 3) who's to say he played at the same speed every time himself!
I couldn't agree more with this advice. As a guitarist who struggled with lead. I would either sit down with the radio and play the vocal melodies or I would play a bit faster than my target tempo and didn't mind if I messed up. Trick is to not stop and replay. Just keep playing what you are trying to play without stopping until your brain matches with your digits. Promise.
Your playing is beautiful, and I like it at your current tempo. It is fast, clear, and musical. I think printed tempos are guidelines rather than absolutes. I had a Schumann book that compared metronome markings in 2 editions -- 1st edition and Clara Schumann's edition -- and then compared the tempi of well-known pianists who had recorded (including Vladimir Horowitz) the pieces (Op 15, Scenes from Childhood.) Only one piece had the same tempo markings in both editions (one was 50 clicks different!) The variations between performers for the same pieces was as high as 46 beats per minute! (Most were closer than that, but several had tempi variations of more than 20 beats or even 30 beats per minute.) So, play it how you feel it. 😅
Well, Liszt actually sight read some of Chopin's etudes such that Chopin wished he could play it like Liszt. Do you think he was playing at this kind of tempo?
@pjbpiano. You put together to episodes as one, don’t give the knowledgesless people wrong information! The idea of WBMP only works for those who can’t live with another reality.
@@geiryvindeskeland7208 I did not give anyone any wrong information. I asked a simple question. Do you think Liszt sightread Chopins etudes at this tempo? Yes or no?
@@pjbpiano After reading more about Chopin and Liszt, I understand that I was wrong, I didn’t remembered the episode correctly. I am sorry. And now the question: was Liszt able to sight read some of the etudes? Maybe no 3, but he was unable to sight read no 1, 4, 5 and 12.
Sometimes I write a song that I intend to be played rather fast, but then experiment with comically fast tempos; when I settle on the final (slower) tempo it thus sounds too slow...
Q: if the action and mechanics of ol pianos that Chopin would have played aren’t as good as today’s standard …realistically how fast and smooth do you think he actually played these pieces? 🎵
But the top piano makers of the time made just as good pianos, only with different specifications - lighter action, thinner keys, straight strung, clearer sound, but not as loud. They were designed for large salons, not for modern concert halls. Fortepianos were not Model T Fords!
Actually I did hear that in the past those BPM written on pieces were meant to be 1/8 notes instead of quarter notes in present day (in 4/4 eg). I have no source and don't know if this was before Chopin's time or not
I like your lively attitude to music making. Unfortunately, I have to agree with those who have demonstrated through fairly extensive research that the speeds being attempted are actually twice as fast as the composer(s) intended. With this etude played at the “correct” speed, it is possible to express dynamic contrasts and shadings more musically, as well the articulations (I.e. legatos and staccatos). It takes much discipline of tempo management, effortless touch control and conscious awareness of harmonic and melodic progression, but after that there’ll be no need to do endless repetitive practising of the same pieces. IMO, the RH notes are after all a series of beautiful melodic patterns and not just finger-twister exercises to torture pianists, hurt their limbs, and intimidate them.😊 Having said all that I must say you do play the piano very impressively, including the etudes. More successes for the future.✅
@maxalphakingmusic. Even with my moderate level of knowledge, I am able to find a number of errors and manipulations in Wim Winters’ videos. If you are familiar with his videos at the same level as me, you should also be able to find those errors.
The research you refer to (no doubt Wim Winters and AuthenticSound) has long ago been thoroughly debunked by musicologists. I hope you realize it all depends on 19th-century musicians counting 1 second as 2 seconds?
@DismasZelenka It's not just the metronome markings. The limitations of the instruments of the composers' days are also ignored, as are the physical limitations of the average human being. Most importantly, many categories of musical detail that composers carefully notated in their manuscripts are ignored because they are nearly impossible either to play or hear precisely because of excessive speeds. I could go on. Even many virtuoso pianists readily admit the fact. In my conservatoire days when I used to compete in international piano competitions, some judges sometimes pointedly announced to us that good music making was not primarily about speed. Ask yourself why great composers would write pieces that they themselves could not play without dropping everything to practise just piano playing for up to ten hours a day. If they did, they would not have had the time to compose much music, which may explain why many modern virtuoso pianists compose very little, or hardly perform any of their own compositions. A very sad and disappointing state of affairs. Personally, in my youth, I almost intuitively wanted to be not so much like great modern virtuoso pianists, but more like great composers such as Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Liszt, Scott Joplin etc, etc, most of whom were fine performers themselves.
