Thank you, Greg, for this illuminating video! I have been working for some time on WTC Bk. 2, Prelude & Fugue in C M, BWV 870. Yes, learning the voices separately is essential! What interests me in your method is the idea of playing by memory immediately, trying it from the score only a few times and then looking at your hands and using your aural memory. I have always started by first analyzing the piece, then figuring out the fingerings and finally trying out the voices separately. But it's a brilliant idea to try to hear the music mentally immediately rather than relying on just reading the notes. This is new for me and I'm excited to try it out! By the way, one trick I've used lately is to use removable colored tape to label the various sections (A1, B1, A2, C, D, B2, etc.) so that I can immediately see on the page where the various themes show up. Thank you again for all the hard work you do in sharing your videos with those of us who want to learn!
Hi! Thank you! Wow, removed colored tape idea is fantastic! Yes, I try to play from memory as soon as possible, this way we gain more self confidence and feel secure and free. Try it and let me know what the results will be!
isn't that just the first stage you still have to work it like a mad man. glenn gould said he played the Goldberg Var. 500 times before the recording in 1955.
An unintended lesion of your interesting video is an implied condemnation of the obsession with memorization. It is astounding(!) that a superb classical pianist like you had never played the WTC book 1 A minor fugue. An amateur like me simply wakes up in the morning, opens the WTC book 1, page 1, and begins to play through the whole volume (over a few days) one piece after another - for the sheer joy. Or another time do the same with the Mozart or Beethoven sonatas, etc. The only explanation that this is not common practice, is the obsession with memorization - which only dates to the early 1800s. Along with useful memorization techniques, such as you provide, everyone should be encouraged to sight read all(!) of the great keyboard literature (certainly all of Bach!!!!) - for the enjoyment and insight that brings in itself.
You are correct. This is the reason. The reason is how we are trained in the music Academies. I always prepared for exams, concerts, competitions, everything had to be memorized. But I don't regret. I love performing from memory because it gives me the freedom which I don't have while reading the music. That's something else deeper.. I know the piece the same way that the composer knew it when he was composing it. It's a very interesting topic to further discussion! Thanks for this comment
I actually do not play piano, but jazz accordion. Your enthusiasm and hard work are an inspiration to me. Have you ever heard classical music played on the accordion? Lots of music schools teach it. Regards from USA.
Thank you for these longer form video/lesson/tutorials. I had chosen the Bach's P&F from the sound for my next conservatory piano exam. it turns out I've chosen the only Bach Fugue in 2 voices! The others are a little scary in parts. Lately, I've tried to get over my fear of the Baroque complexity by exploring Bach's prelude and fugues. I quite enjoy your approach to learning and memorizing these. I'll be able to move forward with more confidence and more tools. Thanks for sharing the joy of music, Kevin (in Canada)
I used to think that doing the analysis of a piece is enough to memorise it. Interesting ! The grid on the paper thingy was not clear visually but I get the idea. I have *Die kunst der fuge* in sight since a while, but I am too much focused on other pieces at the moment. So, if memorizing melodies is horizontal memory, memorizing harmonies is vertical memory, so when we learn the entire fugue as a 2D data that's it. But what about functions ? eg., canon, transpose, reverse (in time), inverse (up/down), cut, extend ... but also with harmonic context (degrees of notes, chords given a tonality a priori): I, II, V, 5+, 7, V of V, etc ? So we memorize in the end a 2D canvas of functions and data. We understand it too and then we can finish the 14th countrapunctus. What do you think Greg ?
The fact 03:20 that professor Choong-Mo Kang has memorized (in a five year long preparation) ALL known piano works by J.S. Bach and performed them is simply mind-baffling 😲 . I mean, I do venerate any pianist who is playing J.S. Bach by memory. But THE WHOLE BODY OF KLAVIER WORK, in a row, one after the other, for one whole week ... ! Gosh, this is insane! I did not known that a normal (?) human can become superhuman.
There was an organist named Helmut Walcha (1907-1991). At age 19 years, he became blind. He recorded Bach's COMPLETE (!!!) work for organ. ALL OF IT, all Fugues, Preludes, the Passacaglia C Major... !! Blind! By heart! Too bad there was no UA-cam at that time where he could explain how he memorized ALL THAT!!
Thank you for the very useful video! It's Wohltmperietes Klavier 1 Fuga2 isn't it? I love Bach but play it bitter 😂 especially Fuga. But it'll be a chance for me 😅
Your approach is sensible. But may I ask, don't you sightread a piece or listen to it on recordings before deciding to learn it? It seems to me that we already have some familiarity with a piece before attempting to memorize it.
