Nocturne in B-flat Minor, Op. 9, No. 1

Masterclass from Forum Musikae, Summer 2019, Madrid.

CHOPIN NOCTURNE OP. 9 NO. 1, Alexander Traikov

Length: 32’22”

Étude Op. 10, No. 1 in C Major

  • 0:00 – 1:25: General introduction
  • 1:25 – 3:45: Redistribution, positioning the torso
  • 3:45 – 5:30: Analysis of the rotation
  • 5:30 – 7:38: Analysis of the in and out
  • 7:38 – 10:20: Analysis of the shaping and the combination of movements
  • 10:20 – 13:50: Grouping and other considerations
  • 13:50 – 25:55: Fingering, and other considerations (in and out, rotation, walking hand and arm, grouping)
  • 24:55 – 25:37: Final thoughts

Étude Op. 10, No. 2 in A Minor

Chopin Etude Op. 10 No. 2: Avoiding twisting through proper rotation and shaping in the opening

Length: 6’44”

Chopin’s etude Op. 10 no.2 is known for its the use of the “weak” outer fingers. I explain how to feel strong and prevent any twisting of the alignment through single and double rotations.

  • 00:00 – 4:24 Eliminating twisting and applying single and double rotation in Chopin Etude Op. 10 No. 2.
  • 4:25 – 5:52 Grouping and Shaping in Chopin Etude Op. 10 No. 2
  • 5:53 – 6:45 Left hand Leaps in Chopin Etude Op. 10 No. 2

Étude Op. 10, No. 4 in C# Minor

Chopin Etude Op. 10 No. 4 Interdependence of the hands and broken chords

How to avoid stretching in the Chopin Etude Op. 10 No.4 m.3 left hand broken chord

Étude Op. 10, No. 5 in G Major, “Black Key Étude”

Single rotations in Chopin Etudes: “Winter Wind” and the “Black Key” etudes.

Length: 5’18”

The use of proper single rotations will allow one to play more efficiently. I demonstrate this and apply the same concept to both etudes.

  • 00:00 – 3:19 Single rotation, shaping and torso adjustment in Chopin Etude Op. 25 No.11.
  • 3:20 – 5:18 Single rotation, in and out and shaping in Chopin Etude Op. 10 No. 5.

Étude Op. 10, No. 8 in F Major

Masterclass 2016 Yamaha, NYC – USA

Length: 10’03”

Étude Op. 10, No. 8

  • 0:05-0:47: Trill: measuring number of notes and in&out
  • 0:47-3:24: part scale/part arpeggio
  • 3:25-4:20: exception in shaping when thumb crosses under
  • 4:20-6:27: one black key changes the in and out, plus avoiding thumb stretching
  • 6:41-8:05: using rotation and grouping to cover distances and changes of direction
  • 8:08-9:48: arpeggio: crossing over thumb in the black key area and fingering

Chopin’s Etude Op. 10 No. 8

Rotating with the proper in and out

Length: 4’00”

I demonstrate how moving in and out with the right finger facilitates the playing of the arpeggios. When minimized, the proper single and double rotations make this passage much more natural.

Étude Op. 10, No. 9 in F Minor

Avoiding stretching in the left hand.

Length: 2’29”

The left hand of Op.10 No.9 can be injurious if done incorrectly with stretching of big intervals. I suggest a fingering and shows how to move in the keys in order to rotate efficiently in these left hand figurations.

Étude Op. 10, No. 12 in C Minor, “Revolutionary Étude”

Length: 7’42”

Fingering, in and out and shaping

Grande Valse Brillante in E-flat Major, Op. 18

How to avoid stretching with rotation and shaping.

Also, when is it a twist and when is it not?

Étude Op. 25, No. 1 in A-flat Major

  • 0:00-2:12: double rotation and settling the arm equally behind each note
  • 2:12-3:38: in and out and fingering in the trill
  • 3:38-4:34: fingering, crossing and shaping in moving double thirds
  • 4:35-5:45: ascending chromatic double third scale
  • 5:55-6:47: opening of Chopin etude op. 10 no. 8 minimized
  • 6:53-13:23: I show a few different places covering playing on black keys, rotation, in and out, shaping, leaps and grouping.

Étude Op. 25, No. 2 in F Minor

The 5th finger at the end of the arpeggio feels weak.

Chopin Etude Op. 25 No. 2

Avoiding injury from twisting and stretching with the left hand.

Length: 4’35”

The left hand of the Op.25 No. 2 can be a hazard if approached physically incorrectly. I go through an excerpt explaining how one can prevent twisting by becoming comfortable in the black key area.

Étude Op. 25, No. 3 in F Major

Chopin Etude Op. 25 No. 3: Leaping with freedom

Length: 4’28”

This etude contains issues involving proper leaps and use of shaping to assist this. I go through these movements in both hands and suggest some fingerings.

Étude Op. 25, No. 5 in E Minor

  • 0:21 – 3:25 Rotating from single notes to intervals in Chopin Etude Op. 25 No. 5 (Middle section).
  • 3:36 – 5:51 In and Out motion in Chopin Etude Op. 25 No. 5 (Middle section).
  • 5:52 – 7:10 Shaping in Chopin Etude Op. 25 No. 5 (Middle section).
  • 7:11 – 8:09 Thinking the Closest Note in Chopin Etude Op. 25 No. 5 (Middle section).
  • 8:12 – 9:32 Grouping in Chopin Etude Op. 25 No. 5 (Middle section).
  • 9:34 – 13:33 Rhythmic Expression in Chopin Etude Op. 25 No. 5 (Middle section)

Chopin Etude Op. 25 No. 5

Length: 10’12”

I work on better fingerings and shaping so that the passages are easier to play.

