I started at 48 and I’m picking it up. It’s not true that you need to start as a child. I will likely never be able to play this piece, but I’m playing lovely music of all sorts. Very enjoyable.
@@Boomchockalocka Yes, you will be able to. Everyone with proper limbs can play this piece, just put in the hours :P. Chopin's music tends to look a lot more daunting than it actually is, too. Not to discredit the piece, but you do not need to be special to play this piece. All you need is dedication, guidance and discipline
@@Boomchockalocka don’t say you won’t! I am confident if you work hard you will manage sometimes. Though, you should not rush to play harder pieces. You should rather play easier pieces technically, like Bach inventions and sinfonias - or the preludes. Good luck on your journey! I’m believing in you ☺️
if you have a little knowledge of sightreading but is "really" not fluent at them, i really really really really recommend you to buy alfred adult piano books, 1 2 and 3 eventhough if you're still a kid, at book 1, it might make you start from the beginning again (technique and posture, notes at the staves), but that would actually help you to restart and progress faster, and then really practice each song until you master it... then you go to level 2, then level 3.. then after that.. i bought john thompson modern piano course book 3 and 4, and "first lesson in bach" and dont forget to progress your music theory too! i am now currently in book 4 and i think i can call myself as early intermediate.... the tip is trying to play pieces that you like and is at your level of playing (if you cant find it, i think you have to find pieces and listen to them. probably some clementi sonatinas) and *master* them but ALSO, you might want to try pieces that are slightly harder for you so it's more of a challenge and also *master* it, that makes you get used to it even more
As someone who's currently practicing this piece, and sometimes gets a bit frustrated listening to those blazingly fast recordings of this etude, it's very reassuring seeing my "student tempo speed" matches yours. I'd like two share my two cents on practicing this etude in case some else is struggling with this: 1. It has a rapid learning curve, but it's easy to get stuck at lower speeds if you don't have good practice habits. 2. I've gotten away with not practicing slowly many times. That didn't happen with this one. 3. If at any time you arm hurts or you wrist gets tired stop playing at play it again slower. At not point you should increase your speed if you don't feel comfortable. 4. Watch Paul's series on this etude. Even if not everything works for you, you'll benefit immensely.
I have no words to express my awe for Paul Barton. I have been following him for several years. I totally resonate with his work. Thank you Paul, your contribution serves the collective.
Your discussion on using fingertips was incredibly helpful! I did find using the wrist was effective at first, but after reducing that movement I was able to immediately improve control, evenness and tempo.
So typically Chopin. Dude sat down one day and just started stitching together arpeggios of various scales, and then thought, "Once again I am brilliant," and wrote it all down on paper. Personally this reminds me of when I used to run the 400-meter race in high school. This race is an all-out "sprint," only for 400 meters. The thing is, you get to a point where your brain tells your legs: "Go faster!" But your legs are incapable of going faster, cuz they have reached the point where they are physically and chemically unable to produce energy from oxygen any faster. Fitness and conditioning training are supposed to increase your legs' energy production capabilities...but no matter how much you practice, you might simply not have the genes to make any further progress.
This is a great practice speed for anyone as it helps ward off tension as you have time to comfortably work through. If you learn it consistently at this speed you will naturally eventually get faster
I come here to recommend Paul Barton's approach to learning this piece. The videos of the series are very helpful not only because of the practice PDFs, but also because they show that there is no need to rush it. After about 1 month of practising almost every day, I can confirm that this approach works for me! Also, I listen to the "Student tempo" regularly, because: - It helps me remember the piece, as I can listen to every note very clearly - It boosts my motivation, because it is much more achievable than the super fast interpretions - It is a very nice interpretation of the piece! Good luck everyone!!
Brilliant video. I agree with all those things you say. We become unaware of what we are doing as far as rotation etc is concerned. But we do it! My teacher taught me the things, rotation, swivel, arm stroke, forearm stroke, finger stroke etc… I actually like this tempo. It’s a good practice speed. Rushing it all the time will only result in failure.
I stopped learning this piece 2 years ago. This video inspires me to learn this piece again. I will try to learn this again after i finished op.25 no.1
Merci for this. I read the comments and several people talked about pain and injuries. My daughter filmed me with my exercises for the pianist, that is to say for the body of the pianist. Of course it starts with the low back exercises that take 30 seconds to one minute, and then I explain my upper extremity tips. Hands, wrists, forearms and shoulders. She is editing it now. Stay tuned.