@@geiryvindeskeland7208It's true that perhaps Wim Winters labours the point a bit:-) but the general point about excessive speed is shared more broadly, I think, than is expressed openly.
I feel like saying that's 108 is lying (coming from jazz music). It's 216 and setting the beat to half time. This makes the jump in speed way more obvious 232
In the liner notes of a Horowitz album, he says that without technique, he would be an amateur, but without expression, he would be a robot. So, tempi as fast as possible, but without sacrificing the intended expression. And as to practice tempi, I agree it helps to play faster than intended (+10-+20% even) but also helpful to regularly play it at half speed. Slow playing is good to detect any bad habits forming in muscle memory.
Wow! I'm an eletric guitar player and i do the exact same thing 😳😳 i think that playing at your max speed helps you "loosen your fingers", or at least it helps you perceive the notes better And yes, 8 bpm means a lot when you're playing sextuplets. You're playing more 48 notes per minute by skipping this much
You suggesting that for me to master the below, I ought get proficient at playing them cleanly and musically at 1.25x the tempo in the following renditions? watch?v=lUVvSXqNEG4 watch?v=C5M_3jXARSg
@4klegendaryyt379. The problem is the speed. That’s why Chopin wrote this etude in G sharp major. He could have written this etude in C major, but then the challenge would disappear. The black keys are more narrow than the white ones. Therefore you have to play it very fast, else the point is missing.
@geiryvindeskeland7208 I don't understand what you mean, but you said it yourself that the fact that it's in black keys makes it harder (cuz notes are more narrow)
Chopin has not even the fastest metronome marks that, by the way, are actually accurate tempo indications that are ment to be followed. Even Czerny's are ment to be followed (he has a famous quote about that). And in la tristesse you can actually play it a tempo but no one does. Guys, the answer is in front of your eyes, and you can't even see it
It's not actually how fast you can play the notes. It's MORE about how quickly you are able to overlap ther notes. Meaning, if you play with too high of finger articulation at a fast speed, you will never be able achieve a fast enough tempo. As I noticed, your finger action is very good but due to the higher finger stroke, you are struggling to achieve a true speed. The thing to remember is; the fast one needs to play, the closer the fingers need to stay to the keys. In addition, we need to use more wrist motion the closer we are to the keys while playing me fast speeds.
Annique! - why do you continue with all this talking about speed? You know very well that it are several major differences between period instruments and our modern pianos. Please Annique, remind those people without knowledge that WBMP is not the answer!
@mikelonneke1844. It is a reason why Chopin wrote this etude in G sharp major. The black keys are more narrow that the white keys. Therefore it is a bigger challenge to hit the black keys perfectly. So, to develop your technique, you have to play the etude as fast as you can.
Many people will say playing this at full speed harms musicality but I'll never get over Kate Liu's rendition of this at the 2015 Chopin competition. Fast, clean, AND musical, with superb voicing.
i just checked it out. It was a great rendition
I've just watched it. Wow! So fast and clean but yet emotional
Lowkey people say that cuz they’ve got a skill issue
Kate Liu’s performance remains my favorite. Unbelievable musicality.
(And I just checked: her basic tempo is around 116 bpm.) 😎🎹
Bruce Liu also has a very brilliant and renovative performance, he added a very interesting voicing
This makes so much more sense musically at 116! I like how you were more grounded in the left hand and the right hand becomes more like a sparkling texture than a melody which makes it all feel lighter. I like it
🤦🏻♂️🤦🏻♂️🤦🏻♂️🤦🏻♂️
It's not just the metronome markings. The limitations of the instruments of the composers' days should also not be ignored, along with the physical limitations of the average human being who does not want to risk injury while doing something as harmless as music making. Most importantly, many categories of musical detail that composers carefully notated in their manuscripts are ignored because they are nearly impossible either to play or hear precisely because of excessive speeds.
