Playing Für Elise | Dimitrov Boelee | Skillshare

Playing Für Elise

Dimitrov Boelee, Piano Duo

Playing Für Elise

Dimitrov Boelee, Piano Duo

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10 Lessons (1h 26m)
    • 1. Fur Elise Introduction

      2:25
    • 2. Fur Elise Part 1, Lesson 1

      12:32
    • 3. Fur Elise Part 1, Lesson 2

      6:30
    • 4. Fur Elise Part 1, Lesson 3

      8:39
    • 5. Fur Elise Part 2, Lesson 1

      10:04
    • 6. Fur Elise Part 2, Lesson 2

      8:28
    • 7. Fur Elise Part 2, Lesson 3

      9:34
    • 8. Fur Elise Part 3, Lesson 1

      9:50
    • 9. Fur Elise Part 3, Lesson 2

      8:40
    • 10. Fur Elise Part 3, Lesson 3

      9:25
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About This Class

In this class we are going to talk about Für Elise by Beethoven. We've divided this course in three different musical section. 

Section 1: Bar 1 - 23

Section 2: Bar 23 - 59

Section 3: Bar 59 - end of the piece

In each section each of us presents an idea, either from our own view as performers, or from a teacher's point of view ( aka. what most students find difficult )

The best way to follow along with each lesson is to use the digital score we've provided for you in the project section. You can download and print it, then sit behind your piano and follow with ease. Pause the lesson whenever necessary and try out our suggestions.

Please let us know if you have any questions or requests about this piece, or any other piece you're playing. We'd be very happy to hear from you and help you.

PS. Check out Dimitar's MindCoach classes on Skillshare 

Self Awareness, Self Honesty, Consistency and Progress

and YouTube Channel with him practicing his own pieces

DimitrovPiano

 

Meet Your Teacher

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Dimitrov Boelee

Piano Duo

Teacher

 

Originally from Bulgaria, Dimitar was called by jury members of the many competitions he won a 'Lion of the Piano in the tradition of the old Russian's'. It's his passionate and commanding playing that sets the tone for the duo

Dutch pianist Elvire was already winning prizes at 11 years old. Playing in many ensembles and with orchestras during her music studies in the Prins Claus Conservatory in Groningen, she knew when she met Dimitar Dimitrov, she wanted to form a piano duo together. And she managed to convince him... forming the DimitrovBoelee piano duo in 2014.

Elvire Boelee and Dimitar Dimitrov are both professional pianists, having studied their Bachelor and Master of Music in Groningen and Amsterdam (the Netherlands).