Appreciate your good work all along. It would be great if Paul could post a moderate student tempo for Winter Wind, another most difficult etude of Chopin imo
Fantastic! Seeing Barton perform this slowly and accurately is a treat. My own teacher always emphasized that practicing slowly is the way to achieve speed with accuracy. He also insisted on using a metronome for this sort of work, increasing the speed in very small increments only after achieving complete accuracy at the lower speed. That builds even more precision as well as quicker memory formation. In addition, it makes it easier to focus consciously on engaging and strengthening the muscles within the hand--metatarsals and interossei--instead of resorting to the muscles inside the forearm. (Interpretation-wise, he liked to insist on resolving any inner melodies. For instance, early on there is a D#, emphasized in the score, that resolves to an E in the next bar. He wanted to hear that beautiful detail! 'Wondering what Mr. Barton thinks of this.)
2:00 This is something that I‘ve been struggling with. At some point my arpeggios started to sound broken and uneven. Thanks for the advice, I‘ll try to articulate more with my fingers rather than with my wrist
Also practice the notes that sound weak or 'break' by accentuating them in a slow tempo (aceg arpeggio you could play like a-c-E(accentuate!)-g etc). This gives you more control and also helps the arpeggio sound 'connected'. Broken arpeggios are often ejther the result of a weak note (or notes), or the hand not moving fast enough to the new 'position', both cna be fixed by slow rpactice
Thank you so much!! This is amazingly helpful. Also thanks to scarboz40 for the suggestion of Tamas Vasary. I need to be able to hear the piece at tempo in my head before I can think of playing it at that tempo, and I could not bridge the gap (in my head; all the individual notes) between my current max practice tempo of 100 and the 145-150 I hear many pros play. Now I have Paul at 120 and Tamas at ~135 and it's perfect. I could not play a single measure of this piece before finding Paul's super practice exercises and videos. Now I have graduated to the actual score (!). If I had only ever seen/heard someone like Seong-Jin Cho play this I would never have cracked the score, but I happened on the video of a teenager playing (search youtube for Chopin 10.1 with brother in the background :)) and I thought - my goodness, if she can play it, why not me? With my tiny arthritic hands and all - ha ha life is good. Searching for tips on practicing led me to Paul's wonderful videos.
I would much rather hear this piece played comfortably below 170 than above. Modern piano performance seems to have adopted the idea that the winner is the pianist who can play a piece faster than anyone else. I assume that a computer could play op. 10/1 in 45 seconds. Would the result be pleasing? So many thanks to Mr. Barton for his insights!
now this is a good student tempo not only because the student plays slowly and gives attention to the clarity of the notes, but because the dynamics are really considered. I expected some (as I've seen other channels do) extremely slow playing with 0 dynamics, which is just dumb, because why would you play slowly to "give attention to the notes" when you in fact don't since the dynamics are more varied than the amount of styles bach wrote in 😓.
Dear mister Paul…. Congratulations! You do very well! Not one mistake or wrong note I heard …. The tempo is just fine for a non professional ! I wijsheid
This is a nice tempo. Very seldom do I ever get up to the suggested tempo, and that's ok - nobody is paying me to play, fortunately, so it's just a pleasure to play these masterworks on my GP. And to those who are thinking of studying music in college - good luck. My parents told me not to, and that was some of their best advice, ever.
Gosh this is the exact speed I play, physically cannot go any faster, without severe pain. I play 10-8 at 75% of indicated speed as well. Hope you will make recordings of other Chopin's etudes, maybe also ballads scherzos etc at "student" tempo in the future, as there are so beautiful and rewarding to learn.
