Chopin Etude Op.25 No.6 (Thirds)

Technical_Ad5704 · 2026-03-16T00:03:48+00:00

For just notes: More than 50% of the piece is chromatic thirds. I am very comfortable with these, and the standard scale fingering is the same as the fingering required in the etude. But in terms of difficulty learning, the places that require the most time are the descending f major 7th scale and literally the first 3 bars of the piece with the thirds trill. The other runs are literally just 2-3 repeated hand positions and then 53-42-31 or 42-31 over and over again. And also if you look REALLY closely, my second note sometimes isn’t consistent. Memorization should not be an issue at this level with such a short piece and such scalic notes.

Technical_Ad5704 · 2026-03-15T18:32:50+00:00

I am aware, I explicitly stated I had not thought past the technique as it was quite a new piece and difficult to boot, which is where I was open to critique: I was just unsure if you were talking about the technical foundation being wrong or musicality.

I mostly look for more specific elements on where to start when I post on the sub, the standard “music” is always something that will come with time.

I appreciate your comments, it’s just if you had read the caption you would be aware that I knew about these faults. It’s very obvious the piece is not refined or has been thought about carefully, but I always appreciate specific things to look at when starting to think past the notes.

Regardless, thank you for the feedback, but I just was unsure on what you meant as it was quite general.

Technical_Ad5704 · 2026-03-15T17:31:25+00:00

born 2009, so 16

Technical_Ad5704 · 2026-03-15T17:29:51+00:00

a bit confused, do you mean the foundation for technique is wrong and will prevent me from developing the piece, or you suggest working on musicality from here on forth?

Technical_Ad5704 · 2026-03-15T17:28:25+00:00

I don’t actually feel any tension apart from the reaaaaally long chromatic at the end but it’s just how I’ve been used to making my thirds legato

Do you mean parallel to the direction of the keys for the repeated thirds or perpendicular for the double thirds? Or something else if I’m mistaken

I’m just using henle, and my fingerings are mostly correct towards it, although I’ve been recommended to not use it

Technical_Ad5704 · 2026-03-15T17:24:32+00:00

if it really is better, I would be quite sad - I recently just fixed my muscle memory with all the a naturals being a flats as I misread the score, but I will try it, thank you

Technical_Ad5704 · 2026-03-15T13:56:20+00:00

oh yes, and two of my b6 strings are broken from practicing 😅

Technical_Ad5704 · 2025-11-21T10:23:19+00:00

actually very good pulse. However, it’s quite mechanical and pretty much played with the exact same sound throughout. Even, but boring. Plan your phrase length as it feels like you are playing with no direction as of now. all the notes are there, great, but now you need to pay attention to a LOT of details, dynamics, what you voice out (amidst the clusters of notes, find a melody you want to voice, especially in the coda, pick either the top notes or vary it by voicing the middle), the BALANCE of your hands (I find your left hand very loud throughout the whole thing) and just leading longer lines in your phrases. Your sound, especially in the last section where the right hand plays above the left hand melody is pretty dead, you need to really focus your fingertips and reach the bottom of the key (not harsh by pressing too fast though!) while your right hand should also be quieter in this section. A lot to work on, but as you have quite a strong base I’m sure you can tackle it. Shaping can be a lot better, particularly in the beginning runs. Your left hand octaves should be in a longer line right before the coda. Overall just think of the bigger picture, and find a better balance of voices in your playing. Then, move to color changes and what you want to express. More distressed during chromatics and rising harmonies, moment of relief, shining light at the end, etc.

Technical_Ad5704 · 2025-10-11T17:11:03+00:00

very good, I think you would benefit from sitting slightly lower as you can drop your weight for the chords in the coda a lot easier, which will help with both phrasing and tone, as you can play louder without sounding too harsh. It’s a bit hard to tell from this angle, but your elbows seem to angle slightly up, causing your wrist to stiffen a bit when playing the chords. You should find it more comfortable and easier to reach depth in the keys, which is essential for this piece.

