WEEK 2: Dóbry den’ (Good Day)!

Welcome to the Main Thread for the first week of the Nikita Koshkin challenge! This is the place for the Week 2 Submissions!


If you want to describe your process (optional), feel free to use the following template.

  • Things you found easy:
  • Things you found difficult:
  • (Optional): a video of you performing it!
  • (Optional:) questions

 

152replies Oldest first
  • Oldest first
  • Newest first
  • Active threads
  • Popular
  • Study 6 update.

    It's not perfect, but it is a touch faster here, with fewer mistakes, and no stops and starts. Getting there! I still can't play measures 5-11 consistently without mistakes.

    Like 2
    • Eric Phillips This one is so dramatic.  I like it a lot.  The left hand looks like it gets really busy.  Was it hard to attune your ear to those dramatic chords?  I would be so worried that I had the wrong note!😅

      Like 1
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 3 wk ago
      • 2
      • Reported - view

      Eric Phillips Great progress on this tough piece!  I had to laugh when Elizabeth mentioned being worried about playing a wrong note, because I'm sure that playing this for someone unfamiliar with the piece it might be very hard hard to distinguish right from wrong notes.😉I love dissonant studies like this and #10, as I'm sure it makes it even more challenging.  

      Like 2
    • Elizabeth Uyehara Yes, this kind of music forces me to be very attentive to the score, since my ear doesn’t really tell me if I’ve played a wrong note. Who knows,  maybe I am playing lots of wrong notes! It wouldn’t be the first time.

      Like 1
    • Brett Gilbert My family thinks these pieces are nothing but wrong notes! They appreciated the Carcassi challenge a bit more.

      Like 2
    • Eric Phillips wonderful playing. Eric. I admire this version. I know it’s a tricky thing to play in one take, without mistakes. You made it sound great.

      Like 1
    • Eric Phillips my husband also doesn’t appreciate these pieces so much, preferred our Tarrega,  Carcassi, Sor, and some of my repertoire pieces. I lock myself in one spare room. Still working on 8 and 9 and repeating 7. 

      Like 1
    • Eric Phillips my husband also doesn’t appreciate these pieces so much, preferred our Tarrega,  Carcassi, Sor, and some of my repertoire pieces. I lock myself in one spare room. Still working on 8 and 9 and repeating 7. 

      Like
    • joosje Thank you, Joosje!

      Like
    • joosje Wow, number 8 is really difficult!

      Like
    • Eric Phillips well done! I can’t her any mistakes. The piece makes sense, you play it beautifully

      Like 1
    • Emma Thank you, Emma!

      Like
  • Koshkin #1 update.  Here's measures 5-9.  I found it hard to find a tempo slow enough where I could at least play the right notes! The things I'm struggling with are fretting the right string or playing the right bass string.  I'm also trying to train myself to use the right hand markings on the score.  Sometimes I play the right note with the wrong finger.  So many things can go wrong, LOL! I haven't even gotten to addressing the dynamics and other subtleties of playing!

    My goal is to make it through this piece in 3 weeks.  Since the next 3 measures are a repeat from the beginning, I only have 3 more measures to learn. Yay, I might make it!😅

    Like 4
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 3 wk ago
      • 1
      • Reported - view

      Elizabeth Uyehara You'll definitely be able to play the entire piece soon, you're making great progress!

      Like 1
    • Elizabeth Uyehara Almost there, Elizabeth! It’s sounding really good.

      Like
    • Elizabeth Uyehara beautiful Elizabeth. You’re doing great. Looking forward to seeing your submission of this study. We all know how hard it is to get a whole piece recorded,…

      Like
    • Elizabeth Uyehara well done! You are nearly there!!! 

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      Elizabeth Uyehara So fantastic, very inspiring you really digging into the piece! Glad you participated in the interacitve Livestream with Marina, too! 🐈💪

      Like
    • Martin Yes, I'm so happy I made it to the Livestream.  I almost missed it.  The best part was that my most burning questions were answered in the Livestream!  It was as if you guys were reading my mind!

      Like
  • Study #2 is coming along well. It's pretty well under my fingers and up to tempo. It just needs polishing, working on the balance, dynamics, rubato, and color. Time to start #3.

