Practice and Play Rondo Alla Turca | Dimitrov Boelee | Skillshare

Practice and Play Rondo Alla Turca

Dimitrov Boelee, Piano Duo

Practice and Play Rondo Alla Turca

Dimitrov Boelee, Piano Duo

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18 Lessons (2h 54m)
    • 1. Introduction

    • 2. Part 1, Lesson 1

    • 3. Part 1, Lesson 2

    • 4. Part 1, Lesson 3

    • 5. Part 2, Lesson 1

    • 6. Part 2, Lesson 2

    • 7. Part 2, Lesson 3

    • 8. Part 2, Lesson 4

    • 9. Part 3, Lesson 1

    • 10. Part 3, Lesson 2

    • 11. Part 3, Lesson 3

    • 12. Part 4, Lesson 1

    • 13. Part 4, Lesson 2

    • 14. Part 4, Lesson 3

    • 15. Part 5, Lesson 1

    • 16. Part 5, Lesson 2

    • 17. Part 6, Lesson 1

    • 18. Part 6, Lesson 2

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About This Class

Welcome to our course on Rondo Alla Turca by Mozart. We've divided this course in six different parts:


Section 1: Bar 1 - 9

Section 2: Bar 10 - 26

Section 3: Bar 27 - 35

Section 4: Bar 36 - 61

Section 5: Bar 97 - 105

Section 6: Bar 106 - the end of the piece


In each section we present 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.


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For Skype lessons and more, feel free to contact us!

