famous pianists cheating

[j_menz]

and you can continue living in the stone age.

Oh come on. Surely you can do better than that. Your riposte lacks wit, relevance and acerbity. Try harder next time. 

[theholygideons]

eshays lad, 
come at me bro. I'll use 2 hands and you can use 1. 


ok whateva, i need to study for statistics.
bye j_menz.

[j_menz]

I'll use 2 hands and you can use 1. 

Not me playing, but you get the idea. Godowsky's Left Hand alone study on of 10 1.

[apollon1717]

and you can continue living in the stone age.

Howdy!..Hold your horses guy's.

Unfortunately I have to agree with Menz.. ..the point is NOT to stretch but use arm movements and in and outward{back and forward if you like} movements to bring the fingers to the next note keeping them as much as possible perpendicular with the key.This etude has indeed caused debilitating injuries because of wrong practising and wrong understanding of the real technical problem at stake here.
Forearm rotation is required as well.
There are far more serious difficulties to tackle in the 24 etudes than this one.

Sincerely

[awesom_o]

My word!
Stretching=doing it wrong.
Not stretching=doing it wrong.

Personally, I agree. 

Nobody ever gets this one quite right 100% in live performance. Ashkenazy came pretty close once or twice after he had worked on it for about 14 years.

I am very eager to try out apollon1717's fingering for the A major bar. I've learn many ways of doing this bar, but not this one. It seems perhaps more plausible to me than the 2 hands idea.

The many two-hands possibilities seem 'workable' in a cheeky sense but are always a bit musically far-fetched sounding in reality, in my opinion.

apollon, I am very interested in hearing some of your op. 25!
And also your 10/1 if/when it's complete.
 
How do you do the  bar C-Eb-A-Eb/following bar without stretching? Do you have a special fingering for that as well?

Thank you kindly for sharing your proprietory trade secrets.

My own personal experience with the 24 is that every single one is the hardest one. 

[apollon1717]

Hello...I gues you're refering to bar 31 and 32?
2-1-2-5-3-1-2-5  etc.ascending
5-2-1-3-5-2-1-3  etc.descending
YES THUMB ON THE BLACK KEY!..

Bar 33..RH  take first Bb with LH and continue with RH starting on F. 1-2-5-3-1-2-5-3..etc.ascending
Bar 34 descending  5-2-1-3-5-2-1-3..
Bar 37  Rh first A take with RH ascending RH 1-2-5-3-1-2-5-3-

Good luck but please understand that management of forearms and hands is diffents than whem played in original position.
In my teaching experience I have found pianists with smaller hands to play this etude better than the students with big hans...Agility of the wrist is extremely important induced by forearm rotation...etc.

[apollon1717]

My word!
Stretching=doing it wrong.
Not stretching=doing it wrong.

Personally, I agree. 

Nobody ever gets this one quite right 100% in live performance. Ashkenazy came pretty close once or twice after he had worked on it for about 14 years.

I am very eager to try out apollon1717's fingering for the A major bar. I've learn many ways of doing this bar, but not this one. It seems perhaps more plausible to me than the 2 hands idea.

The many two-hands possibilities seem 'workable' in a cheeky sense but are always a bit musically far-fetched sounding in reality, in my opinion.

apollon, I am very interested in hearing some of your op. 25!
And also your 10/1 if/when it's complete.
 
How do you do the  bar C-Eb-A-Eb/following bar without stretching? Do you have a special fingering for that as well?

Thank you kindly for sharing your proprietory trade secrets.

My own personal experience with the 24 is that every single one is the hardest one. 

Hi awesom_o

As you know I am very close to Kaleidoscope007 who has withdrawn from this website for obvious reasons.
I learned from him a unvaluable lessons:
 1/redesitributing hands/fingering is NOT cheating but on the contrary accomodating the physiology and morfology of ones hands.Everything must be done and CAN be done to avoid tension.
2/Up an down adjustements or motions do NOT replace active fingerdepression.It is a response to the fingers actions.Pinano playing conatains horizontal en vertical motions.
Horizontal movements begins when vertical movement is completed.Movements should be felt as adjustements.
3/Back to op.10 nr.1..the key to play this etude fluently is to let the thumb follow,immediately after playing the 2nd finger,to avoid stretching...apply the walking arm motion
4/4th finger problem..Do not isolate the 4 th finger to play.Instead move 3thd and 4th together and than come down on the 4th finger with the weight of the arm behind it consequently supporting the 4th finger..

[awesom_o]

I do agree with you absolutely on 3/4 points.

I'm not sure I completely agree on your 4th point. 

The soul purpose of your teacher's brief time on this site seemed to be to point out things about Geert Dehoux' videos that anyone with half a brain and one eye could tell immediately from watching his videos. Every single one contains an obvious video edit every 1-2 bars.

No way could that possibly be good use of a wise man's time.

Undoubtedly he has deep knowledge of the musical arts. If he really is a well-known teacher and pianist, perhaps one day he will see the light, and return under his own real name with a proper introduction of himself.

I'm sure he would be a valued and highly respected member here.
He seemed like a bit of an odd fellow to me. I don't think anybody except for thesixthsensemusic knows or cares about Geert Dehoux.

[theholygideons]

from my personal experience, i find godowsky's transcription of op.10 no.1 for both hands (not the one for left hand alone) much more easier to play than the original transcription. The transcription is more pianistic in the sense that the difficult arpeggios, e.g. the A major one and the C Eb A Eb, are ideally suited for the left hand, as you have that extra stretch between the index finger and thumb.
Quite paradoxical, is the difficulty of the godowsky etude in that respect.

[apollon1717]

from my personal experience, i find godowsky's transcription of op.10 no.1 for both hands (not the one for left hand alone) much more easier to play than the original transcription. The transcription is more pianistic in the sense that the difficult arpeggios, e.g. the A major one and the C Eb A Eb, are ideally suited for the left hand, as you have that extra stretch between the index finger and thumb.
Quite paradoxical, is the difficulty of the godowsky etude in that respect.

Correct...
But topic here is Chopin's Op.10 nr.1 and not Godowsky I believe.
Good to see you here Marc Andre..I always knew it was you...