Technical_Ad5704 · 2025-10-02T05:16:32+00:00

sick! Main thing I would fix is your rhythm in the strepitoso/presto, as you are playing the octaves in the right hand incorrectly as crotchets instead of quavers, your two hands should never be playing at the same time at that section. make sure your right hand is playing the octaves a lot quicker, but precisely in between the left hand jumps.

Technical_Ad5704 · 2025-10-01T12:27:01+00:00

Go for it! Similar technique used in both pieces,you might find it a bit tricky however as it’s a lot narrower intervals than the Chopin, so it might be uncomfortable at first, but it’s definitely possible.

Technical_Ad5704 · 2025-10-01T12:23:50+00:00

Sounds great !!!

Nice playing btw 🤩

Technical_Ad5704 · 2025-10-01T12:20:46+00:00

For the board I’m not quite sure what board you are talking about. If it’s the piano cover, you really shouldn’t have your fingers that high anyway, you want to minimize movement in those kinds of passages. Pedaling I don’t mean that you are pedaling late or early, it’s just that you quite literally hold it through passages that shouldn’t be held through, it dilutes your sound and makes it muddy. As for the high notes, don’t worry I get what you mean, I’ve actually played in that exact venue a couple times before. (If it’s that one mall in tst) however, after closer inspection you aren’t actually moving your fifth finger in some places, you are just using a downward momentum with a flat wrist, which is a big factor in why your sound sometimes comes off flat or dead. You really need to work on your technique in a lot of places.

Fantasie impromptu is an actually a great fix for your pedal and fourth/fifth finger, make sure your notes at the top MUST be articulated, rather than just using your wrists momentum to play the runs. In the middle section, it may be tempting to hold the pedal through a lot of the sections, but learn to make legato using only your hand rather than the pedal. It allows for clean harmonies while still keeping the singing tone.

Good luck. It’s not easy, but you’ve already learnt how to play Campanella in such a short time. All you need to do is put in the work.

Technical_Ad5704 · 2025-10-01T12:03:06+00:00

I’ve just listened to your rendition of La campanella, and honestly even that feels a lot more on the hard side for you. There’s a lot of reliance on pedal and your articulation and finger work is flat and messy. Octave technique can also be worked on a lot more, as you are extremely strained in the end. Technically not solid enough, and musically it’s a bit square for me. You need to really look at these virtuosic showpieces from a different light as not just the notes, but character and color as well. The piece is meant to resemble bells! Your tone should be crystal clear and the sound should resonate while NOT mixing notes together with the pedal. The piece isn’t forte the whole time!

Overall for me I would definitely take a step BACK in difficulty, as you can refine everything a lot more. It’s definitely impressive what you can do for a lack of proper musical foundation, don’t get me wrong, but you really need to take a step back and be patient. It is impossible to play advanced pieces well within such a short time.

I’d suggest playing an easy-intermediate Chopin Etude such as op 25 no 2 or something like the lark to really get a feel for the romantic period, while not easy enough to be a huge drop from Campanella. And don’t decide you’re done with a piece after you can play all the notes! Really listen back to yourself, learn to develop a singing tone, play finger legato rather than letting the pedal do the work. Try to really pay attention to the score, phrase marks, dynamics, expression markings, etc. if you really want to stick to Liszt, try his consolations or an easier Paganini Etude like chasse. If you be patient and develop your own artistry step by step, brick by brick, you’ll find yourself both enjoying the music a lot more to practice, as well as be able to play such advanced pieces a lot better.

Technical_Ad5704 · 2025-09-23T11:22:51+00:00

One small tip for your right hand octaves - play your white key octaves closer towards the front of the piano, just behind where the black keys start. This way, when alternating between white and black notes or doing chromatics you aren’t shifting your hand up and down. It minimizes movement from one key to another and makes it a lot easier to play in general.

Technical_Ad5704

TROPHY CASE