I'm really liking this focused teaching format on a specific part of a piece. It's like a deep dive into the music. Super high quality teaching, thank you!
I think learning any composition is like assembling a jig saw puzzle. You work up sections that are then fit together. Of course creating a finished performance that is completely musically integrated can be extremely challenging. You can have sections that a perfected, but the piece still does not not feel or sound totally integrated. One thing I liked about Jeewon's demonstration is that her playing has really good energy and the right and left hand are well integrated. Her short excerpt is quite lively and musical.
I like the idea of choosing a particular fingering for musical reasons. Also the idea of relaxed motion is very important, as you point out. Preparation of motion is equally important. Your lessons are super. There are very few piano teachers as good as you.
One thing you didn't mention is going after the passage very slowly. I try to play through passages like this in a very musical manner at a very slow relaxed tempo where any sense of urgency is eliminated.
Another thing not mention is this development takes a significant amount of practice over probably many months, unless you are an exceptionally good pianist already. It takes time for a piece to settle in.
Great video Jeewon! You are a wonderful teacher. This was 2nd Beethoven sonata I fell in love with when I was 16. I play most all of it but I still struggle with measures 133-137 3rd movement. Bringing out the rt hand Bb, A, Bb, Cb still gets me at tempo. Maybe in a future video you can address it. It's such a subtle genius passage. This sonata is such a masterwork. No wonder it has endured so all these years. Thanks again and best always.
Oh! To bring out the top, i give up playing the top topes legato because I want to give a “ping” on each of the top notes. Just try to create the shape with the notes under the arc, without actually connecting them. That should free you up a little bit. Keep the fingers 1, 2 and 3 super light, leaning the hand to toward the pinky. I hope this doesn’t sound too complicated!
I am in the process of relearning the Appassionata. When I played it hundreds of times in 2004, I had no problem at all. I used the Wiener Urtext edition that I bought in 1971, with its recommended fingering. I recently bought the Henle edition, which has some good fingering in the first movement, but I prefer the fingering of my 1971 score for the third movement. I bought a new copy of the Wiener Urtext edition, but it has a different fingering. I could not ever think of changing my fingering now, so I have to use my old edition with its dilapidated and yellowed pages. I only hope I won't encounter any problems. In 2004 I played the first movement better than the third, so I worked so hard on the third movement, that now I remember it better than the first movement; so I'm finding the third movement easier to relearn than the first.
Fingering has to fit your own hand. My approach may not be recommended, but I like to let my fingers find their own way rather than attempting to figure it out in advance. Sometimes the published finger can be helpful, but other times it's better to just find your own. What is really important is that Jeewon is not looking at fingering simply from a technical point of view but from a musical point of view. How does the music sound with a particular fingering? I think this is something that may be ignored by many people.
Loved this video. I have a question- I can play a complicated piece with no real mistakes at a slower tempo but as I approach actual tempo it falls apart. How do you transition to actual tempo once you can play it slower? Any advice most appreciated. Thank you.
I am going to guess (since I don't know your background, what piece, level of musical maturity etc...) that it is a more psychological than a technical problem. Take 4 bars of the music you are having trouble playing IN tempo, and sing it in your head while also imagining your fingers playing the keys in that exact tempo as closely as possible. Did you get "stuck" anywhere? Or, try to memorize a section of the music and practice it in a slightly faster tempo. And then a little faster. Usually if you have it memorized you will be able to work on the desired tempo without other hindrances. Hope this helps. Let me know!
I don't know about the entire composition, but you can force the tempo up on certain passages with the use of a metronome. You might want to do each hand individually. Another issue is simply how long (weeks, months) have you played the piece. Speed develops over time. It's your brain you are training not your fingers. Grass doesn't grow very much over night but becomes tall after a month.
I'm really liking this focused teaching format on a specific part of a piece. It's like a deep dive into the music. Super high quality teaching, thank you!