Hi Grzegorz! Thanks for this video, I really love your content and your tips and tricks! I have learnt three inventions, but I can't memorize them, I would love to however. Do you think it is necessary to memorize them in order to play them better? I would like to know the point in memorizing them, instead of playing while reading the sheet. What is the difference? Thank you :)
I think when you have a piece in your memory you feel like you are the composer. The piece circulates in your blood and you can do whatever you want during the performance. You don't have to use your eyes for reading so you can control your hands. It's worth it!
Just discovered this video today. Thank you so much! Do you have anything for early intermediate? I am working on Invention 8 and would love any guidance :)
Greg, you are my piano teacher 'in my head' as I practice. I think WWGD - what would Greg Do? I don't always get an answer but I have an idea where to search for it. Thank you.
it would help much more if u spoke about bachs composition methods...for example how in measure 14, he starts to use an INVERTED version of the subject that moves downward
Suggestion for another video: memorizing and reducting Stravinsky's Sacre du printemps, from the original orchestral score ;) (yes it's one of my projects)
Thanks a lot again, Greg, for sharing your well-thought insights, this time about memorizing the complex polyphony from the great Bach. It is inspiring to see even you struggling sometimes ;-)
Greg, thanks a lot ! I am still struggling at the bottom of the hill but it was a great pleasure to have the chance to observe a professional pianist practicing . . . I have been trying to learn using the approach you suggest (I DID try it the 'other way' - brute force , ) and of course it did not work. . I gave up on the fugues . . As one of my teachers said, you like to try to do things you cannot do. . But I can't help it ! The music is so moving that I can't stay away . . Now I am trying a few of the Goldberg variations . (I know . . I should not . .) like # 2 and # 13. One hand and one voice is the only way. But I have a question - why not learn it well and continue to use the score? Sviatislov Richter went back the score when he was older . .is it possible that memorizing is using up valuable time? Of course I cannot sight read. And playing by memory has its special pleasures, but it takes so much time ! And of course you have to know the fingering already etc. I suppose with allegro you must memorize but if it is slow enough . .maybe.
Prosze zagrac Bacha na mechanice Wiedenskiej bez podwojnej repetycjii jak na Angielskiej. Jestem laikiem ale Bach nie mial wowczas dostepu do instrumentow brzmiacych dynamicznie. Digital Piano 20 lat temu to zapowiedz sztucznej inteligencjii...a dzisiaj to zaraz obedzie sie bez ludzi dlatego wspieram Cie Grzechu😂😉
Oczywiście, Bach nie miał w ogóle fortepianów, więc cała jego muzyka grana na fortepianach to tak naprawdę transkrypcje. Nie sądzę żeby sztuczna inteligencja zastąpiła kiedykolwiek sztukę tworzoną przez prawdziwego człowieka z racji jego unikalności i niepowtarzalności oraz emocji. A tych nie sposób usztucznić. A są potrzebne, żeby przeżyć coś głębszego podczas koncertów. Pozdrawiam serdecznie
![How to master trills on piano? [TUTORIAL] - Greg Niemczuk.](http://i.ytimg.com/vi/PEP7WbtEVwM/mqdefault.jpg)
Greg you are my favourite pianist to watch. Your lessons are amazing and you inspire me so much. Thank you for all you do!
Thank you Julia!!!!
Mon Dieu, Chopin & Bach are exactly my pantheon!❤
I love how you say "Das wohltemperierte Klavier". your german is good! Thanks for the video, Fugues are certainly not easy
Thanks! I had it at school for many years. But I don't really speak it any more.
Thank you, Greg, for this illuminating video! I have been working for some time on WTC Bk. 2, Prelude & Fugue in C M, BWV 870. Yes, learning the voices separately is essential! What interests me in your method is the idea of playing by memory immediately, trying it from the score only a few times and then looking at your hands and using your aural memory. I have always started by first analyzing the piece, then figuring out the fingerings and finally trying out the voices separately. But it's a brilliant idea to try to hear the music mentally immediately rather than relying on just reading the notes. This is new for me and I'm excited to try it out! By the way, one trick I've used lately is to use removable colored tape to label the various sections (A1, B1, A2, C, D, B2, etc.) so that I can immediately see on the page where the various themes show up. Thank you again for all the hard work you do in sharing your videos with those of us who want to learn!
Hi! Thank you! Wow, removed colored tape idea is fantastic! Yes, I try to play from memory as soon as possible, this way we gain more self confidence and feel secure and free. Try it and let me know what the results will be!
isn't that just the first stage you still have to work it like a mad man. glenn gould said he played the Goldberg Var. 500 times before the recording in 1955.
Yes. I'm not surprised! Of course it's just the first step, but very important how you make this step! It must be done in the right direction
Excelent class, you always keep my attention!!!
Thank very much much (from Baja California, Mexico)
Gracias!!!
Bach is really difficult but funny 😊 and the statue 🗿 i love it
❤love your teaching thank you a lot!!