    • Things you found easy: The chords, while many were unfamiliar, were not difficult to finger. The arpeggio pattern is one I've done many times.
    • Things you found difficult: Some of the chords were unusual. In a few places (measures 8, 13, 24, and 29) I found it easier to use a barre at the first fret instead of the indicated fingering. Bringing out the top note of the chord is not difficult but required attention.

    This is a really lovely piece and I have enjoyed learning it.

    Like 2
    • Peg Barrett Thanks for the update, Peg. This is a simple but very beautiful and effective piece.

      Like
    • Peg Barrett thank you! Glad you are enjoying the piece!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      Peg Barrett Thank you, Peg! Marina called the opening a "Rock Ballad", I hope you can really enjoy the atmosphere of these chords!

      Like
  • Study #9

    easy: try to imagine the melodic lines in your mind 

    difficult: try to play these melodic lines; they are in a rather slow tempo, but It’s very hard to connect those chords in distant positions. I’m also still working on the part with harmonics. I thought I was rather good with harmonics, but these are so tricky….
     

    I made a recording of the first part, but my internet is too slow here. I cannot upload the files (I’m in France now, on holiday)

    Like 3
    • joosje I've started looking at this one too. It's definitely a lot harder than it sounds when I listen to Marina play it (she's so good!). I don't know if I will be able to pull off these complex rhythms, and the section of harmonics toward the end is so hard. I'll keep at it a while more, but I think it may be beyond me. I very much look forward to hearing you and Martin play it!

      Like 1
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje Fantastic! Can't wait to dig into that after tomorrow's interactive Livestream with Rafael Aguirre!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje Wow, enjoy your holiday in France!!!

      Like
  • Here is first my update of #7. It’s a bit more a tempo but still not in perfect condition. 
    what is still somewhat difficult: the smooth slurs  and the phrasing of the motifs moving from upper to bass voices.
    Unfortunately very limited internet access and limited practice time. And no equipment for decent recording, but I’ll try to upload a few other pieces tomorrow. https://youtu.be/-QVZ-HY4WcM

    Like 5
    • joosje This is excellent, Joosje! Your tone is so beautiful, and perfect for this piece. I love how your phrasing really makes the structure of the piece so clear. Great work!

      Like
    • joosje Nice musical performance!

      Like
    • joosje well played and beautiful sound and phrasing. Also I live the light of your recording, beautiful set up

      Like
    • Eric Phillips thank you Eric 

      Like
    • david robinson thank you David

      Like
    • Emma thank you Emma. I was not so happy with my setting. Although it was a lovely Mediterranean evening, the noise and poor light was disturbing, me, but, ok, I did as well as I could 

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje absolutely wonderful! Very moody night session with  fantastic musical detail! Try to play it by heart! I didn't know I could it with Study #10 until I tried it!

      Like
  • Study 6 Final (?) Update

    I'll probably make this my last video of this study. I feel a slight improvement from yesterday. I am a bit more confident with measures 5-11, though they still need plenty more practice. I do have it pretty much memorized, but when recording, my mind always goes blank, so I kept my eyes on the score mostly.

    Like 1
    • Eric Phillips well played. You are giving lots of colours to this piece. The rasgueado is so clean and good. Congratulations 

      Like 1
    • Emma Thanks again, Emma!

      Like
    • Eric Phillips that’s really good. I like all the decisions you made to phrase and colour the piece. Well done

      Like 1
    • joosje Thanks, Joosje. I'm going to try number 9 next. I can't practice at all today, but maybe I can start it tomorrow.

      Like
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 3 wk ago
      • 1
      • Reported - view

      Eric Phillips Getting this far on #6 (and memorization!) is impressive.   Your family will probably enjoy #9 a bit more, but that one sounds tough.  Parts of #9 were discussed in the interactive today, but maybe others working on that can convey some of the key points since a lot was over my head. 

      Like 1
    • Brett Gilbert I really wish I could have been there! I have just dipped my toes in to number 9, but I think it may be too difficult for me to do well. It sounds so easy when Marina plays it!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • 1
      • Reported - view

      Eric Phillips Rock'n Roll!!! Fantastic execution of the different textures, you said you were struggling with that in the beginning, you really broke through that barrier!!!

