Cheers, do follow for plenty more videos

Yeah, there's a link to the arranger's channel in the video description.

It's an interesting question, as what we call "pedalling" is often as much about what the hand is doing in association to the foot. Bad pedalling can frequently be not so much a pure mistiming of the foot but rather a failure of the hands to make enough time for the changes to be made with safety and ease. However, that largely ties in again to the need of the hand to spend sufficient time with the keys safely depressed. I think it's largely this way around. Holding notes longer just gives more options, basically. The main thing is that if you don't hold notes effectively, you simply couldn't make as many pedal changes and would have to be far more careful to avoid full changes that kill the sound of important but already released notes. In left hand music there's plenty of half pedalling needed already (when it's impossible to hold the notes) but the less time notes are held for in general, the harder it is to avoid blurring, while using pedal to keep those notes.

Hey, thanks for commenting. I uploaded this years ago and I think there was an edit function so the video started without the brief screw up. It looks like they've somehow ditched the edit and reverted to the raw file. I'll have to go through all the other videos, as God knows what else must have slipped past 😁 BTW I have another film of this more recently where I played through a few of the etudes.

Thanks, it's strange that this seems to have gone up in the algorithms recently, but it's nice that people can appreciate it in spite of the very primitive early digital camera sound.

Thanks, you may find this one useful too. It's on similar lines but goes into the surprising need for the arm to brake very slightly when "dropping", in order for to pass energy without the crash landing. kzbin.info/www/bejne/hoaYaWyco5aKhtEsi=oJlPEU06kMqOkA-b I've suffered a lot over the years from thinking that over simplified ideas are literally true.

@ Thanks! 🙏

Cheers, plenty of videos to come. Don't be put off by occasional bursts of ventriloquism with Mr Chuckles 🙂

Thanks, do give a follow as there's plenty more to come. Some of the videos are about fairly advanced techniques, but I do usually try to relate most things back to fundamental concepts that can be tried at any level.

This is a video.

Basically, yes, although I'd say "around" rather than "over". It's not so much about looking for a perfect alignment over each key as just responding around the changing centres. Obviously it can also be used to contribute energy to moving keys to some degree, but I think it's hugely misleading to portray this as the main reason for rotation.

Cheers, do subscribe for more. I've been speaking about these issues in more recent videos as well.

Thanks, I may have to come back it again one day in better sound on my grand piano. However, I think the dud sound hits a kind of sweet spot - between letting the spirit of the performance come through while also helping to conceal the imprecisions :-)

It is a brilliant performance, and I think the sound quality only helps it to sound more tragic. I would also suggest listening to Sultanov play this if you haven’t already as he is magnificent too.

@@Ash1nerTV Yeah it sounded great with this quality, just like Scriabin's recording of it, and Sultanov ofcourse plays it the best, what a pianist that guy is man.

Actually, there's some complexity here that I don't want to be overly certain about. I used an example with bending and unbending and it's true that clubs do this to at least some degree. However you could also account for lag in radial motion, even if the club were theoretically rigid. It isn't but there are certainly both factors in play, rather than only release of the bend. My suspicion is that the wrists unbending at first provide the radial motion, but that to actively accelerate into contact would then introduce the risk of bending the club head back during contact. I think the wrists initially generate active acceleration but they too have to release to allow the club head to properly unbend the flex. Either way, it's important to experiment with an instant of active slowing at the piano, given the need to deal with keybed well. In golf however, it may be a little more in question as to whether starting to slow a split second before contact allows for greater unbending of the flexion in the club. The only issue is what offers better acceleration, rather than any trade off between withdrawing mass from an impact, vs fully maximising acceleration. I'm pretty convinced by it, but I'd like to see some exact measurement via really precise scientific equipment to measure instantaneous speed at different points.

By the way, Benjamin Grosvenor also lifts that Horowitz idea from the Liszt sonata. I didn't really do it here, but I also like to bring out the thumb A before the middle line. It results in an exact quote of the first four notes of the prelude to Tristan and Isolde coming out.

My theory is that the order of events is that arms lead, leaving the club head behind and then the wrists do uncock, thus making a far faster acceleration of the whole club (via the shorter radius of motion from the wrists), but that they then end up slowing just in time to avoid causing further lag into the ball, and to allow the unbending to peak.

Okay, here we go. www.golfdigest.com/story/hand-speed-breaking-speed-golf-swing-release-golf-iq It makes me almost a hundred percent certain that it indeed involves the wrists uncocking to increase speed but then ALSO actively declerating just in time to unleash the bend in the club. BTW there's a lot of amazingly detailed stuff out there in forums and studies featuring graphs of different parts before impact. I can't understand how we are so far behind in piano playing that people literally think the weight of the arm can produce fast octaves and should fall right into the landing, when people are going so deep and precise in other fields.

@@cziffra1980 Makes sense. If the unwinding of the wrists is accelerating the club head, it should reach maximum speed at the exact point when the unwinding has finished (unless there is some other acceleration still going on, coming from the legs, but I think this is more typical of cricket or tennis than golf).

Cheers, just thought I'd try it for one. I was hoping to get an amusing image of Indiana Jones cracking a whip against a grand piano, but that was as close as it got!

😂 No, it certainly is pretty blue though, isn't it? Both in terms of Mr Chuckles' sense of humour and the colour scheme. Rather than change the curtains I might get a second jacket in red someday.

Interesting. We use the term dead weight plenty in English, but I've never heard the opposite idea of "live" weight. It's certainly logical to have a counterpart, although I can't say for sure what precisely it would refer to. One thing is that many will point at the idea of partially restraining while descending, rather than literally being in free fall. However, the thing I stress is still extremely distinct from anything based on weight causing any downward movement. That would be part of the picture sometimes, but the big one for me is where weight simply absorbs what might otherwise have been a larger up movement.

Yeah, I don't know why such an old one has seemed to be getting quite a few views recently. I'll have to go back to playing it again sometime and try in better sound, although it was much easier on the very light action upright.

@@cziffra1980 Please do, would be great to hear it again with modern equipment. Although the upright and 2006 sound has a charm to it that cannot be replicated 😄