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



Meet Your Teacher

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Dimitrov Boelee

Piano Duo



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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1. Introduction: welcome everyone to the the trouble, a piano door and our course on the famous run Nullah Turkey by motored. My name is Mr Dimitrov and my name is off here willing and we're professional Piano duo currently living in the Netherlands and performing throughout the whole country as well is we give piano lessons to people of different age groups in different levels. In this course we're talking about the peace will know Allah to Erica. We've divided this piece into six different parts and each part. We discuss a musical idea or a technical problem and how to solve it, because this is a pretty advanced piece. We expect from you to be able to fluently read notes as well as having some basic technical skills in our courses. We always try to give advice that can be used long term not only the pieces that you're going to study with us, but also all the pieces afterwards, you know, to benefit from our courses, we strongly recommend that you practice at least 15 minutes every single day while watching our course. It's best if you down all the score that we've provided for you so that you can follow along even more easily were also very open for questions and requests. And so, with every part of our course, whenever you have more questions, don't hesitate to contact us. We want to create more and more content that's even more relevant to you. For us, creating this course was a big pleasure, and we hope that you have a lot of fun watching it. 2. Part 1, Lesson 1: welcome everyone to the first part of our course on the Rondo Alla to Erica by motor, which is also the last movement of his A major sonata part. One of our course, of course, begins in bar one and ends in bar number nine. We divided the peas in seven different parts, as you already know from our introduction. And this first part is very short. But there are very important things we want to talk to you about. We've provided you also with the digital score that we're using so you can follow along our course very easily. Okay, so let's get straight into the first idea for this first part of our course today I want to concentrate on Bar 67 and eight. These ones more specifically on the ornamentation in the right hands. This tree fast notes because we see that they create a lot of problems for our students today. We want to discuss with you why this ornamentation is so important and how you can actually conquer it and feel comfortable and easy with it. One of the reasons this double appoggiatura how you call it is so difficult is because the Notre extremely fast. That's one of the reasons we have to play these extremely fast and at the same time we have to actually maintain our temple. So we have to keep on playing without any serious interruptions. Basically, we have to just go way need to do that very smoothly. There is another reason this three bars are difficult. Usually, if we didn't have the apology tour of the double appoggiatura the ornamentation. If we skip this and we simply place our fifth finger on the be on the first note, bar six on the first note of Bar seven and on the personal of our age, you simply get this look at my hand. It's very easy. 54345434 That will be the fingering. But in our case with the double appoggiatura, we have a totally different. Fingering is not only the first notes, but also we get third finger on the be, and what we have to do is shift from the third finger to fourth finger, then again, toe third finger four 34 which is not the most logical fingering you would use in such a passage. But because we have the ornamentation were required? It's necessary for us to use her finger on the B because after the personal, we end up with third finger on the B and then shifting from third finger backwards, fourth finger. It's a little bit inconvenient, so those things together create quite the challenge I really like, actually that you point this out because very often students come to me with a problem and they say, I can't do this because off, for example, the fast notes. But then I asked him to play the message for me, and I see that there's another reason not the reason they're thinking is not fast notes, but, for example, in this case could be the fingering. And if you know the reason for what's causing your difficulties, you know what exercise to do. You know you have to exercise without the ornament to practice this jump from 3 to 4. That's why I really like this. Analyzing off what are actually the do difficult aspect, not only the fast notes but also an unusual kind of fingering and in our course, of course, were looking for one of the major reasons why this type of passage could be difficult. Of course, everyone is very different. So that's what we love about our students, that we can see different problems or we can solve them. And so if you have another reason that this passage is so difficult for you, make sure don't hesitate to contact us. We would like to help you. And so, aside from the fast notes and a little bit strange fingering, we have one more reason why this message is so difficult. And that's the musical line. When you combine those things together, plus having to perform this musically, it becomes really challenging three bars, which could take a lot of time to conquer. And so we're going to give you now a few different ways. You can practice this difficult passage. The first and very logical way of practising would be simplifying. And what do I mean exactly? By simplifying? As I said, we have fast Nell's. We have something additional instead of having this way, have this. So what we're going to do is we're basically going to simplify, and that means that we're going to remove the fast notes. What happens then is that you can just concentrate on the main note because, as you can imagine, when we have an embellishment on ornamentation, those smaller loads are usually not the most important. Yes, they become very important because of their difficulty. But music wise, they're not the most important note. What's the foundation of this melody is basically this things to note. As you can see, they don't belong to the melody. They just make it more beautiful. So we're going to simplify. We're going to practice without the double appoggiatura. We're going to do this now. Off course. There is something very important when you're going to practice this way. And that would be the fingering. As you heard earlier from me. We have a specific fingering. We have this third finger on every beat off bar 67 and A. We don't have five because that will be very easy, right? But because of the double appoggiatura, we have third finger. So what's extremely important here is that you practice without the embellishment using third finger on the note. Be like this tree again. You have to go third finger. Don't be tempted after fourth finger on the last eight note on this note, right on the F sharp and a don't be tempted to go and use fifth finger, because after that, when you're going to put the small notes together with your be, that would be impossible. So make sure that after this note you shift, you go to third finger and then a game back to fourth there again, shifting to third etcetera. Fingering is extremely important, and no matter the exercises were going to use, we always have to apply the fingering we're going to use at the end at our final goal, when we're going to play the piece, we have a specific fingering. We need to use this fingering in any kind of practice way you're going to use. Make sure you do this exercise at your own speed because if you take too fast speed, it might not work. Everybody's different. Everybody can practicing different tempi. Don't look at other people. Don't copy out of people how they're playing and how they're practicing. Find your own way. That's why having a teacher is very important because they can supervise what exactly you're doing. So, for example, if you feel that this necessary for you to practice very slow There is no shame in doing this. Uh, so you can find every note, every key easily if you free to practice as slow as you like. And I have a little advice to give. When you're looking for different tempi to practice, I would advise that you take the Metrodome and you find three different Metro. No markings. One for a very slow temple, one for a slow Tim and one for a middle temple right down the markings and practice with the maternal. Once you're confident you get the feeling of these different tempi, turn off the Metrodome and practice without the reason I say this is when I ask my students to practice for me in three different tempi. Slow, middle, fast. They play for me three times in the same temple. So for students, it is difficult to actually distinguish. Tempe is very difficult to feel what slow feels like. Unless I show it. This is a slow temple. So if you search the Metrodome markings, that's like me showing you this is a slow temple, especially when you're a beginner. You need an example, and the metal on can be a great example guiding you toe what temple is really slow and good for you. So make sure that you used this advice and put the metronome. It can help you enormously after you practice this three bars without the embellishments without your lamentation. What is necessary to do is that we, of course, want toe. Add those small notes. We want toe add double appoggiatura, but instead of adding it the normal way instead of doing this, some people may not have the technique yet to do that. Sometimes I would even tell my youngest and most experienced June's toe actually never use even this guy ornamentation in the beginning stages of their piano learning because it's not necessary. The most important is that you use and that you learn other skills. But if you're at the point that you want to add them, what advice to do is this? Instead of doing this, I want you to take a small note and playing together with the beat. Basically, you get three notes together like this. Instead of playing to separate, we treat together and again in Bar eight. We're going to toe again three together, and if I do this hence together you're going toe here. This the that makes things much simpler and much easier. But that's the whole point. We want to simplify from no ornamentation toe yes, ornamentation, but no separate notes, basically three notes together to After that, we're going to build, of course, further own, So make sure you take these three notes together and just play them easily. You may wonder, why is this exercise necessary? The reason is that you want to make your hand get usedto what we're going to do. After that, the whole thing is positioning correctly, your hand, so they had needs to shift from. Like I said, in the very beginning, hand needs to shift from 2 to 4, but the hand needs toe shift not only from 3 to 4, but needs toe execute two additional notes before the big. So basically, we're teaching the hand how to position itself in the foot position with three notes instead of only one right, and then get the next two notes that from the last note in Bar 676 and seven when you had the F shop and the A, we need to ship from disposition toe again. Three notes so it's very easy or it's much easier to the tree notes together. After that, the plane tree separate so data built very gradually your skills in playing this tree bars . 3. Part 1, Lesson 2: and now we're going to show you the last exercise you can do. Of course, there many, many more exercises we can offer, but it's better to select some of the most important and the major ones, so you can start building on them after that. If you have further questions, of course, we can provide you with many more ways to practice these three bars. Let's just keep it very simple. For now, we're going toe. Add the Metro because we want to build on. Like I said earlier, we won't start very simple, but we're going to complicate it a little bit, only step by step. Still, we're going to do it with the Metro, but we're going to do it again in a very simple and easy way. I'm going to put the Metrodome on metal marking 60 but like we mentioned earlier, you can do that in 50 40 or whatever Temple is comfortable for you. The exercise is the forward, the standard way of practicing with Metro marking six to a business. But we're going to deviate slightly from this standard way of practising. We're going to take breaks or we're going to take one additional metro marking before the ornamentation before this and after it like this. So we're going to start standard. I weight one. Then I Can you wait 12. I wait One wait one. Well, so as you can see, I play everything. Normally, every beat of the Metrodome on Metro marking 60 is together with every eight notes. But before and after this ornamentation and B I weight one additional beat of the metro. Why do I do that? Well, because it's much easier. I want you to be able to get usedto in, prepare peacefully for what you're going to play. Says we have to shift a lot before this big and after this be we need a little bit of time there. So you want to create this kind of peaceful feeling that you have time to prepare for what's coming after that. So that's very, very important to be done in the very beginning, because then you gain much more confidence. Be sure to time your upper B B. The upper bay is the note that comes together with the first beach of the Metrodome, and this is something that ah lot of my students do wrong. with ornaments. They play the lowest note on the first note of the Metrodome like this, so I know that it's a little difficult to hear the difference with such fast notes. But what I just did is I played the lowest note of the ornament on the first beat together with the left hand, but it's before the first beat. So you have to time it in a way that you do this before the first beat and you come exactly together with the be the highest note together with left hand on the first beat. So a Z, you've maybe heard I'm starting before the first beat starts just a little before it starts so that I can be exactly with the upper be on the first and before you do the exercise. I just mentioned you can actually try and do what I'm very saying. So put the Metrodome and try just to time your right hand instead of you want the time that come on the B right? So we don't only this you can do also only the right hand a little bit, and you you get used to playing the big together with the match room, and even if it's not 100% perfect, it is okay. Just take it step by step and you will notice that some points that the bill will start being together and you can do the exercise, I said. Also, only right hand alone. If you find that easier, of course, feel free to experiment. Be open to simplifying things so they can fit your skills. That's very impor now. One additional but very important advice on why we're taking this break and what to do during the break. It's not just the break that you take can take a cup of coffee, for example. Right, so we're having the breakfast reason. I want your hand to prepare for what's coming during the break, so look carefully. My hand, What I'm doing, I'm playing the old B, but I'm not staying here in the break during the break during the single beat of the medicine on that, we're not going. I'm going to position my friend on the next. Things were looking. I'm ready. Then I now, after Bar six, the last note of Bar six. You remember that we're going to have another break, so when I play the last note of by six. I'm not going to again relaxed during the break, but I'm going to prepare for this position, as you can see. So I'm going to play the last noting Bar six and prepare during the break like this. So you see that while the Metro, even before the beat of the Metrodome, comes, I'm already ready to play and I'm waiting, relaxed. One additional beat of the Metro. That's the reason I want you to take this break. No, just to have a break. Yes, that's one of the reasons so you can feel free, but also to prepare for what's coming. That's very important that trains your reactions and you can very efficiently and very fast . That'll prepare for later playing the piece and playing the street bars in particular very smoothly. These were the practice ways we want to offer Inbar 67 and eight, and Alberta has another interesting tip to share with us. Let's hear it. My idea for today is about the musical line in Bar 1234 and five. Very often my students want something musically, so they want it's to sound, for example, fun and energetic, but they don't actually know how. And they're doing exactly the things that is the opposite of that. They're doing executive things to make This 1st 5 bar sounds slow and heavy, so I'm going to discuss what exactly you need to do to have exciting Lynn light and energetic sounding 1st 5 parts there. Several things in play. But the first thing I want to discuss is the eighth note, the first note of bar to the note. Um, often my students make this way too long, and this when you played long and heavy, it drags it done. Most of my sons would play it like this, and as you hear this 1st 8 notes, it doesn't sound so fresh. It really drags it down. So my suggestion would be to make it even a bit shorter, short and like meaning not too much pressure, that one. The final one. Which brings me to my next point. So that eight golden Bar, too, and the eight note in Bar three make it short and light So and then the final note in Bar five. That's the note where the whole line is going. So in order to make that line. Don't give pressure on to em bar to Don't give pressure on board three or four. Nothing's happening. Bar five. That's where we're going. Let's explore an exercise in which you can see this more clearly. Whenever musically, something has a lot of ornaments. Something has a lot of notes, and I'm not sure. Where are we going with this line? What's actually the most important things? What do I have to do with this? I simplify and I remove the ornaments. All this eyes just in ornament for the sea. This is the note that is part of the melody. This it's all ornament. The same goes for the next bar. It's about the so what we get when we remove all the ornaments is seen. That's what we're getting, and that's what the main thing. And if you explore this line, you're seeing that. Actually, the only note that is important is the highest. See, you wouldn't play because there's no excitement in this. There's no tension in that. You start light, light and maybe the tiniest of little crescendos at the end of the bar. Maybe the second a little bit louder so that you go towards the sea and just to clarify this would I showed you It's not an exercise. I just wanted to show you the basics of Where is the line actually going without all these distractions? 