      Like 1
    • Martin Thanks, Martin! I'd still like to play it more confidently and up to speed, but at least it's not something beyond me now.

      Like
  • I made some recordings yesterday evening. On our terrace. You can hear some street noise at the background. The light is funny, I could barely read the score or follow my fingers…. 

    I gave #9 a first try, for now only the first part., though

    the position changes are so difficult to control and therefore it’s hard to keep the melody line

    im working on the part with harmonics.. it’s getting there slowly. I’ll try to record tomorrow.

    продолжается (to be continued)
    https://youtu.be/HAVi7xQsPpo

    Like 4
    • joosje That's great, Joosje! I think the darkness around you works well with the music. As always, your sound is so good. I actually really like the slurs you play toward the end (F# to F I think). Hard to do, but you played them very cleanly.

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje uff, so beautiful! Your tone really makes this study shine and we could really see that you enjoy this gem! I'll dip my toes in that one after this weekend!

      Like
    • joosje Wonderful performance as usual.  Please take a another look at some of the tricky "3 over 2" rhythm figures, as something doesn't sound quite right to me.  This is not an easy study, and you bring bring out it's lyrical lines so beautifully.  Always a pleasure listening to you play.  Thanks!!

      Like
    • Barney that’s interesting, Barney. I didnt comment on other versions, but a triplet (3 over 2)  is what Im trying to make. Its indeed tricky, that’s maybe why most people play it in simple meter (in sixteenths) . On the picture is  how I learned this (1) and how it is played by you, and  Marina, (2) and the difference (3) but maybe I’m wrong here.  And, to be honest, I think I’m a bit too fast (should hold the last note longer). I m looking at Martin to shine his light on this issue.  
       

      Like
    • joosje Martin has been very busy.  Hopefully he will share his thoughts on this as well.  This type of Rhythm appears often in Chopin piano music.  I remember when my son was taking piano lessons, his teacher explained it to him., so I recall how it sounds. ( unfortunately, he no longer plays  those beautiful piano pieces...oh well)

      Like
    • joosje beautiful!!!!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      joosje Barney 
      I attempted to made a video that got waaaaay more confusing than intended! I will start to work on this study today and hopefully I gain more insights myself!

      Like
    • Martin thank you so much, Martin. That was useful , maybe more than you seem to  think. I still feel some controversy, though. I agree it should be not too mathematical, but definitely a different texture, so not just sixteenths. It would’ve been easy for maestro Koshkin to notate it in punctuated quavers. Here, especially at this tempo, it’s really tricky to articulate the difference between the 3 and 2 and still keep the pace of the 4/4.

      Like
    • Martin Thank you Martin!  As usual, you are able to simplify some complex issues.  In my opinion, I think your illustration using the two rows (top and bottom voices) counting in Eighths (for that measure) and aligning both voices accordingly, is the easiest way to understand it.

      Like
    • Martin Hey Martin,  Have you posted your complete fingerings for #10 yet?  I'm not sure where to look for it...  Thanks!!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Barney Ups, will do now as a seperate post in the Week 3 thread!

      Like
  • I also did #5., yesterday. Such  beautiful melodic and harmonic material. 
    It’s a bit like #7 regarding the dialogue between upper and bass voices. 
    working up the tension towards the highest notes in part 1 and and at the reprise is not so easy because of the uncommon finger positions, but is very well organized, musically.. I have to work on this one more, to give it its full value. It’s surely one of my favorites.

    https://youtu.be/h1PS8TpeKxk

    Like 3
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 3 wk ago
      • 1
      • Reported - view

      joosje I've enjoyed all of your recent videos.  You always have such a wonderful tone and expressiveness to your playing.  The quality of the recordings is excellent as well.

      Like 1
    • joosje You play this so beautifully , Joosje! It feels very relaxed. I really enjoy listening to someone else play it, because I really hear it more musically, instead of just hearing all of my technical shortcomings. It is just so much more enjoyable listening to you!

      Like
    • joosje wonderful. You have a beatiful tone Joosje

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje 😍😍😍 did you use Marina's fingering for bars 37-38 with that jumping index instead of the full barre?

      Like
    • Martin yes I did, but I chose that solution before I heard her do that….

