Bagatelle, Op 5, No 1 by A Tcherepnin

[natsmusicstudio]

I would love to hear your comments.   

[perfect_pitch]

Main point I would say is just try to push OFF the chord and octaves - I think that's one thing that would help - especially your LH in the small double octave section.

Again, I remember there being a problem with the synchronisation of the video and the audio. Your video is fine at the beginning, but gets out of time at the end. I only bring this up as it is hard to critique the video when what we see doesn't match what we hear. Do you use any video editors before upload, or do you upload straight from your phone?

[droprenstein]

Perfect Pitch's advice is spot on. I'd also suggest one other thing, to emphasize the dissonances(when there are any) in the chords. If your voicing is to that level yet, I think it would create an effective sound to clearly hear the dissonances resolving(or not resolving).

[quantum]

A few points.

Following what was mentioned above.  It appears your playing movement is getting stuck at the bottom of the keys, especially with chords and the octave section.  Think of it like tennis, or baseball or golf - one does not stop the swing just because one hits the ball, one has to follow through the swing.  Similarly in playing piano one does not stop the motion because one has hit the bottom of the keybed, one has to follow through the movement. 

In the double octave section (pickup to bar 6), rather than moving the hand towards and away from your body in order adapt to playing black or white keys, keep the hands in a location centered around the line where the black keys end.  I've attached a diagram, it is the area highlighted in green.  This area is where to aim to contact the keys with fingers, more specifically fingers 1 and 5; fingers 2, 3, and 4 would fall naturally in between or on top of the black keys as needed.  Playing octaves and large chords in this area should also improve note accuracy at faster tempi, as unnecessary movement is reduced.  While moving the hand in and out may be plausible in slow music, it becomes a source of inefficient motion when the tempo is sped up. 

With the octaves as well as the chords throughout the piece, try to employ more wrist movement and overall more flexibility in the wrist and forearm. 

At 0:45 are you shifting position on the bench?  Please don't do that.  When playing at the extremes of the piano, remain at the same position on the bench.  Redistribute weight in your torso in order to maintain balance on the bench.  Ask your teacher to show you correct posture when playing at the extremes of the piano. 

Although it is a short piece with repetitive material, you can generate more musical interest by expanding on tonal variety and articulation.  If you examine the score closely, the composer has suggested many different types of articulation.  Also, selected use of the pedal can be used to expand tonal variety. 

[natsmusicstudio]

Thanks so much for the feedbacks!  I will work on them.   
About the video being out of sync, I am now thinking it might be because I adjusted the screen size in youtube.