4. Part 1, Lesson 3: very often. Composers write a lot of notes, but under those notes, the foundation is usually very simple. Everything is built on simple rules. So if you follow this, then you actually understand how you have to play. If you have too many notes, you might get distracted. You don't know where you're going and how exactly it is built, so make sure that year you just approach it. This Aziz one line that helps you understand what happens with the light Now off course. After that comes the additional work. How do we do that with all the small notes? So before we start Brexit thing, there's one more mistake that my students often make when they're trying to create a long line. So that would be to get too excited too soon. When you want to go towards this, see, don't already make a crescendo in the third bar. Make the crescendo at the last moment. Only in anticipation of the most important note of the line are higher sea. I often tell my students, Hold your horses, hold them, hold them, hold them and then let him go. Because also, the secret to good technique is know how to divide your strength, how to divide your power. You don't want to shoot everything you have, so you have to know how to divide. You have to learn, and you have to know how exactly toe handle your hands so they few easy and relaxed because what the various explaining is very important. Knowing how to phrase is the secret to how to not get tired and stiff while you're playing this right hand because you start digging and ploughing into the keyboard on every on every note. Then you will get very tired like their own, and we have more and more difficult things to come into. So it's very important how you approach this. My first exercise for today is to practice hands separate practice, separate right hand first in a very slow temple and pay attention to making the eight notes embarked to and three short and light. And don't get excited until the very, very end. You can even keep Bar 12 and three on two Bar four. You can keep it in absolute being a municipal, even in pianissimo. We don't even need to do piano. Just do it as soft as possible because in slow Temple you train what you're going to do in in a fast temple, so make sure that your just keeping it really cool without any emotions. The emotions will come there when you're starting to play a little with faster. So keep it cool. Easy. No excitement because the faster you play the cooler, this will solve. I mean, cool in a nice way. It will sound like this and my hands are not getting tired at the same time. So that's really a great trick to use now, once you're comfortable with the right hand, start the left hand separately again in a slow temple, and I want you to pay special attention to bar four because that's one of the secrets off how we're making this musical lines sound energetic and light. Inbar too. Course in bar one, we have a rest embarks who we start with this articulation again this articulation bar three. But in four, we have no, like Anto Uh and why is this so important? It gives Bar four a not grounded. It gives it like a little bit of flight towards bar five. This is very, very important. So if you wouldn't do that, if you would keep the same articulation, it would sound more dragged down the but with the proper articulation words written. It sounds much more light, and interesting articulation can actually make an enormous difference in the way any peace sounds. In this case. This is a very interesting idea because everything can sound quite monotonous and the same , and not exciting and interesting and creative. If you keep using the same articulation, so having two bars of this that's automatically in the third bar or of course, in this court in this core Inbar number four this creates this articulation creates immediately attention, and that's what you're looking for. You don't even need to really make a crescendo as long as you hear the circulation. The crescendo is usually also on illusion, so you want to create the illusion of excitement and changing. The articulation will do that for you. Now that we've practice our hands separately, it comes the moment that we have to put them together. I would advise that you do this very slowly because there are so many factors that we've talked about. For example, keeping the eight note short keeping it light, keeping it piano, doing the correct articulation with both hands together. It's a lot of information to process and to apply. What I would advice is to really start slowly, and I would really recommend that you record yourself in a slow temple. You can listen back and check to see if you have done everything properly. Once you've listened back to your recording and you've confirmed that you are doing everything that we've discussed, you're making your eight notes short embarked two and three of the right hand. You're doing the proper articulation in Bar four in your left hand, and you have recorded in a slow enough temple that you can actually hear this. Now comes the time to slowly increase your temple. Make sure to keep on recording yourself throughout this process of increasing your temple to make sure that everything, every detail is still there and also don't hesitate to use the metro so you don't actually increase too fast too soon. That's very important. Use the metro earlier in our video will be mentioned something about the metro, so use this in every part of your practice. If you doubt what Temple you have to practice or what temple you practice and you're not sure. Make sure that you're right in your score. Some metro markets just experiment. Look, look for metal and markings. Write them down. So you know where you are on the scale of the of the metro. And finally, let's demonstrate in a comfortable temple in kind of a practice temple. How you phrase from bar one until bar 51 last time. So you start nice and easy and cool, and you're not doing anything special until approximately bar four, where instead of too much Christian dough, we're actually getting excited about the articulation in our left at one little tip were talked about bar number four and the Shanda. One additional thing I wanted to mention. Don't force too much your right hand because when you're playing very fast, if you start, it can start sounding really Our G plus your head can get really tired. So remember that your left hand is the secret to this Christian off course, your right, and can do a little bit extra compared. Tobar want toe end three, but not too much. Usually the write in the letter and help each other. They built up a team and they help each other. Create illusion for crescendo, fourth piano, etcetera. It's never a physical thing, so don't focus on the physical thing. Just make sure that your left hand makes things exciting. One last time. Lessons will create the illusion that your right hand is actually increasing. So use this advice. Now let's explore all these things in a little bit faster way. Usually we avoid showing in the really fast temple because when we do that with our students, for example, they get really influenced. They really love, and I can understand. Of course, people love hearing things in a fast temple, but you don't learn really much from that. Tow us. It is extremely important that you understand how you can get to those vast, empty and what to do in those vast empty. So anyway, from time to time, it's nice to show, but it is difficult to grasp everything, so make sure you for our previous advices and don't get obsessed now to start practicing just fast because everything will be lost. Those who are our ideas for part one of our course on the Electrica the last movement of the A major Sonata by Motor and Part one, as we already said, was from Bar One until bar nine in part two of our course will start in bartender from this part until bar 26 which is actually the next double bar with the repeats. As always, don't hesitate to send us questions, requests, Commons, because we'd like to hear from you very much. We want to know what troubles you when you're playing what kind of things you find difficult so we can help you further. Don't forget to use the digital score we've provided you with because it will be much easier for you to follow along. The digital score is actually the same score we're using. Right now we mark the bar number so everything will be nice and easy for you. We wish you to have fun with these exercises, and we hope that they will help you improve this first part. For us, it was a great pleasure and seal in part two of our course 5. Part 2, Lesson 1: way. Welcome back to the second part of our course on the Al Attar ca by motored. This is also the last movement of his Sonata in a major. The first part of our course was from Bar One onto Bar nine, and today, in our second part of the course, we're going to go from Barton until bar 26. Before we begin with the second part of our course, I'd like to remind you that you can download the ditch those core we've provided you. We've applauded for you exactly the same score we're going to use today because they're also bar number, so you can easily follow along with us. And so let's get started With today's lesson. The first thing we'd like to talk to you about today is the connection between several different bars. The first connection is between BAR 11 and 12 way have the same connection in Bar 13 and 40 on, and then the next one is here and one more time the same kind of connection. The's connections are specifically in bars. 11 12 13 14 15 16 and 17 and 18. Two of those connections are basically the same with the exception that Inbar 12. We have a no additional. And in Bar 14 we don't have that additional Jeep. And in the next connection, it is absolutely the same. We have, um, additional to play, and in the 2nd 1 we have only the service, a little addition to what demons are just mentioned. He mentioned 1/3. And for those of you who are not so familiar with musical terms, 1/3 Inbar 18 for example, is Theis Inter fall the interval when there's No one note in between. Exactly. And if you look in this particular section, we're going to talk about today from Bar 10 most of the time you have a lot of thirds already from the beginning, all those are thirds. Then Inbar, 12 again 1/3. So basically the whole section, this almost whole section is built on thirds also in the left hand. If you look a little bit further, Bar 19 thes are most authors, but anyway, this is something for those of you who don't know what the thirties, So that's very useful to know. Just learn those terms. One of the reasons we have chosen to talk about this topic today is because of these connections and because they're actually tricky in one of the reasons these collections air . So tricky is because we have combination. We have a combination between single notes and then lending on the third, lending on an interval. Then again the same. And then again, the same single notes ending up with 1/3. And that can be actually quite tricky to do because the standards thing, as you can imagine, if you play a single note, you can end with a single note that's very easy to execute and the same thing in Bar 15. You can just end with a single, but know what it likes to make things a little bit more difficult. So we're ending up with 1/3. So that's one of the reasons that these passages can present you with a problem. On the other hand, even though this is a problem, it is actually quite fun to listen to. Motored likes a lot to play with different kinds of notes, so that makes the piece out really fun and really interesting to listen toe. But of course we need to find a way to solve this problem and make the passage easier for us. And then there is another reason that this passage maybe a little bit more difficult for you. And that's the combination between playing leg Otto and Staccato. Since the single notes off course, we don't play them like this. We played them llegado. But after that, Inbar 12 we continue short until the next time that comes Nagato. And then again, we start short notes. And so the transition, also between leg gotta notes and staccato notes, can be quite challenging for some people. As we experience from our teaching. As you notice Demeter and I, we always explain why something doesn't work. What exactly causes it to be difficult, and this is good for a number of reasons that you know this, first of all, sometimes is good just to know that sometimes there are so many things that make a passage difficult, that you can be patient with yourself, that it's difficult and you're struggling with the passage for a reason. Second off, all the more specific. You know why something is difficult, the more specifically you can practice it. If you know exactly what's causing a problem, you can find a solution that matches this exactly. A lot of students just repeat, Repeat, repeat, repeat. And obviously, at some point, this does work if you practice a lot, but we're all about efficiency. We like you to practice a lot, but get as much as possible done in this practice exactly, because conscious knowledge is extremely important. But I would also like to add that here we're measuring just a few of the reasons why this passage may be difficult for you. Why these several bars could be difficult for you off course to you. That can be more reasons. And there's no shaming that there's no problem with that. The only thing is that you have to approach people who know and ask them. Hey, I'm having a problem with this. How can I solve it? So if you have questions like always would like to hear very much from you, so send this Commons, send these questions and will make sure that you get a response. Now that we know several of the reasons why these bars may be difficult to, you were going to give you several different solutions several different ways of practicing that you can use in order to prove those. As you remember, from what I mentioned earlier, there is this kind of a play, a game between Legarda loads and the Cardinals. What I'd like to do is the first exercise. It's not even an exercise. It's more of an idea that you have to remember and think about when you're practicing is toe. Forget about making leg Otto between 11 12 13 14 15 16 and 17 and 80. Even though those 16 4/16 notes are leg Otto, we don't have to try to connect them toe, part wealth, Tobar, 14 Tobar, 16 and Bar 18. Basically, the connection has to not be leg Otto. Here is exactly what I mean by not trying to make. Like other connection, I'm going to start to connect the first connection by 11 to Bart wealth. Don't try to do this then, in Bar 13 and 14 it is something. Don't try to do that for the next connection. This go feel incredibly awkward for your hands. Incredibly unpleasant. You want to avoid everything that feels strange to the hand. In this case, we should not try to connect those bars. Leg Otto, the proper way that these connections sound is like this. Could you actually hear the little gap that exists between the last 16 snowed and the following note of the next bar? How will do it a little bit slower so you can hear it? You saw that there's again get and then the next get get. And, of course, in a faster temple, the gap is barely audible. You can hear just a tiny bit of this connection. Otherwise, I have to try to do Leg Otto and the llegado sounds like this and you can see my hand. I can just describe the feeling I experience, but you can see my hand from the from the upper camera, actually, that I have to twist white a lot in order to achieve this leg. Even here, I cannot do it. You see my finger kind of disconnect. So my first advice to you would be, Please don't try to create Leg Otto between the last 16 note and the load off the following bar. Again, it's a game between Legat Owen staccato, but you have to know exactly where the leg arteries the leg Otto is between the 16th notes but not when 16 notes are finished and then a coats come, then we have to disconnect. That's the first advice to be even more precise and more useful for you. I would like to give you what exercise you can do in order to learn how to disconnect and no develop any kind of bet habit off trying to connect those notes. I want to do this. I want you to start in the second half a bar of bar 11 into this. Then just stop in disconnect. Do you hear how my last 16th note is very short and then in about 15 old do the same. I basically spring a little bit from the key so I can produce this kind of disconnection disconnecting from the last 16. Note wants more. You can even lift a little bit your hands if you want to exaggerate in the beginning. Ar 15 and bar 70. What I don't want you to do is this. I don't want to remain on the last note. That's exactly what we're trying to avoid. We want to do this, Inbar 15 and about 70. This will be the first exercise. Okay, You can remember very well exactly what the approaches 6. Part 2, Lesson 2: Let's go to the second exercise after you're used to disconnecting lifting on the last 16th note or every time. That's the 4th 60 note we have always for one called for. The 4th 1 is up. I want to start with one additional exercise. Of course, we're not playing the piece of you here. Of course, we have additional notes. We're going to start building up. What we're going to do now is you can do this few free, actually, to do this only right hand. At the moment, I'm showing you only right hand for example, depending on your skills, you can do this hands together. But I would take it easy and start with one hand at a time. The first exercise was it is connecting. Now we're going to add a little bit. We're going to prepare for what's coming, but we're not going to play the next note. That's what we're going to do now. You see that? I transitions and I went what's coming? But I didn't play it. I'm here. That's what's coming after. So then I go to Bar 13. I will do the same transition. Then I go to Bar 15 I do the same again. I'm disconnecting, but I jump a spring from the last 16 vote and I'm ready for the next and notice how Dimitar moves in this disconnection. Even though he's not playing leg Otto, the movement he is making is still the movement that you would make if you are playing the gateau just not connected. The reason I say this is that a lot of my students jumped like this. So even though you disconnect, try to get that leg Otto movement that you would make just without the tension that the legato creates. Because what various also saying is, I remember it from our teaching. It's actually a good example. Very often, students would do more than one moment. In this case, we have to do one woman's everybody who has good technique in whatever sport or playing or whatever it is. This person is being efficient, so if you want a good technique, you have to be efficient. What our students do when they're learning piano is, for example, in this case they will do this. They would not actually jump and prepare for what's coming, but they would make an additional movement somewhere and then go to the next note. That's being inefficient. So that's exactly what very say. Another way to see if you are moving efficiently. I would say See if the movement is fluid. You see that we're moving in one direction. Dimitar is showing this example. He's moving in one direction, so it should be in one line in one movement in fluently if it's not fluently and record yourself to see you're not moving efficiently. And so we're just teaching our hand to prepare for what's coming. So when I disconnect, I'm basically going for just what coming. Then again, I'm not playing it, but I'm ready for it. The next one in Bar 15 I move. I spring from the last 60 knots, and I transitioned to just what's coming. I don't know anything additional. I don't have to do anything additional. I just know where I'm going. That's all we disconnect, and we moved very smoothly to the third in collection toe all days to the movement. I want to add one little tip, and that's about your thumb. Please don't leave your thumb behind. And exactly what I mean by this is this. If we start in bar 11 if I disconnect and if I start moving, I don't want you see my hand from above. I don't want your thumb to remain on the note or toe hover about the note. E right. We don't want this because again we create this kind of awkward as you can see my hand, Thomas Under. Of course, you can see it's from above. I don't want you to have this kind of feeling. This is unpleasant for the hand. It's a metro for the hand and it's exactly a leg. Otto approach. We want to ignore the league Otto approach. So don't notice like this. And then no, I want your thumb to move together with the whole hand like this. You see, my whole hand is transitioning. My thumb is not left behind. Please do this very slowly and observe what your thumb is doing. Its very important. And now, on to the last exercise in last advice for this several bars. I'm curious, actually. How surprised you would be to hear that the following advice, which is actually about the left hands, can actually influence how you play your right hand to me. This is incredibly interesting because we have both hands and I don't know if you can imagine, but they actually influence each other and they can help each other or they can disturb each other. So now the advice would be days in Bar 12th Inbar, 14 Inbar, 16 AL Bar 18. There's one water note off the left hand, and what's important here is the fingering. You're going to use him that no, very often people would do this. I'm starting in by 11 huh? And they would play the last note with 1/5 thing, which is really wrong. Then I gained the same on and then again in Bar 15 and 16 16. Then they end up with 15. Why is this wrong? And why is this going to disturb your flow? It's very simple, actually. If you look at the left end we have, we use, of course, 515 form because we have broken octaves, right? 511 Our third finger is actually available to play that last note the quarter known. Why would you go with the fifth finger and complicate things further? The whole point is that you have to play that water note with the most logical and the easiest possible finger, and that will be dream wife one right? Training them. Bar 51 5135513 So that's incredibly important. Please fix your third finger. If you aren't doing that already, right hand has it difficult enough. Don't make it impossible for your right. It's very difficult because if you put things together, if you put hands together what happens? You have to move your left hand at the same time. You have to move spring with your right hand. So to the two hands have to make a jump together, toe different nose. It's actually incredibly difficult. You have to be quite advanced in order to be able to do that. And actually, no advanced person experienced pianist is going to do that is just Everybody who is has very good skills is going to look for efficiency in this case. Look at what happens if I use him the wrong finger. I had to jump from here to this on then. The jump from that quarter notes to the next doctors is actually very large. Any for you. Start finger the distance between the quarter alone and the next. Jumping octaves is much shorter, so that's the reason that I want to use third finger. You make everything much more efficient and much easier. Just try to play quarter notes with fifth finger and quarter notes with third finger and you'll find out. Why is it I'm saying what I'm saying? One exercise you can do in order to ensure that you are ready with the right fingering and the right keys. The right notes is this. We're going to again prepare. I'm going to take it from the second half of bar level and stop at the first note of bar 12 like this. So I'm ready to play with third finger in the left and on the jeep and second and fourth finger in the right hand on the big and the I'm going to demonstrate once more from bar level. I'm ready to play, but I'm not executing the next note just because I want to be ready, I'm ready. Then I go to bar 15 and I do the same. I prepare everything once you become really confident, really stable, you can stop, but then you can continue further like this. Then again, you can do the same bar 15 again. In them are 17 in 18 connection. So the first thing we do is preparation. We're not playing what's coming after in 16th notes were just checking. Do we have the right fingering in the left? Do we have the right notes in the White House? And after a while, after a few repetitions, we're going to execute that note and continue for their own. But now, one last advice. As you can see, I built up very gradually what I'm giving to you. I'm starting with very simple, and I'm going toward more complicated things. If you skip the simple things and you go to these complicated stuff, your right hand may not be trained enough how to jump as you remember, what we need in the very beginning of the lesson is we started teaching our right and how to behave properly. How to really disconnect, then how to disconnect and prepare. If you're not ready for that course, you won't be able to pay attention to your left and right hand together. So please take things one step at a time. And that was our first idea for the second part of our course. Now we're going to hear various idea which will be our second for today. 