The DimitrovBoelee piano du... See full profile

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Transcripts

1. Fur Elise Introduction: welcome everyone to the Metro Bull, a piano door in our course on the famous bagatelle by Beethoven, also called your Eliza. My name is limited, the metro and my name is available and we're both professional pianists and we perform together is a piano door as well, a solar throughout the whole Netherlands. It also around the world. We also have over 10 years of teaching experience, which gives us a lot of insight in how to help students. The way we organize this course, it's very simple. We divided the piece in three logical musical sections and in each section will provide you with two very interesting ideas that are based on our experience as performers as well as I were experienced as teachers. So from performers point of view and from a student point of view, we choose every idea carefully and with every idea we explain to you why this idea is important. And after that we explain how would you achieve this idea and how would you practice it? We're both extremely passionate about providing our students with conscious understanding and knowledge, and we believe that you will benefit from watching this course not only in this piece, but in all the future pieces you're going to play as teachers were always focused on our students short term development as well as their long term development. In order to follow along with our course, be sure that you have a basic musical knowledge, which means that we expect of you that you're able to fluently read notes and that you understand basic rhythm. In order to get results from this course, we expect from you that you practice a minimum of 15 minutes a day in which you apply the ideas that we're talking about in this course. We believe that the best way to follow this course is by downloading and printing the score we provided sitting behind your piano and taking all the time you need to watch and rewatch our course. And finally, please let us know about all your questions and requests about this piece or any other piece you're playing or want to play in the future. To us, that's extremely important, because we're going to collect all your requests in questions, and we're going to create products that are even more personally relevant to you in the future. We were very happy to make this course for you. And we look forward to see you in the first lesson. 2. Fur Elise Part 1, Lesson 1: welcome everyone to the first lesson of our course on fuel elicited by Beethoven. Today we're going to discuss the first section of the piece, which is from Bar One. Until bar 23 we divided the piece in three different sections in each lesson will be collected toe the particular section. So, for example, Lesson one will be with the first section from Bar One until Bar 23. Our second lesson will be from Bar 23 until Bar 59 in our third and last lesson would be also on the third and last section of the peace for Bar 59 until the end of the paint's Enjoy this video, I'll start off with my idea for today and later virile. Present hers. What I chose to talk to you about today East Bar number 12 and more particularly the difficult jump we have in the left hands this one on to put it more into a context, outplay three bars before so I can hear and see this job thistles the dough in the left hand I'm talking about. The reason I chose to talk about this jump is because many people find it extremely difficult and me myself. I consider it to be probably the most difficult bar off the whole first section of the peace. Why is this jump so difficult? The reason is very simple. We have to play three different notes, three different notes with one in the same hand. As you can see in the score, you can see indicated the three notes written in the left hand. And it's not only difficult because you have to do three different notes with one hand, but two of those notes you have to do with one in the same finger as you saw probably previously. When I played, I did this. I have to jump on octo half with my fifth finger of the left 50 and then fifth finger. That makes the jump even more difficult. And there is one more reason that makes this bar this particular jump so difficult. So we have to first make big octave jump. Second of all, we have to do it with one of the same finger. And the third reason why this jump is even more difficult is because so many people try to keep a fast temple and try to do it really fast. Why do I say that? People try to do it fast? Well, it's very simple. The beginning of the peace. It's a very simple Almost everybody would choose to play a piece easily, fast like this, but nobody looks ahead. Nobody thinks of what's going to happen in Bar 12 and when we arrive in Bar 12 I will start again three bars. Before that would mean Bar nine start there in this temple. Many people would find this impossible to do in the temple we played previously. As you can see if you match the beginning Temple of the Peace with Bar 12th in that same temple, the junk becomes pretty fast, even though the P generally doesn't a sound fast because it is a very simple piece. You have three notes in the left hand entry notes in the right hand, and they go very naturally very simply. And so Those are the reasons that make part, well, extremely challenging, and now I'm going to offer you a few solutions you can use so you can make your life much easier. I'm going to start with the first and probably most basic, most from the mental solution to this jump. I'd like you to the site on a fingering and keep playing with that same fingering every time. As you saw, my decision is to play with fingers 55551 55 So any further solution I'm going to give you now today, in this lesson is going to involve only this particular fingering. I'm not going to do anything random, anything different. And that's my first advice for you. Please. When you start practicing the peace, mark this fingering if you want, feel free to use this fingering that I'm suggesting 551 and please don't make any random changes if you start practicing any of the ideas I'm going to offer to you once with this, fingering another time with a different fingering. The solution isn't goingto happen, isn't going to work. You are not going to conquer the person, so keep stick one and the same fingering is in. The reason that Dimitar is mentioning this is that a lot of our students aren't conscious of what fingers they're using while they're playing, even though it's one of the most important things you'll ever learn in piano playing is to use a good fingering, even though that's the case. A lot of our students just use whatever is coming at the moment, and this can have different reasons. This convey because our students are so busy with the Knowles, or so busy with some difficult things, that they're not even realizing that they're changing their fingers. So if that's the case, I would advise sometimes to make a little video of yourself and see if you are using the finger sets are intended, but I think most often it's because you don't plan in advance. So before you start a piece, make sure to always know before you really actively started learning it. No, in every single spot consciously, what fingers are you using and why? Yes, and especially this is a good advice, generally with fingering and especially in this passage is an example. You can see that if I start using random fingering, if I every time, play with a different finger, I'm not going to succeed having good results with this passage. So that's the first point. Stick to the fingering we're going to use now and applied every time in every exercise. I'm going to show, You know, now you're having the good fingering what we're going to do. The first thing we're going to do is isolate bar number 12 and we're even going toe. Isolate the letter. Why? Because we want to teach our hand how to make the jump, how to make the jump and how toe arrive on the right note. As we already know, the difficult spot is this s O. That's what I want you to do. Take a very slow temple, isolate the bar, even isolate those three notes. Even the first to know chicken eyes light into this on stop on the difficult note. Then you can play the third nodes. Then I get stopped on the second note. Why do we stop in the second note? Because that's our difficult note. Everything else is much easier after that. So we want to slowly stop on that second note and play the so we isolate it. This bar and specifically these two notes we isolated the left hand and then you can do that together. Hands again. As you can see, I'm stopping on that. No. Okay. I'm teaching my hands how to find the exact second note the difficult note after the big jump and don't feel obliged. Don't feel that it's necessary for you to keep going and complete whole bar 12. Right? You can definitely isolated the 1st 2 or three notes. It's not necessary to complete the bar, and it's for sure not necessary to go toe bar number 13 and 14. That's waste of time. What we're doing today is we're solving the jump. Always make sure that you're working for something specific, and when that's in your mind, when that's your goal, that's what you stay focused on for the remaining time of your practice. Right, so that's what we're doing. First, we started with way. Stop in the jump. I don't mind if you end. If you add the last note, don't add too much more. Then with two hands are again. I stopped and do this slowly. Don't try to copy the speed. I'm doing it. You can even do it like this. A we need to do is to remember the distance your head needs to feel comfortable with the distance of the job after a few very comfortable with this 1st 2 or three notes of bar number 12. I'd like you to try something else. Go one bar before and do the same. What? I mean by the same, You start one bar before and they stop again on the difficult jump note. The jump note is the second world off Bar number 12. Let me demonstrate. So I take one bar before and still I'm going to do it in a very slow, uncomfortable temple. A So you can see I stop again on that. I'm even not going to add anything for just to teach myself how to make the jump once more After I do this a couple of times. And I feel really confident. Really comfortable. I'm going toe wet bomb bar further back. So now I'm gonna start here in a game. I'm going to stop. The reason that I'm adding bars before is that the war bars you add before the difficult spot before bar number 12. The more difficult it becomes to make the jump, you collect a little bit of stress, a little bit of excitement and then you might screw up the passage, The jump. So that's why I advise all my students isolate the trouble spots and then take a bar before two bars before three bars before. Until you. If you're so comfortable that you can start from the beginning of the peace and what you're going to do is you start from the beginning, and when you reach Bar 12 you'll do the same. You will stop on that note. You teach yourself how to handle a larger amount pressure and stop on the difficult note and played right. I've also noticed with students because I love this way of practising isolating a problem and then adding the bars before to make this connection. I've also noticed a lot of times with students that it's a concentration kind of problem. So when you isolate the bar, you're fully focused on it, right. 