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Popular Piano Lessons: Fur Elise - F Section-End

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[MUSIC]
There are several ways you
can finger this next section.
The traditional arpeggio fingering
goes something like this.
[SOUND] One, two, three,
then you stick your thumb under and
try to reach that [LAUGH] and
pray that you get it.
[SOUND] I don't like it.
I think it's just too complicated.
I like keeping the same shape.
So here's what I'm gonna recommend.
Your pedal, your magic pedal,
will connect everything for you.
So why go to the strain of trying
to connect it in your fingers?
So do this.
[SOUND] One, three, five.
Just jump.
[MUSIC]
So it's like jumping, like this.
Looks complicated.
It's not.
What you're gonna learn the more you play,
is that you're gonna get a sense
of the geography of the keyboard.
[SOUND] And what feels like something
in one portion of the keyboard,
when you jump [SOUND] to
its octave equivalent.
You'll be amazed at how
comfortable it feels.
So all you would need to do is
aim [SOUND] for As, As, As.
So here's what's gonna happen,
[SOUND] one, three, five, one three, five.
Wow, see it all fits under here, and
all I have to do is a little jump [SOUND].
[MUSIC]
So my hand stays calm.
[MUSIC]
The only tricky thing is that jump.
My recommendation, stay relaxed.
And you don't even have to
hold the notes that long.
Again, if you push your pedal down.
[MUSIC]
See how delicately I can l play?
Very cool.
[MUSIC]
So if you want to practice something,
you might wanna do this.
[MUSIC]
Just try to see if from here
[MUSIC]
how quickly can you go from a five
to a one.
That would be a great
exercise to practice.
[MUSIC]
But here's the thing,
when you practice going this from
here to here really fast, relax.
Relax your hand.
You're not, look, what is it,
three inches or so?
[SOUND] Maybe from your thumb,
it's about six inches [SOUND] or so.
It's really not that far, okay?
Visually find it, your finger
will just kind of be there, and
your thumb will just catch that.
You wanna keep it a very
relaxed motion here
[MUSIC].
Because if you jump to it,
[LAUGH] you're gonna get a nasty accent or
a little bump in the sound.
What we want is something
[MUSIC]
very delicate, very even.
So stay relaxed with your jump.
[SOUND] Your pedal will help everything.
Now so, let's add the left hand to that.
Pedal down,
[MUSIC].
So here
[MUSIC]
what happens is we're gonna get into
chromatic fingering.
Couple of ways to do this,
I think the best way to do this,
[MUSIC]
make sure you get your thumb
planted here because we're
gonna go to a black key.
Here's the fingering that I recommend,
[SOUND] four three two one,
three two one, then a four finger here.
[SOUND] And a three here,
then a four here,
then you're back to this business here.
So here's what it looks like in context.
[SOUND] Four, three, four,
three, four, four.
What I love about this fingering,
is it's a pattern.
Four, three, four, three, four and
the only thing that you break
is the last E here [SOUND].
So thumb, that will break it.
Now you go to the [SOUND] four,
three, four, three, four.
Now here you do one more
four to return to the theme.
And it's really fast [SOUND] [LAUGH].
Now when I was a kid, I didn't learn
such sophisticated fingerings.
I did this.
I did a crab finger.
[MUSIC]
[LAUGH] It's basically a three one to kind
of crab walk it down.
Three, one.
Three, one.
Three, two, one.
Three, one.
Three, two, one.
Three, one.
Three one, three one, two, one.
It was horrible.
But I did it.
[MUSIC]
I don't recommend it.
[LAUGH] It's confusing.
Take the time to learn
the chromatic fingering and
I think you're gonna enjoy it.
It just fits your hand really well.
[SOUND] Four, three, four, four.
So take the time to put that fingering in.
It's really nice.
[MUSIC]
Four.
Three.
Four.
Three.
Four.
And then four again here
to return us to the theme.
[MUSIC]
[MUSIC]
Now, one more just
kinda closing thought.
As you're becoming more advanced and
more comfortable with playing.
We can start talking about ways of
unlocking the magic of the music.
What I mean by that is, starting to
explore how to make the music yours.
Not to sound like me but to make it yours.
And I think a part of the key to that
is exploring lots of different options.
So for instance,
one of the things I like to think about is
the difference between the singing
melody and the accompaniment line.
Okay?
This is the melody.
[MUSIC]
That's what we're singing.
The left hand,
[SOUND] that's just helping it.
It's really not the singing part.
[MUSIC]
So
I always wanna make sure this is
a little bit more than this part here.
[MUSIC]
So you'll always here it as
a separate person singing that line.
[MUSIC]
One more thing just to have fun with it.
Yes, when you're learning this we want to
have an even exchange of the 16th notes.
Okay?
[MUSIC]
When you're learning it,
it's supposed to exchange evenly.
All right Great.
But when you're comfortable
with that then what I'd like
you to experiment with is ways
to make the right hand a diva.
What do I mean by that?
Let me see if I can demonstrate.
[MUSIC]
So the
thought
process
is
this.
My main job as a pianist,
actually is as an accompanist.
So I actually play, my job is usually
to play the role of the left hand.
And the friends that I play with,
they're the right hand.
[MUSIC]
That's me here, this is my friend.
[MUSIC]
That's me here, this is my friend.
[MUSIC]
[LAUGH] So
what I try incorporate in my solo playing
is a little bit of that exchange.
Me, supporting my friend.
And then my friend
shining in the spotlight.
So the idea is that my solo friend
needs to feel free to do
whatever they would want.
So maybe what you can experiment with,
is ways to make the right hand keep this
left hand steady, but
then do fun things with the right hand.
[MUSIC]
And
they both kind of
share the stage here.
Okay?
[MUSIC]
This is where
hopefully you
can start to say,
I've learned the notes.
Now what?
We can start opening up a whole world for
you in terms of color,
expression and exploring just
different ways to say the same thing.
So that every time you
play this it's different.
So have fund and experiment with it.
[MUSIC]
[MUSIC]
From this point on you're gonna be
hearing me saying more, and
more about different options for
fingerings.
Different options for
technical approaches.
Different options even for
musical approaches.
Really, this is where
the art becomes your own.
I don't ever wanna be a teacher that
tells you, you must do it this way and
this is the only way you can do it.
I always want to be somebody that
collaborates with you to say,
here's a fingering you might want to try.
If you don't like it,
let's try something else.
Find whatever feels comfortable for you.
But again, all technical discussions that
we've done through this piece has one aim.
To make it easier for
you to play, to make it more comfortable,
to really make better music.
The whole idea is,
it should serve the music to make it
sound the way you want it to sound.
My job as a teacher will be to show you
options, to say here's one way to do it.
If you don't like that,
here's another way.
And then, to hopefully set you free to
start exploring other options that maybe I
haven't even considered, and that's
what I love about these video exchanges,
that we can share ideas like this and
hopefully I can share some of my
experiences to enrich your music making.
So, I want you to get not just to play
the notes well, which I know you will.
But now I want you to feel
free to express yourself.
Okay?
And see if you can get into
the deeper meaning of the music.
So play this until you get to the point
where you're really
comfortable getting around.
And then listen,
really listen to the music, and
explore some of the ideas
that I'm sharing with you.
And feel free to experiment and
change things up.
[MUSIC]