7. Part 2, Lesson 3: today. I want to talk to you about the passage in 22 until bar 26 when I teach this piece to my students, these bars are the ones that standard have a wrong note to them, at least one, as we have been seeing throughout this whole piece. There's often in these difficult passages, several reasons that make them difficult now in Bar 22 to 26 it's the reason that both the right and left hand have some difficult things to play whenever you have a difficult passage is often one of the hands that has more difficulty, but in this case, both of the hands have some difficult work to do. And what makes this passage especially difficult is that the coordination is very difficult , right? A left hand are both doing things not in the same line, you would say often if you have a passage, for example, right and left hand are playing something difficult, they would both go up in the same direction that makes it a bit easier to play. In this case, they each have their own independent road that you really need to practice very hard in order to get right. Another reason. What makes this passage difficult? It's because it's normally Gatto, and very often my students interpret normally Gatto, as I can jump as high as I want, and I couldn't do any random fingering that I would like. And this both makes this passage almost unplayable. Why usually known league Otto or staccato would be difficult for people is because you lose your way, kind of when you're playing leg Otto rights. If you play like if you feel secure, if you'll save that, you're not going to boost your way through the keyboard. But once you start jumping, this specific dis collecting from the piano creates really insecurity in many people. And that's probably one of the major reasons why, why this few bars would present you with quite some difficulty because you really feel unsafe while playing. And to add extra difficulty to this when you wash experience pianist or when my students watch me played as an example, experience pianist very often lift their hands very high from the keyboard. You would see this in SoCal off argue native. Even Dimitar and I we we lift her hands quite high to get a certain touch that comes natural to us. However, we and other experienced pianist can do this because we feel always a connection with the keyboard. Even if I lift my hand, I know where I waas. I know how my hand was positions. I know exactly where I need to go. But students and especially inexperienced students don't have this connection yet because you didn't build it over thousands and thousands of hours practice. So when you try to copy this example of advanced pianist without actually yourself having and feeling this connection with the keyboard, you will not be able to play it and you'll get a lot of run outs. I like this advice because apart from everything we've mentioned until now, which is very useful and what makes this message, this your bar is very difficult. This last example off actually trying toe copy accomplished people trying to copy accomplished pianists can be actually wrong. It's wonderful to use accomplished musicians as inspiration, but that's as far as you should go not further than that, because first you need the skills, and then after that you can do mawr and you can do a variety of things with your with your skills. So get first the right skills. The final reason I'd like to mention, especially because I've only mentioned technical aspects of this passage until now, is the musical Ask Spect. I find that a lot of students have difficulty with this passage because they keep tension throughout all of the passage. Instead of planning musically how it goes, we have the most important point, Inbar, 23 from there the music goes down, and it relaxes its not tense anymore. If you keep your hand tens, Not only does it sound not so beautiful attends hand often means more mistakes, especially in the case of jumps, because most of the time musical and technical approach are connected. You never can really divide both and say here I'm going to work on the technical aspect, and then I'm going to work on musical aspect. What I know from experience is that they're both always connected. You can help your technical skews with a musical approach, and you can help your musical approach with good technical skills. So combined ball because they can really, really influence each other. Now you see all the different aspects that make this passage a difficult one to play. Let's explore some exercises now that we can do to help this passage along as the first exercise, I would like you to take the right hand separately and played legato instead of normally got. Obviously, we're not going to play the passage later on league anto, but this I ask of you because I want you to check your fingering. Writing a fingering in a staccato passage is very difficult, especially if you don't have experience with that. And I would always advise you. And even I do that from time to time to try out this passage leg Otto and then to see what fingering would you do if this were a Lagat opacity. So if we take the right hand separate, we start slow, always so that we have control, that we're conscious of what we're doing and we played legat or let's see what fingering we would use so we would start on the three. As you see in Bar 22 the one is already prepared, so let's start from there 23 4 to 1 and then go over to make the trainer. That's exactly the fingering that that's in the score. So it's written, but the additional notes that there no fingering written about the additional. So perhaps it's good that you re watch, um, he was playing and check your fingering as well in this case, because it is a staccato passage and you would be less focused on the fingering. You would be less conscious of what fingering you would use is perhaps a good idea to simply write fingers above every single note in difficult passage. This is something that I do to help myself along, just to get it done quicker, because if you don't write your fingering and you trust your memory, that's also fine if you really remember. But in most of the cases, we see that people play Rendon fingering after that and that. Just waste of time, waste of your time, waste of your teachers time because they have to repeat the same thing over and over again . And for you, for your benefit. The best thing to do. It's really when you're unsure and when you think you might not remember 100% just write it down. It takes you so much time. Be nice to your memory. There's already so many things to remember. Don't add to this unnecessary. Now let's do the same thing for the left hand because it has some big jumps. And I would like you to play this leg, Otto, or at least almost leg Otto in the leg Answer movement. And this is kind of the same thing that Dimitar discussed earlier. Even if you disconnected, it should be in the same movement that you were. Does you already started? Let's start again. M Bar 22. Yeah. So make this league, Otto. Just to see how far actually you're stretching. Chances are that you have to stretch a lot less for than you actually think. If you lifted, this feels like a much bigger jump. If you lift it and make an unnecessary movement. So try. And once the gateau is just a exercise to actually scout the distance as it were, it's not that large. You already were on the If you're just going to the that's all a Z. You see, this is just within the octave as you notice when you're a practicing this leg, Otto, you're just going one to the left. Now it's pretty close bond. Now the intervals start being closer together. So get a few of this passage when you prayed. League Otto toe actually understand the distances that were playing. Now try playing the right hand separately again, but this time, instead of playing leg Otto, I want you to play non league Otto. However, do not lift your fingers too high. Try to remain on the keyboard with your fingers. Really? Don't allow yourself to jump. Try to play as close to the keys as you can. That said, you can do it until here, because the TRIA was already a difference technique. 8. Part 2, Lesson 4: and you can do the same thing now with the left hand. Don't play leg Otto anymore, but don't leave the keyboards. Um, remain close. Oh, Uh huh. Oh, because remaining close to the keyboard, giving more security and more confidence. And that's what we're also looking for. We want you to feel confident while you're playing. It's extremely important to encourage confidence because if you do the wrong things, you might get also the wrong impression, and you might stop enjoying your place. So it's very important that you do the right things so you can actually feel comfortable every day when you sit behind the piano. So far, we have leg Otto exercise and we have a non leg to exercise combined. Both start with the leg, Otto, and make sure that you're really not lifting. And you check all the fingering and when you're only 100% sure that you remembered your fingering start non league Otto. And for the only got So you have to remember that you don't jump too high because that's not the point of the exercise. We wait for the jumping when you're much better, right? You have to have certain skills, So I'm I played from Buyer 23. Make sure that you disconnect, but kind of all of the key goes up. Your fingers kind of stay there. It's kind of almost like God, but not right. I disconnect. I go to the next. You see my hands. Don't really. You can hear the gaps between the notes, but you don't see any gaps between my hand and the keyboard, and that's what's important. And remember, this is something that you might need to repeat for several weeks. Start every time with the ligature to encourage the right approach to encourage the right fingering and then move on to the normal. Guys are with this approach. Just Rex ingley. Gotta today won't make you magically efficient as fingering tomorrow with it, right? 11 separate. And that's of course, because we want to start very simple. That's always the key to great results. And now we want to build a little bit, for we were thinking. Now let's put the hands together. But if we ask you to put the hands together right way, that that isn't going to work. So we have to look for a very smart and very kind of subtle way that would begin. Put the hands together. Let's say that we're going to go back to leg Otto in the tent and we're going toe. Add the left end, but how we're going toe play. The left is very interesting. We're going to basically form courts. As you can see from Bar 22. If you take all the notes together of the Khobar, they form a court. Does the first call in by 23 the first half of the bar? You combine the two notes, right, they form a core. The second half of the bar forms the scores, then bar 24 eyes this court and then to eat in Seoul. We're going to play like this. We're going to repeat the left hand. We're going to have all the eight notes of each bar of the left end like this, but we will be just the boards. Then about 23 changed to the next court on debated twice because we have one more additional note to play way. Let me repeat it once more. So we started Bar 22 with the right fingering in the left and the right Why are we doing this? We're doing it because playing courts instead of separate notes is much easier. We don't lose our way. We're kind of feeling safe and secure on the keyboard. And at the same time, we're actually executing. All the notes were actually playing all the nodes that are required and that written by Martin. So that's what's important. We're building step by step until we're able to play everything. If you're unsure about your left and how to do it, you can also start once left and separate. Just do the rewards. Then. Bar 23 has two times this two times days Bar 20 for two times this court, two times scored way end up in 25. Then when you're sure about your courts, just check the nodes, make the courts, and when you're sure of your left hand, put left and right hand together. If you've tried this exercise and you find it too difficult is not going so well. I have a little bit of a simpler version to start for you, and that is just to play the cord once. Yeah, instead of repeating like I said several times what you're going to do? Is this starting Bar 22. So you're basically just placing the right court in the left and just wells. Now, the more comfortable you get, the more difficult you can make it. For example, you notice we're doing a very slow tempo. You can do things like increase the tempo a little bit. Just make sure you keep on being precise. As soon as you get sloppy, put the tempo down. This is a passage that needs to be played without mistakes. You can, also, because we've been playing the right hand leg and so you can also move on to playing the right hand. Normally, gateau. Just make sure not to lift your hand too high. As a final stage, it's time to put the both hands together. Both known they got. But when you play hand separately or a simplified version of hands together, you have to be aware that you can't use the same temple. You have to drop the temple greatly. I always tell my students You play hand separate when you play hands together, Drop the temple half because it's two things is much more to think about. You have to drop the temple so that you can think consciously and be able to follow consciously both hands as a final step. If you're comfortable with both hands, you're using the correct fingering your having contact with the keyboard and is going well . You're starting to feel really confident about it. If you really want, you can't experiment a little bit with lifting your fingers. Make sure to do that only a little bit. Make sure that your basis is still your foundation is still lay gateau and lo gatto approaching your normally gateau. So staying close to the keyboards feeling that connection. If that's the basis, it's OK to experiment a little bit with lifting your hands a bit and still trying to be aware of where you are with your hands. There is one very important thing to remember here, and that's no being impatient, Eve. You actually have trouble with playing this passage and you decide to fall our advice. Don't be eager to go immediately to the next step. Give yourself a few days. What I mean is, you can take one of the exercises in your do it one day. Take the second exercise into it the next day. You know, just take one exercise per day, and that will give you such a pleasant and wonderful result than trying to do all the exercises in one day trying to go from llegado tu staccato in one day. We're trying to show you a very gradual process. You can fall, but we strongly recommend that everybody applies this process according to their own skills . So, for example, when I say, apply one exercise for one day, what I mean is, if, for you that's even too fast, you can even do it. One exercise for two days and then after two days, you go to the next exercise. You were going toe benefit greatly from this in the long run, right? So that's what's important. You're not playing piano for they were to. You want to be better every single day, and in order to be better every single day, you have to be very careful in your approach. As you've noticed, there's so many exercises we can give you, and we had to choose the most important ones for today. If there's something that you're still having a lot of trouble with, don't hesitate to contact us and we can make some nice exercises, especially for you, because, like I always say, everybody is very different. What we're giving to you today as advice may apply to some people, but some other people might need additional advice, so don't hesitate to contact us. Everybody is very different. Everybody has different needs, and some people might have even travel after the so piano teachers have generally to observe their students. Why, exactly? Something doesn't work, so don't hesitate to contact us with any further questions or requests you have. This was all from us for our second part of our course on the Al Attar ca by motored bulls here in the next video, when we're going to talk about Part three, we hope we enjoy this video, and for us it was a great pleasure 9. Part 3, Lesson 1: welcome everyone to party of our course on the famous Rondo Turker by motor. As you probably know, this is also the last movement of his a major sonata, the K number, which is 331 today. We're going to talk to you about the section starting in Bar 27 until bar 35. This one Ah, very short section. But technically it's quite demanding and there's a lot of things to talk about. I'll start with the left end because obviously it's even more difficult than the right hand . As you can see in this core in the left and we have broken courts. This is so not just a normal court, but a broken. And together with that, we have to actually keep temple. And the temple is not really slow. As you heard from what I show you, it is quite fast. So not only we have to break the course, but we have to maintain a certain speed. The second challenge will present it within this section is not only we have to keep temple , but we have to also watch out that we're not toe heavy because if you're playing the left and too heavy, you might get quite stiff. You might get quite tired and things will just not work up. So it is quite challenging to actually play light while you have such a structure of the left hand and the last but not least, not only we have broken course we have to maintain at a certain speed, but those broken course change constantly. As you see the 1st 2 bars, we have the same that after that would change. Here we changed. We changed and another change. So that makes things additionally extra difficult. And those are just some of the reasons that make this particular section sold difficult. Of course, everyone off you may have even more reasons why the section is difficult, so don't hesitate to contact us, send a message or comment so we can help you further. Our experience has taught us that different people experience different difficulties, so we need different approaches to conquer those challenges. Let's get straight into the exercises, weaken due toa improve the section because there's a lot of work we have to do. And since I mentioned that, I'm going to talk about solutions for the left and let's start with practicing only the left hand alone. In the very beginning, it is better toe isolate, board hands and practice them separately because that will give you much faster results. Yes, you have to have patience, but after that, you benefit is the said earlier. The courts are broken in the left end, but we're going to make things simpler and we're going to start practicing them just is normal. Ordinary courts like this. Not only that, we have a specific goal in mind, and that's to make the repeated note a soft. It's possible as light as possible. Like this. We have the court. After that. I want to practice to be very gentle and soft. As you can see, I'm kind of applying a little bit off pressure, a little accent on the court. But after that, soft sure, so pressure. So so So, huh? Oh, that will be our first exercise. And our advice would be not only to make the court stronger and the repeated notes softer, but also to choose a temple that's really suitable for you. It's very important that you have enough time to distinguish the difference in volume between the courts and the repeated note. So if I if my speed was this, perhaps sure speed could be this as long as you make off this difference between the court and the repeated Oh, from you can hear, obviously that I'm making a difference. I'm distinguishing both the courts and the repeated note. The reason we need to make this repeat, not soft and light is because of technical and musical reasons. So first fall musically, this will sound later on much better, because if I start hammering on all the notes, you can hear that sound quite heavy and quite ugly. And if I release the tension from the repeated note, you can hear the difference. You can hear that there is a certain lightness to the passage, and the technical reason is for the simple reason that your hand doesn't need to get tired . You don't need to put extra additional effort in your left and to make it stiff, rigid and make it tired because you can get even injuries from that. Not only sounds better, but also it were very difficult to play fast later on. When you play the repeated note light and soft, you will be able to be much faster later on, and yes, later on you'll be able to play much faster. But the exercise should not be fast unless you're very advanced and you can just be Oh, but if you start doing this, that means that you're not ready for practicing past. Make sure you're slowing up to produce good results. Let's move on to our second exercise for the left, and again I'd advise you to do it just separately and not include the right hand. Yet what we're going to do is we're going to start breaking the court. So the first exercise we had to make a difference between involving between the courts and the repeated note. But now, since we played courts, perhaps it will be very nice if you're ready. Of course, if you practice it very well, it will be wonderful to start breaking that court like this. We're going to do it very slow because I want steal that you distinguish in volume in strenght, the broken court and the repeated note like this on and then soft did you get here all my broken notes all my broken nose from the court, a loader. That one is soft, repeated normally soft, and you continue for their own the same way. Don't have to keep temple. We don't have to necessarily count. All we're doing right now is we're breaking very slowly and we make sure that what we're breaking were a little bit louder. And then in the repeated note, we continue very soft and easy, basically what we're doing, we're starting to prepare ourselves for breaking the court later on in a fast speed so you can start extremely slow and then make sure that your soft take your time to make the volume a little bit harder on the broken court and then continue. So when you're ready with this, and if you find this extremely easy and if you extremely comfortable, you can, of course, speed up a little bit. The goal here is not to play really like this. We're not breaking the court so fast, because if you can break it that fast, then you don't need those exercises. So please stick to being very slow and careful. So what? I mean by a little bit faster. I mean this. You see that I'm not that much the most important is that you can still hear a difference in my playing between the loud broken court and the repeated note. And so we had the complete support and repeat itself note. And then the second step was we had, ah broken chord with the soft repeated note. Let more toe exercise Number three step Number three is purely for speed preparation. Since this passage has to be quite fast, we need to also ensure that we're preparing for that speed. How are we going to do that? We're going to continue now Steel with the left hand alone and later I'll show you. You can combine this with the right and so so far Exercise Oneto. I would recommend that you don't use your right hand, but here we can start combining them first. We're going to continue for a little bit more only with the left, and we're starting now to practice for speed. 