Although I haven't tried learning this exact study, I do have some tips from my prior experience I'd like to share. You have to adjust your technique. Practice smart, not in great amounts. Come up with new practice methods from time to time. Try to think of how those practice methods will translate into evenness, less tension, and or speed. More often than not, you'll just have to experiment. Don't try to brute-force your way to fast tempo, because in my experience, this is exactly what causes physical pain. Focus on getting rid of any tension you may have in your body while playing. Practice slowly whilst making sure there's absolutely zero tension. Once you've found the right way to play, you simply, yet very carefully, have to engrain it into your technique. It should feel like your hand is smoothly gliding on the keys whilst in an even fashion leading your fingers into their next position to play the keys. Playing the keys should involve the weight of your arm as well as inertia and finger strength, and it's up to you to get a feel for the degree to which these factors should be utilized. I do, however, recommend involving your arms weight and inertia more than finger strength, taking into consideration that the goal is to be free of any tension. As described in the video, do not rotate or turn your wrist too much whilst playing up and down the keyboard. It may seem logical at first, but it's best to keep any wrist movement to a minimum. What you can do, is to angle it to a more optimal position from the get-go, in which case you won't have to move it so much mid-action. Never attempt to lock your wrist in place either. This loops back to the part concerning tension. Leave your wrist loosened, so that if you were to shake your arm, it would bounce along. Good luck!
@@Katsariss By tension, I mean unnecessary tension of the muscles in your body. Mostly in the hands/wrists, arms and shoulders. Tension is often what causes pain in my experience. Since you're able to play this piece, please explain what you think.
Listeners may be interested in hearing Tamas Vasary's recorded version of this etude (it's on youtube)....it's not much faster then this "student tempo" and an interesting tempo choice on his part....
I would like some advice on studying. It is better to work in small sections or play the whole piece slowly with the metronome, increasing the metronome click every day. Thank you so much
So helpful. Thank you! I have a question on the marked tempo. Did Chopin really intend this to go at 176 bpm. Is this definitely his marking on the original score - or that of an editor? Also - is it known how accurate metronomes were at that time?
hello poul! I have a request from you. I love following your CZcams page. I am very curious about the technique of a legendary pianist like you. It will be incredibly helpful to budding students like me and myself if you post new videos on technical issues on your CZcams channel. For example, I am constantly nervous while playing games and it prevents me from playing. What would you suggest I do about it?
Muhammet Emin Koçak -- in case of a language translation glitch, do you mean "playing piano" instead of "playing games"? is your question about confidence playing piano?
With all respect for this excellent teacher, I think that there is a mistake here. on bars 38 and 40. The last note of the descending groups of 4 in bar 38 should be a G, not an A, and in bar 40 a similar last note in the group of fours should be an F, not a G. Maybe discrepancies between different editions?
Dear Paul Barton. Considering the high technical level that the virtuosos practiced in the days of Chopin, Liszt and others, I find it sad that the whole beat theory is believed by so many. In several videos, I see children (7)9-12 years old playing several of Chopin’s etudes much faster than whole beat tempo. Shouldn’t that make whole beat supporters realize that the tempo theory can’t be historically correct?
I do not play, nor how to play a piano, but this inspires me to buy and play piano. Love your work.
I started at 48 and I’m picking it up. It’s not true that you need to start as a child. I will likely never be able to play this piece, but I’m playing lovely music of all sorts. Very enjoyable.
@@Boomchockalocka Yes, you will be able to. Everyone with proper limbs can play this piece, just put in the hours :P. Chopin's music tends to look a lot more daunting than it actually is, too. Not to discredit the piece, but you do not need to be special to play this piece. All you need is dedication, guidance and discipline
@@Boomchockalocka don’t say you won’t! I am confident if you work hard you will manage sometimes. Though, you should not rush to play harder pieces. You should rather play easier pieces technically, like Bach inventions and sinfonias - or the preludes. Good luck on your journey! I’m believing in you ☺️
if you have a little knowledge of sightreading but is "really" not fluent at them, i really really really really recommend you to buy alfred adult piano books, 1 2 and 3 eventhough if you're still a kid, at book 1, it might make you start from the beginning again (technique and posture, notes at the staves), but that would actually help you to restart and progress faster, and then really practice each song until you master it... then you go to level 2, then level 3.. then after that.. i bought john thompson modern piano course book 3 and 4, and "first lesson in bach" and dont forget to progress your music theory too! i am now currently in book 4 and i think i can call myself as early intermediate....
the tip is trying to play pieces that you like and is at your level of playing (if you cant find it, i think you have to find pieces and listen to them. probably some clementi sonatinas) and *master* them
but ALSO, you might want to try pieces that are slightly harder for you so it's more of a challenge and also *master* it, that makes you get used to it even more
Indeed😉👏🏻👏🏻🎹🎼🎶🎶🎶
Sounds more satisfying than the original tempo. The brain and heart have time to absorb each chord.