100% of your concentration and attention goes to this spot, so if you add one bar, usually it goes okay. But the more bars you add, the more you will be focused on certain other things going on before right in in the first bar. In the second part, there will be things that get your attention and you are no longer have 100% of focus by the time you reach Bar 12 and this you'll notice that it could go wrong again in Bar 12. So I absolutely love this way of practicing and you'll see that you can apply this not only in this particular passage, but in any other past that you find difficult. So isolate the spots and then go and make the section longer and longer, not only for the pressure and excitement building, but also for your concentration of focused. Make sure that you stretch that attention and concentration. You know, that's a great advice, because the less not you have, the easier it is to focus the series. It is to do the right thing. The more note you have, the more bars you have to play. The more note you have to play, the more difficult it is to concentrate. So that's why we start with a few notes, and we built for the building is also very, very important for concentration and general skills as well 3. Fur Elise Part 1, Lesson 2: if you remember in the beginning of the video, I mentioned one other reason why this passage is difficult. And that's because people try to keep playing the sport bar number 12 especially the jump in the same temple that they played previously. Usually people would take the beginning of the peace quite fast because, like I said, it's really not that difficult to play fast. I'm not saying that it is good when you played very fast, but people attempted to play simple things fast and more difficult things slower. And the reason that this jump is so difficult is because people try to maintain that first temple. No. First we practice with stops, right? We stopped on the second note. Now I'm going to offer you a second solution which is connected exactly to that problem off keeping the temple. What I wanted to do is to do exactly the opposite. I'm going to show you exactly what to do. I'll take it from Bar nine If you already have the score, don't load it. You can see easily whereby online is so. I'm going to start there and I'm going to start in the temple. I find comfortable, right? So I'm going to do it a little bit on the first side, like I just mentioned. And I'm going to show you what kind of a trip are used to play that note correctly and make it easy for myself. So I take Bar nine, a very curious, if any of you convention in the comments below. What exactly did I do to make my life easier by number 12? I'm going to show it once more for you. Now don't mention in the comments below. After I said what I did mention the comments below before I say what I did. So what I did is very simple. Instead of stopping on the difficult note, which is the second note as you remember in Bart, well, I didn't stop on that note, but what I did is I slow down in the distance between the first and the second note. I did this on and then I continued, for this is what I want to practice that's so important. So first you're going to stop on the note later. You're not going to stop under. Not anymore because we don't want to play the piece with stops right. It's unnatural to stop, but what's very natural is to take a little bit of time. So when you practice doesn't matter how slow or how fast you practice. For example, you might be playing in this temple again from bar night. Listen, the time old age, that's all I want you to do. Take. You can stop in Bar nine or you can start from Bar 10 or even from Bar 11. It doesn't matter. The purpose of this exercise is to slow down between note one and note to Inbar 12. That's all I want to do. And when you combine these two ways of practicing, stopping on the second note and then not stopping just slowing down before your right from that second, I can promise you you have a wonderful progress and wonderful results with Bar 12 and that wouldn't be any more trouble for you. These were my ideas for today. This is what I really wanted to talk to you about because I find it so important, and it would make me very happy if you have no troubles anymore with bar number 12 let us know in the comments below what do you think exactly of the solution? And now Vera has prepared something very interesting to talk to us about, and I'm very curious to hear it. So when I teach for real easy to my students, one of the very first thing that I noticed straight away is that students often play the notes the way they come. Instead of remembering that all notes are written in arithmetic structure. If you play the music just the way it comes, it can solve illogical, wrong. Think about pronouncing a word with the wrong stress. You can still understand the word, but it sounds weird. That's the same playing without rhythm. Some notes seem out of place. Everything needs to be clearly within the rhythmic structure, and then the music flows and sounds natural. So why is this so important? Imperialism? Will Ferrell is a is written. Beethoven wrote it in the 38 and if you look at bar number 23 and four, if you play the North's justice, it comes. It's written into groups of three notes, so if you play it without understanding the rhythm, you will automatically play it as if it's written in two. Now music written in two sounds very different from music written in three, and you will get the wrong kind of flow in the music. So let's explore now a few different ways to get this 38 beat into the theory laser. So instead of thinking about the piece like this from bar to, nobody wants you to think in three, which is like this, as you can see when I'm playing into more inclined to go faster because thinking it's too into requires that go a little bit faster, like this world on thinking in three, as Beethoven intended right, because he rolled 38 requires from you to think a little bit different like this. Eso your lesson clients to go faster, even the whole temple, that your whole approach towards the speed of the peace can change when you think from nothing to budding three. Okay, so I will mention three different ways how to improve your rhythm and these airways that you can use while practicing any peace to improve your rhythm, and I will mention them in steps of difficulty. So the first will be the easiest to do, and the last will be the most difficult, so make sure to do them in that order 4. Fur Elise Part 1, Lesson 3: So my first idea and suggestion to you is to practice with maternal, and I would like you to put the Metrodome on the 38 And that means that if you do that, you will get a special bait on the first of every bar so that you can really feel the first beat and so that you can check to see if you were counting correctly. Especially this is very good for beginners. If you're a little bit more advanced, you may put the Metro on three equal beats. You don't need an indication of a first beat, but for beginners, we strongly recommend that they used this way. That there is going to show now because then you develop a sense of you. Really. If you secure your nowhere for Bt's that's very important. It really helps you feel this rhythm of the 38 I will show you now how that sounds, but before I do, please remember that the peace starts with an upbeat so don't start on the first beat because the peace doesn't start on the first beat. It starts with an upbeat on the third beat to remember to start on the third beat, also of the maternal. Okay, so here's the first beat to and and make sure to select a temple that is comfortable for you. And if you don't get the hang of it at once, don't worry. If this is your first time practicing with Metrodome, it's very normal to not be ableto listen to it very well just yet. Rhythm developing Rhythm is a long term project, and you will have to be disciplined to Brexit every day. But don't expect results instantly. They will come over time. The temple villages showed you is too fast for beginners. So please again, don't copy the temples. We're showing you here in the lesson because that's something very subjective. Everybody has to choose a temple that's very comfortable to them. That's why which strongly recommend having also teachers so they can observe what exactly you're doing. How exactly you're practicing. So make sure that you put the mat room in a temple that you can do 100% good job and maybe just a small tip toe. Help you figure out if your tempo is too fast. If you are playing slow P and if you're playing a lot of wrong notes, then your tempo is too fast. Drop it immediately. You learn the best if you have very few or preferably even know, wrong notes. It's very dramatic indication of mistakes, but it is true because every time you play a wrong note, it's an indication of your plane toe pressed. And most of the people why I say dramatic is because most of the people have. They think they're doing something and they're playing so fast, and it's very shocking to realize how much slower they have to practice. So my second suggestion of practice is to give a little accent on every note that comes together with one of the beats. So in order to do that, it requires you to know. Actually, where are the beats in the peace with what notes do they come together? So in this case, like I said, the upbeat it starts on the third beat. So there will be a little accent on this first note here that the first e I