10. Part 3, Lesson 2: the exercises the full way. I want to forget about the broken chord or the courts as it is. And I want you to just take the octave, sees the broken court starts on the A on the lower eight and ends on the upper A. I want you to take only the Octopus and practice like this and stop on the next doctor. Right. So we're basically just skipping the middle notes which form the whole court. We take the Lord the lowest and the highest note, and we do this way. Stop. In the second bar, we start on the second bar way. Stop on the pulling bar. We stop under the sharp. Continue. So we basically start in every bar and we stop in every bar. We start in about 28 with an octave without the middle notes, We stop in bar 29 on the first doctor. We ensure that we catch them. If The Octopus correct and you didn't play any wrong holds you starting bar 29. Not in 28 anymore. 29. Stop on 30. When you catch the occupant bar 30 you stop on the second doctor in bar 30 Every time the doctor or the court changes, you have to stop. If it's correct, you continue. If it's correct, continue askew. Get here. I'm already practicing a little bit faster because I want to react between the different bars or between the different octaves. That's the secret here. So make sure you started a temple that you can react perfectly fine. It doesn't matter how slow this it can be. That's low. Oh, and if you're ready, you can proceed a little faster. If you don't know how slow you are, you can just use the lateral, um, to ensure that you have a schedule write. You can write on the Metro or whatever metric marking you're comfortable with, and then proceed a little further step by step by five metre markings, for example, By 10 you can increase whatever you're comfortable with. Start increasing a little further, and this is a really nice simplified version off exactly one of the things that makes his left hand so difficult exactly catching very quickly the next, and in some cases they're quite big jumps, and in addition to generally being difficult to catch a jump in a fast tempo, you also have the right hand you need to be worried about. You can't look in two places at once. And this is why this is a great exercise, because it kind of makes you get used to these jumps and this left hand because the octopus form kind of the basis. Once you get the octaves, you see that my fingers, while reaching for doctors, are quite close to the actual court. I just need to make a small adjustment the octaves air, really the basis. And I think that this will be a really great exercise to help you speed things up. Exactly. The octopus are just the framework of the whole court. So as long as your hand can move and be ready for the next doctor, the other fingers are much easier to adjust. And don't forget to still try to make the difference in sound between the octopus on the repeat itself. Note. You see, in our experience, people usually skip steps. So, for example, there will be they will find this exercise much more exciting, which it is. I can imagine that I myself would like to do this exercise much more than first in the second exercise. But if you're not ready in the first and exercise and you proceed to this one, you have gaps, so you will not be able to execute everything properly. And so if you are very precise and exercise one and two, I would recommend that you still continue making a difference in volume between the doctor and the repeated note. These exercise grilled your reactions gradually so you will not even know when you're faster. That's the best part. You don't want to notice that you're getting faster. You just wanted to be part of your playing. That's very important. Now if you get extremely comfortable doing only the left. And as they said earlier on, you can try combining left and right together so you can start doing this a sitting here. I'm still catching the doctor, but I'm not using the middle. So it's the same exercise for the left, and you just include the right one again. Make sure that your temple is suitable to you. Don't copy our 10 posts. Don't copy what we're showing exactly as Temple. You can copy everything else fingering the way of exercising. But don't copy the temple because temple is something very subjective. Everybody can do things in different temples, or please just adjust with your own skills and if you don't know what is good for you, you can always contact us. That's not a problem. Would be happy to hear from you. The reason why Demeter mentions this is if you have the wrong temple and do these exercises , they will not help you at all. So you really, really, if you are adults, just slow down. That's the best. And once you are not playing sloppy once you're not playing anything wrong, which you have control and you're doing the exercises properly, then feel free to speed up. Better start slower, just in case. And like a very saying if you actually I feel that these exercises are not working for you were sure that there will be something you're doing wrong, so make sure to contact us. Also, if you experience any difficulties with the exercise, it's important to know what you're doing, not well so we can fix it immediately and I would offer you want additional exercise. It's very logical, of course, but it's good to mention it before I finish with my lesson for today, and that's instead of playing octaves, we're going to start playing courts and the courts will be complete. There will not be broken because, of course, it takes time until we reach that you can break the cords. I would be very patient for several weeks. Even if you are, you will be able to break courts easily after that. So don't be impatient and start breaking course to suit. What we'll do is just this. What with it with the doctors will do the same with with courts. Let's let's say that we'll start just with the left hand alone so you can understand it easily. We're going to do just this on. We're going to stop on every new court when you're comfortable with this again. The speed is very subjective, so I'm using my own speed. You maybe need this beat. That's not a problem. You see that my hand transfers quite fast between the course. That's what I want you to achieve that you're so confident in. You know, your lack and so well that you can just and stop on the next court. Once you feel comfortable again, you can combine this with the right hand like this that you continue. Uh huh. You see, I'm stopping when every new court and just to remind you only continue if you actually called the cord without mistake. If you caught it with a mistake, go back and try it again. Absolutely. You're not allowed so to speak, to continue further on. Because if you don't get the whole point is that we actually kids the court. If we don't catch the court, we're doing absolutely nothing. You're just memorize wrong court. And after that, you play everything wrong. So you don't want to exercise the wrong thing. You want to exercise the right court, you catch the right court. You can go if you don't catch the right court, go back to the bar you started. Start again and play the court. Right? So those are the few fundamental exercises I wanted to share with you. I'm sure they will help you if you follow thoroughly what I explained today. And if you have any further questions, as always, make sure to contact us now it's time to hear of various idea for today. Today I want to talk to you about the octaves in the right hand, and I think that my idea today is a very nice demonstration of what deals are mentioned, that everybody has their own difficulties. Everybody finds something else difficult, because for me, as a professional magician, I find these octaves very difficult for the reason that I have small hands. So because I have small hands, these doctors air actually, for me, quite painful to play, and because they're very painful for me to play, I cannot practice them for very long. I would advise that if you are a beginner, you've never played octopus before. I would advise that you put your alarm on five minutes and don't praxis them in the first few days more than five minutes just in prevention. Oven injury. If you have very large hands, probably you're not going to get a problem. But I've had students even with large hands, who still weren't used to stretching their hands. So much for inactive. As you see this, the stretch that you have to make a is quite large, and they get troubles when they play octaves. So just as a precaution, I would say no more than five minutes. If you notice is going very, very comfortably at some minutes and take it from there, since it is very difficult for me to practice only for five minutes a passage, it's not very comfortable because it feels like the message will never, ever come. I actually found a little solution. What you can do in the meantime, while relaxing your hands from the Arctic. Take the separate notes with the correct fingering and practice on Lee, for example, the lowest voice, your thumb. So instead of playing the octave oh, you'll play on Lee the thumb, and this you'll do to get to know the passage even better. So you'll be practicing just the lower voice, etcetera in your break that you're taking to make sure that you don't get an injury, that you relax your hands. You could be prexy either the thumb or you could be practicing the upper voice, which switches between fifth and fourth finger. I'll talk to you about that in just a minute, so you can be practicing separately. The upper voice. That's an exercise If, like me, you don't like taking a break, and you still want to keep on practicing the passage without hurting your hands 11. Part 3, Lesson 3: were generally big fans of simplifying things and making things easier for yourself, not in the way that you actually won't play the passage later. No simplifying things and making them easier on the route to get into your goal. That's very important, because then you feel happy during your journey. That's very important. You don't get tired, you don't get bored and you don't get frustrated. Is very important to have fun on the way toe what you want to achieve, as I just mentioned about the fingering. Generally, the fingering on actives is very clear in all cases. Or, let's say, almost all cases we have 51 on the white case, 51 on the white kids again and 14 on the Black Keys. This is in order to get more grip. 15 on the Black Keys is a little dangerous. You can slip off very easily. 414 gives more grip as well as for your hands. It is comfortable to switch. If you constantly use the same fingering your hands gets more stiff. If you change, it really helps you relax your hands as well. This is actually a very basic crew that you study in the very beginning stages of your piano playing is very important to remember that oak taps with black keys are paid with 1/4 finger instead of. And as I mentioned before, I do have small hands. So for me, 14 is actually really stretching my hands to the limits. But despite this, I still do it because of the many benefits that I just mentioned. That 14 has who is just a matter of getting used to. And also, like I said, no practicing for too long. If you do have small hands with all that being said, it's very important to know one thing. If your hands happened, Toby, that's more that you cannot stretch and catch on octave on a Blackie with 1/4 finger. It is very important that you forget everything that we're talking about and playing with 1/5 finger. Yes, you can use the exercise of very saying about separate notes, but then you'll be basically practicing the octus with fifth finger. All the arguments we teach Children as well, and we know that when the hand is developing, sometimes just impossible to catch an octave of course, you're not going to force yourself to play an active even with 1/5 finger if you cannot catch it. So you have to wait until your hands grow. And in the meantime you can play single Lord into exercises there. Special exercises you can do to stretch really to beat your hands very gently and very carefully. If you can catch octaves only with 1/5 finger. Feel free here to use only fifth finger off course. If you are only able to catch the octaves with 1/5 finger, it might be nice to try every once in a while in a very slow tempo to to get used to the feeling of trying to catch it with one and four. In the very beginning, I was not able to catch a knocked up with 14 but because I kept on trying in a slow tempo and really not too long, I am now able to catch with one and four. So now that we've talked about how much you should practice and what fingering you should use when you're practicing, let's move on to one more very important thing when playing octaves, and that is efficiency. I see my students doing two very inefficient things when playing this passage. Number one is throwing their hands, etcetera. You waste a lot of energy with this. Generally my students are trying to, no matter what happens, catch it's and that's probably what is the reason why they're throwing their hands. But try to stay really, really close to the key when you're practicing. Oh, don't waste any energy octaves, air difficult enough. Don't waste any energy. Getting there and between the octaves and efficiency generally is crucial. Toe having a good technique. So you don't use this only in octaves but also in course in different passages. So this in the orchestra great thing to mention the always efficient and don't waste the necessary energy. And then the second thing I see with inefficiency with my students is making a to large movement between the white and the Black Keys. So, ideally, and I cannot do that because, as I mentioned, I do have small hands. But ideally, you would like to be very close to the Black Keys when you're playing white and black keys . You would like to be very close so that you only have to move a tiny bit up askew. See this right now. I can do this in slow tempo, but with my small hands. I cannot do that in fast. I do have to go more to the edge of the key. However, that being said, if you do have to go like me to the edge of the key to catch an octave, make sure you don't over jump here to catch the black key trying to go just to the edge to catch it. And really, don't try to make that movement too big. You lose a lot of time and you don't notice it. Nomis slow tempo. But as demons are mentioned before, this passage is quite fast and you have no time to spare. As you can see, I will show you how I would, you know, I was just checking in a fast tempo what I would do and that this so as you can see, if we do it a little bit slower, you can see that I'm playing around here in the middle of the White Keys. Exactly, like over here said in the middle of the White Keys. And then I'm not doing anything extra, anything too much. But I just moved from the big to this, not very gently and very close. So that's what efficiency is. If you can kill the octaves in a normal way without having to do extra effort like me, then you look for the middle way. And so if you have to play pieces, which have also breakfast, you have to find your way somewhere in the middle. You don't want to constantly do this movement. Play too much inside the Black Keys and too much outside the White Keys. Because you lose so much energy and make sure when you're doing this exercise that you're very slow, so you can observe carefully where you are at the keyboard. That's very important. Don't do it fast because you lose your way. Sometimes you will be too much outside the cave or sometimes too much inside the cable. Make sure that you choose appropriate temple so you can observe everything. Now that we've talked about efficiency, let's move on to my final tip for you about octaves when my students you dis Bess Egemen. First thing they see is 40 and then they go and they play every active for two off course. This is so difficult, and you will be tired already after three bars. It's also not necessary is actually quite make sure, and especially since you have the left hand creating such an energy, you don't really need to play any force at all. In this passage, you will achieve the Fourtou kind of sounds already just by playing the passage musically correct. Let's explore what you have to do. You have to only give a tiny little impulse on the important notes, and I'll tell you which notes are the important ones. We start light, and this is an important note. Make sure don't even think about 40. Just a tiny little impulse, because the left hand will make it already really impressive sounding just a tiny little impulse, not more. After the C sharp, go back immediately. Make it light and one tiny little impulse again on the C sharp light again lights, lights. Nothing to do with Fourtou. A tiny impulse on the G sharp in Bar 31 and immediately take it back again. And the same thing goes here tiny bit on the C sharp, a tiny bit on the seizure and after that is just resolving. Keep it life. And when you keep it light, not only do you conserve your energy as we've been talking about here today, you also are able to play much faster. And what you have to also understand is that in music there is the illusion of 14 piano and composers usually would write in way that helped those dynamics. So, for example, here in water, it was extremely smart. So he wanted not only 14 but he knew how to produce that four. So he didn't write for us. Just that doesn't sound like you can do much with the fourth, right. You have to force the keyboard so much. So he was really smart. And so what he did, he broke the court. Not only that, he didn't try just a court. That sounds nice, but he decided that we're going to break the court, which creates extra energy. This on this is different. So you can imagine that the structure, the way the pieces street won't help you produce fourth as long as you studied that very carefully. And if you do compare this structure off our third part here which we're talking about today. Compared to, for example, the very beginning which is written piano. You see a lot of single notes you see close together, Another large scale use of registers. You see, it's written small. It sounds small. We want fortune is written large as well as the left. And if you look in the very beginning of the P left and place in the middle register, which is very subtle and sensitive register, so you can you cannot really do much fourth. And when you go in, the lower register is here. In the third part of our course, water transfers everything in the lower registers which produce much more sounds. Okay, right easily. I want this fourth it it's not about the force of your hand. It's not about how much you press, but understanding how the structure allows you to do four. And then technically, you feel much more at ease. We believe that with those two ideas, you can actually achieve great results with this passage. Combine the left and studying the left and a long and then studying left hands together with the right hand. Like I mentioned and after that practice the right hand alone, just as a very mentioned and you see wonderful results. If you happen to have any more further questions in Commons about this section or any other section of this piece or any other piece you're playing, feel free to contact us. We would be happy to hear from. I forgot to mention in the beginning of our video for today that there is a digital score you can use, and it's going to be the same score we're using right now, so make sure you downloaded or just open it so you can fool easily. The bar numbers are written, so it'll be very easy for it, for good luck with your practice and see you in the next video. 