      Like
    • joosje beautiful!!!!! So so beautiful and relaxed… how difficult is that. I am also preparing this one and can not find my way around fingerings in bar 8 . Marina explained but I could not get it. Can you or Eric Phillips or Blaise Laflamme help please :) or any who has studied this one thank you!!!!

      Like
    • joosje so well played! sorry I was out of the challenge for most of the past week Emma my version is coming but as far as I can see I'm not doing like others here, my focus is more about the top line legato than the moving bass line, if it can help you somehow. 

      Like
    • Emma Blaise Laflamme hi Emma. Yes, it’s a difficult move in bar 8. You can use 4th finger on the d (3)  so 3rd finger can stay on a#(1), which can then ring longer, helping the upper voice melody to be connected. But then the hand position is uncomfortable for the next  b (1), so I chose to follow Koshkin’s fingering. It’s important, as Blaise says, to hear the upper voice melody first. Play the voices separately so you can really hear them, that helps to control the sound. Vibrato on the first a# helps. I have the problem in study 9, where the high e on string 1 should sound for 3 1/2 beats. It will never ring that long, so you have to suggest a longer sonority. . With vibrato and extra weight of the finger playing that note. Easier said than done…

      Like
    • joosje thank you so much!

      Like
  • I had a bit of an issue recently and I'm supposed to be taking things easy for a few weeks so not done as much as I would have liked on these pieces (plus I'm still working on the Carcassi pieces etc).  Also I've not watched as many of your wonderful performances as I would have liked. I've been working on 1,2 & 4, concentrating mainly on 4. Hopefully post a video in the next few days.

    Thing I found easy: discovering that number 4 is on the page after the last page of number 3 :-)

    Thing I found difficult:  Bar number 7 the transition from the harmonics to the A (natural) following on to bar 8. Bar 9 to 18 aren't too bad but then a bit of a stretch to the d# and g# in bar 19.

    Like 5
    • Derek Hey Derek, I hope you're doing okay. That was the trickiest part of number 4 for me as well, and I botched it a bit on my recording. I hope to be able to hear you play it soon!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      Derek Fantastic, take it easy and keep us updated, happy that you share your progress with these intriguing studies! 😎

      Like
    • Derek looking forward to hear your version soon. I know it’s quite hard to get this transition in bar 7/8 smooth and fluent. You’ll get there…These studies are worth the effort.

      Like
    • Eric Phillips thank you Eric. It's coming along now so hopefully the rest of the piece will follow.

      Like
    • joosje thanks for your kind words Joosje

      Like
    • Martin thanks Martin

      Like
    • Derek you're definitely right, this is the more challenging bar, except getting up to speed.

      Like
  • Study 9

    Here is my first stab at this incredibly beautiful piece of music (my favorite of them all). I am only playing up to measure 20 here. I'm still wondering if this is perhaps beyond me right now, but for now, I will keep plugging away, hoping that it starts resembling music at some point.

    Like 4
    • Eric Phillips WOW, wonderful, Eric. You did great. I love the tone and timing. So now we will proceed with the harmonics part. It’s actually quite fun working on them. Did you watch Marina’s livestream  how she prepares the thumb attack for these harmonics, gradually changing the angle of finger i. It helps a lot. But still not easy….

      Like 1
    • joosje I could not attend the livestream, and since it was interactive it was not recorded. I’ll just have to watch how you do it!

      Like
    • Eric Phillips Fantastic. You're doing a great job with all of these studies 

      Like
    • Eric Phillips wonderful!!! And it is very hard… congratulations, excellent 

      Like 1
    • Emma Thank you, Emma!

      Like
    • Eric Phillips sounds great Eric! you definitely have affinities with this study, can't wait to hear your «final» version 💪

      Like 1
    • Blaise Laflamme Thanks, Blaise!

      Like
  • Hello everybody! I am preparing No 4, and 5. I was planning to record No 4 and always failing in the same spot, that is bar 7 and 8. So in a very…very… slow reaction I decided to change the fingerings so… I don’t think I am ready to record. It is a beautiful study and I am with the metronome on at all times and trying to think horithontally! (So descriptive, thank you Marina!) 

    Like 3
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      Emma Keep us updated!!! What's your exact problem in these bars, maybe we can help?

