Taught by renowned pianist
Jeffrey Biegel
In this lesson, American pianist Jeffrey Biegel shares with you his strategies for practicing Chopin’s Étude No. 6 in G-sharp Minor, Op. 25. <br><br>While fingerings vary according to the edition that you choose to use, you will likely be forced to use your weakest fingers (your pinky and ring fingers) to play the top notes of the double-third figures that dominate this piece. To make the top notes sing, Biegel advises you to practice playing them legato while playing the bottom notes staccato. He also explains the “add-a-note” practice technique, which he encourages you to use to reinforce your double-third runs. While you’ll want your runs to sound even and seamless, they should still sound musical. To give your runs a sense of shape and direction, you can sing along with them – Biegel imagines that your vocalizations will inform your playing. <br><br>Finally, you will learn to tackle the runs of broken seventh chords that appear throughout this piece. Biegel invites you to practice playing these runs beyond their notated ending point. When you go back to playing the runs as they’re written, they won’t seem so daunting anymore!
Etude Op. 25 No. 6 in G-sharp Minor
In this lesson, American pianist Jeffrey Biegel shares with you his strategies for practicing Chopin’s Étude No. 6 in G-sharp Minor, Op. 25.
While fingerings vary according to the edition that you choose to use, you will likely be forced to use your weakest fingers (your pinky and ring fingers) to play the top notes of the double-third figures that dominate this piece. To make the top notes sing, Biegel advises you to practice playing them legato while playing the bottom notes staccato. He also explains the “add-a-note” practice technique, which he encourages you to use to reinforce your double-third runs. While you’ll want your runs to sound even and seamless, they should still sound musical. To give your runs a sense of shape and direction, you can sing along with them – Biegel imagines that your vocalizations will inform your playing.
Finally, you will learn to tackle the runs of broken seventh chords that appear throughout this piece. Biegel invites you to practice playing these runs beyond their notated ending point. When you go back to playing the runs as they’re written, they won’t seem so daunting anymore!
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