12. Part 4, Lesson 1: welcome everyone to part four of our course in the Rondell A Turk A by motor. Today we're going to talk about the section starting in bars 36 to bar 61 in Just a little reminder before you start with this part for I don't know if you already downloaded the school we provided you with, but if you haven't done so, just do it because it'll be so much more easier for you to actually for along with us today . I'm not going to talk about a specific idea in this section, but I'm going to talk about the general difficulty of this big section because, as you can see from Bar 36 Timber 61 we have one extremely long passage of 16th notes in the right hand, and I want to provide you with specific tips that you can use in order to improve Those 60 knows because they can be really difficult. We can talk a lot about musical ideas in this passage as well, but I think the first and most important step to take is to be able, actually toe play those 16 notes and feel very stable and confident So let's see what we can do about it before we get into the tips. There are a few things you need to know why this section is actually difficult. Always understanding why something is difficult can help you in resolving the problems. One of the reasons this section is so challenging is because for a very long time you have to play a lot of 60 notes and actually at a fast temple and the 16th notes actually keep going, which means we have very few places where we can actually relax our hands. The other reason this section is challenging to place because of the different patterns you have a few patterns that are actually changing. So they're not the same if you look at bars 38 39. So we have in 38 39 this and 42 43 we have kind of the same, but different notes we have in 42 43 dates. Eso 38 39 will get this on 4 to 43. We get this coming from the parts before which are the bars before the different patterns are actually the same. But then, in 38 39 will get different notes in and 42 40 to get also different notes. The hand can get really confused because of it. Let's have a look at another pattern that's actually changing. If you look at bars 47 48 we have this on. And then if you look at Bar 51 52 we have this. So everything changes motor. It is constantly changing the patterns, so there isn't really a trick we can use in order to conquer this passage. What we have to be, just repeat a lot. Of course, we have to know how. But repeat a lot by repetition is the only way to conquer it. And so those things combined with that, we have to actually play the passage like a mansion in not really a slow tempo. It's actually quite fast, and we have to maintain that speed for so many bars. Plus, we have repetitions to do that creates extra challenges for us, and so let's look at a few of the ways that you can actually use to practice so this passage improves for you. The first thing we have to do is use proper fingering. This is extremely important. This passage fingering is generally important in every place off every piece you're playing . But in this very section we're playing, it's extremely extra important. What? Fingering your using? Yes, the fingering might be awkward, but it's actually really good. It feels awkward because of the passage because of the strange combination of notes. So my first advice would be right down your fingering. How you have to do this is like this. I want to take on extremely slow tempo or a temple that's suitable for you, and usually that would be slow. How I would do it. I would play the pests like this. But this speed may be very fast for some people. So if you're a beginner, I would really advise you Toe actually play extremely slow. Like I said earlier, extremely swell would mean then this, and I would like it to observe every note and every finger check on the keys, what you're doing and check on sheet music. If it's written the same, I would like you to use every finger properly. And if you can't remember which note which key with which finger. Then I would recommend that you, right on top off every single note your fingering. That's very, very important, believe me, because if you mess up the finger in this passage, it would become almost impossible or a t least so difficult that it would take you ages writing, fingering above every notice something that really speeds up the learning process. Very often, you might think off course I'll remember no problem. But actually the reality is that students often don't remember, and so do this very slowly and don't rely on your memory. That will be my first advice. And please remember, the temple came as slow as it's necessary for you like this, for example, and be patient that you go throughout the whole section in this slow temple and write down every single fingering in need. If you are unsure about your speed, I would recommend that you use the natural, for example. For me, that's not necessary, because I can maintain a very slow speed without speeding up. We've got without going faster, so I will be very precise. But if you're not sure that can do that, and if you think that you might wobble in the temple. I would advise you to put the metro. So, for example, I will give you a Metra non marking off 70 and I'll demonstrate what you can do. This will be every note with everything of the metro like this, the Metrodome who ensure that you maintain one in the same speed so you can remain conscious and focused on the fingering and feel free, of course, to put the Metrodome at a different speed. If this Pete is unsuitable for that's just an example, the second exercise I would recommend is practicing. This whole passage is specially the 16th knows we're talking now specifically about the right hand to practice the right and in pianissimo and very evenly. I would like to do this after you succeeded writing. Of course, the proper fingering don't skip steps, so make sure the fingering is right. And now take the passage and do it in pianissimo like this. The goal is to play very even and also that observed that you don't have any notes popping out like this. The volume has to be almost the same with each note. You don't want this. I'm exaggerating of course, but that can happen with many people. So just watch out that the whole passage is approximately in the same dynamic that you don't have notes that really much different than the previous right. So that's very important to be done. And let me point out a few areas that are extra at risk for these kinds of accidents, which are the areas where your hand is switching position or where your thumb or your hand is going over your thumb. These are areas that are extra at risk for an accent. Let me demonstrate to you I will start in Bar 38 here, for example. We have the shift, which we have to shift quite a lots to the left here. That's an extra at risk area as well as anything that you have to play with your thumb because you're some is a lot stronger than your other fingers compared to so those are areas toe. Watch out for areas where you need to twist and turn with your hand and areas where you're playing with your thumb. And if you look at the connection between bars 38 39 so of your Mission eight, which is a really good place to actually pay attention to the connection as well. It's also very difficult here. And Fifth Finger on Blackie on the F sharp and one on the E sharp in this connection between 38 39 is one of the many, many different more connections. That could be quite tricky. So make sure that you're playing really in pianissimo really slowly and observe carefully. All the notes are at approximately one in the same volume, and again, if you're fingering, isn't good. If Step one isn't done, this exercise becomes pointless because it will be like doing nothing. Every time you have to play with different fingering, you have toe again. Train different sound with a different fingering, so it's inconsistent. You're not going to get the same results as if you're having the right fingering, and then you do this step and one more thing to observe em. Bar 39. When we come from the fifth finger to the first finger, make sure that you don't have an extreme difference of height. Very often, my students would land on their film and is lending the going from the because we're quite up on the on the Blackie were quite high up, right? And because we go from the fifth finger to the some, which anyway is lower than the rest of your fingers as well is going from bad luck. Ito. A white key. You would have an extra height difference. Try to observe them whenever you're going from a black key to a white key, especially if you're landing on the thumb. Try to make sure that you don't land too much. Don't go down too much. Try to keep the height of your hand approximately the same, not unnaturally soul. Still, try to feel like your natural hand movement, but try to make sure that you don't land on your thumb, especially 13. Part 4, Lesson 2: now after step one in tow, It comes the moment that I would like to give you one exercise that will bring a little bit closer to being able to play this whole section. What we're going to do is basically will will simplify everything, and we'll divide it in small parts. And how we're going to do this is by playing five notes at a time from the very beginning. Like let me demonstrate we're going to play the 1st 4 notes and we're going to stop on the fifth. No, that's why I say five notes like this. And then we stopped on the fifth note. Then we do it a few times, and when you're sure that you can proceed further, we're going to add the next four notes. We stopped now at Bar 37 for snow, and now we're going to stop in Bar 37 on the F sharp or on the fifth local bar 37. So we're going to play always in groups off four notes A Z. You can see I stopped exactly halfway through the bar on the EFTA. Then I repeat again a few times, and when I'm confident I'm going to proceed further and I'm going to stop on the E sharp. Inbar, 38. And I'm going to repeat that again a few times and I'm going toe. Add the next four notes and I'm going to stop on the C sharp off the same bar as you can see. What's. I'm ready. I always at the next four notes, So I want you to start. Of course. That's why I said, You start with five notes because you stopped on the fifth. But think of groups that four. Because, as you can see in the score, we have everything is in groups by four notes. And so I'm going toe ad every time. Four notes, then four more and four more until I do this for the whole section. So what you can do is you can, of course, stop it. The repeat the first repeat, we get the double bar and just exercise this small section and then go to the second section, which is after the repeated Ubar 61. And then it can combine both like you can combine the whole section we're talking about, be very patient and do this because it will be really, really helpful together. The focus together, the endurance together, just everything that's necessary to be able to play the whole section just to add to this. Don't add your new four notes if you are not playing your current passage correctly. So if you're making any kinds of mistakes, slow down and make sure that you're playing with, without any mistakes, your current passage before moving on to adding your new four notes. Because what would be the poor into anymore notes If your previous notes are correct, that's why I said I repeat several times to make sure that I'm playing properly, that I'm playing all the notes precisely, and only then I'm going to add four. And that applies for every time. Doesn't matter how big section became right? Doesn't matter if you already can play like seven bars, you need to play those seven bars without mistakes in order toe. Add four more notes. That's extremely important. And if you are finding that all the time you're playing wrong notes, you are not able to play any of the passages without wrong notes. The mistake you're making is that your practice tempo is too fast, so slow down until you find a temple where you can almost always play with zero mistakes. And as you remember in one of my previous steps are in this section, I mentioned the Metrodome and I would like to add that perhaps here it's a good idea also to use the Metro, like even I use the Metro and when it practice this section because it's very large and specifically because I'm practicing also in a little bit of of a faster temple. Like, for example, I would practice like this. And then if I get a little bit too tired or too enthusiastic, right, I'm I might change my temple so I might get a little bit too fast. I might get because I'm a little bit more tired. I might start playing a little bit more Steve, and that's not good for my hands. So immediately, I thought, Okay, how can I control myself? And the best way I could control myself was by putting the Metrodome. So put the Metro. It can be extremely slow, right? It doesn't matter the table again, I say. The temple is always relative, depending on the person so put the maximum at whatever speed you're comfortable with and start practicing four notes than at four more and for more. That could be really, really useful, actually. And Dimitar showed this exercise this last exercise with right hand on Lee. But feel free that as soon as you're very confident with this and for several days you're playing very, very nicely without any mistakes. Feel free to add the left hand as well. Because ofcourse, the passage of the right hand is the most difficult part of this section. But the coordination between left and right hand also becomes difficult as soon as the temple goes up. There are many more ways you can practice this section and, of course, like I always say, depends on the person who is practicing actually the passage. So if you have additional problems, don't have state toe contact us in tow. Ask us how you can solve your problems, who will be extremely happy to figure out a way for you. You can practice this particular section or any other section in this piece. That's all. Actually, I wanted to say for today and for this section and now I'm curious what Americans to say, because she has a few additional tips shows to share with us. I think that once you've done Dimitar's exercises for several weeks, you'll really get a stable feeling of this passage. You'll be able to play it. You'll be able to feel confident about the correct fingering. The shifts will go easily, and I think it will be ready for the next step. And the next step, of course, is getting it from a really good of stable passage to the really good a stable passage in the tempo that we're going to play it. One thing to keep in mind when you're trying to play a passage fast is that we always want to strive for a relaxed or as relaxes possible fast passage. If you try to push the speed through, you will get a stiff hand, which results in an ugly sound, our musical playing and, of course, a very tired hence. So what we're going to strive for with you today is a relaxed way to speed up your passage . My favorite way to practice is to switch between a slow temple and a middle temple, which means that first I would play the passage slowly and extremely focused on relaxed hands. So trying to exaggerate the relaxation, making movements as large as you need to feel, really, the Rolex nous off your hands and do this first with right hand only. So the goal is to play in a slow tempo, really focused very much on the relaxation of your hand until the first double bar. Once you do that and you completed it and you really felt like you felt the relaxation of your hand, do this exercise again. Try to still focus on being relaxed, but get a middle tempo. So not the actual temple of the Peace yet, but something that's nice and moving something like this and play the whole passage. Now. You could do this two or three times after each other. Make sure that if you make a steak along the way to stop immediately to fix your mistake, and you would do this by going back four or eight notes, so one or two groups back to make sure that you fix the connection and make it right. A slow and middle temple for severe can mean one thing and a slowing military before me can mean another thing. So what? What? I want you to do it again. If you're not sure what to slow in, what's meal for you? What can do is just take the Metro and write down, for example, one of the first Tempe that you start practicing the peace. Let's say that that's in Temple 50 right? I'm saying just a number. It doesn't really matter what the tempo is. And then after a few days or a few weeks, when you're a little bit better, you have kind of a middle temple, and that will be a bath. 50. Let's say that you write. This temple is well in the score, and now you can simply make a combination between your first initial Temple 50. And let's say that you reached around 70 or 80. You can combine bowl because you're not yet far enough to play really the peace in a very first temple, so we assume that you improved a little bit, so you want to just make a combination between your beginner Stempel in your kind of intermediate temple. So between 50 and 70 or 50 and 80 on the Metro and another way to check what is exactly a middle temple for you would be the temple would have to be challenging for you. It can't be easy. You can't think of all to you what you're having for dinner. In the meantime, it should be requiring you to focus and concentrate. But it shouldn't be so fast that you're sloppy. So if you're making more than let's say three mistakes in this passage, you're too fast. Slow down, because usually mistakes is a great indicator of how fast you are and what I mean by how fast you are. It means if you're too fast. So if you make many mistakes, that means that you're probably too fast. Anything make less mistakes. You're close to your ideal temple, so your middle Temple has to be really with, like Maxine, three mistakes for sexual or something. This is one of my favorite ways to practice by switching between a slow tempo in which I'm focused very much in a relaxation of my hands and then switching to a medium tempo in which I try out my passage in a little bit of a faster, challenging temple. Then I'll switch to slow again, and I will repeat this as much as I feel it's necessary. Generally the combination between Slow and Middle Temple It's a great one to get the best possible results. You never want to play only slow or Onley fast. You won't combine things. Then you get really, really good results. If you need a little bit more of a boost than Onley, this switching between slow and Middle Temple I have another idea for you again. We're still focused on creating speed, with relaxation as relaxed, this possible speed, not trying to build up stiffness, not trying to force any speed to come, but building speed in a natural and relaxed way for your hands. 