I agree completely!! This is beautiful!
As someone who's currently practicing this piece, and sometimes gets a bit frustrated listening to those blazingly fast recordings of this etude, it's very reassuring seeing my "student tempo speed" matches yours. I'd like two share my two cents on practicing this etude in case some else is struggling with this:
1. It has a rapid learning curve, but it's easy to get stuck at lower speeds if you don't have good practice habits.
2. I've gotten away with not practicing slowly many times. That didn't happen with this one.
3. If at any time you arm hurts or you wrist gets tired stop playing at play it again slower. At not point you should increase your speed if you don't feel comfortable.
4. Watch Paul's series on this etude. Even if not everything works for you, you'll benefit immensely.
Such a great and real comment 👍
I have no words to express my awe for Paul Barton. I have been following him for several years. I totally resonate with his work. Thank you Paul, your contribution serves the collective.
Your discussion on using fingertips was incredibly helpful! I did find using the wrist was effective at first, but after reducing that movement I was able to immediately improve control, evenness and tempo.
Bless you for breaking down these pieces and making them accessible to us!
So typically Chopin. Dude sat down one day and just started stitching together arpeggios of various scales, and then thought, "Once again I am brilliant," and wrote it all down on paper. Personally this reminds me of when I used to run the 400-meter race in high school. This race is an all-out "sprint," only for 400 meters. The thing is, you get to a point where your brain tells your legs: "Go faster!" But your legs are incapable of going faster, cuz they have reached the point where they are physically and chemically unable to produce energy from oxygen any faster. Fitness and conditioning training are supposed to increase your legs' energy production capabilities...but no matter how much you practice, you might simply not have the genes to make any further progress.
This is a great practice speed for anyone as it helps ward off tension as you have time to comfortably work through. If you learn it consistently at this speed you will naturally eventually get faster
I come here to recommend Paul Barton's approach to learning this piece. The videos of the series are very helpful not only because of the practice PDFs, but also because they show that there is no need to rush it.
After about 1 month of practising almost every day, I can confirm that this approach works for me! Also, I listen to the "Student tempo" regularly, because:
- It helps me remember the piece, as I can listen to every note very clearly
- It boosts my motivation, because it is much more achievable than the super fast interpretions
- It is a very nice interpretation of the piece!
Good luck everyone!!
Brilliant video. I agree with all those things you say. We become unaware of what we are doing as far as rotation etc is concerned. But we do it! My teacher taught me the things, rotation, swivel, arm stroke, forearm stroke, finger stroke etc…
I actually like this tempo. It’s a good practice speed. Rushing it all the time will only result in failure.
This video made me appreciate the piece much more. Left hand techniques especially, and wonderful point made at 5:21, it’s a magical piece. Chopin ❤
Lovely to hear all the notes in slower sequence. Thank you so much.
I stopped learning this piece 2 years ago. This video inspires me to learn this piece again. I will try to learn this again after i finished op.25 no.1
Merci for this. I read the comments and several people talked about pain and injuries. My daughter filmed me with my exercises for the pianist, that is to say for the body of the pianist. Of course it starts with the low back exercises that take 30 seconds to one minute, and then I explain my upper extremity tips. Hands, wrists, forearms and shoulders. She is editing it now.
Stay tuned.
Appreciate your good work all along. It would be great if Paul could post a moderate student tempo for Winter Wind, another most difficult etude of Chopin imo
Fantastic! Seeing Barton perform this slowly and accurately is a treat. My own teacher always emphasized that practicing slowly is the way to achieve speed with accuracy. He also insisted on using a metronome for this sort of work, increasing the speed in very small increments only after achieving complete accuracy at the lower speed. That builds even more precision as well as quicker memory formation. In addition, it makes it easier to focus consciously on engaging and strengthening the muscles within the hand--metatarsals and interossei--instead of resorting to the muscles inside the forearm. (Interpretation-wise, he liked to insist on resolving any inner melodies. For instance, early on there is a D#, emphasized in the score, that resolves to an E in the next bar. He wanted to hear that beautiful detail! 'Wondering what Mr. Barton thinks of this.)