want you to put a little accent on the first beat the first E off the first bar, Then the second beach will come together with the third note also une and the third beat will come together with the fifth gold, which is a deep. I'll demonstrate that to you, but I would advise that if you can't see straight away with what notes, what beats come and that's very normal, because I've done this with a lot of pieces, and that's why I can see it straight away. But at the very beginning, I also couldn't see straight away. I would advise you just to mark the beats, which a little number 123 or put a little striped just to mark where the beat is will help you with the overview of the peace. Now let me just show you how that will sound if you give a little accent on every know that comes together with the beach. So we have three. You notice that sounds quite ugly, but that's not the point to sound pretty. It's the point to understand the structure and the rhythm of the peace. And remember that this way of practising now it's not only for beginners, but it's also for people who, for example, have gaps and they, in their knowledge, in their understanding of off piano, how to play and how to reach it. Music that's really important just for the rhythmical side of things, right? You don't want to play any person who already has some knowledge, and it's a little bit more advanced. Doesn't need this way of practising because if you know how to count like a were said, this is not a very musical approach. This is strictly for learning how to count and toe understand where the 1st 2nd and third beats are now. My file and the most challenging way of practising is to count out loud. And this is something that no student of mine ever achieved on the first try. So don't don't be too hard on yourself if it doesn't work. Try to practice this consistently every day for, for example, five minutes a day, but every day and let the results come when they come. So, counting out loud, just start really slow with that and try to count 23 So try to count the three aides to three in every bar, and that will sound like this. We start on the third, beat on the upbeat, and then I'll play a few bars for you to demonstrate how that will sound. So we start three one to three, 1232 three and start as slow as it's necessary. And also don't give up after one bar. If you're not able to count, try to play the whole section and try to just play from beginning to end and count whichever bars you are able to count. And if you need, skip one bar of counting. But then try again. Just don't give up after one bar because you will never get the hang of it like that if you feel extremely uncomfortable, because this is not a nisi exercise but extremely used for exercise. If you find it difficult, please feel free to not keep a certain temple a certain speed. You can deviate. You can change your temple while you're doing this like that ST one tool tree. That's easier. We can go a little faster. That's not a problem. The most important. If you need to go slower, feel free to go slower that the whole purpose of this exercise is not to keep one and the same temple. It's not to do it fast, but to do it right. So remember to do these rhythmical exercises in the order that I mentioned them and remember that their long term project. So don't be to impatient with yourself. It might seem very easy when we demonstrate this to you, but this is something that also we didn't get the hang off on the very first day. So remember, we're spritzing with maternal And if you're a beginner or if you never done it before, put it on 38 Get the feeling of that first beat. The second way was to give little accents on every note which comes together with one beat to really get the hang of the structure and the final and last way of practising is to be counting out loud. And remember, these are ways of Brexit that you can use in any peace to understand the rhythmic structure better. This is all for the first lesson of our course on funeral. Is it by Beethoven? Make sure it downloads the digital available score because it will be much easier for you to follow all suggestions and all the ideas were offering during our lessons. And if you have any further questions or requests about this first section or the whole piece, Vural, is it? And if you have any further questions and requests about any other piece you're playing or you want to play in the future will be very happy to hear back from you and will collect all your questions and requests. And in the future, we're going to create courses and lessons that they're even more relevant to you. We were really happy to record his video for you, and we hope that you have pleasure watching. We'll see you in the next lesson. 5. Fur Elise Part 2, Lesson 1: way. Welcome to the second part of our course about fury. Listen, by Beta today, we're going to continue with Bar 23 until bar 59. That will be the second section of our course. I like to start the day's lesson with the most difficult passage in this piece. And as you can probably guess, if you've already played the peace and if you already started burning it, the most difficult question this pieces from Bar 32 Bar 34. So I'm talking about this one. Let me demonstrate the reason I wanted to talk to you about this passage. It's not only because is the most difficult one in this piece, but also because very often brings the piece down. For many people. They're starting to play the piece, and when they reach this passage, they have a lot of problems. So the overall outlook of the piece is not well. The reason this passage is the most difficult one in this piece is because it has a very particular better, Which is this? If you look at bar 30 and 32 you see that the right hand has a very particular pattern, which is this. It's a very specific kind of movement for the hand northen bar 30. We have the same. That in general creates a lot of trouble with speed. We play the the passage, and this passage is so much faster than the rest of the piece because there are 32nd notes , which means that they will go twice as fast as anything else. You play in this piece. Yeah, absolutely. And also so first for its very fast notes, right. We have to play extremely fast compared to the rest of the peace. It has a particular pattern. That's what I wanted to talk about about this particular pattern in Bar 30 and 32 where people have a problem with moving their hand that fast. And the third thing is fingering that something very important because wrong finger and can bring this passage down, you won't be able to play. That's paso doors of the three important things that make this passage the Bulls difficult . Let's look at Bar 30. I would like you to know this, the fingering I'm using. I'm coming from Bar 29 with this finger and I start Bar 30 with second finger that's very important to remember, because it makes the rest of the passage much easier. You don't want to arrive with any other finger second finger in Bar 30 so I'll start Bar 29 please observe careful in my hands so you can see the fingering I'm using in the right hands. So far, 29 as you can see him, starting with second finger and then see what I'm doing for. So the most important thing to remember is you want to end up with second finger in Bar 30 were coming from 29. Which one? And we're with second thing. That makes the passage much easier because the hand is ready to perform the rest of the notes. As you can see, we have this. Everything went first finger, the lower note, everything with first finger except for the last and food first sing in the bar. That's very important to remember, and now we have to look at Bar 32 because that's the second passage that has absolutely the same pattern. But there is one very important difference, and that's in the last few notes of Bar 31. What I'd like to remember is that you have to arrive in Bar 32 on the first Nazi, also with second finger. How do we do that? Very often, people can arrive in bar 32 with a random fingering with a random finger on the note, see, And then the passage can go wrong. And so now I'm going to provide you with the right fingering with a good alternative that can lead you to a second finger in Bar 32. Look at this. We're playing the passage in bar 31 and I would like you to pay attention to the last four notes with the feeling, especially the fingering right. We have to life floor one. And then we cross and starts bar 32 with the second finger. Exactly the same, like in bar 30. So let me show you again. Last four notes of Bar 31 are very important. They will be with the fingering tour five four one. And then we arrived with the second finger. Then you make your passage in bar 30 toe much easier. Why are the last four notes in bar 31 so important? Well, I will show you why you can make a very, very simple mistake, which in the beginning, when I was starting the peace, actually, for the first time I arrived with the wrong finger, the fingering that I consider wrong for Bar 32. Why not? Because it's necessarily wrong, but because it makes my life much more difficult after that in the passage in Bar 32. So that's why I wanted to share this little secret with you. So you don't make the same mistake. So I immediately feel easier with the passage. Let me show you the mistake. It's very simple, actually. It's also actually makes sense to arrive with the wrong finger, but after that, it becomes difficult. How you can arrive to the with the wrong finger in Bar 32 is by playing the last four notes in Bar 31 with fingering fine for two and then you arrive with this first finger on the North Sea. Now arriving with the first finger in Bar 32 may seems like something very logical, but it makes the passage after that more difficult to play and I'll show you why. I think very often fingering mistakes are from a lack of looking ahead. So very often students would play the finger that is the most comfortable for the notes that they're playing at the moment without looking. Where do you need to go and how it's how it is it the most efficient to arrive there. You see that this is the case in Bar 31. If you play the fingers that are comfortable there without looking ahead to where you want to be to the next passage, you'll end up with him not very efficient fingering, yes, and that's why it's so important to look before and after that. You want to anticipate what you want to do, and you want to see further what's going what's going to