What limitations of the instruments are you talking about? What makes you think that Chopin's Etudes are for "the average human being"? As for the details, perhaps you can't hear them. You need to train your ears as well as your fingers to deal with rapid tempi.
A review article about Chopin's Etudes in a Parisian musical magazine of 1833, ranking piano compositions by difficulty on a scale of 1 to 12, put them at 12.
@@DismasZelenka In Chopin's time, keys were slightly smaller, and had a lighter attack making certain maneuvers easier to do. It is why modern edited editions will recommend a BPM of ~100 instead of Chopin's original metronome marking. Most people playing these etudes should not play it at 116BPM, and don't need to. The musicality of Chopin's set not withstanding, the main point of the etudes is still to advance technique, not to break your wrist. The average pianist who plays these etudes indeed does not want to risk injury by playing something the instrument can't do.
@S.Lijmerd Thanks, I agree entirely. There are people around who advocate for very much lower speeds, on various specious pretexts, one being a belief that one couldn't play fast on the pianos of Chopin's time, and another being that fast playing obscures musical detail. Chopin was advancing technique both pianistically and compositionally (if that word exists), taking Bach's preludes to another level. It takes a much better than average pianist to do them full justice.
@@DismasZelenkaI would like to hear and see you actually playing the piano rather than just talking about it.😊 There's a saying that talk is cheap. Action speaks louder than words.
Piano topic aside.
How can you be just effortlessly beautiful? You look just so gorgeous. I always find myself mesmerize by your beauty.
Hey...😁 As a pianist myself I would say your 'normal' speed (108bpm) is perfect because you can experiment more with the dinamics, colour, etc...of the piece than if you play it at the original tempo. Chopin's piano was different from today's Grand piano so maby he would slower the speed a little bit (like 108bpm) if he played on a Grand piano today...
@kanondough1137 It was different. My teacher has an original Pleyl piano of Chopin's time. Keys are MUCH lighter and the distance between keys is a bit shorter. It is a more direct playing as well.
Ooh okay. That's really interesting. Thankyou for that information🎵@@RolandHuettmann
This also would nicely explain why Beethoven pieces today are played substantially slower than Beethoven's or Czerny's indications which seem to be neck breaking speed (unless you subscribe to double metronome pulse theory).
Your 108 was beautiful. Faster is not always better!! As you imply, playing a bit within yourself, you get a lot more control! Oh, and 108 last longer :-)
Are you using the metronom often? Does it help to speed up? In steps? Gradually? How do you increase? What about mistakes creeping in? Are you slowing down to half tempo in between? Lots of questions 😅
First cut the piece in short parts and start slow with separated hands, practicing every rythmical variant possible. Then try hands together. Repeat the process every time you increase metronome speed, before increasing you should make sure you can play flawlessly without any mistake at the speed you practiced. With patience you'll get to the execution speed without mistakes. There obvioulsy are some parts more challenging than other, which require more time, use this system correctly and i garantee you that you wont make any mistakes. Dont start learning something if you think that your technique and you hands are not developed enough yet.
@alisonburger2666 Thank you. Well explained. Generally said, I can play such pieces near tempo, but the last 20% are often taking 80% of my time, and I know almost all recommendations to speed up (if I believe the piece sounds better that way). I usually go back to very slow playing to repeat my understanding of the smalles bits of a phrase, of hand and body movements. It is still a challenge. I think that the secret is the ability of the brain to keep not involved muscles relaxed all the time and to use natural movements following gravity. How this is done seems to differ from master to master.
I wonder if she can do op 10 no 1 at 176
This can depend on a lot of things. Classic wisdom is to get everything perfect before increasing speed. I can’t speak for pianists because I’m not one, but on cello it’s more complicated. For instance, the speed you play can drastically change what bow techniques are effective, so spending a ton of time playing slowly can actually train you to do things that will never work at your desired tempo.