I wish you are my actual teacher. The best of the best Mr. Barton.
The new channel I found...
Your creative work inspires everyone... from a Korean pianist.
Paul I love your videos!! I really would like to see you tackle into Kapustin pieces!! Greetings from Brazil 🇧🇷
This étude sounds like a sequel to Bach's prélude in C-Major. Chopin did love Bach's works, so it might make sense that it's an improvisation
Thank you are really helpfull !!!
Pues sí ! Muchas gracias por ayudarme. A mí me gustan mucho sus vídeos ❤ y le agradezco su generosidad comunicativa! Un gran brazo 💐
2:00
This is something that I‘ve been struggling with. At some point my arpeggios started to sound broken and uneven. Thanks for the advice, I‘ll try to articulate more with my fingers rather than with my wrist
Also practice the notes that sound weak or 'break' by accentuating them in a slow tempo (aceg arpeggio you could play like a-c-E(accentuate!)-g etc). This gives you more control and also helps the arpeggio sound 'connected'. Broken arpeggios are often ejther the result of a weak note (or notes), or the hand not moving fast enough to the new 'position', both cna be fixed by slow rpactice
@@jordidewaard2937 Thank you, I'll try this
sounds good as slow as this, too!
I've been playing for about two years, I'm gonna try learning it at this tempo (I can already do the first few measures)
(Edited for typo)
Thank you so much!! This is amazingly helpful. Also thanks to scarboz40 for the suggestion of Tamas Vasary. I need to be able to hear the piece at tempo in my head before I can think of playing it at that tempo, and I could not bridge the gap (in my head; all the individual notes) between my current max practice tempo of 100 and the 145-150 I hear many pros play. Now I have Paul at 120 and Tamas at ~135 and it's perfect. I could not play a single measure of this piece before finding Paul's super practice exercises and videos. Now I have graduated to the actual score (!). If I had only ever seen/heard someone like Seong-Jin Cho play this I would never have cracked the score, but I happened on the video of a teenager playing (search youtube for Chopin 10.1 with brother in the background :)) and I thought - my goodness, if she can play it, why not me? With my tiny arthritic hands and all - ha ha life is good. Searching for tips on practicing led me to Paul's wonderful videos.
this is exactly my tempo :D
Happy Father’s Day! Amazing!🥲🌹🎁💖🎵🎼🎶🌎
Thank you, Diana!!
I would much rather hear this piece played comfortably below 170 than above. Modern piano performance seems to have adopted the idea that the winner is the pianist who can play a piece faster than anyone else. I assume that a computer could play op. 10/1 in 45 seconds. Would the result be pleasing?
So many thanks to Mr. Barton for his insights!
now this is a good student tempo not only because the student plays slowly and gives attention to the clarity of the notes, but because the dynamics are really considered. I expected some (as I've seen other channels do) extremely slow playing with 0 dynamics, which is just dumb, because why would you play slowly to "give attention to the notes" when you in fact don't since the dynamics are more varied than the amount of styles bach wrote in 😓.
Dear mister Paul…. Congratulations! You do very well! Not one mistake or wrong note I heard …. The tempo is just fine for a non professional ! I wijsheid
Bravooo
This is a nice tempo. Very seldom do I ever get up to the suggested tempo, and that's ok - nobody is paying me to play, fortunately, so it's just a pleasure to play these masterworks on my GP. And to those who are thinking of studying music in college - good luck. My parents told me not to, and that was some of their best advice, ever.
Gosh this is the exact speed I play, physically cannot go any faster, without severe pain. I play 10-8 at 75% of indicated speed as well. Hope you will make recordings of other Chopin's etudes, maybe also ballads scherzos etc at "student" tempo in the future, as there are so beautiful and rewarding to learn.
i can play the piece at 100% for an hour straight without much pain i think you might have something wrong with your hands
Although I haven't tried learning this exact study, I do have some tips from my prior experience I'd like to share.
You have to adjust your technique. Practice smart, not in great amounts. Come up with new practice methods from time to time. Try to think of how those practice methods will translate into evenness, less tension, and or speed. More often than not, you'll just have to experiment. Don't try to brute-force your way to fast tempo, because in my experience, this is exactly what causes physical pain.