      Like
    • Martin thank you so so much! 
      Study no 4 In bar 7 just after the harmonics. Keep Koshkin’s fingers? I would play A with 1 but then the change to B in the third string with the same 1 finger makes me fail when I speed up. Or I came out with the idea of playing A with 2 and maintain it for the next chord so 1 is free to play the B beautifully, but  in this case  I would be playing the A in bar 8 with 2 and the handy  slide to G with 3 can not happen. This is making me waste some time, and now I keep using both  ways with less success that I hoped…. What would you do? 

      In study 4 I remember you thought of some alternative fingerings for bar 8 in the life class with Marina. I could not get them well and I am finding problems here. Joosje uses Koshkin fingerings but I still have to come around them.

      thank you!!!

      Like
    • Emma In bar 7 I play the A on third beat with 3 and then F# with 4, it gives me a better shape for the patterns and articulations, as bar 7 and 8 are based on the same idea.

      Like 1
    • Blaise Laflamme yes thank you that is clear. You did a fantastic job in this study

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • 1
      • Reported - view

      Emma Blaise Laflamme Here's my idea on these bars! Spoiler Alert: I'd keep the fingering of Koshkin and apply a guiding finger there!

      Like 1
    • Martin for the harmonics passage I opted for finger 3 since 4 is already used for the last note before, then you can lift 3 while you're playing 4, then play the harmonics, then I still use 3 for the A, using the open string as a bridge... that was easier and more effective for me.

      Like
    • Martin thank you so so much! This video has totally changed the way I do it! I understood what I was doing wrong. I was like you,  trying to keep finger 2 as guiding finger but I was not relaxing it, so the change to the chord was very ugly. But seeing this, and how the guide finger is not pressed but relaxed to allow a neat movement was an eureka moment. Thank you!!! I hope you understand what I mean, writing about fingerings in a clear way is difficult!!! Now I am drilling that bar with the metronome and I am progressing quite quickly. Thank you 

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Blaise Laflamme Yeah, usually I try to avoid to use the 4th twice in a row, but since it's a harmonic I can move my hand quickly enough and get to the 12th fret in time since I don't need to press it!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Emma Fantastic, glad it helped! Absolutely true that writing about fingerings is sometimes hard, that was why I started to do these commented videos in the first place 🤓🥳

      Like
  • This one is for Eric, to share what I learned from Marina: (but didn’t practice enough) 

    My first try of last page of #9. The part with the harmonics., (mm20-23). I tried to do as Marina suggested. While playing the open strings (5) and (4), your RHand is already moving towards fret XII and fingers i and p are placed almost horizontally, so you can damp the string with i in XII and pluck the string with p at about 1 inch from i. Am I correct, Martin?

    the following line with harmonics upper voice  (24-27) is also not quite as easy as it looks. I started playing the voices separately until both were secure, but together it’s still tricky…

    I’ll have to give it some more time….

    https://youtu.be/vrVPYSdB_Tg

    Like 4
    • joosje This was so incredibly kind of you, Joosje! Thank you so much! I had tried a couple ways to play the harmonics in measures 20-23, but not like that, which makes a lot of sense. I also like the tambor chord at the idea - great idea!

      Here's a video with me playing measures 19 to the end. It's much slower and not nearly as beautiful as yours. Let me know what needs correcting or improving.

      Like 2
    • Eric Phillips that’s superb, Eric. Your managed to make those harmonics, you don’t seem to have any problem there. They are  clearer and more secure than mine. I hesitate a bit about your triplets, also in the first part. Btw, the tambora was not my idea, but Koshkin’s suggestion in he introduction to the pieces.

      Like 1
    • joosje Thanks, Joosje. I have never been able to get the feel of quarter note triplets, especially when there are regular quarter notes in the other voice. It always feels like I'm just playing random note values.

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • Reported - view

      joosje Fantastic! Exactly! The suggestion to play those harmonics with the thumb came from one of the tonebase members, Marina herself plays those with the a finger and keeps her nail very parallel to the string to avoid scratchy sounds! She does have overall shorter nails and can apply more flesh to the touch!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 3 wk ago
      • 1
      • Reported - view

      Eric Phillips Beautiful!!! Fantastic interpretation of the ending! I'll start tomorrow with #9 (and #5), had a free Sunday full of happy tax declaration making 🤥

      Like 1
    • Martin Thanks, Martin! I look forward to hearing you play both of those (since they are my two favorites and since you are such an outstanding musician). I must say, it’s not often that I see the words “happy” and “tax” right next to each other!

