Group 5

David H. A. Fitch You have the videos as Private. You need to change the setting to “unlisted” so we can see the videos. Looking forward to seeing them.

David H. A. Fitch for Op24 nr2, I suggest looking at accents as opportunity for the whole chord to resonate (this is especially true of 1:09-1:20 in your recording). Then, at 1:25, this three accented chord figure more like a przytup / tupać (Polish for stamping or stomping feet onto the ground) and take a little time before the quieter phrase. For op7 nr1, nice work with the timing of scherzando bars, listen to the accented half notes for a bit longer so the lightness of beat 1 is more obvious in retrospect. The dolce at 0:29-0:35 can be more expansive in phrasing and feel like singing atop light plucking of a bass instrument during the stretto. At 1:00 the g-flat quint can have darker sound, more like a constant droning, but your melody playing here is going in the right direction. More rhythmic precision in the sixteenths would help. You’re off to a good start!

David H. A. Fitch Great playing, David! I like this mixture of happy dancing and nostalgia in the Chopin mazurkas.

Stephanie Tingley oh I see a list of suggestions in the lesson above. I will look at those

Gillian to start, the Kujawiak (a minor section) needs a bit more optimism for the opening phrase. It’s not a heavy, plodding dance, it’s more nostalgic and a sunnier disposition for a minor key. The second phrase which becomes less hopeful and more pleading. One hint; don’t let chord on beat 2 sound so much heavier than beat 3 so that it sounds like vertical pulsation - rather, use the upper chord tone to create a subtle melody. In the mazurka (A major section) the sixteenth rhythm needs to be precisely counted so that it doesn’t sound like a triplet. You’re right to hold the low E - Chopin slurs here seem indicate the finger legato (how he played it). Do roboty jeszcze ras!

Jarred Dunn thanks, Jarred. Yes, lots more practicing to do!

Sindre Skarelven Agreed!

Vidhya Bashyam Gratuluje (congratulations): the pulse is entirely stable. The first section in g minor sounds like a waltz for the most part, I'd suggest making the second beat longer at least twice per phrase (listen to mm. 2 and 4 and hear that when the melody has a half note, the chord could accommodate it by extending slightly). This will make it sound more like the Kujawiak. It's a common theme that in the second part - the real Mazurka section - the fifths sequence (0:54 - 1:00) needs more dynamic and colour in sound even though Chopin didn't write specific instructions. In Mazurka style the use of quints to show different keys: let each quint have a different dynamic so that the passage is colourful.

Jarred Dunn Thanks for the great feedback. I can apply it to 67/4 too. Will give it a try for my next post. 

Vidhya Bashyam Good job, Vidhya!