Chopin Etude Op.25 No.6 'Thirds' - Paul Barton, piano

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Uploaded by on Mar 3, 2010

Relates to a tutorial on double thirds and this Etude. See video reply or: http://www.youtube.com/watch?v=0ZCjGqiLhTE

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Uploader Comments (PaulBartonPiano)

  • this is one of the pieces that I'm scared to learn just by looking at the sheet music

  • @svensuperman789 -- Do the thing you fear to do and keep on doing it... that is the quickest and surest way ever yet discovered to conquer fear.

    Dale Carnegie

  • simply a tour de force...

    i wonder if the pianist, in the same way the doors composer, can turn his mind off to the left hand as the right races along..

    or is there a thought generated for every moment

    douglas

  • Even though tempo is fairly consistent in this piece, R.H. fingers do different tasks which give your hand the sensation some parts are quicker than others, when they aren't. For instance, the double third trill 0:7 to 0:11 feels a relaxed task, but in 0:11 to 0:13 the fingers go over each other which feels a very quick movement. I think to override that speed sensation in my fingers and tell them to relax for chromatic run 0:13 to 0:16 otherwise they speed up leaving the tempo behind.

  • Also: As the left hand has a precise rhythm the right hand really needs to fit on to it so a lot of thought to the rhythm in the R.H. is given to that task. I also tell myself to actually breath in certain places, sometimes even mark it on the score, we can hold our breath when things are tricky which can be counterproductive to accuracy.

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All Comments (28)

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  • This is perfect!! The right hand is toooooo difficult...

  • Brazilian pianist?

  • Wonderful playing! Not a robot, but a musically releasing. Beautiful phrasing!

  • BRAVO, It's wonderful!!!

    Great performance!!!!

  • such a technique you have!

  • Hello my dear friend...

    Beautiful music...

    Thank you...

    Hugs

    The flower vendor

  • I don't think is the whole truth to say that the melody is only in the bass. As with so many of Chopin's pieces there is a complex interactive polyphony with one melody emerging and subsiding as the other does vice versa (if that makes sense?).

  • Maybe a bit of both. Cesar Franck used to sketch out the harmonic structure of a bar before adding in the counterpoint. I think that in the case of this etude Chopin may have sketched the harmonic structure first. But I don't know - nor does anyone else.

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