      Like
    • Eric Phillips As usual, your execution is spot on.  It is very even and lyrical and you played the tricky "3 over 2" rhythm passages perfectly.  In addition, a superb job on the RH Thumb harmonics (way better than me..).  Well done Sir!!

      Like 1
    • Barney Thanks, Barney, but I respectfully disagree. Yours sounds much better! But you are inspiring me to keep working at it. I want to play it like you!

      Like
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 2 wk ago
      • 1
      • Reported - view

      joosje Always an inspiration to see you and other advanced guitarists like Eric Phillips and   Barney work on something as challenging (and beautiful!) as study 9.  

      Like 1
  • Study 4

     

    I found the recurring eight-sixteen motif at the top of the score  challenging to play evenly

    Like 5
  • Last week was not that great for practice, life's challenging sometimes, so to continue after the first three, here's #4... far from perfect, sorry for a few missing notes, the most challenging part was definitely the speed. It still needs love, but others studies are looking for more love too 🤪

     

    Like 5
    • Blaise Laflamme Sounds great; nice transparent recording too.

      Like 1
    • david robinson thanks David!

      Like
    • Blaise Laflamme That was incredible, Blaise! Please don’t tell Marina, but I think I like your version more than hers! Great dynamics, well placed rubato, beautiful colors, and spectacular sound as always. Well done!

      Like 1
    • Eric Phillips haha... thank you Eric! That's the beauty of playing music, we all have our own way of expressing ideas, I'm happy liked my humble version 🙏... but don't forget you were the 1st to post a version of this study even before the contest has started!!!

      Like 1
    • Blaise Laflamme I may not be the best, but I’m the fastest!

      Like 1
    • Eric Phillips you are certainly an eager and passionate learner, I admire your dedication!

      Like
    • Blaise Laflamme wonderful recording, Blaise, you made it sound more lyrical, I hadn’t heard it like that before. Great.

      Like 1
    • joosje thank you Joosje, «That's the way, uh-huh, uh-huh
      I like it, uh-huh, uh-huh» 😂

      Like 1
    • Blaise Laflamme It's good to see that I'm not the only goofy one in this group! 😄

      Like 1
    • Eric Phillips you showed us the way! 🤪

      Like 1
    • Blaise Laflamme This looks like concert stage performance quality!  Great musically, technically, and sound wise.  Great job Man!!

      Like 1
    • Barney thank you... well including missing notes!😂 I was playing this piece like 10 times in row to validate some musical ideas and memorize it... I failed but the exercise was great!

      Like
    • Blaise Laflamme I ignore the little misses.  More interested in the musical expression and overall effect and delivery.  I really enjoyed it!!  I find these studies as exercises to cover and reinforce certain technique, so that you can play the repertoire you really like.

      Like 1
    • Barney you're right, I'm also looking up first about what I want to do with the musical text and how I'll express that as I'm reading through the piece. They are very well written and effective!

      Like
      • Brett Gilbert
      • Piano and classical guitar
      • Brett_Gilbert
      • 2 wk ago
      • 1
      • Reported - view

      Blaise Laflamme I was hoping to come back from the weekend and see your video for #4 (my fav of the first four)!  I love how you always add something to your interpretations to make it unique.    I continue to work on this and #3 but it's a considerable jump in difficulty from 3 to 4 (for me anyway).  Looking forward to how far you get in the final week.

      Like 1
    • Brett Gilbert thanks Brett... you're right there's a step but somehow it's kind of easier than #3 to make it interesting. I hope to listen to your version of one or both 3 and 4! Well, I hope to find enough time till the end to play at least the following #5 and hopefully #10 since I asked Martin to do it 😵

      Like
    • Blaise Laflamme beautiful and musical . Fantastic 

      Like
  • Here is my current status on Study #9.  Even though the melody line is Andante largo, the movements are quick in certain spots including leaps.  The RH harmonics struck with thumb is giving me some difficulty, and I missed a few.  Tried with "a" finger which is easier for me, but got scratchy sound on bass strings, so must practice with thumb some more .