I’d love to see Goldberg variation tutorial Greg …thank you !!!
Wow..... that's a challenge....
Who knows....but not this year for sure.....
An unintended lesion of your interesting video is an implied condemnation of the obsession with memorization. It is astounding(!) that a superb classical pianist like you had never played the WTC book 1 A minor fugue. An amateur like me simply wakes up in the morning, opens the WTC book 1, page 1, and begins to play through the whole volume (over a few days) one piece after another - for the sheer joy. Or another time do the same with the Mozart or Beethoven sonatas, etc. The only explanation that this is not common practice, is the obsession with memorization - which only dates to the early 1800s. Along with useful memorization techniques, such as you provide, everyone should be encouraged to sight read all(!) of the great keyboard literature (certainly all of Bach!!!!) - for the enjoyment and insight that brings in itself.
You are correct. This is the reason. The reason is how we are trained in the music Academies. I always prepared for exams, concerts, competitions, everything had to be memorized. But I don't regret. I love performing from memory because it gives me the freedom which I don't have while reading the music. That's something else deeper.. I know the piece the same way that the composer knew it when he was composing it. It's a very interesting topic to further discussion! Thanks for this comment
spadł mi pan z nieba dosłownie! Zaczynam się uczyć inwencji trzyglosowej E dur! dziękuję!
Powodzenia!!!
Na ten film czekałam... Dziękuję 🤗
You are amazing !
Thank you!
I actually do not play piano, but jazz accordion. Your enthusiasm and hard work are an inspiration to me. Have you ever heard classical music played on the accordion? Lots of music schools teach it. Regards from USA.
Actually I haven't! That's so cool!
Thank you for these longer form video/lesson/tutorials.
I had chosen the Bach's P&F from the sound for my next conservatory piano exam. it turns out I've chosen the only Bach Fugue in 2 voices! The others are a little scary in parts.
Lately, I've tried to get over my fear of the Baroque complexity by exploring Bach's prelude and fugues. I quite enjoy your approach to learning and memorizing these. I'll be able to move forward with more confidence and more tools.
Thanks for sharing the joy of music,
Kevin (in Canada)
Thank you Kevin! Good luck and best wishes!
Personally, I think this is the hardest fugue in both books of the WTC. It’s just so difficult to articulate the 4 voicing at the end.
❤️❤️❤️❤️❤️
I used to think that doing the analysis of a piece is enough to memorise it. Interesting ! The grid on the paper thingy was not clear visually but I get the idea. I have *Die kunst der fuge* in sight since a while, but I am too much focused on other pieces at the moment. So, if memorizing melodies is horizontal memory, memorizing harmonies is vertical memory, so when we learn the entire fugue as a 2D data that's it. But what about functions ? eg., canon, transpose, reverse (in time), inverse (up/down), cut, extend ... but also with harmonic context (degrees of notes, chords given a tonality a priori): I, II, V, 5+, 7, V of V, etc ? So we memorize in the end a 2D canvas of functions and data. We understand it too and then we can finish the 14th countrapunctus. What do you think Greg ?
In addition to your beloved advice and inspiration, I love the statuettes changing with each composer!
The fact 03:20 that professor Choong-Mo Kang has memorized (in a five year long preparation) ALL known piano works by J.S. Bach and performed them is simply mind-baffling 😲 . I mean, I do venerate any pianist who is playing J.S. Bach by memory. But THE WHOLE BODY OF KLAVIER WORK, in a row, one after the other, for one whole week ... ! Gosh, this is insane! I did not known that a normal (?) human can become superhuman.
Me neither!!!!!!!!!
There was an organist named Helmut Walcha (1907-1991). At age 19 years, he became blind. He recorded Bach's COMPLETE (!!!) work for organ. ALL OF IT, all Fugues, Preludes, the Passacaglia C Major... !! Blind! By heart! Too bad there was no UA-cam at that time where he could explain how he memorized ALL THAT!!
@@albrechtbln Incredible, isn't it?
With dedication and need, some of us can do kind of wonders ...
I could not.
Thanks so much for all of your wonderful contents~wish you would do chopin concertos as well!!😊
I will but it will take time
I'm more than willing to patiently wait 😂!!thank you~!!!
Your determination and dedication to embark on this journey of global evangelic tutorials Really changes our lives literally more than you'd know!!!
@@swankwon1066 thank you so much!!! I couldn't read a better comment!
Aww~~its very sweet of you!!
thank you~thank you ~!!!❤❤❤
Thank you for the very useful video!
It's Wohltmperietes Klavier 1 Fuga2 isn't it?
I love Bach but play it bitter 😂 especially Fuga.
But it'll be a chance for me 😅
For me Bach was always the hardest to memorize, for example Adagio from Toccata in c minor BWV 911 was crazy
Oh yes. He is the hardest!