14. Part 4, Lesson 3: I'm going to do a technical exercise in which I play some notes slow and some knows fast to really train on the slow Mel's relaxation and to train on the Fastenal reactions and speed . I'm going to start with two notes slow and two notes fast, and that will sound like this. So we're starting with two notes. Slow askew here. 121212121212121212 So you here to note slow, followed immediately by two notes, fast followed immediately by two notes. Slow again, etcetera. And this is the reason why I say this is that it should be in a non interrupted pattern. You shouldn't be. It shouldn't be uneven. It should be absolutely steady. I usually recommend that you can use a match room, I would say here, if you don't know how to do this, and if it's a new exercise, you must use the Metro. Without the Metro, you won't be able to do a regular temple. So the regular speed it has to be really at one and the same B. I'm going to have the Metrodome set on 70 And what that means is that everything of the metal and for the Sloan Hutz I will have to ticks of the Metro. And for the first note, I'll have only one tick of the metro. Listen how that sounds. So this is 70. And what we're going to do it. The first daughter going toe arrived together with the matter. Listen, as you can hear, I'm playing one note together with wanting. And like I said, the first note will be too fast. Notes wanting like this 12 one come to what d one the too slow notes come together with two takes on the metro, and first notes come just with wanting, so they're very much connected. As you can see, there is a correlation between all the four notes or just generally between older notes were playing. We want the temple, the speed to match because we don't want to hear this. That doesn't make that doesn't make sense. As you can hear. What made sense was this and what they showed the mistake. I showed his just Things don't mesh. It just comes randomly. This will not give a good result, so I'd strongly recommend that use the metal so you can match everything well together in order to get the hang of this technical exercise start very slow, as Dimitar just demonstrated with the Metro. No. And of course, the goal is to get close to the performing temple with your fast notes. And the great thing about this exercise is that even though with your fast notes you're close to performing tempo with your slow Nell's, you're still slow enough to be able to relax your hand. So start on a slow tempo, and once you're comfortable, speed up the Metrodome and try to get all those connections in a nice fast temple while still keeping your Handwara next. When you are comfortable, you can consider doing the same exercise, but with both hands together was. One of the problems I see with my students is that they're able to play their right hand, actually quite impressively, but in a fast temple, their left and right hands have a different opinion and play two different temp ease, so this exercise with both hands will actually help improve your coordination in a fast temple. In the way this exercise sounds is like this so This is hence together and again to note, slow to notes fast. As you can see everything matches. I'm playing exactly the left hand where it has to be and right and exactly where it has to be. They matched together. I'm just the only difference. The only not standard thing I'm doing is that I'm playing to not slow and fast and again use the Metro me to be much, much easier for you to do it with the Metro. If you are having difficulty getting the hang of which notes should be fast on which notes should be slow, because that is actually a little bit more challenging than we might make it seem. Feel free to copy or print this page extra and to write down exactly, which are going to be too slow on which we're going to be too fast as always, writing it down. Creating extra visual information is going to help you out enormously. Once you're all set uncomfortable with this exercise, we're going to, of course, switch it the other way around because we only practice a surgeon connection of fast notes . Now it's time to practice the other connection of the fast notes, which means that instead of starting with too slow and followed by too fast, we're going to this time start with two fast followed by too slow. So exactly the same exercise except starting with too fast instead of starting with to slow . That will sound like this as you Here. We're starting with two fast Want to want to want to want to want to 1 to 112112 and again if you're having some trouble identifying which one should be fast and slow printed again and ride on this one exercise starting with too fast, Too slow, too fast, etcetera. Now I'm going to demonstrate to you how we did is with the Metrodome. In the previous exercise. I have my Metrodome on 70 stew. So remember that we have one beat for our fast notes and two beats for our slow Nel's. So we're hearing one B for the fast and two for the slow Guam 1 to 112112 etcetera. Once you're comfortable with this, we can start speeding up arm external marking speeding up our temple because our goal is to get our fast. Nell's close to our performing temple when you're comfortable with your right hand, when it's very stable, not sloppy, but very stable and good. And once you complained quite fast, few free to drop the temple again and start adding your left hand to help improve that coordination. In the beginning, you can do this exercise just in the smaller section, so there's three different sections in the part that we're talking about. We have bar 36 until the first double bar, and then we have the next section until bar 53. And then we have the last section starting in Bar 53 until the double war. Until the double bar. You can start practicing this exercise first in these three different sections separately, but later you can start doing the exercise in a larger section, for example, combining the first in the second section, combining the second in the third section and lastly, combining the whole section as a whole. So as you can see from this fourth part of our course, this sexual requires a lot of work, and these are just some of the ways you can use to practice. It takes really, really serious working on to get this up to speed and in a proper way again, If you have any further questions, don't has they toe contact us and we will see you in part five of the course on the wrong girl. A turkey by water. 15. Part 5, Lesson 1: way. Welcome to the fifth part of our course on the Rondell Atocha by motor. The last part of our course, part number four and this one are probably one of the most difficult passages in this piece . So we were very happy, enthusiastic to share with you some of the tricks and tips you can use in order to improve those sections in this section starting in bar 97. There is really nothing to say. Why this This particular part is so difficult. You can see yourself wants to start learning the piece, you know, immediately because of the obvious right hand. Of course, you already know that this section represents part number three of our course where we had this section. But in this case, we have 16th notes in the right and which makes it even more difficult in part number three and we don't only get 16th notes in the right thing, but we also get broken octaves. They're extremely difficult to play, especially for people who are beginners or even intermediate. That if you quite challenging. I'm also very sure that this section is difficult to professionals as well. Playing broken octaves is very tricky because the grip is difficult. You can lose your way very easily and you can start playing wrong notes. So that's one of the reasons why this section is difficult, even though this section is very similar to the section in Part three, this is extra more challenging because the 16th told simply go in double temple, so you have the same difficulties as you had in Section three, except now you have to even be double faster. So the General Temple, of course, is the same. But you're right and simply has to play double faster because of double faster notes from eight notes. You go to 16 nodes, and so is the result of DOT. Your hands gets extremely tired in this section. If you don't have the proper technique, you can start getting cramps. You can start getting stiff and you can even get injured. That's very important. Watch out for because we don't want any injuries. And as I've already mentioned, Part three, those of you who have small hands like I do would have extra trouble because your hand is stretched very far, and this could be very, very tiring for the hands so make sure justice in part three, not two practices for too long amount of time, even though this movement, by multiple sexually quite challenging and quite difficult in this section of the piece, you get a passage that's really not standard. If you look back at the different passages in the different sections that we talked about so far, everything is challenging. But it's kind of standards, right? You get $16 you get eight No, to get jumps. But here you get the combination of things. So this particular passages quite highly advanced. All the techniques we've seen until so far are actually part of general piano playing. You would see them in any other peas were most other pieces just 16th goal, difficult passages of thirds octaves. This is something These are the foundations of piano playing. But this particular section, in Part five that we're going to talk about is a very advanced technique that you usually don't find in anything but very professional pieces. And for this reason, we would like to point out that if you were having already some trouble until now, feel free to just repeat instead of this section to just repeat part three again and to play normal octaves instead of broken actives. In this way, you'll still be able to play this piece that you like so much. But you won't have to feel discouraged. If this passage doesn't work out later on, you can always come back. When you develop a little bit further, you can always come back and play this piece again and then play exactly what motor throat . And now, for those of you who are ambitious enough and whose I think that you can do this passage were ready to provide you with several different tips that you can use in order to get good results. The first and most simple step would like you to take is to basically learn the right hand apart. I want you to take the right and separately and start playing very slowly as it is written . Why are we doing this well, simply because technique. Like we said, it's not a standard one. It's quite advanced technique, and we want to get used to the notes, get used to the movement of the hand, so you basically take the right hand and you start getting for Miller like this very slowly , very carefully, so you can feel comfortable from the very beginning. Now something very important when you're doing this. I don't know if you saw from the camera above, but I'm using fourth finger on a black key. This is what I mean. If you look in here here, I'm using fourth finger. Then I go back on the white keys with fifth finger. And then again, I use 455 and then four. So every time I have to play a blackie with the upper part of my hands, right then I'm using fourth finger. That's very important. And it's sexually the same as in part three when you have to play octaves, we gave you the tip that you have to use fourth finger. This applies as well here. That's very important. So start slowly. Start carefully. Just practice your right hand. But don't forget. Use forefinger on a blackie and make sure that while you're doing this exercise, you're staying close to the keyboard and you're being efficient. Make sure you make everything league. Otto, you stay close to the keys. Also, I don't know if you remember, but in Part three we gave you the tip on not being on the edge of the keyboard so that the jump between the white Keys and the Black keys isn't too large. Make sure you try to stay as close to the black keys as possible so that the jump between the white and the Black keys is as small as it You can make it. You see that the distance becomes smaller when I'm more towards the black keys with my hand . The alternative is, as you can see from their cameras, that if I play here on the edge of the keyboard, I'll have toe when I got the Blackie. I'll have to make a big moment to get there, and then I have to get back again to the edge of the keyboard. So that's being very inefficient. And you can imagine that being inefficient in such difficult and such a fast passage will just make it impossible for you to play. Remember that in a very fast temple you never have time or energy to waste, so that will be our first idea that you start with the right hand and you apply all the things that we mentioned. Let's move to the second exercise. Now it's time to get to more specific exercises. We start with very general getting familiar with the passage, and now we have to move to more specific wants. What that would mean is that I want you to start studying your some in your fifth and fourth finger apart, basically the lower and the upper voice. We want to study them separately if you haven't done so. In Part three. We were talking about the thumb again, and here it is extremely important, as important in Part three, if not more important, because of all the broken octaves. So what I want you to do is take the thumb apart and just start playing. I want to add that me myself is a professional pianist. When I practice to different parts to different sections of a piece like, for example, exactly in this piece, part three and part five of our course or those sections, I would personally practice the same way. So what I did in part number treat with the thumb. I would do it here again because this is a totally different passages in part tree and requires my new attention over again. Remember that when you're practicing the thumb separately. Still remember to be efficient like we did in the first exercise. So stay close to the keyboard and trying to stay close between the white and the black keys . Be as efficient as possible, as close as possible to the different keys you're playing. You don't want any excessive movements. The way you have to practice your thumb is slowly and very relaxed. That's very important in once you get very comfortable and very secure, I would recommend that you put the Metro. The Metro would be important because you want to start adding a little bit of pressure and what I mean by pressure. You're just a nice kind of rhythm feeling for rhythm. You want to be able to maintain one in the same tempo you don't want to very much in the beginning. You start very simple, very relaxed, so you can bury. You can feel very free with your temple, but now, when you are confident, we want to put the match room and have a little bit of a pressure. I'll give you an example by setting the Metrodome on 70 the metal marking with 70 and I'm going to show you how our practice the some only. It's extremely important that the temple you select from the Metrodome matches your skills . You need to feel that you're 100% comfortable after we've practiced our thumb. It's time for the next exercise. We're not going to practice this time, only the thumb separate. We're also going to practice the upper voice separate because the upper voice plays such an important role in this section. The challenging thing, while Brexit in the upper voice is the fingering, since when we practiced only the some separate, we only had to think about the thumb. But now we have to think about the fact that we use our fourth finger on the Black Keys and that requires some concentration. Do it first without marginal and make sure to use the four finger on the Black Keys, especially this last one going from 4 to 5. Make sure you pay attention to that because some of the spaces between the different notes are, of course, more difficult in the other. That's why this passage is so difficult. They're not standard. They're changing all the time and like a were shoulder. This connection between the G sharp and is even more difficult. So pay attention. Be very relaxed, very slow, so you can do everything precisely. 16. Part 5, Lesson 2: Now it's time to complicate things a little further, and in order to do that, we expect that you did all the previous exercises very well because if you didn't, you won't be ready for the coming exercises. Now we're going to continue with the upper voice with the fifth in the fourth finger. But instead of playing them regularly, we're going to do a Syncopation. What that means is that we're going to start playing the upper voice as it is supposed to be when you play both voices together. What I mean by both voices is in the right hand. We have two voices, a lower and an upper voice, but we're going to do only the upper voice but sink paid. So it's exactly going to fall on the spot on the right place as it's going to be when you play the right and normally with old and altogether. For example, I can do this exercise without the Metrodome, but I would strongly recommend that you use the Metro because otherwise it's very difficult to ensure that you plays the upper voice on the right sport and what I mean by the right sport is the match, Renamo settled 70. This will be metal marking 70 and the metal move played the role of my thumb. I'm going to skip my thumb. I'm not going to play the thumb, as they said, because I'm going to do a Syncopation, which means I will play on the upbeat and my metro will be. The downbeat will be the thumb the matter Martini 70 and what I'm going to do is the following. As you can see, I'm having a beat of the Metro. Then I play a note on Have a bit of the Metro dinner play another? No, I continue like this for the whole passage. It's very important that you select a temple. I cannot stress this enough. It's very important that you select the temple that shoot you. If seventies too fast for you. Feel free to drop as low as you need. And don't worry, you can increase your temple as soon if you pray precisely in without mistakes. So we did separately the thumb and we did separately, the upper voice or the fifth and the fourth finger experiment with your Metro marking. So, for example, I gave 70. You can start at 50 at 40 and you can go up to 70 even faster if you're comfortable and confident. So make sure experimenting in ensuring that practice in different Temple will give you the best possible results after we've practiced the lower and the upper voice separately. Now it's time to put things together, and what I mean is we're going to play just the right hand separately. But as it's written by motor and we often talk about the fact that technique is about efficiency and that musicality and technique are very deeply connected. If you approach this passage in playing almost equally loud, you will tire out after two bars is very important to understand musically, which off the voices as we've practiced the thumb and the upper voice separately, which of these voices is the most important? Now, if you can't guess, don't worry, I'll help you out. The most important voice is the sum, so we're going to exercise to pay the thumb louder and the upper voice softer. Do this in a very slow temple, and not only in a slow tempo, but also take enough time between the two voices. As much time as you need to make a dynamic difference. Loud, soft, loud, soft load. So make as much of a difference as you can in the beginning. The reason to start this exercise so slow compared to our previous exercises because it's something very different. It's something very new. We're going to now start combining things, making things more and more complex because we assume that we're ready for that. And so when you start something new that's actually so different than what we did previously is very important to approach this new exercise like you didn't do anything beforehand. So that's why was very saying is very important. Take it slow as you need and have a completely new goal in mind. And that's to play the lower voice louder in the upper voice. Softer after you did the whole passage and you make sure that you actually produce difference. You produce different sound between the lower and the upper voice. You can feel free to use the Metro because, like I said previously, we want combined things. We won't complicate a little bit things because, of course, we want final result. We want to be able to play the passage so now, after you did this slowly, without any worry about rhythm or temple. Now it's time to put the match room and see. Are we ready to play under a little bit of pressure? I will set the match alone on 60 because previously I did it on 70. But I thought, maybe for this exercise is to be a little bit on the fast side. I want to be able to follow really easily. So now I dropped it down to 60 and I want you to see what I'm going to do. I'm going to play together with the Metro, but I'm going to still try to produce differences out between the lower and the upper voice . This is what I want to do. I want you to select the temple that's really comfortable to you. You don't have to use my 60. You can use any temple that suits you any temple that makes you comfortable. But I want you to play under the pressure of the natural, a slight, pleasant kind of pressure and still producing a different sound between the lower and the upper voice. Now it's time for the next exercise where we're going to start. Hence together, it's time to put them together. We did enough exercises so far for the right hand alone. Let's see what happens when we put them together. And again. I want to say that in order for you to be able to do that, you need to really have properly done the previous steps. So let's move on putting heads together. What I want you to do is play everything, all the notes, everything. What's written in this section except one thing. I want you not to break the left hand court here, this one instead of breaking. I want to play those broken loads. Is one complete court like this and that will sound with the right hand like this. You might recognize this exercise because it's the same one we did in Part three with the octaves, and in this part it's a very useful exercise as well. The reason that I'm playing the left hand like this with a cord instead of a broken court is because I don't want to complicate things too soon, and I want to make sure that the exercise in kind of sneaky ways in order to ensure my way to get faster to my final go to be able to play also fast. So that helps me a lot. I don't want to make it too difficult too soon. So I'm using just the courts and that gets really wonderful results. And please, once you start using this exercise, start really slowly with every exercise we're doing is very important toe. Always begin on the cautious side so you can explore how well prepared you are and how ready you are actually to do the exercise. So start very slowly. The rumor next but and you can play evil slower than this if you need, you need toe. Absolutely. Feel as though you can handle everything you're doing. That's very important. And one final tip in this step please ignore the fortune it is written. Don't feel like you need to play loud because this is such a fast passage. Playing it loud will just slow you down. And don't worry about the 42 dynamic. The fact that it has so many knows and is written so dynamically and is written also in broken octaves will make enough sound for it to sound 40. Because if you look it also the left end, this broken court later on, when we're going to break it, that produces a lot of volume. So you don't have to worry about dynamics the way motor trolled and all the other composers , the way they wrote different parts of their pieces matches character they want. So they always would add more notes. If they want something to sound more powerful and more dramatic, and there would decrease the amount of knows, they will write a much more simplified version of something that they want to sound subtle and gentle. Once you start to feel that this section is becoming easy to play slowly and relaxed, you can, of course, take the match, loom and put this little pressure I was talking about just one little time before I show you how I would do it. With the matter known, please still keep playing. The left hand's not as a broken court, but just like previously as a normal court like this. Don't start breaking the court yet you don't need to do that. The metal marking is 60 again. Have a look how we're going to exercise etcetera. As you can see with the excess we're offering were simply starting really simple, and we start adding layer by layer. That's how we want to complicate things very gradually, so you feel comfortable and you don't feel when you actually reached your final goal. Also, feel free to combine playing with metronomic Without Metro, you really don't have to stick to doing one in the same thing. Because, of course, that gets boring at some point. And also it doesn't really produce the best results. Combination of doing different things ensures that you stay alert, that you keep on having fun. And of course, you get also the best two results that way. And as usual, when do you know that you're ready to increase the tempo? It's when you're very consciously doing the right things when you're very conscious of what you're doing. And if you're playing without any mistakes, no sloppy playing, I forgot to mention in the beginning of the video. But probably if you're already watching our course from the very beginning, you know that we've provided to score for you, so make sure that you use it so you can follow easily along with us. You can of course, use any other score for is up. If you have the score of the Sonata and the bar numbers match our bar numbers, then everything is OK. And like we say in every video in every part of our courses, if you have any further troubles with this piece or any other piece, please don't hesitate to contact us. Will be happy to help you and will be happy, of course, to create content that's even more relevant to you. Thanks for watching and see you in our final part. Part six of the Rouleau Allah to Erica. 