Focus on getting rid of any tension you may have in your body while playing. Practice slowly whilst making sure there's absolutely zero tension. Once you've found the right way to play, you simply, yet very carefully, have to engrain it into your technique.
It should feel like your hand is smoothly gliding on the keys whilst in an even fashion leading your fingers into their next position to play the keys.
Playing the keys should involve the weight of your arm as well as inertia and finger strength, and it's up to you to get a feel for the degree to which these factors should be utilized. I do, however, recommend involving your arms weight and inertia more than finger strength, taking into consideration that the goal is to be free of any tension.
As described in the video, do not rotate or turn your wrist too much whilst playing up and down the keyboard. It may seem logical at first, but it's best to keep any wrist movement to a minimum. What you can do, is to angle it to a more optimal position from the get-go, in which case you won't have to move it so much mid-action.
Never attempt to lock your wrist in place either. This loops back to the part concerning tension. Leave your wrist loosened, so that if you were to shake your arm, it would bounce along. Good luck!
@@ylevision7088 what the hell do you mean by tension
@@Katsariss By tension, I mean unnecessary tension of the muscles in your body. Mostly in the hands/wrists, arms and shoulders.
Tension is often what causes pain in my experience. Since you're able to play this piece, please explain what you think.
@@Katsariss You must know what that means by now, assuming you can play this study. Unless English isn't your primary language..
Listeners may be interested in hearing Tamas Vasary's recorded version of this etude (it's on youtube)....it's not much faster then this "student tempo" and an interesting tempo choice on his part....
I would like some advice on studying. It is better to work in small sections or play the whole piece slowly with the metronome, increasing the metronome click every day. Thank you so much
Happy Fathers Day !!
Thank you, Christine!!
So helpful. Thank you!
I have a question on the marked tempo. Did Chopin really intend this to go at 176 bpm. Is this definitely his marking on the original score - or that of an editor? Also - is it known how accurate metronomes were at that time?
noice
Thank you Paul! A quick question. Is it acceptable to use 3 instead of 4 for the main chord shapes?
3:28 i was struggle pretty hard when the transition the pinky to black key
hello poul! I have a request from you. I love following your CZcams page. I am very curious about the technique of a legendary pianist like you. It will be incredibly helpful to budding students like me and myself if you post new videos on technical issues on your CZcams channel. For example, I am constantly nervous while playing games and it prevents me from playing. What would you suggest I do about it?
Muhammet Emin Koçak -- in case of a language translation glitch, do you mean "playing piano" instead of "playing games"? is your question about confidence playing piano?
@@PaulBartonPiano I would guess he means “scales”, which “gammes” in French
@@PaulBartonPiano Unfortunately, some sentences may be translated incorrectly because I use the translation app.
@@PaulBartonPiano I have tension in my hands when playing the piano
@@PaulBartonPiano What I want to say is how did you get your technique?
With all respect for this excellent teacher, I think that there is a mistake here. on bars 38 and 40. The last note of the descending groups of 4 in bar 38 should be a G, not an A, and in bar 40 a similar last note in the group of fours should be an F, not a G. Maybe discrepancies between different editions?
J'aime bien Paul Barton. Je ne comprends pas l'anglais mais tant pis !
120 sounds nice anyway
3:29 i always get tired at this part, the black key part, any advice. Thank you
Tiredness is often the result of tension as this tires out your forearms
I have played it for 6 years now and still can not play it fast. If I try donin in fast tempo I get lost and my brain can not bear any more. Why?
when I play this piece my forearms hurt ... who can give him advice because yet I use wrist rotation well
2:33
2:31
I believe that it is G A D, not G B D, at 2:42. You can see it here czcams.com/video/vNE5sNZRzu4/video.html
ma waterfall 'ndo l'hai letto?
Dear Paul Barton. Considering the high technical level that the virtuosos practiced in the days of Chopin, Liszt and others, I find it sad that the whole beat theory is believed by so many. In several videos, I see children (7)9-12 years old playing several of Chopin’s etudes much faster than whole beat tempo. Shouldn’t that make whole beat supporters realize that the tempo theory can’t be historically correct?
2:33