    This study is particularly difficult for me to play at stated tempo without memorizing it, while also maintaining legato throughout the piece.

    Like 6
    • Barney That was lovely, Barney! You made those challenging shifts and unconventional fingerings sound so effortless. Your tone and sound were perfect for that piece. Very impressive!

      Like
    • Barney as Eric just said... you got the right tone and sound for that piece, very well done!

      Like
    • Barney how beautiful, Barney! With your sound quality, the upper voice is really singing. Thank you for submitting this. 

      Like
    • Eric Phillips Thanks Eric!  I like the way you played your RH Thumb harmonics so beautifully.  If you can play like that at faster tempo, please take a look at my movements and let me know what I'm doing wrong.  At my faster speed, it's not consistent.

      Like 1
    • Blaise Laflamme Thanks Blaise!!

      Like
    • joosje Thank you Joosje!  I found it difficult to achieve the singing quality at my slow speed.  I think Mr. Koshkin intentionally states a faster tempo in the score to help compensate for the natural sound decay of the Classical guitar.  I would need a longer time with this piece  to accomplish that.

      Like
    • Barney I agree, those harmonics sounds great when plucked with the thumb, but like you said, I can't seem to do it in tempo. I will keep practicing it though. I don't think the way you do it sounds bad at all, though. I don't hear any scratchy nail sound. I'd love to be able to play the whole piece like you are.

      Like
    • Eric Phillips Is your Thumb nail long?  My is pretty long and wondering whether that is part of my problem, where it may be "catching on the string and somehow altering the proper position...

      Like 1
    • Barney Mine is not too long. From behind, it seems to extend about 1/16" past the top of my thumb.

      Like
    • Eric Phillips Mine extends about 3/16" at the moment.  This could be part of the problem...Thanks!

      Like
      1. Barney impressive, what a sound and phrasing …
      Like
    • Emma Thanks Emma!

      Like
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Barney Wow, that sounds MASSIVE! Absolutely beautiful! Absolutely golden tone for the upper voices!

      Like
    • Martin Thanks Martin!!!  When you work on this piece, please try to analyze your RH movements for the RH Thumb harmonics.  My playing at a medium tempo ( not even the faster stated speed indicated by Nikita), results in inconsistent attack of those thumb harmonics after the preceding natural notes..   Would appreciate your suggestions on this, if possible.

      Like 1
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Barney Will do! With "inconsistent attack", you mean the tone or rhythmically?

      Like
    • Martin I mean that sometimes I hit the string with Thumb, intending it to be a harmonic with the "i" finger, but instead my "i" finger misses the correct spot, resulting in it sounding the natural open string.  When doing it slow, I have time and it's easier to control with no problem; but at the speed I recorded, it is not secure all the time.

      Like 1
      • MartinTeam
      • LIVE
      • martin.3
      • 2 wk ago
      • Reported - view

      Barney Gotcha, I'll check that passage out and see what could help there! Generally I haven't had too many issues myself, but then again, I've never played any repertoire where I needed to use that technique extensively!

      Like
    • Martin Thanks Martin!

      Like
  • I have been working on #3 with the limited practice time.

    • Things you found easy: The slurs and barres presented no real problems and the notes and rhythms are fairly straightforward.
    • Things you found difficult: The chords and intervals are easy enough to play but have been a challenge for me to get in my ears. The sounds are quite different from most of what I've played before as are the progressions.

    I'm glad to be working on this because I need the aural challenge.

    Like 3
  • Hello everybody! Still working on 4 and 5. Always finding something to improve and delay my recording. Today in particular silencing the C in bars 8, 9, 10. Improving what I am doing wrong in bars 7, bar 11. I hope I can make more recordings than the one and only of no 3. Today I started practicing in a better way, feeling inspired by yesterday class. Number 5 is read, measured and feels comfortable. Now I have to work more on it. I think I am learning a lot with these studies. 

    Like
Like1 Follow
  • 1 Likes
  • 2 wk agoLast active
  • 152Replies
  • 169Views
  • 13 Following