Let’s play leaps (jumps) ● Repeated: notes / chords / octaves (simple, double, alternated)

[@jarrellcrowder5195]

Mr. Woronicki has brilliantly put together what everyone else teaches piecemeal. And I have never seen piano technique explained so clearly and comprehensively. It seems so many piano teachers take one corner of piano technique and focus on it without relating it to the whole (often to the detriment of the student.) What an amazing pianist and teacher!

[@PhilipChristian]

You sir are a monster pianist! 😨👏

[@aw4piano]

;)

[@歪比巴卜-c1n]

i ask myself why I didn't find such a great channel before, but at least now I find it.

[@edwardmorton6691]

My God that's absolutely mind blowing. I'd sell my soul for a technique like that!

[@delaramli7176]

Thank you so much for this video. I almost strained my wrist trying to work on octaves. Thankfully, I stumbled upon your videos.

[@academiadivertimento9443]

Maestro, un libro sobre la técnica pianistica! Excelente! 👏👏👏

[@GomgomItom-dk9tw]

he s super and amazing than any other world class artist even ashkenazy

[@cmlee8418]

I think La Campanella is also a good example piece for jumps and repeated notes.

[@aw4piano]

Sure. And many more.

[@Daniel_Zalman]

Fantastic and very efficient technique!

[@aw4piano]

● My abbreviations - aw4piano.info/en/info2/01 ● KZbin shortcuts: Spacebar - Play / Pause Keys ← / → - 5 sec. Backward / Forward Key f - Full Screen

[@ulrichalbrecht9723]

What would you do when you have to play a chord and repeated notes with the same hand. Let's say you play a C-major chord with the right hand : c-e-g and the higher c . You would hold c-e-g as a chord and would play the higher c with the 5th finger quite rapidly . Which technique would be the best for that repeated c: 1st: only lifting the 5th finger ( I guess not)/ 2nd: using the rotary movement of the forearm as far as it is possible/ 3rd: combining both movements from 1+2 / 4th: using the rotary movement of the 5th finger, ( playing by pulling the figers in and stretching them again as if scratching the key = the same technique you would use when playing with changing fingers like 32132132 or 432143214321 What would be better? an example would be the etude op 100 no.19 in c minor by Henri Bertini. It is only "andante", I searched for a faster one but couldn't find another. May be you have a better example. Thank you for your answer!

[@aw4piano]

The whole body must ALWAYS work. Only the proportions change. Here a lot of the fingertip glued to the upper C kzbin.info/www/bejne/jovWhpeGnrabg5I synchronized with a slight vibration of the shoulder + a bit of turning in the natural direction according to the rhythm kzbin.info/www/bejne/iGHQZ2qCmLhpodU And relax your neck!

[@michaelc.miller4684]

Love the videos!

[@gdkabsbdkwkwm4187]

Niesamowity talent dydaktyczny i technika wirtuoza światowego. Wykłada Pan w konserwatorium?

[@aw4piano]

Miło mi :) Nie, jestem „wolnym strzelcem”.

[@niccolopaganini4268]

Oh my god i just discovered this channel and this is the most helpful thing ever!(especially as i don't have a teacher in a moment)Do you also have something for fast repeated wrist octaves, like in Hungarian rhapsody no 6 sir? I'd be very thankful.And one more question: can you actually speak polish?

[@aw4piano]

Proszę do mnie napisać aw4piano.info/pl/contact

[@AgnieszkaTarnawska]

🖤

[@ald5365]

Astonishing !!!

[@ericastier1646]

This video really shows that being a pianist is 90% athleticism/ gymnastics / acrobatics. And only 10% musicality. If you have that 90%, then people don't care if you are not musical. It's true in music conservatories around the world. If you play liszt accurately and impressively in admission audition, you're admitted to doctoral program at any top university. It's a fact and i've seen it from the inside. It's in the nature of the instrument, it is much more about virtuosity than musicality. Even many people will say otherwise, it's the truth. It's more like a sport than an art sometimes.

[@aw4piano]

Do you mean that I’m missing that 10 %? :) Well, now for the serious stuff… I, too, dislike circus performers and audiences who expect nothing but speed records. But: Musicality alone, without technical mastery - this is nonsense. And even an excellent technique and a superb musicality aren’t enough. What’s more, you still need charisma i.e. the ability to capture your audience’s attention in such a way that they hold their breath to avoid disturbing the silence.

[@ericastier1646]

@@aw4pianoMultiple misunderstandings, i didn't mean you, i said "being a pianist". also we can be honest to ourselves we do not dislike circus performers, everybody like entertainment and acrobatics, pyrothenics on the pianos will always entertain even those people who say it's not music. Well it never stops being music, the harmonic language never stops. The piano itself is an instrument in its percussive nature that requires a lot of notes played fast because of sound decay. So it will always be a technically highly demanding instrument where virtuoso playing is not optional for mastery. Musicality is not something attached to an instrument it's inside people at various degree. many primitive hand made tribal instruments are very musical in the right hands. But the importance of virtuosity on the piano can easily overshadow musicality. People are able to make a career on the piano because of technical mastery with very little musicality in them. Countless times i've heard world class pianists on the radio play works like they don't understand the music the composer wrote, and it does not take being their equal in virtuosity to notice. There is a direct influence of musicality on technique, but there's always many more ways to play fast with virtuosity without musicality. As for charisma, i don't agree because performance can be broadcast on the radio and it has to be contained in the sound.

[@gotchaa5786]

what is "MA" in 5.39 min? pls.

[@aw4piano]

Motor Apparatus

[@sizesmall1756]

Thank you for this. Are there any alternatives to 'watching' black notes, to hit jumping octaves accurately? I'm working at an accompaniment by Brahms for a clarinet sonata and get dizzy looking down every time the octaves jump.. How do you develop a good reliable sense of knowing where you are on the piano when sight reading? Thanks!!

[@aw4piano]

First of all, your muscles must memorize the distance. Watching is good when you can watch. If not, work with eyes closed - HS > HT.

[@siresquire9439]

@@aw4piano I got the dizzying sensations from practicing La Campenella, but after moving my field of vision away from the keys I could see the wide intervals more easily. I was too close to the board.

[@ariari1050]

What does MA stand for?

[@aw4piano]

Abbreviations - aw4piano.info/en/info2/01

[@THEcucufate]

You know, ALL of your videos are helpful and highly appreciated. But if they are in the form of 'examples' and demonstrating 'chords, hand positions, jumps, trills' and all that, the angle you shoot at is not helpful at all. It would help if you at least notate which notes you are playing, as it is difficult to understand what you are trying to convey without seeing what exactly you are referring to. Without that, I'm afraid these videos are more of a personal exhibition of your skills and not informative or educational.

[@aw4piano]

Some are less, some are more detailed (watch kzbin.info/www/bejne/rXm5mX6ZgaxgfMk ). This channel mainly provides examples for my students.