Étude Op. 25, No. 6 in G# Minor

Chopin Etude Op. 25 No. 6 and Op. 25 No. 1: Double Thirds

  • 0:00-2:12: double rotation and settling the arm equally behind each note
  • 2:12-3:38: in and out and fingering in the trill
  • 3:38-4:34: fingering, crossing and shaping in moving double thirds
  • 4:35-5:45: ascending chromatic double third scale
  • 5:55-6:47: opening of Chopin op 10 no 8 completely minimized
  • 6:53-13:23: Chopin op 25 no 1: I show a few different places covering playing on black keys, rotation, in and out, shaping, leaps and grouping.

Chopin Etude Op. 25 No.6

Chopin Etude Op. 25 No.6 Using Rotation and In and out for double thirds

Length: 6’30”

Many people come with problems in playing double thirds and especially with issues from Op.25 No.6. I address the common misconceptions in rotating for double thirds and how to move in and out of the keys to assist this issue.

Étude Op. 25, No. 11 in A Minor, “Winter Wind”

Chopin Etude Op. 25 No. 11

Length: 8’31”

  • 0:00 – 3:25 Rotation/Fingering
  • 3:25 – 7:10 Arpeggios/Connecting
  • 7:10 – 8:30 Going up/Small leap

Single rotations in Chopin Etudes: “Winter Wind” and the “Black Key” etudes.

Length: 5’18”

In these well-known etudes, the use of proper single rotations will allow one to play more efficiently. I demonstrate this and apply the same concept to both etudes.

  • 00:00 – 3:19 Single Rotation, shaping and Torso adjustment in Chopin Etude Op. 25 No.11
  • 3:20 – 5:18 Single Rotation, In and Out and shaping in Chopin Etude Op. 10 No. 5

Chopin Etude Op. 25 No.11: Using the Proper Choreography to play the Arpeggios

Length: 6’39”

I display the multiple aspects that goes into playing these arpeggios and demonstrates the proper rotations, in/out movements, and more. I also briefly address the small leap at the end of this passage.

  • 00:00 – 2:07 Rotation (1st line of arpeggios).
  • 2:08 – 4:22 In and Out and Shaping (1st line of arpeggios).
  • 4:23 – 6:40 Rotation, In and Out, Shaping and Leaps (2nd line of arpeggios)

Étude Op. 25, No. 12 in C Minor

Chopin Etude Op. 25 No. 12: Moving efficiently in the arpeggiated figures

Length: 9’13”

The figuration in the opening of this etude, as well as in the rest of the work, can be facilitated with the right knowledge of rotation and subtle over-shaping. I demonstrate these concepts as well as the importance of moving the torso to keep the forearm aligned with the hand.

Scherzo No. 2 in B-flat Minor, Op. 31

Chopin Scherzo No. 2 mm.545-582

  • 1:45-6:19 Staccato Leaps in both hands from M.552.
  • 6:20-7:20 Cause of tension: twist / how to solve this?
  • 7:20-8:45 playing octaves with 1-5 and getting legato effect.
  • 8:46-9:17 torso adjustment
  • 9:18 –10:33 leaps in both directions and how to organize it. (active direction and passive direction)
  • 10:34-end Leaps with both hands simultaneously: which hand goes first?

Sonata No. 2 in B-flat Minor, Op. 35

Chopin B flat minor Sonata, 1st Movement, Sakura Myers

The benefits of the teacher training
Golandsky Institute Yamaha Spring Workshop 2016

Length: 45’07”

Ballade No. 2 in F Major, Op. 38

Chopin Ballade No. 2: Examining and Solving difficult passages

Length: 16’24”

Many people bring the Presto con fuoco section from the 2nd Ballade with questions on how to play with more ease. I explain the multiple aspects that go into moving more naturally and efficiently.

  • 0:00 – 1:30 Rotating to the left for right hand intervals
  • 1:30 – 3:47 Moving Out in white keys
  • 3:47 – 6:20 Shaping to ease movement
  • 6:20 – 8:00 Torso Mvmt/Grouping
  • 8:00 – 8:30 Moving into the Black Keys
  • 8:30 – 11:20 Rotating to the left for right hand.
  • 11:20 – 12:05 In and Out/Grouping in 2
  • 12:05 – 12:52 Efficient Leaps
  • 12:52 – 13:50 Single and Double Rotations
  • 14:10 – 16:24 Octaves/left hand

Nocturne in C Minor, Op. 48, No. 1

Chopin Nocturne Op.48-1

0:00-15:10 mm. 49-52

  • 1:00-1:30 Why are the shoulders holding up?
  • 1:30-6:16 Repeated chords and voicing the chords
  • 6:17- 9:18 Does one have to hang on the long note?
  • 9:19-12:46 Left hand: double notes trills and leaps
  • 12:47-15:10 How to express syncopation?

15:10-end mm. 69-70

  • 15:10-18:23 Left hand leaps and redistribution
  • 18:24-18:49 Right hand – how to play the chords? It’s all physically staccato
  • 18:50-end Right hand – in and out motion

Barcarolle in F# Major, Op. 60

Double Thirds in the Schubert Impromptu and the Chopin Barcarolle

  • 00:00 – 2:23 Double thirds in Schubert Impromptu Op. 142 no. 4.
  • 2:25 – 3:58 Double thirds trill in Chopin Barcarolle.

Nocturne No. 20 in C♯ minor, Op. posthumous.

Left hand shaping in Chopin’s C# minor Nocturne

Showing how tone and shaping affect the musical outcome.

Right hand shaping in Chopin’s C# minor Nocturne.

Length: 4’01”

Nocturne No. 20 in C♯ minor, Op. posthumous.

I demonstrate shaping in right hand melodic line.

I play a short excerpt to demonstrate how to move correctly in a slow passage.