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16,023 Views ā¢ May 9, 2024 ā¢ Click to toggle off description
Views : 16,023
Genre: Music
License: Standard YouTube License
Uploaded At May 9, 2024 ^^
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Rating : 4.974 (5/753 LTDR)
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User score: 99.01- Masterpiece Video
RYD date created : 2024-07-13T03:04:08.377924Z
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23 Comments
Top Comments of this video!! :3
Check out Roman Kim's arrangement/performance of Beethoven 5 here on YouTube...he does this quite a lot.
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My teacher and I already call 5th finger to the fourth whenever we are doing an extension when a change of position is too much... now it's going to be either just thumb or 6th finger LOL
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Seems like there's a similarity in passages. Interesting technical chordal passage.
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Itās just a trick. I thought of that as well. But you cannot play like that on stage and be considered a virtuoso. It is said āanything possible as long as it makes the musicā but if one uses this, then it is not considered professional. It shows that the player did not invest hard work into mastering double stops like fifths with two fingers (which by the way is the technique one needs to use in this passage, jumping one string and placing second finger very round to let D sound or reverse fingerings) or any other difficulty. For those who still wondering āby the way why donāt we use thumbā reminder that the thumb place is to counter press fingers weight from under, not squeeze the neck sideways. That gives speed and freedom to all fingers and relaxes hand thumb muscles
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You can try that also in the 1st caprice just before the first triple chords.
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I did it as a joke in wieniavsky polonaise in D the beginning passage šalso using my thum
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Thx alotš¤«š¤«š¤«
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ššš
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Il quinto dito! š
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Cheater haha š
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Earlier you showed us the high thumb positioning of rabin's left hand, and now you show us this... the prophet of the high thumb! This will help me a lot, thanks! (I see it being used in bach chaconne and other arpeggio passages!)
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Nice!
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The bomb!
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@vladimirdyo7301
6 months ago
I must give credit to an amazing violin professor, Tuomas Haapanen (he was also the president of the Sibelius Competition for 30 years; sadly, he passed away a few months ago). I met him almost 20 years ago, and he showed me so many tricks for fingering in Paganiniās caprices and concertos. Now, I regret that I havenāt written them out. This is the only trick I remember because it was fun. I donāt know if he meant it for real or just for fun. I also owe him for the old-school shifting technique. It was the time when I was transitioning from playing with a shoulder rest to playing without one, and the shifting technique was one of the cornerstones that I couldnāt figure out.
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