From Good to Great: Secrets of Professional Piano Expression
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- Опубліковано 13 жов 2023
- 𝐋𝐈𝐌𝐈𝐓𝐄𝐃 𝐓𝐈𝐌𝐄 𝐃𝐄𝐀𝐋 𝟒𝟎% 𝐎𝐅𝐅 for a new 4-hour course on 6 intermediate level etudes from the beautiful Op. 109 by F. Burgmüller: bit.ly/burg109
Master various piano playing skills via a detailed guidance on memorization, technique efficiency, interpretation, and tension-free playing!
01:10 The most important skill for expressive piano playing
03:13 Each phrase leads somewhere (has a climax)
05:10 How to shape a climax
06:32 A "secret" tip how to shape a romantic style climax
08:12 After the Long Note
10:00 Strong & Weak bars concept
Check out my 8-hour course on 51 Brahms exercises: bit.ly/brahms51ex
Check out a course on Hanon Exercises with all the most important playing efficiency strategies explained: bit.ly/ManyPianoTips
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Every music lover, not just piano people, could benefit from this video! Thank you, as always, Denis!
The concept of continuation such that the next note after a long note has the same intensity as the decaying note was quite new to me. Makes so much sense.
My goodness!! This is the best tutorial I’ve ever watched ! Thank you very much , Mr Zhdanov👏👏👏
Glad it was helpful! Thank you
You have done an excellent demonstration of the very basic concept of Proportions. You have broken this concept down allowing a broad base of pianists to understand and hopefully put into their interpretations. Proportions is at the heart of musical artistry and is the reason why we spend hours and hours of practice to get it just right. And playing in different environments we have to adjust to that too trying to stay true to the proportions. I’m tempted to send this video to all of the people, mostly non musicians that just think anyone can play well if they just practice the notes for a certain amount of time. It’s much more complicated! Thank you so much.
Love your way of explanation.
Thank you for explaining this difficult to grasp phrasing. I’ve recently discovered the importance of hearing each note and the continuity of sound; unfortunately not taught when I began my musical study. Your videos are most appreciated!
I am so enthusiastic about you as a pianist that I couldn't help but sign the new course at once 😅. This last video again was world class.
Thank you and good luck
This is superb nuggets of profound information. I love how you always keep pointing out that the most important things about piano playing seem "basic", as if people watching you doubt what you are saying. Every time I tune into your videos I'm all-ears for what you say, because you truly explain the details of versatile piano playing. Very informative and beautifully presented, thank you!
Great lesson. And you really demonstrate what you explained. Big thanks...) 🙂
Concise and in-depth lesson, and extremely useful!
Потрясающий канал, спасибо за важные информации 🎉
Beautifully explained and beautifully executed , thank you .
You are truly a treasure trove of piano teaching. You touch upon advanced topics almost no one talks about because everyone else tries to cater to the "beginners", while making it extremely comprehensive even for someone (like me) who isnt proficient at the slightest with the instrument. Thank you so much for your work!!
Wow, thank you! I am so happy there are many learners who are ready to delve beyond ‘beginner’ matters!
Thanks ver much. ❤
Brilliant video! Great job.
Thank you!😊
What a great video. I am years of practice away from being able to apply any of it, but it really motivates me to reach that level. Thank you
Go for it and have a great time!🎹
Thank you very useful 😎
Denis, can you elaborate more on what you would call this Strong/Weak bar relatinoship? Is this something that you apply to the music or is it something inherent in the musical text? Also, are you referring to dynamics? In the Beethoven example it seemed that 6-3-4-2 were the dynamic ratios you were using.
I know, it’s a bit tricky concept, and I didn’t come up with a very simple explanation yet.
This is a way to organize a musical flow. It is not a rule, but rather a subjective perception tool that helps you to organize music.
If each bar were equally important, it’s more challenging to provide a longer development. Another analogy is breathing: you may imagine that some bars are like inhale (active), and others are like exhale (more passive). Mozart is the simplest example, because he often organizes music in pairs of strong-weak bars like in the video example, in the romantic music these structures might be longer and more sophisticated, since the phrases more often contradict the formality of bar line divisions.
Yes, 6-3-4-2 is an analogy for the relativity of the volume levels between bars, and/or degrees of emotional intensity.
I‘m currently playing Chopin‘s etude op.10 no.9 and
the Mendelssohn example op.117 in e-minor in your video reminds me SOO much of it. The whole idea and mood of the piece is so similar. And even the transition from the B-part to the A part again is so similar.
Do you think Mendelssohn "copied" the idea from Chopin? Haha
Greetings from Germany
It’s not necessarily copying, each time period and culture has certain common ideas used by a vast majority of composers. Nowadays it’s also evident: when a certain contemporary compositional technique becomes a trend, and everyone runs to incorporate it in their new composition.
The mentioned two pieces have a resemblance, but they are quite different. The restless LH pattern is actually different, and the melodic shape is much more curvy and ‘seeking’ in Chopin than that straightforward and ‘Tsunami-feeling’ of Meldelssohn. I would also use this difference for interpreting them quite differently if I were playing them back to back, exploiting how the pauses in melody of Chopin influence the ‘shortage of breath’ effect VS longer held notes in Mendelssohn.
Inspiring masterclass. Two questions David. 1) How would these principles apply to playing on a digital piano? 2) What piano are you playing in the video?
1) same way. These principles impact the way you organize notes in phrases, how notes relate to each other, not individual notes per se. However digital pianos have less sound nuance range, that’s true. This lesser range of dynamic nuances may help less experienced players to hide inability of a fine sound control, but limits professionals who urge to get maximum range of phrasing nuances.
2) Kawai RX-5
@@DenZhdanovPianist Thanks a lot for the prompt reply. I love your classes and your piano sounds wonderful.