Trying things out at tempo, even if they’re not 100% accurate and solid yet, is necessary on cello. You need to know what playing fast feels like so you don’t develop unhelpful habits from the slow playing. I find that doing both slow and fast practice in each session is best-they’re both necessary. Piano is very different from cello, but there’s food for thought.
@@hbtried7818 Same wirh piano in many cases.
Your cuteness and class out-speed your speed! Thank you for your hard work, and inspiration! {:-)
I like everything you play, and how you play it.! You are AMAZING.! SKILLED.! Always BEAUTIFUL.!
And also the music!
Another point is that most discussions about piano playing these days focus on velocity playing. Much less often do we hear about aesthetics, expressiveness, phrasing, articulation, dynamic contrasts and gradation, tempo management as opposed to mere speed, pedalling, posture, manner, etc. etc. The real content of the music is ignored nearly totally, like melodic and motivic invention, construction and development, harmonic language, accompaniment patterns and styles, tonality or atonality, overall architecture of the music, and so on. It is as though these are far less important than speed, speed, and yet more speed. We risk turning music making into mere sport by focussing on just the mechanistic aspect of piano playing. That of course would be easier to bicker and emote about than deeper discussions of the core aspects of real musicianship.
I just got to see Chopin's grave in the père lachaise cemetery earlier this week. Such a great composer, of only he didn't leave as early as he did.
It depends on what character you want the piece to have. I think all three speeds are viable and have their own character. And remember 1) we're not sure how accurate Chopin's metronome was; 2) his piano wasn't the same as a modern piano (lighter touch, narrower keys, different sound); 3) who's to say he played at the same speed every time himself!
This is very impressive, as i play the piano too, very good work on the hand movement!
I couldn't agree more with this advice. As a guitarist who struggled with lead. I would either sit down with the radio and play the vocal melodies or I would play a bit faster than my target tempo and didn't mind if I messed up. Trick is to not stop and replay. Just keep playing what you are trying to play without stopping until your brain matches with your digits. Promise.
you are amazing!!!
Yes! We did that speeding trick in an amateur big band. You'd really not believe you can play it that fast, until you DO IT. Then slow down.
I believe that pianos back in Chopin's day had a somewhat lighter action, so 116 would have made more sense!
Wow, you are awesome
You rock miss
Your playing is beautiful, and I like it at your current tempo. It is fast, clear, and musical. I think printed tempos are guidelines rather than absolutes. I had a Schumann book that compared metronome markings in 2 editions -- 1st edition and Clara Schumann's edition -- and then compared the tempi of well-known pianists who had recorded (including Vladimir Horowitz) the pieces (Op 15, Scenes from Childhood.) Only one piece had the same tempo markings in both editions (one was 50 clicks different!) The variations between performers for the same pieces was as high as 46 beats per minute! (Most were closer than that, but several had tempi variations of more than 20 beats or even 30 beats per minute.) So, play it how you feel it. 😅
Well for all those who say playing at 116 will hurt musicality, I will say "Get Good". If you're good, you can have full control at 116.
if you play fast fast, when you start to slow down because of various reasons, you have some space to work with.
Best wishes and Happy 2025, Annique! ❤
queen
Wim of AuthenticSound would have a field day with this one, him and his dreadfully slow “whole beat” tempi
Well, Liszt actually sight read some of Chopin's etudes such that Chopin wished he could play it like Liszt. Do you think he was playing at this kind of tempo?
@pjbpiano. You put together to episodes as one, don’t give the knowledgesless people wrong information! The idea of WBMP only works for those who can’t live with another reality.
@@geiryvindeskeland7208 I did not give anyone any wrong information. I asked a simple question. Do you think Liszt sightread Chopins etudes at this tempo? Yes or no?
@@pjbpiano After reading more about Chopin and Liszt, I understand that I was wrong, I didn’t remembered the episode correctly. I am sorry. And now the question: was Liszt able to sight read some of the etudes? Maybe no 3, but he was unable to sight read no 1, 4, 5 and 12.
@@pjbpianoWhere does it say that he was sightreading them?