I think learning any composition is like assembling a jig saw puzzle. You work up sections that are then fit together. Of course creating a finished performance that is completely musically integrated can be extremely challenging. You can have sections that a perfected, but the piece still does not not feel or sound totally integrated. One thing I liked about Jeewon's demonstration is that her playing has really good energy and the right and left hand are well integrated. Her short excerpt is quite lively and musical.
Awesome video. Very informative and perfect for all students including myself!
Great lesson, thanks!
I like the idea of choosing a particular fingering for musical reasons. Also the idea of relaxed motion is very important, as you point out. Preparation of motion is equally important. Your lessons are super. There are very few piano teachers as good as you.
One thing you didn't mention is going after the passage very slowly. I try to play through passages like this in a very musical manner at a very slow relaxed tempo where any sense of urgency is eliminated.
Another thing not mention is this development takes a significant amount of practice over probably many months, unless you are an exceptionally good pianist already. It takes time for a piece to settle in.
Thank you.
“Ode to Joy of Learning!” I will share it with the people around me.
Thank you for your teaching.
Amazing ❤️ thank you for youre attention to the finer details 🎹
Great video Jeewon! You are a wonderful teacher. This was 2nd Beethoven sonata I fell in love with when I was 16. I play most all of it but I still struggle with measures 133-137 3rd movement. Bringing out the rt hand Bb, A, Bb, Cb still gets me at tempo. Maybe in a future video you can address it. It's such a subtle genius passage. This sonata is such a masterwork. No wonder it has endured so all these years. Thanks again and best always.
Oh! To bring out the top, i give up playing the top topes legato because I want to give a “ping” on each of the top notes. Just try to create the shape with the notes under the arc, without actually connecting them. That should free you up a little bit. Keep the fingers 1, 2 and 3 super light, leaning the hand to toward the pinky. I hope this doesn’t sound too complicated!
@@JeewonLeepiano Thanks so much!
I'm speechless, Jaewon you look fantastic!!❤️
You are so kind! Thank you.
Seonsaengnim meu gamsahamnida für den tollen Tipp
Gomawoyo für die wunderschöne Videos
Annyongikeseyo 🙏🏻🙆🏻♀️
I am in the process of relearning the Appassionata. When I played it hundreds of times in 2004, I had no problem at all. I used the Wiener Urtext edition that I bought in 1971, with its recommended fingering. I recently bought the Henle edition, which has some good fingering in the first movement, but I prefer the fingering of my 1971 score for the third movement. I bought a new copy of the Wiener Urtext edition, but it has a different fingering. I could not ever think of changing my fingering now, so I have to use my old edition with its dilapidated and yellowed pages. I only hope I won't encounter any problems. In 2004 I played the first movement better than the third, so I worked so hard on the third movement, that now I remember it better than the first movement; so I'm finding the third movement easier to relearn than the first.
Fingering has to fit your own hand. My approach may not be recommended, but I like to let my fingers find their own way rather than attempting to figure it out in advance. Sometimes the published finger can be helpful, but other times it's better to just find your own. What is really important is that Jeewon is not looking at fingering simply from a technical point of view but from a musical point of view. How does the music sound with a particular fingering? I think this is something that may be ignored by many people.
Loved this video. I have a question- I can play a complicated piece with no real mistakes at a slower tempo but as I approach actual tempo it falls apart. How do you transition to actual tempo once you can play it slower? Any advice most appreciated. Thank you.
I am going to guess (since I don't know your background, what piece, level of musical maturity etc...) that it is a more psychological than a technical problem.
Take 4 bars of the music you are having trouble playing IN tempo, and sing it in your head while also imagining your fingers playing the keys in that exact tempo as closely as possible. Did you get "stuck" anywhere?
Or, try to memorize a section of the music and practice it in a slightly faster tempo. And then a little faster. Usually if you have it memorized you will be able to work on the desired tempo without other hindrances.
Hope this helps. Let me know!
I don't know about the entire composition, but you can force the tempo up on certain passages with the use of a metronome. You might want to do each hand individually. Another issue is simply how long (weeks, months) have you played the piece. Speed develops over time. It's your brain you are training not your fingers. Grass doesn't grow very much over night but becomes tall after a month.