17. Part 6, Lesson 1: welcome everyone to parse six in our final part of this course on the Turker By motor today we're going to talk about the corner of this bees. The last page started in bar 107 and we decided to talk about something different. So far, we've been explaining to you some technical aspects and how to conquer technical passages in this piece. But we thought it would be extremely interesting to you to know how this Qatar is built. Musically, we believe that in order to play musically thinks right, Of course you need to have the proper skills. But we believe also that inspiring people can help them and can motivate them to go further with developing their skills. So that's what we're going to try to do today. Don't forget that if you don't have the score of this code or of this movement, of course you can download it because we were uploaded it for you. As I said, the section starts in 107 until bar 137 the end of this piece. Let's begin. When I said that we're going to talk about the musical aspect of this corner. What I mean, is that we have to properly build up the whole piece. And since we're talking about the corner, we would just discussed only that section of the peace. And by properly building musical piece, it means that you have to have an understanding of what more and what's less important so your hands can feel nice and relaxed. You don't want to put too much pressure on your hands as well. It's on the music by having variety of sounds or music becomes more dramatic and more interesting to listen. If you play everything the same, and I will give you an example that can sound quite dull and quite monotonous to listen toe , it will lose its excitement. So in order to make things dramatic, we also need to know how to build up properly. And Dakota has a really important section because it's not only the end of the run Lola to orca. It's also the ending of the wholesale mata, which makes it extra dramatic. Most of you will feel that the ending of this piece is supposed to be very dramatic. However, not everybody will know how to actually translate that and how toe play that on the piano. And so we decided today to talk about more about the musical aspect of this corner instead of the technical. And later on, of course, will create more courses that can help you as well, by the technical means, how to use your technique and how to technically practice the peace in orderto bring that message about. But now let's begin a little bit with the musical ideas. The first and most important thing to know in this corner are the main statements, as you can see in bar 107 108 and Bar 113 114 and all the similar waas where you get this doors are the main statements of the color that comes for the first time in this movement, and it is the most important message, and we get those statements three times before bar 132 where it comes this place eso into you there. We have three important statements. Does the first thing for you to know that's important, and so we start with the main statements. After that, it is important to know that everything else should not be played s much emphasize should not be put as much emphasis on the rest. So, for example, if you look at bar 100 10 we have another main kind of court. Right after this 109 thesis way have a main kind of statement, but it is not as important as the bars that imagined way, and also in about 112 you get another court dead. After that gave them a statement comes, So I want you to distinguish the difference between Main on and bar 110 way Get this on 112 . Those are all bars is that they're in preparation for the main statements. So you have to divide your power, your strength and not play them as loud. 107 108 113 114 and the last one. The third statement, which comes in 126 127 are still more important than the other courts. So don't be tempted to play everything to say. That's a part and a very important part of building the dramatic schism in this corner building. Tension and drama is all about planning. You have to plan exactly, which is the most important, and everything else has to either lead up to that or decrease from that. So make sure that you plan the pressure with which, of course, that would be approximately. But you need to practice that every pianist, once he achieves certain skills and is able to read the music properly and play all the right notes what we start doing then, as artists, we start preparing how, exactly how hard, exactly. We're going to play our house soft. We're going to play. And of course, that's bull approximately. But there is a certain planning to it. So, for example, when I played, I would practice that these two chords are the most important. Then I will start practicing a little lighter and not hit this one toe that will continue. Still not to heart on. Then I come again. Eso in my practice, I'm going to do that. I'm going to try to see can achieve the different colors. The mistake most students make when trying to make something exciting and trying to make something dramatic and strong sounding is playing everything 40. But you have to understand that Fourtou Onley sounds Fourtou compared to something softer. It's relative if you keep playing one and the same, even if it's loud is going to sound not loud. Eventually, because you're hearing will get used to it. The point is to make not one of the same volume but different volumes so that the main statesman sound very, very powerful. That's how you keep attention of the audience. When you play for an audience, does the secret you need to know what's important. You can give them all the time, the same dramatic system. You have to give them a variety of things and that applies. Also to you is a performer, like If you play for for yourself, that will keep also your interest at a higher level. And now, after this interesting ideas we share with you, we want to give you one little tip, for example, for bar 107 108 and all the similar kind of most important statements like I mentioned, it is very important to know how to make this statement very open and very good in sound, and that it doesn't sound stiff and rigid. That doesn't sound like a closed sound when you bang on the piano to heart. It can sound very metallic. It can sound really unpleasant to the ear, so it's very important to know what to do. As you can see, we have a broken core right we have. There's one little trick you can do in order to make it sound really good. The important thing is the right hand. Look at your right hand. We have a broken card, but as you see in the score, we have 1/2 note indicated on top of that broken court. What that means is that this half note has to be kept, and what I do is I keep my fifth finger on the C sharp and I release the other notes prior to that session. If you look at the camera, you see what I don't my head opens up. That means that also, the sound of the piano will open up. If I do this, I keep everything closed and believe it or not, piano is a mechanical instrument. But your touch determines how the piano sound. That's the magic with piano, so everything will sound close. If I do this, I open up, I'm more relaxed and so my approach more relaxed, right, and then the sound becomes very pleasant and open to listen to. And then the fourth, it becomes not only allowed but becomes a new hopeful and global fourth. That will be the little tip. So when you practice just released all the notes and play, those main ones, as you can see from the camera, can see exactly what I do. I don't do this. I don't keep my right hand, but I I open and give the sound for And you might have recognized that your left hand with the broken courses is executive, the same as we had in Part three and Part five. Remember not to play the repeated notes as loud. Remember, we're making a little day crescendo. As Dimitar explained to us in Part three. When I played is, I don't keep on hammering the left hand. That's not what gives forth forties. The first I assume you have not. I'm actually pretty gentle and like a Vera talked earlier. Forte sounds forth according Toa other dynamics and other sounds, right? And so when the 1st 1 make sure that after that you're not too loud in the left and that will be the extra tip. Now let's move on to another little section of this corner. Let's have a look at bar 119 phone like starting from 119. Further as you can see, we get this and then we get piano. That's very interesting part, considering that we're in a color were playing really dramatic and loud. And Salary Bar 119 Motors introduces a complete contrast, if you remember from our earlier parts. We mentioned that whenever a composer like most art wants something very much fortunate, he will write some very big notes on a large scale. The lower register, the upper register and as you see in this part from 119 we see the hands are closer together, the register goes up is more delicate kind of sound, and everything becomes smaller. We have only one single note instead of these big, dramatic broken courts as well, Asli Calder said. The left hand moves to the middle register. Once you see something moving to the middle register, the middle register is something very delicate. Once a composer applies the middle register, that means he wants a different kind of sound and so here what? It also moves everything closer together. The hands are praying closer as well as you get the piano indication, that's a very important partner. 18. Part 6, Lesson 2: And so here is our opportunity to make things even more dramatic. Like I said earlier, if you play everything the same, it can start sounding kind of monotonous, kind of dull because we're having one and the same doesn't get any interesting. But in 190 he decides to write piano. So here we have the opportunity to make everything more dramatic, and we will do that. But with the drawing with sound as much as possible, what I want to do is here to practice this section and played as soft as you possibly can. Coming from this, there is no soft enough here. You can do it as soft as you can. That will be the best possible choice to make things very dramatic. Sonar. Something interesting and a little bit technical that you can do in order to improve this section. The most important thing to look. It is not the right hand but left hand. The left has a lot of 16th notes, and even though they move in the middle register, even though the middle register is a subtle register of the piano, you have to still put effort and practice in order to make your left hand sounds pianissimo , not even piano out. Say the right. That would be piano and the left. It'll be pianissimo softer than the right hand. So what I want you to do is tow practice. This left hand separately, very slow, very relaxed and observed that every single note you play of the left and is kind of the same volume. Really, PNC like this, and what's very important here is while you're practicing like this, it's very important that you don't have knows that pop out. You don't want to have knows that are suddenly louder than the other, like this place off and suddenly her. That's not be so. That's your exercise here. That's your goal here to make everything. And you see, I missed one note and what I'm going to Greece. I mean, going to try make everything as evil. It's possible that will give you wonderful results later on. When you want to play soft and make the dramatics is a bigger what I would recommend as well. Here is toe play the left and not only with better, but also without peril, because if you put the pedal, you will still hear the different notes, and you'll still be able to hear if you're playing everything kind of the same volume. But without the right pedal, you'll be able to hear even better, So my recommendation would be practiced without panel as well. Make a combination between both with better and without. Do it a slow It's necessary for you to hear every single note. This tempo, it's also possible in the step, was also possible. Doesn't matter how slow you practice. The most important is that you have good quality. This section is also an excellent opportunity to use the left pedal. The left pedal makes everything sounded a bit softer, as well as giving it a bit of a different sound, giving it a bit of a different color. The color becomes a little bit more muffled, not really muffled, but it has certain quality off being muffled. And so it's much more velvet like, so you can use the left pedal and help your left hand along with playing pianissimo. So definitely you can feel free to use the left pedal here. Now, remember the left pedal we just put down. We don't change it like we do the right pedal. So far, we had the main statements in hundreds and several 100 dates, and all the similar way had 119. We had the big contrast of playing, and now we're coming to the last part of this collar, which is really important that starting in bar 132. Like we said in the corner, you have to build everything as well. Of course, is the rest of the peace. But in 132 comes in moments that you don't have to hold back anymore. That's the secret you hold back on, beings previously prior to that kind of last moment, last few bars. And then comes a moment where you can give it your all, and that's starting 132. So don't hold back here because every single bar represents a statement. Let me give you a little example. Starting 132 months. Statement on to more. At the end, even three more. If you look at this eso as you can see 132 33 34 35 who have two times and then six and seven. We have three more statements you can imagine. You can see that everything is coming toe on end, really? Finally. But even though in the last six bars were having an eruption of sound and dramatic schism, it's very important to give you one little tip. We're talking about planning everything, and even though here you have very, very strong statements, it's very important to know this something small that actually can make a big difference in the way you play. Look at all the eighth notes in Bar 32 33 3432 33 entered for this, this one, then this on then in the next bar, every 2nd 8th note this peace. So I want you to pay attention to those eight notes because it's very important that we don't play them. Tow her even though we're having statements in every bar, it is still important play, musical and how to play music on how toe plan things is by knowing that those eight notes are not and should not be as strong as your water dotted note. That's very important. Listen, and if I hit those eight notes to heart, that's how it's going to solve Isaac here. That's not so pleasant to listen toe and it will sound really heavy. And I don't want to get this heavy feeling. I want the energy to stew floor forward, and so I'm going to withdraw a little bit on those signals. And then about 235 I would withdraw on every second, take note of the right and because I don't want to care, I don't want to have that heavy kind of south, so I won't that gives extra energy. Always when you have a contrast between louder and softer, that creates energy that's very important to remember something else that can give or take . Energy is the pedal. So let's explore what kind of pedal we would use in these final bars. Metal is something that makes the sound bigger. So whenever you have a large cord, you have four tour for testing. Will you want to make a big sound? You would definitely need and want to have pedal. That's why we're gonna use one full pedal in the bars 130 to 133 and 134. We're going to use one, and we're going to change on every first note off the bar like this. Yeah, I would change. And here changing. So I'm changing on every first beat a feature of the bars 132 33 34. And to inject with a little bit of extra energy to have a little bit of variation, which is another key to creating energy on the next bar. With the eight notes, we're going to release the pedal on every second eight note, the eight noted were also playing a little lighter like this. We're having panel no pedal, you know, Listen how it sounds without me talking so and that's for the simple reason. Like I mentioned earlier that I want this 2nd 8th notes the notes C sharp and eat to sound a little bit softer. And if I don't put pedal, I help myself. I help myself by creating energy and by playing those notes. Not so loud, because if I keep the way, I can still make them softer. But it's also a matter of interpretation. I like a little bit the jumpy feeling just before the last three statements. What I also like about this use of pedal is that it makes a difference between the 1st 3 bars that are the same. And then the fourth Bardet has something different. It doesn't have a cord anymore. Within a note, it has 48 No, it's let's hear. How does all those bar sound from 132 let me demonstrate? And as you've already hurt on the last two bars, we're going to have a little gap off the pedal. We're not going to make one pedal. We're going to make a little gap between the courts 136 and 37 like this on Not like this. A. So you can see now they're connected by one pedal. But I create a little, get I press the pedal. And just before I play the next court, I released it and then put another bill. Release it before the next court. Like with this approach, I'm looking for even more energy. I'm looking for ways to accumulate and keep the energy bowling. That's very important for me in order for the peace to South exciting and so these were our ideas for the corner. We really hope that you would have enjoyed them, because to us that's also an inevitable part of playing great, not only having great skills and understanding how to conquer passages, but also to be able to play musically, right? But, of course, tow us. It is extremely important that you first gain the skills so you can actually focus on those things. We don't think it is possible without having proper skills to achieve those beautiful ideas . But as we said in the very beginning, sometimes a little bit of inspiration can hurt. It can actually motivate you to continue improving your excuse. This was our entire course on the Rundell, a turkey by motor, the last movement of his A major sonata. We hope that you enjoy this course, and we hope we'll hear back from you. If you have any questions about this movement about another piece you're playing, don't hesitate to contact us. Don't forget that there is the score. The exact same score we're using uploaded for you. So if you want for easily along, just download that score and use it. This is definitely not going to be the last course we're going to upload, so make sure that you watch out for more courses coming up very soon. For us, it was a pleasure, and we'll see you in the next course