I had this same effect too... ❤
It is very good method!❤
When will you be performing in Holland?
Sometimes I write a song that I intend to be played rather fast, but then experiment with comically fast tempos; when I settle on the final (slower) tempo it thus sounds too slow...
So fast is not always better.
Q: if the action and mechanics of ol pianos that Chopin would have played aren’t as good as today’s standard …realistically how fast and smooth do you think he actually played these pieces? 🎵
But the top piano makers of the time made just as good pianos, only with different specifications - lighter action, thinner keys, straight strung, clearer sound, but not as loud. They were designed for large salons, not for modern concert halls. Fortepianos were not Model T Fords!
Try it with an orange🙈😇🎹🎶😂
The second was longer in Chopin's time, so 116 wasn't as fast then as it is now. Source: me, making crap up. 😁😁😁😁
Thanks, Wim! 😎🎹
Actually I did hear that in the past those BPM written on pieces were meant to be 1/8 notes instead of quarter notes in present day (in 4/4 eg). I have no source and don't know if this was before Chopin's time or not
The original speed, the speed set by the composer, please.
I like your lively attitude to music making. Unfortunately, I have to agree with those who have demonstrated through fairly extensive research that the speeds being attempted are actually twice as fast as the composer(s) intended.
With this etude played at the “correct” speed, it is possible to express dynamic contrasts and shadings more musically, as well the articulations (I.e. legatos and staccatos). It takes much discipline of tempo management, effortless touch control and conscious awareness of harmonic and melodic progression, but after that there’ll be no need to do endless repetitive practising of the same pieces.
IMO, the RH notes are after all a series of beautiful melodic patterns and not just finger-twister exercises to torture pianists, hurt their limbs, and intimidate them.😊
Having said all that I must say you do play the piano very impressively, including the etudes. More successes for the future.✅
@maxalphakingmusic. Even with my moderate level of knowledge, I am able to find a number of errors and manipulations in Wim Winters’ videos. If you are familiar with his videos at the same level as me, you should also be able to find those errors.
The research you refer to (no doubt Wim Winters and AuthenticSound) has long ago been thoroughly debunked by musicologists. I hope you realize it all depends on 19th-century musicians counting 1 second as 2 seconds?
@@DismasZelenkaWhich musicologists?,
@DismasZelenka It's not just the metronome markings. The limitations of the instruments of the composers' days are also ignored, as are the physical limitations of the average human being. Most importantly, many categories of musical detail that composers carefully notated in their manuscripts are ignored because they are nearly impossible either to play or hear precisely because of excessive speeds.
I could go on. Even many virtuoso pianists readily admit the fact.
In my conservatoire days when I used to compete in international piano competitions, some judges sometimes pointedly announced to us that good music making was not primarily about speed.
Ask yourself why great composers would write pieces that they themselves could not play without dropping everything to practise just piano playing for up to ten hours a day. If they did, they would not have had the time to compose much music, which may explain why many modern virtuoso pianists compose very little, or hardly perform any of their own compositions. A very sad and disappointing state of affairs.
Personally, in my youth, I almost intuitively wanted to be not so much like great modern virtuoso pianists, but more like great composers such as Bach, Handel, Mozart, Beethoven, Schubert, Chopin, Liszt, Scott Joplin etc, etc, most of whom were fine performers themselves.
@@geiryvindeskeland7208It's true that perhaps Wim Winters labours the point a bit:-) but the general point about excessive speed is shared more broadly, I think, than is expressed openly.
Can you say hello to me please?...I love you annique❤
I play guitar in the 200-300 range but I can’t do that on piano. For some reason piano is way harder to go fast on
I'd swear, I heard it played faster, on the other side tempo changes slightly throughout this piece.
Name of this piece please
Opus 10 Nr. 5 "Black Keys"
hard type maybe Se Te or probably Ne Te
WBMP 😎
Maybe the metronome was winding down?
Now play Hammerklavier Sonata at 145 to get to the right 138! You found the trick!