happen for the Does the anticipation off the right finger? No, let me say why First finger is not so convenient. Since we arrived with us, we have the last four notes of bar 31 or 254 toe. We started passage very logically with first thing, but what makes it very difficult than is the big jump who have to make here. If we do that in a slow temple, that's not a problem, right we can just pay for a practice. That's not a problem. But I wanted to anticipate a little further, so I thought, OK, I'm playing with the first finger and it seems very easy. But what happens, you have to play fast and then I know is that the jump becomes extremely instead of what I mentioned earlier. Second Finger provides us with the comfort of not having to jump. Second finger basically provides us with the opportunity that first finger is ready to play . You see, I don't have. If you look at the if you look at my hands, you can see that I don't have to know any effort that don't have to put any effort to play this job. But if I play with first finger on the North Sea, it's also fused heavier. For me, it was more struggle. So then the passage becomes much more difficult. That's the reason I want you to arrive with the second finger in Bar 30 and 32 on the note . See, it's extremely important and Bar 31 is very important because there you have to make a conscious choice about the right fingering tried and you see how much easier this passage fields with the second finger on. And now I'm going to give you another very important and interesting tip, which will make this passage even easier for you to play. The first thing I talked about is fingering which something very technical. But now let's not forget that we're playing music. Music is interconnect with technique, right musical performance and technical performance. They're both connected. You don't have to separate them. They go hand in hand. And that's why I want to give you a very interesting musical dip, which will speed up actually your passage you to speed up your technique, you to make your technique better, and you'll be able to perform the passage much easier. So after we fix the fingering, it's time to think musically. What can we do to make the passage toe? Makes these particular parts again? I'm concentrating on Bar 13 32 because they're really very particular. What can we do to make those two bars easier to play? Well, I'll tell you now, as I said earlier, I want you to think musically, and how you can do that is by basically dividing these two bars are 30 and 32 dividing into layers, and the two layers are this. We have one repeated note, which is the upper GI, and we have one lower note, which is the main melody, which is this. Oh, you see that? This is the our main voice, our primary voice. We have to prioritize it. It's very important because it makes up the melody. We don't have a melody. Here is just a repeated it means nothing. But we have this, and that's will be the secret to solving this passage. Now, after you know about the two different voices, I'd like it to practice the main melody. The voice number one, The most important voice. I would like you to practice it separately and let me show you how 6. Fur Elise Part 2, Lesson 2: Basically, I want to do this big. A comfortable temp for yourself. Don't look at my temple necessarily. You don't have to cope it. I'm sure you what is comfortable to me. But you can explore any temple if you're comfortable. There's no shame in playing slow, as slow as it takes for you to be comfortable. So, for example, let's say that big this temple and that's what I want to do. And then you continue bartered. Remember, second finger crossing and etcetera. You continue with the rest of the message. That's what I want you to do. The reason I want to do this is that you educate kind of you, teacher mind how to think about this passage. So instead of thinking of the passages, all the lords are important like this that will be very difficult to play. What I want you to teach your mind is to think like this, that the first voice is the most important and secondary voice. It's less important and you have to play very soft. So by playing the lower voice alone, you will teach your mind how, toe how toe here in advance, what you're playing. So you teach your mind. And then after that, you know, Is that your hand I want You will want automatically toe play this upper voice lighter. And once you start playing the G softer and lighter, you'll be much faster. So the first thing I want to do is lower voice and one very important thing. Please practice this lower voice with the right fingering. That's extremely important. If you start practicing the lower voice with Reynolds memory like like melody, like a separate melody that doesn't actually connect to the upper voice. Then it will be in trouble because the whole purpose is to use the right fingering. After that, we actually have to put both both voices together, right? So I want to do with the right thing going. I don't know what don't toe. And then you continue for them, right? With the right fingering only lowered voice. Once you feel comfortable with that, I want you toe add the left. Like this. Uh huh. It's a so this will already be the second step and the last step. What? I want you to do it after. If you're comfortable with this, I want you to try one last thing. I want you to take the right and alone into this very slowly. I want you to play all the voices, but make a difference in the volume between the first and the second voice like this more. This bore miss is you can hear there is a difference between the main voice in some in the second voice. So I want you to do it very slow so you can control with your years in your touch. I want to control the difference in the sound to produce between voice one and voice to again and make sure that do it slow enough. So you have a very good quality in this. You don't want rush. Usually what we know this with our students is that if we offer them something like this, a great idea to practice. What they do is they start on. They think they're doing this. But as you can hear, there's no any difference between the two voices. The whole point is that you have that you achieve difference in sound between voice one and voice to and with this a few ways of practicing. I guarantee you that you have a wonderful progress with this message. Yeah, and I think that the difficulty with this and why students usually try it immediately in a faster tempo is because theoretically, it sounds very easy to do. But in practice, of course, you're hearing us doing it and we've been practicing for many years in practice. It is actually not not easy at all. You have to teach your mind how to do this. And this in particular is about having very fast reactions. So this is having a fast reaction between a lot of pressure for the melody and few pressure for the accompaniment. And then a lot of pressure. Best pressure, the pressure. So my advice would be to go even on it a bit further. Practices slow, Yes, but also feel free to practice it out of the rhythm. I mean, don't feel obliged to do the G on time. Try to make a decision trying to feel how much pressure you should give before you're giving it and take as much time as that. You're sure it will come out. So yeah, that's that's very important. Just don't worry about time. Don't don't feel bad if you have to take a lot of time. Even if you have to take so much time between the first and second you see, I'm I'm out of time. But that doesn't matter what your training is. Sensitivity alertness you. You have to be ableto anticipate What sound you're going to produce and believe us you have toe. This will give you great skills after that, Yes, maybe slow right now. Maybe you don't even know how you're going to benefit from it. But you are going to benefit women because we know from experience how this works. So also have a teacher trust your teacher when they say practice a little bit slower and making try because they know what they're talking about. Also, remember that however you practice musically is going to benefit you in any other piece you're going to play after. Absolutely. Don't be in a hurry to get results because when you're in a hurry, you are not going to get those results. Just just enjoy the process. Enjoy learning those interesting things and trying to practice, and you will notice the more patient you are, you'll notice with time and suddenly you realize, Hey, I'm playing actually much faster than I used to play. And that's the best way to develop good technique that other people here Hey, you're improving or or you hear suddenly realize Hey, I'm improving. I didn't realize How did they do that? That's the best way to improve because in technique is part of your playing. You don't have to strive for it. It just comes when you do the right thing, Technique comes always. This was the idea I wanted to talk to you about today. Enjoy practicing this passage. And I'm very curious. What idea? A very will share with us. What I mainly see with my students in the second section is that they immediately drop the temple from Bar 23 again just to remind you Yes. So I hear a nice fast temple in their favorite part, which is the beginning. If those sixteens go at that speed, remember that The second section in bar 23 going faster. Then you realize so keep that in mind when you're starting the peace as well. What I usually here with my students is now I'm extra blame twice as slow. I dropped the tempo. Just I have the temple. So I think the main reason why students do this, why they dropped the tempo is that it's simply technically more demanding. The second section that we're talking about today is the most difficult section off the peace. And that is because it has a very difficult, uh, left hand. And, of course, because of the passage that Demeter already discussed, which is even twice as fast. So if you do keep your tempo as you should properly, the message in Bar 30 until 34 is actually very fast. Yeah, that's true. And already in 23 starts being faster than the beginning of the peace. And then the passage I talked about becomes even faster. So then you're kind of your piece will become very uneven starting one time when then you don't really change the temple and and that will be a shame, of course, because it it really is not supposed to be that way. 7. Fur Elise Part 2, Lesson 3: the section that sound a lot more logical if you continue