Summary
Highlights
The video introduces the concept of legato, emphasizing its importance in Chopin's music, particularly his nocturnes. Chopin's obsession with legato is highlighted, referencing the book 'Chopin as seen by his students'. Chopin's love for singing, potentially influenced by his early admiration for an opera singer, is also discussed.
The discussion moves into how to achieve perfect legato, with the first recommendation being to listen to singers, especially opera arias by composers like Mozart, Rossini, and Puccini. The video also suggests printing out opera scores to play the vocal line along with the singer, to develop a feel for how notes are connected.
Practical tips for legato are given, including playing with flat fingers instead of curled ones, avoiding fast finger movements, and understanding how crescendo and diminuendo affect legato. It's explained that making a crescendo can hinder legato; Chopin's melodies are written to allow crescendos in natural moments, such as when playing parts emulating the way a singer would sing them.
The video stresses the importance of listening to the end of each note and connecting the next note to that ending sound. Every note should be played with feeling and with a direction. There should be no two notes that sound exactly the same; the shape of the melody is of great importance.
The video explores the importance of "breathing" in musical phrases, drawing a parallel to singing. It suggests analyzing phrases and marking where breaths would occur if the melody were being sung, placing the softest note before each breath.
The importance of using the pedal effectively in Chopin's music is emphasized. The leg should be "glued" to the hand and ears. The video also notes that, when practicing one hand alone, it is important to remember to change the pedal so that it sounds beautiful.
The video addresses the challenge of the nocturne accompaniment, advocating for an extremely soft touch in the left hand. The video states that this requires practice touching only halfway through the key. The left hand should be relaxed, and it must always be down when playing, but with a very round sound.
It is advised to practice each phrase individually to master it before joining and connecting phrases. The video concludes by reiterating the importance of flat fingers, a relaxed hand, and internalizing the concept of legato through listening and sensitivity. By practicing this way, the pianist can master and control the piano.