“Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody | a team piano chords | #1 song chords

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“Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody | You can find all the song chords here

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“Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody

“Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody


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Chopin was not only one of the great melody writers in music history, he had a knack for combining multiple memorable melodies within a single texture. Mentor to several of the current generation’s top young pianists – including Yundi Li, Beatrice Rana, and Yeol Eum Son – Arie Vardi reveals the magic of Chopin’s “polymelody” in the B-flat minor Mazurka, Op. 24 No. 4 and the B minor Sonata, Op. 58.

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“Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody.

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25 thoughts on ““Play so that no one recognizes what you are playing.” | Arie Vardi on Chopin’s Polymelody | a team piano chords | #1 song chords”

  1. If you play Chopin vertically, like a hymn or a chorale, you're doing it wrong. It's not Bach. But if you divorce Chopin from dance, without a trustworthy heartbeat pulse, you're also doing it wrong. It's not Debussy.
    Chopin is between a metronome and gusts of the wind.

  2. I am not a chopin expert, i can play only a couple of nocturnes, waltzes and preludes by him. However, listening to talks like these and understanding his muisc in more detail adds purpose to life. I will try to play a mazurka now.

  3. Going into this, I was thinking, "What do you mean, play unrecognizably? Pretty much anyone can do that," and I have to admit I am kind of attached to playing "top voice", but I also like how Maestro Vardi advocates bringing out different voices as alternating leads. By the time the title came up in his explanation, it made perfect sense.

  4. One thing listeners must know about Chopin – his two favorite composers for study and listening were Mozart and Bach. Late Chopin shows an extremely high degree of contrapuntal ingenuity – the 4th Ballade being a masterwork of this.

    I like your approach – using opera and its characters to teach this to non-musicians is an excellent idea — the revolutions in Opera in the early to mid 19th century influenced all composers (even those who rejected it).

  5. Thank you for this beautifully-formulated and critically-important presentation. I remember when Gyorgy Sebok made an analogous point in Mozart’s G-Minor Piano Quartet, where he stopped us and said: “It lacks disagreement!” Without a deep understanding of disagreement, music becomes a one-dimensional, pallid shell of itself. Prof. Vardi is a great musician!

  6. Interesting interpretation. I see this piece as a voice lesson in which the student is attempting to reach a high note and fails several times before finally attaining it. The second voice could represent the encouragement of her voice teacher.

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