in one temple. The main reason is that the section is more difficult. That's why people drop the temple. So in order to keep the temple up, I would recommend you one very important thing. First of all, I would recommend that you don't practice the piece as a whole. So when you just started out piano, you your songs were very short. There were one page, and they were all in the same level of difficulty. There wasn't enough time in the piece for something to more difficult to anyone, and you would just play them all war over and over again from the beginning, up to the end. It takes a few seconds, and you're done with the peace. Exactly, very easy. No need to organize. No need to think about how to schedule your practice. But when the pieces are written just because of music, just from a musical point of view, you have to understand that there's many parts that will be on a different level of difficulty. Some parts of of a peace could be very, very easy. Some parts could be fair, very difficult. That could be a big difference within one piece. So the first thing I think to do is to realize this and to plan your practice according to that is very important that you don't practice. You start your practice and you start from the beginning. You've already practiced that 500 times. Would you start there anyway? No, that's not so smart to do. That's not the smart decision to make start with with the section of this most difficult in this case, the second section start to practice there. In that way, you'll practice it more. But it also needs more practice because it's more difficult. Yeah, make sure that you make sure that you organized your practice because what you would just start every time from the beginning. Then you reach Bar 23 kind of you slow down, and many people even skip that part like so that's just too difficult for me. You kind of fumbled through the second section and you go to bar 30 after 36 right? As you can see, it becomes a little easier again and then go on. So you actually will never really improve the difficult section and so make sure that always, exactly what are very saying is very, very good. Prioritize. Like I said, prioritize your voices. You can prioritize your messages. You can prioritize your whole piece as long as you do that you have wonderful progress. It does require quite a bit of discipline, but if you do it, if you do it in this way, you'll see some great results. Yeah, and not only discipline first for discipline and second fall you need a teacher or you need videos like this that you can learn what to do with the difficult parts. Right, For example, while I showed you in this difficult passage, if you didn't know how to do that and now when you know you see that you are getting results, so that's very rewarding, you know, So make when you have something difficult, that doesn't mean that it can be solved. You just need to find out and we're and study, watch videos, have a teacher and just you find out how to solve your problems. It's always about knowing how to solve them. They can be sold, believe you can play this passage. He just you need to know how and once you know how it becomes really fun. And then it comes to prioritizing. That's very, very important. You need to have certain discipline and not look for short carts or not just give up on the piece he is giving up. I think a lot of students, when they encounter a difficult part or section or passage, they think I can't play it. But that's not it. You just exactly like Demeter says. You need to find a way to solve it. So my first step to solve this difficult section is to practice it simply more often simple but very effective. Before you start the peace, when you decide today, I'm going to practice your lizard. Your lizard doesn't mean this religion means this. Maybe today even you don't practice the most beautiful part. Just displaying practice this a few times more. You always want to scale to be a little bit heavier on the side of the difficult section. As long as you do that that that's the wonderful first step you can take towards solving this problem. Okay, so let's talk about the second stepped as you can take now. As I mentioned earlier. One of the difficulties that you are probably having in this section is the left hand. And yes, it is a difficult left hand. But I see students making it much more difficult by playing it very heavy. So I mean and now comes a little bit of similar to Dimitar's voicing. You're having the melody in a down voice in the passage of 30 and 32. Now comes a little bit the same, but in the red right on the left hand. So make sure to remember we have amenity in the in the right hand, which is the most important, and we have the compliments in in the left hand. So even though left hand has a lot to play, a lot of notes, a very busy accompaniment. Still remember that it is an accompaniment, very gentle, exactly, and not very often we have the tendency to if something is difficult to dig into the piano because also, our hands get tense. So just try. Try to play this pianissimo or try to play this very, very softly, and if this is already succeeding, you could even try one step further to make a little day crescendo in every bar, the first note being the most important and every note after that being softer, you more etcetera. Yeah, this is very good than like she's showing you, by the way, is separate hands just left and alone. You can do left hand alone several times before you put them together that that kind of trigger your your way, your approach to improve towards the left and that will be really good. And if this is your first time making a difference in volume between the right and the left hand, make sure to be patient with yourself because this isn't something that you do overnight. This needs some time. Just make sure to try to practice it and to be patient and wait for the results. Absolutely. And what can do In the very beginning, it's play ball hands very soft. That's the bursting out advice people to do since October is suggesting that you have to play left on very soft because it's on a compliment. Like I suggested, the upper GI in from Bar 30 has to be softer. Uh, there is no problem if you can do that, because most people, of course, in the beginning can do that. Then play ball. Hands together. I'm talking from Bar 23. Play both hands very soft. So what? She's suggesting that you have to have a very soft left hand and then you think, Oh, okay, but how can I make a good balance between soft left hand in a little bit louder right hand ? Don't worry about it. If you can do it. If it's a lot of trouble, start like this. Just everything. Very sort that that already give you great results with the the overall approach. So start with both hands. So and I just got a new interesting idea toe for you. After you do the left hands, like of your suggestions just softly just be anything. What you can do is to do a little bit of courts. Oh, sure, hold. Oh, so look at bar 23. We have this corn, even take all the notes of the patterns, they make up the score, then the next they make this car. Then after. So what? What can do is basically this teach your hand. First of all, in order to be able to play this passage softly, the hands needs to recognize the better and better are the court. So what you can do is basically this very soft, very gently. You take the left engine, you do this next. Then you start repeating the courts several times for his on court three times because we're in 38 right? We want to count interest. Old no three, huh? In ultra colors. Very son, huh? You who? So that's that's what you can do with the courts. If you want to get used to being able to play soft and then so with one court, then we count up to treat with three courts and then you start separating the notes because the hand already recognizes the pattern. It would be much easier for hand to relax and play soft, so that would be the extra tip that I just got. I just got while Vera was stalking and I thought you could be very useful if you most of this way of practising these were our tips and our advice for the second part of our course from bar 23 until bar 59 make sure that you check the next one, which will be part three off your Eliza, which will start from Bar 59 with this very interesting part. We'll talk about this in the next lesson. We hope that you enjoy this video because we're enjoying really a lot creating these videos for you and we'll see you next time. 8. Fur Elise Part 3, Lesson 1: welcome to the last lesson of our course about you Release it by Beethoven. Today we're going to talk about the last section of the piece, which starts in Bar 59 ends at the end of the piece. Make sure you don't forget to download the score. We provide it so you can easily follow. The suggestions were going to offer to you. I'd like to start today's lesson with the section starting in Bar 59 where actually the last part of the peace starts in 59 until bar 74. This is the section I'd like to talk to you about. And more particularly, I'd like to discuss two things. The first thing is fingering choice, especially in Bar 59 actually only in Bar 59. That's a particular bar that I'm going to show you and bar 71 so it in about 59 you have just a starting in the left hand. And for 71 you have the big Let those two bars are very important. And then I'm going to talk overall about the section Throw 59 until 74 the way you can practice the section I'm going to begin with the fingering choice and we have two options. One option is to do a repeated fingering, which means starting on bar 59 to have one and the same fingering. And as I mentioned later on, it can see the piece gets a little bit different. But basically we're using one of the same fingering. And then also why I mentioned about 71 where we're going to the big let are also the same finger, the second option we have. So the first option is playing the same note with this one and the same finger. Our second option is to play the same notes with a different fingering. What's very important for you to know is that I'd like to make this choice consciously. I'd like to play and choose your fingering consciously and not just go and play with the fingering. Just comes about today and tomorrow you're going to use a different angry. Make sure that you make a conscious choice. I have to be honest. I'm not an advocate of changing fingering. I'm not an advocate of doing this. Changing from 3 to 13 