Mastering Chopin Etudes (Op. 10 No. 5) "Black Key Etude"
What you'll learn
- Specialized techniques for playing black keys
- Full performance control for both short and long term
- Identify ideal counting strategies
- Complete understanding of all aspects of this work
Requirements
- Must have access to a piano throughout the entirety of the course.
Description
Welcome to Mastering Chopin Etude Op. 10 no. 5, also known as the "Black Key Etude". This is a highly adventurous exercise masterpiece which builds confidence while playing the upper set of keys found on a keyboard.
The buoyant character of this study intensifies the interest of any learner to carry on until complete mastery is obtained.
It is, therefore, my great pleasure to accompany you on your journey on the road to your successful accomplishment of this wonderful Etude. In this course, I will be with you every step of the way so you can easily stay on track and go through perfectly planned steps to get you where you want to be.
Not only are we going to learn AND master this Etude, but we are going to do it in 30 days! Following the structural design of this course, it is always known exactly what aspect of the study must be done at any time. Reminders of emphasis on efficiency is are suggested throughout with thorough demonstrations and explanations.
On top of all that, details on how to keep this piece in your permanent repertoire (i.e. playable) will be discussed. If these steps are followed, then you will not only be able to play this Etude on command, but will be able to bring it to a competent performance level in a matter of one to two weeks!
So let's dive right in and Master this Chopin Etude!
Who this course is for:
- Ideal for intermediate to advanced students.
Instructor
- 4.9 Instructor Rating
- 13 Reviews
- 1,034 Students
- 8 Courses
Hello there, and thank you for visiting my page. My name is Calin Clark and I simply adore piano. I have been playing my whole life (starting by ear at age 2). I have travelled the world participating in masterclasses, concertizing and getting a world view perspective on the subject of the Art of Piano Playing.
Having been instructed from every major pedagogical school of piano (Russian, German, Austrian, Italian, French and American) I have a unique lens through which I view the glorious instrument.
My personal story of growth at the piano contains two painful and difficult hurdles that I had to overcome. The first was as a result of me being gifted by playing by ear. I used to go to my piano lessons (starting at age 5) and sit through the lessons not paying attention to a thing the teacher was saying. At the end of class I would be brought back to attention as the teacher would say "so , do you get it?" and I would respond with my usual "yes, could you just play it for me once please?" after which I would go home and not practice the whole week and go to lesson and play perfectly thus receiving unwarranted praise.
Things continued like this for some year until finally, my abilities had brought me to my first teacher of renown. As I was playing through a Liszt Hungarian Rhapsody (that I had learned because my mother had bought me the CD of a famous pianist playing it which was how I had been learning all my pieces for awhile at this point) my new teacher suddenly said "STOP, play from here" as he pointed to some location somewhere in the middle of the piece that I of course had no idea where it was. So, I simply started from the beginning again. And again he said "STOP, play from here" once again pointing to the spot I had no idea where it was.
In short, he discovered my lie and I was forced into learning how to really read music for the first time. It was a very difficult hurdle to overcome, but one that has opened a vast amount of doors that were closed to me previously.
The second hurdle is a more difficult one to describe but briefly, it entails learning to listen to myself. If you are unfamiliar with this concept, it basically is the idea that many people play and of course (if they are not deaf) can hear themselves, i.e. the sounds they are producing, but cannot actively follow what they are doing as they are doing it (as one more easily does when they listen to a recording).
Needless to say, after overcoming this hurdle (which took years), I began thinking back to the way that I had learned all these things and decided that it did not need to take so long and be so difficult to learn these things.
Thus, I set out to discover a teaching method that confronts students with these hurdles from the beginning and together overcome them from the start! The results? In a word: INCREDIBLE!
I offer these findings to you now in each and every course I offer. It is truly with the greatest pleasure and excitement that I bring these clear and defined processes to you (as will be seen by the enthusiasm in my courses).
Now a summary of my schooling includes graduating with honors from NEC (New England Conservatory in Boston, MA; America's first conservatory). Before that I was a student of Jura Margulis at the UofA and it was during this time that I was exposed to many different schools of piano for a period of no less than 7 years.
After my formal education, I continued traveling extensively putting into practice my unique pedagogical method of teaching effecting hundreds of in person souls wanting to improve their piano skills.
The past year has seen a major shift into the online sector for my teaching routes and has seen an even greater number of people now enjoying these focused courses providing clear insights and concrete paths of practice.
Alongside teaching, I love performing solo, chamber/collaborative and orchestral works and recording piano. The whole endeavor is my idea of the best time possible. Therefore, all the teachings and practices are reality based and designed to give absolute confidence to all who come upon and use these methods.
Calin Clark