Your approach is sensible. But may I ask, don't you sightread a piece or listen to it on recordings before deciding to learn it? It seems to me that we already have some familiarity with a piece before attempting to memorize it.
Well, yes I do. Usually I listen to it many times (different interpretations). But I don't really sight read
Hi Grzegorz! Thanks for this video, I really love your content and your tips and tricks! I have learnt three inventions, but I can't memorize them, I would love to however. Do you think it is necessary to memorize them in order to play them better? I would like to know the point in memorizing them, instead of playing while reading the sheet. What is the difference? Thank you :)
I think when you have a piece in your memory you feel like you are the composer. The piece circulates in your blood and you can do whatever you want during the performance. You don't have to use your eyes for reading so you can control your hands. It's worth it!
Thank you, you're so inspiring! I will do so from now and on :) @@gregniemczuk
@@gregniemczuk You make me feel so happy! 🕊
You have to revise your mechanical approach to Bach.
Thank you for the advise. But what exactly do you mean?
Just discovered this video today. Thank you so much! Do you have anything for early intermediate? I am working on Invention 8 and would love any guidance :)
Thank you! I will watch after practicing some Bach :)
Your tips are always useful.
Greg, you are my piano teacher 'in my head' as I practice. I think WWGD - what would Greg Do? I don't always get an answer but I have an idea where to search for it. Thank you.
WWGD! Absolutely astounding! Thank you! You made my day!
Bach, the greatest teacher of music.
it would help much more if u spoke about bachs composition methods...for example how in measure 14, he starts to use an INVERTED version of the subject that moves downward
Thanks for that. I focused on memorizing that works for me but everyone is different.
Suggestion for another video: memorizing and reducting Stravinsky's Sacre du printemps, from the original orchestral score ;) (yes it's one of my projects)
I enjoyed this video very much. Everything starts with Bach. I expect he will outlive me ;-)
Thanks a lot again, Greg, for sharing your well-thought insights, this time about memorizing the complex polyphony from the great Bach. It is inspiring to see even you struggling sometimes ;-)
Suggestion for another video: memorizing Ligeti's études :)
Omg.... I don't play them because I don't like them....
But I might try to show my approach.
So natural and inspiring.. thank you sir
Świetne wskazówki. Dziękuję.:)
Greg, thanks a lot ! I am still struggling at the bottom of the hill but it was a great pleasure to have the chance to observe a professional pianist practicing . . . I have been trying to learn using the approach you suggest (I DID try it the 'other way' - brute force , ) and of course it did not work. . I gave up on the fugues . . As one of my teachers said, you like to try to do things you cannot do. . But I can't help it ! The music is so moving that I can't stay away . . Now I am trying a few of the Goldberg variations . (I know . . I should not . .) like # 2 and # 13. One hand and one voice is the only way.
But I have a question - why not learn it well and continue to use the score? Sviatislov Richter went back the score when he was older . .is it possible that memorizing is using up valuable time? Of course I cannot sight read. And playing by memory has its special pleasures, but it takes so much time ! And of course you have to know the fingering already etc. I suppose with allegro you must memorize but if it is slow enough . .maybe.
Thank you for this. I couldn’t see what you were writing on the separate piece of paper. Could you please clarify that?
Another great video ! Thank you 👍
Hallo Greg, it would be very interesting for me to post a link of your suggested print edition... Where I can get it. I am from Austria
What exactly do you mean?
The sheet book editon what you show and suggest us of Bachs WELL TEMP. CLAVIER
@@johnb.5201 aw, yes, Alfred Masterwork Edition
Prosze zagrac Bacha na mechanice Wiedenskiej bez podwojnej repetycjii jak na Angielskiej. Jestem laikiem ale Bach nie mial wowczas dostepu do instrumentow brzmiacych dynamicznie. Digital Piano 20 lat temu to zapowiedz sztucznej inteligencjii...a dzisiaj to zaraz obedzie sie bez ludzi dlatego wspieram Cie Grzechu😂😉
Nauczycielka z lat 90tych mowila jak zagrasz Fuge na cymbalach to bedziesz dobry
Oczywiście, Bach nie miał w ogóle fortepianów, więc cała jego muzyka grana na fortepianach to tak naprawdę transkrypcje.
Nie sądzę żeby sztuczna inteligencja zastąpiła kiedykolwiek sztukę tworzoną przez prawdziwego człowieka z racji jego unikalności i niepowtarzalności oraz emocji. A tych nie sposób usztucznić. A są potrzebne, żeby przeżyć coś głębszego podczas koncertów. Pozdrawiam serdecznie
Heavy statement about Digital Pianos and AI!! Were they only introduced 20 years ago? I thought they had been around a lot longer than that.