to one old time changing the finger on the same key. I rather go with one and the same fingering and let me tell you why it it's much easier. It's much more pleasant for the hand and also what's even more important, you can produce a better song. I will talk about the sound in just a bit, but it is much easier to produce better sound and also for your technique. It will be so much easier to play this whole section with the same fingering. So I'm not suggesting you change the fingering. Let me tell you why I'm not very fond of changing fingering on the same notes since the left hand in this section is still our compliments very often in different pieces. That's the case and here as well. It is very important that the left hand is lighter and it is a company. You're right and which is the main hand and the main voice as you get here. Starting in Bar 59 our main melody. Our main voice is in the right hand, so you have to do everything possible that the left and doesn't overpower your right hand. It will be very easy for the left hand toe overshadow the right hand because it is powerful . We have this repeated note which can produce really a powerful sound, and we're also using pedal. So keep in mind that combining those two things repeated note and the pedal makes the volume much bigger. And then, if you don't know the tricks you can use to control your left and it might get too loud. So that's why I'm not suggesting change or fingering on the same level because because you're doing something additionally more difficult to make your life more difficult. Toe accomplished, suitable sound for the section. So that's why I'm not suggesting separate, changing, fingering all the same note unless you're so advanced that you're bored with the peace and you come after years of practicing other pieces and you want to challenge yourself and to do something fun, something unique, something interesting, then you can do that. Otherwise I would stick to one and the same fingering. Okay, so maybe just to add something here to make it perhaps even more clear, I think it's also important for those of you who maybe are not familiar with changing fingering to explain why, in what cases would you choose for changing fingering? And as we stevedores mentioned, changing fingering is pretty difficult, especially, I think the first a few times to get the hang of it once you're used to. Of course it is. It is a bit easier. And you would choose for it in a case that you have a very fast piece. Yeah, because changing a fingering, um, hat you are able to do faster in the end in a very fast temple, then doing it with one finger and I'll demonstrate to you in a minute. If you keep to the same finger in a very fast temple, you'll get stuck. Unless you're extremely, uh, fast repeating with your hand, it will be easier on you to change your fingering. So here it was a very fast temple. Obviously, I've practiced a lot, so I can repeat it both with the same thing finger and with different fingers. But it is easier on your hand that you don't have to repeat it like very fast. So then, in that case, it would be easier to change. It just feels more relaxed for your hands. Yeah, absolutely. In some cases, you truly need to change the fingering. Like, for example, when I was practicing the Hungarian Rhapsody by list number six you have on. Then you have the doctors, which have to go extremely fast. So if I go and play with one and the same fingering, that's still possible. But at some point, your hand just cramps up. I mean, it becomes really difficult for the hand. So you if you look at this piece of mutual, for example, and you see famous people playing the piece, you see they're changing the fingering. It is much easier to produce the lighter sound and not get to Steve. But what a very is saying something very good, because in this piece, we're not having such speed where definitely, if you think about it, let let me take how the peace sounds a little bit earlier, right? This is the temple that that's our speed. So basically what happens is right, left and will be so fast I will show you. That's our speak, so we don't really need to start changing the fingering because it's not difficult. It's really not difficult to repeat in this speed the letter. So we have no reason, but I've seen indifference, cores. They suggest also changing of fingering. I don't think that's are relevant to this piece, and I don't think that's necessary. That's why I wanted to start with this suggestion. So you if you by any chance happen to download the score, which the just changing, fingering, ignore it. Don't spokesman that because you waste your time, it's really unnecessary. Now I would like to speak a little bit about why one of the same fingering is very good and actually what fingering you can choose. So first, let's start in Bar 59 by saying which hungry I would choose. I would simply go with first finger, so I'll play two bars before 59 here. And then I arrived with first England in the left and on the note a right on. I keep going with the first finger, Then I'm ready in Bar 64. I'm ready to play the interval with one and five. Since I've been playing a with first finger, I'm simply ready to use one of five without any additional thought. So we continue. I think I'm playing in Bar 67 the doctor with what I find as you usually do, and continue simply with first finger until we reach Bar 71 where we have the leaflet in the left and they're out. Suggest use third finger. Simply go from 123 Why? Because later on we get the leaflets. We get the big natural with second finger and we get the scene in the last bar. When all those 60 notes and we get the note, see, So we simply have to use three. Don't be flat to be natural and one on C So ever see, I'm suggesting a fingering that doesn't require any additional thought. Once you decide on this fingering, once you start playing, everything falls into place. The only place you really need to think about is Bar 71 all you need to do is change from one 23 that's all 9. Fur Elise Part 3, Lesson 2: and you see here once again that the fingering that Demeter choses about looking ahead, looking ahead, what's to come and deciding the fingering based not only on what is comfortable in the moment but on what will be comfortable in the bars Coming ahead. Yeah, that's very, very important what they were saying because it for 64 I saw that I'm I'm having on Interval coming up. But then right, because it shows first finger, I thought, That's perfect. It fits so I can play Interval that I saw that in Bar 67. I'm choosing to go with first finger on the note A. And I saw what's coming in Bar 71 that I have the b flat and I thought, Okay, I don't have really a problem because of that I have to do is change, want to treat? So I'm looking ahead, and I'm analyzing what's going to happen if I choose this particular Pingree. So this is a great advice. Choose your fingering consciously book a little bit ahead and see if it fits. It is very important for me personally to use one of the same thing going because I'd like to achieve a very particular sound in the left hand. And I can do that with same fingering. Much easier than changing things. Left hands isn't a compliment, no matter that is very powerful kind of place, very intense kind of place. And we're playing it with Madame and we feel this tension that Beethoven created. We still have to remember that left and is an a compliment. And to achieve this, you'll need toe play. Sort. Yes, we get the first note in Bar 60 for example. And then, as you can hear, my left hand maintains a very particular an exact sound. I'm not doing this because this will be very ugly and unpleasant to listen toe. So even though the place is intense, we still are playing the left and controlled. Here we get a little bit of sound because it changes. Did you get here my left and still controlled after I'm not really pressing hard. That's very easy to do with the same fingers. One of the reasons I'm choosing for one of the same fingering is the control off sound. I can produce the same sound. Now there's something even more important as you already know the fingering I choose And why Jews that fingering I'm going to show you how to practice for additional good results. The results. I just mentioned having a control sound. So the first thing is the fingering. The second thing is the way you practice your left hand There two ways of practicing and playing. Actually, this left one is this. I wouldn't suggest you do that. I wouldn't suggest you practice nor play your left. And this way. Why? As you can see, I'm moving from a distance. I'm separating my hand from the key and I'm hitting from a certain kind of height. Right? This is very difficult toe control. I cannot control my sound this time. It is a different sound. I really don't like it. Let me show it the other way of practicing and playing this section this way. Way do you see the difference? What I'm doing right now is I'm not separating my finger from the king. I keep playing the note, I keep repeating the note. But I'm not doing this. It is impossible for me to produce off. Sounds like this. It is impossible. So I see many people practicing and playing this section separating their hand from the key . This is really wrong first fall, because your sound will be extremely loud, an uncontrolled and second floor, because we get an additional noise. And that's the noise of the finger hitting the key, which is this noise you want to avoid that it doesn't sound good, and it's additional unpleasant nose to your playing. Also, separating your finger from the key is not a good picnic. You're not going to develop proper technique, and later on, when you're playing other pieces, you have the wrong habit and you won't be able to play fast. It's much more difficult to play fast and efficient when you separate the finger and you hit the key from a distance from a height. So make sure you practice this way. Let me show you the key can be released, but the finger doesn't needs to release the key. So what you can do is simply this without battle without anything you can do. This really is the key. Don't release the finger. Then again, release the key. Don't release the finger and then you can do this slowly. A Z you can see on the camera. My finger really doesn't go off the key. The same I'm doing with bar 64. You can see the key goes up my hand. Re Mays touching the case. This is an extremely important