Group 1

Vidhya Bashyam I'd be happy to discuss your other Chopin ornament examples (op. 9 nr.2, Op. 55 nr. 2). Let me know if you have specific questions!

Vidhya Bashyam your hand is crowding and fingers are isolating on the ornament you mentioned. If you watch your video in slow motion you'll see this more easily - first step would be to keep your hand free in the first two notes of the ornament and gradually increase speed in the triplets (this happens naturally in the rhythm if you slow the tempo a bit at the first two notes). Your fingering can also be more fluid: I recommend 14231 for this passage.

Ko the first arpeggiated chord can land  down on the thumb rather than to the side (op. 50 nr. 1). Grace notes: try not to clench fingers, especially 5th. Think of the graces as part of the main line rather than a special and separate movement - it's more fluidly connected and singable music. The movements I showed for grace notes are meant to free your hand and keep your fingers in close contact with the keys without tension. You're already most of the way there, just analyze a bit more how much smaller the movement can be so the sound is more integrated with the main notes.

Ko the group was writing the name of the pianist they were discussing: Katarzyna Popowa-Zydroń. Also writing down the name of a book about Chopin: Ornamentation in Chopin by John Dunn.

Serene Thanks for sending! The arpeggiated chords of Op. 50 nr. 1 have G-natural in the bass. Have a closer look at your hand moving over these and coming downward onto your thumb (lower hand position on the last note of the arpeggiated chord). In Op. 50 nr. 2, your 5th finger is pulling upward most of the time - focus on letting this uncurl and use your arm/hand more than you pull your fingers inward. 

Serene you’re welcome! I’m sure your teacher will have suggestions if you ask about how to uncurl the fingers, feel free to upload a new video and I’ll check it! Let me know if you have any questions. 

Ko I would let your wrist fall more into your fingers rather than holding your hand up over the arpeggiated chords. At 1:35, I suggest a similar approach - let your thumb and wrist fall lower so your 4 and 5 can rise for the trill in soprano. About the second mazurka - much easier to comment on this - camera angle is better. Take a slower tempo, at 0:35, I suggest going forward on the trill rather than dropping wrist on the 4th finger. At 0:56 I suggest the same, change the key spot for F-G-F trill. In general when you play trills, let your hand keep moving along with fingers: your habit appears to be to move hand/wrist/arm when you play main notes and when trills come along, your hand/wrist freeze. Some grace notes your hand freezes over too - I would watch out for this! The curling fingers is much less often now, that's a great improvement - when you play fast ornaments, keep applying that freedom and I think you'll hear a change in how fluid your ornaments can sound.

Ko let’s chat about it at the zoom meeting I just posted!