F. Chopin - Etude Op. 25 no. 3 in F major - analysis - Greg Niemczuk's lecture

#etude #chopin #chopinproject #tutorial
Concert pianist describes and analizes Chopin's Masterpieces for the piano.
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[@NN-rn1oz]

With your bow tie, you look like a good pediatrician that I worked with a few years ago! Keep up the good work, Dr. Niemczuk:)

[@gregniemczuk]

Hahahaha, that was just an experiment with wearing something different, hahaha

[@jayyjay8082]

You are a great pedagogue, Sir! This etude is primarily a study of rhythm, so the pianist must completely master the rhythm in order to obtain a clear melodic line.

[@user-lf8lf3ft3x]

beautiful.¨!!!!!!!!!!!!

[@chowkammoonckm82]

I love your new born horse analogy!! You are a great teacher!! Thank you so much for your teaching and sharing!

[@sqwndw6430]

I love your performance of this etude and thank you for analyzing it! The transitions between F and B are really spectacular as Chopin manages to leap between opposite points on the cycle in a perfectly logical way and using only a small number of bars. I wouldn't have even imagined that being possible! Also, I notice that unlike in this etude, Chopin doesn't seem to usually write identical or nearly identical parts in different keys. The middle section of Nocturne Op.32 No.2 comes to my mind on this topic, but I personally wouldn't call those two parts in the nocturne identical. A few other composers do that quite often, though.

[@gregniemczuk]

Yes , he avoided it!

[@hirokokoike4138]

I had given up playing etudes beautifully with small hands, but your video makes me feel so motivated that I feel like rushing in front of the piano to practice. You are a great teacher, maestro.

[@gregniemczuk]

I'm so happy to hear that!

[@carmenprioteasa8293]

I m prertty creative when it comes to the interpretation of this etude. I think of a little knight (a rookie scout more exactly) going on a trip on his cute little pony in part A. He looks very cofident, but in reality he s very dreammy. In part B, he gets lost in the woods or something like that and a strange creature tries to scare him (or maybe that s what he s thinking). The little knight thinks is the most dangerous creature in the kingdom: a dragon. Everyone is scared and says that the knight is not going to make it alive, but in the B major part, the little scout becomes more confident and continues his trip. In the part when the melody "falls asleep", the creature thinks that it s not the scariest dragon in the kindom, because the knight didn t say anithing when he saw it and he becomes insecure about that ("what are the other dragons going to say? I was the most respected dragon on the planet, but i can t even scare a little scout!"😪). But sudenly, the little knight comes back and tries to comfort the dragon. In the part where the melody revives, the drangon and the knight become best friends and the continue their trip dreaming togheter.😁

[@gregniemczuk]

Amazing! Just amazing!!!!!

[@olavk7111]

These lectures are extremely enjoyable and provide so much valuable insight. For this particular etude, the main idea is that, with the modern tuning system used since the time of Bach, all major keys are equivalent and sound exactly the same apart from pitch. (The idea that the keys have different character is pure nonsense.) Here the melody in F major can also be played in any other major key, and Chopin repeats it in B major, the most remote key to F. Everything is exactly the same, including the ingenious modulation leading from F to B, which now leads us back to F major. The key B major is not in any sense more dissonant, it is exactly the same. A technical difficulty is that we can't rely on finger memory anymore, since white and black keys are often interchanged, and so we need to base our memory on ears rather than fingers. A similar difficulty occurs e.g. in the F-minor Fantasy, where the difficult main theme occurs three times, in three different keys.

[@gregniemczuk]

YES!!!! The same thing happens in Op.10 no. 10, right????

[@olavk7111]

Correct! We can probably find many other examples in Chopin's music.

[@denaro572]

nice lecture and I love your outfit! :D

[@vincenthlu]

What an ingenious structure! I’m guessing the following is what you mean in the video? The distance from F major to B major is the same as the distance from B major to F major: Both are six fifths away. Since each time the two periods are played the tonality travels six fifths, playing them once brings the piece from F to B, and playing the same two periods one more time neatly brings it back “home” from B to F major.

[@nielsnoordzij9576]

Dear Grzegorz, Thank you for the wonderful analysis. I see that you have also made a video about how to practice it for several etudes. I hope you also want to make a video about practicing this etude? Especially for practicing bars 10-17.

[@gregniemczuk]

Hello, yes I plan to make tutorials of the whole opus 25 in the near future!

[@sgreplays7336]

Can't help also to enhance your theory on the horse : Feels to me the two keys are a dialogue. Bmajor would be the father horse of the little horse in F major 🙂 Father got tired, fell asleep because too old, and the little wants more🙃

[@gregniemczuk]

Amazing!

[@sampeng5216]

The slow dissonant chords you played sound very much like the great jazz pianist Bill Evans.

[@RAAL_ONE1]

Fuaaaaa te la rifaste Fernando.jpg