way, Brexit. So first you decided fingering. And then you start practicing this way. Never separate your fingers from the case. You'll see, even in later pieces. Even Mawr. How important this is for your property, Nick. And remember that having a great technique requires a lot of work. So be efficient where you can and like Dimitar says, this is something that you will meet in every piece that you play to be efficient with your movements. Being generally efficient is crucial toe having good technique. So that's why I chose to talk about this because it will be very, very important for this piece and every other piece. Remember everything you learn. Listen to your teachers, by the way, that this is one of the things that I will constantly repeat to you. Listen to your teachers and the things they say they can see further because of experience . They know what they're talking about, right? What I'm offering you right now, we try with over here to choose subjects that can be useful not only for this piece but that can be useful for any future. Peace is you're playing. So that's why choosing the right fingering it's not only going to help you in this base. Yes, you're going to be wonderful in this section. But then you remember Hey, I have to choose good fingering you wonderful in your next piece and also the approach of practicing if you remember, if you start playing a piece that requires the same kind of technique, repeated knows. Hey, you can remember what we've talked about in this lesson and then you can use the same and you see how useful that IHS as well as any other fast passages lifting your fingers unnecessary. We'll make will slow You down will definitely slow down, even though this piece is not really fast. Still, if you want to play in a certain speed in certain control, if you want, also played musically because that's what we're talking about. Those playing musically because music and technical always connected, then it's even more important that you have the right approach to sum up choose the right fingering, starting with first finger in bar 59. Keep the same finger and then in 71 simply go to third finger. That's all you need to remember Two separate bars with two different fingering And second thing Don't separate your finger from the key. Make sure that you're slow Release Don't release the finger. Watch my hand. Same Inbar, 71 If I go finger, I do the same and take your time. Take your time. I can't repeat this enough. Take your time Because if you start with this and if you're thinking that you're doing something, you're doing nothing, really Make sure that you take your time, don't you embarrassed practice as slow as it takes for you to achieve the proper skills. Take it easy. I just feel view the movement of the key and view your hand staying next hockey. And now that I shared my idea for today and for today's lesson here has something interesting to talk to us about. 10. Fur Elise Part 3, Lesson 3: So you kind of touched on the subject a little bit that I wanted to talk about, which is the tension off the the atmosphere from Bar 59? Interesting. So I think that we had in part one, we had a very lyrical kind of section with Part two. We had a very classical kind of sounding section, very lights and playful. And then Inbar, 59. We have this very tense kind of, um, exciting parts, which I think the left hand Rudy the repeated notes really causes and the beautiful courts . They really call some tension in this part. And I think it's really nice to explore these different characters off this short piece, having so much different characters within such a short period of time. I think it's nice to make the most out of that. And I think what a lot of students need help with is how do you create this tension? So a lot of students would feel that it's like this exciting place. How does that translate? How do you do that with the piano? Yes, because very often I hear people come to borrow 59 start producing something that's I really don't feel that's intended in the character of the peace coming to this 59 that combines all the things I've talked about this having this queues, knowing, having the knowledge, to know how exactly, to produce the right type of character. Very often, people coming on and start playing everything very loud, perhaps because of lack of skills, or perhaps because they feel that there is this kind of tension here is talking about right this dark clouds looming, and I think it's very important to know how to achieve the proper atmosphere. So all this starts with having the right skills. It always starts on the technical side of things right. You need toe birth, certain things you need to acquire some kind of knowledge. And then we move on to a little bit of discussion about how do we achieve a proper character? Let's say that you have the right fingering. Let's say that you have already the right kind of touch after you practice. Now, how do we get the atmosphere out of this section without sounding too loud or too aggressive? Because I really don't believe that's what Beethoven intended here. So What I think is something that a lot of students do is they build tension and they don't raise it. Okay, which was what demons are. Just showed if you start doesn't sound tense because, yeah, it sounded tense in the beginning, but because it didn't release it just sound monotonous. And what do you mean, exactly? By releasing. So I I think that if you build to a certain point and then release it again and then build it a little more to the next point and then release it again. That is where the feeling of tension will come from. Yes, And by the way, this really lazing think of it is to different to different ways of releasing one. If you remember what I've mentioned earlier in the video, I talked about releasing the tension of the left. And instead of playing all the nodes the same there is no release. Everything is the same. It is dead, right? It's not moving. That's one of the releases you can think about releasing of tension. Once you introduce something, you need to release a little bit because then it keeps attention like this. I have the first no on that. I keep repeating the Lord softer and in some of the courts Later on, I'm going toe add a little bit volume again. So, for example, starting bar 60. We have distension the Forest Court. It is very important. Have this first impulse attention. But then Inbar 60 61 I'm not going to continue doing the same on every bar every first beat . I can't afford to do the same thing. Because, as you can hear, it doesn't sound. Try, can you? Can you hear that? It sounds square. It doesn't move all. It doesn't create tension that you're you're not tempted to listen for. It's like, okay and OK. And the next. So we have a releasing the left end. But also, we have a real ace in the right hands. So we keep being a little bit. Gentlemen, by 61 like this, we have 60 0 that we keep it. Maybe our 62. We have a little bit of beanballs on a resolution in bar 64. So we have our 60 with a little bit of tension. Bar 61 a little bit less. Tension doesn't have to be too soft. Also but a little bit less tension. Bar 62 again a little bit. Bar 63 resolution. So it's always these gay of attention and less station right when we speak. Also, we never speak with same voice. You never speak that. Other than that, it always rises and falls, rises and falls. So think of it like this. Yes, and remember always that there are different interpretations. You don't have to create tension in this specific way. For example, every pianist would have there own little twist on this. I would, for example, not start with such attention in Bar 60. I would start much softer and give a little impulse and 62 for example, and release absolutely a little softer. That's very, very actually interesting, because that's another way of phrasing. You can in general start phrases immediately or start phrases a little bit later. So this is a very, very interesting idea, by the way, starting a little bit softer. It's actually the same way of phrasing, if you can. If you observe carefully, you can see that it's by three bar starting 60 61 62 right or the in the third bar. We're having a little bit of pimples, and that's starting in Bar 64. We have 65 in 66 again on the third bar, we have this kind of imposed by the whitebait holding and many other composers, actually all composers. They had this in mind. They had a way off combinations and way of phrasing that they put together. So there is always there, always patters. So this is wonderful water various sharing with you because then you can think of different combinations and choose which one you prefer. And another thing that will influence the interpretation is, for example, the pedal. So Dimitar chooses to release the pedal. Inbar, 62 on the last eight Note like this exactly makes it a bit more energetic. Yeah, but you could also see Oh, right, because the peace sounds sounds very different. If I d o also this, you can hear the difference. So I think that using a lot of federal it make it more sound more serious. And also there's a less variety and sound, but whichever you prefer, there's no right or wrong. Just remember to create the tension. Remember to release the left hand and senator was talking about before and remember to have these sentences in mind where you go towards a certain point and after that, make sure that you release it again so that you can build it up the next time and so on. Yes, this is a very important. This is a very important subject because remember something from us, about interpretation. There is really not so much about right and wrong. It's about knowing the right things. For example, what I'm saying, Don't release your finger from the key. This is something you need to learn. This is a proper technique, and it is good for you. It is good for you because you benefit. You have better technique, you will be able to play more pieces and you'll be able to play those pieces much easier, right. But then, when we come to interpretation, there different combinations, different ways of interpreting something so there don't really trust when you hear this is right or this is wrong, it's not about that. It's about knowing what exactly to do, how to do it, having a little bit of knowledge, having a little bit of skills, and you combine those things and you put your own interpretation. 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