In my Edition Peters of 09/91: speed 100.
if you can play it slowly, you can play it quickly ❤
Have you seen Rousseau’s speed? Have a feeling it’s a lot higher then 116bmp
I feel like saying that's 108 is lying (coming from jazz music). It's 216 and setting the beat to half time. This makes the jump in speed way more obvious 232
Hast Du eigentlich schon mal daran gedacht, ob die Metronomangaben bei Chopin (und wohl auch bei Beethoven) einfach nur Maximalangaben sind?
In the liner notes of a Horowitz album, he says that without technique, he would be an amateur, but without expression, he would be a robot.
So, tempi as fast as possible, but without sacrificing the intended expression. And as to practice tempi, I agree it helps to play faster than intended (+10-+20% even) but also helpful to regularly play it at half speed. Slow playing is good to detect any bad habits forming in muscle memory.
Wow! I'm an eletric guitar player and i do the exact same thing 😳😳 i think that playing at your max speed helps you "loosen your fingers", or at least it helps you perceive the notes better
And yes, 8 bpm means a lot when you're playing sextuplets. You're playing more 48 notes per minute by skipping this much
Now at 160
WBMP es la unica explicacion
You suggesting that for me to master the below, I ought get proficient at playing them cleanly and musically at 1.25x the tempo in the following renditions?
watch?v=lUVvSXqNEG4
watch?v=C5M_3jXARSg
The problem with this piece is not speed, but that it's really easy to hit wrong notes (no pun intended)
@4klegendaryyt379. The problem is the speed. That’s why Chopin wrote this etude in G sharp major. He could have written this etude in C major, but then the challenge would disappear. The black keys are more narrow than the white ones. Therefore you have to play it very fast, else the point is missing.
@geiryvindeskeland7208 I don't understand what you mean, but you said it yourself that the fact that it's in black keys makes it harder (cuz notes are more narrow)
Sometimes the metronome isn't fast enough! xD
Behold the master of masters! :P
ua-cam.com/video/GQ-NAgDpRVs/v-deo.html
Chopin has not even the fastest metronome marks that, by the way, are actually accurate tempo indications that are ment to be followed. Even Czerny's are ment to be followed (he has a famous quote about that). And in la tristesse you can actually play it a tempo but no one does. Guys, the answer is in front of your eyes, and you can't even see it
Czerny's Etudes in Velocity are much simpler than Chopin's Etudes, so easier to play faster.
108 < 116. Who knew! :P
It's not actually how fast you can play the notes. It's MORE about how quickly you are able to overlap ther notes. Meaning, if you play with too high of finger articulation at a fast speed, you will never be able achieve a fast enough tempo. As I noticed, your finger action is very good but due to the higher finger stroke, you are struggling to achieve a true speed. The thing to remember is; the fast one needs to play, the closer the fingers need to stay to the keys. In addition, we need to use more wrist motion the closer we are to the keys while playing me fast speeds.
Of course slower 😅
116 sounds better than 108
Annique! - why do you continue with all this talking about speed? You know very well that it are several major differences between period instruments and our modern pianos. Please Annique, remind those people without knowledge that WBMP is not the answer!
Please, for the love of Bach, keep Chopin's tempo, remember, it's not Prokofiev, it's Chopin.
transpose it to another key without black
Alright. Now play Lang Lang’s tempo
126🎉😊
ua-cam.com/video/xr8IiAkIZys/v-deo.html
I think you can 'try' to play in time but double beat shhhh
same as guitar, overplay it. You really good you could probably learn guitar if you practice more
first tempo was best. sorry chopin
I like 110 🤡
Good music is not a sport.
Rien ne sert de courir : il faut partir à point ...
Put your video in ×2😂😂😂🎉🎉🎉
Doesnt work like that
Happy New Year 2025 @ heartofthekeys
Senseless above 106. Speed does not make music more beautiful.
@mikelonneke1844. It is a reason why Chopin wrote this etude in G sharp major. The black keys are more narrow that the white keys. Therefore it is a bigger challenge to hit the black keys perfectly. So, to develop your technique, you have to play the etude as fast as you can.
@@geiryvindeskeland7208: G-Flat Major