Kemal and Rastko keep on working on the etude
and a few other things too. Remember, this is a Paganini etude
and it should be played that way
No matter what you think about the music or the score, it really needs to sound/resonate/vibrate..
The sound we are looking for here is more raw
Kemal plays Hungarian Rhapsody No.10
Andres Alen - Cuban pianist and composer
The famous Heroic Polonaise
The famous Revolutionary etude
Kemal plays the Harp etude
Kemal plays Chopin Nocturne
Op.48 No.1 played by Kemal Gekiic
Kemal plays Chopin G minor ballade
Kemal plays Chopin B minor Scherzo Op. 20
Etude Tableaux Op 39 No 9
Etude Tableaux Op 39 No 8
Prelude Op.23 No.6
Kemal plays Rachmaninoff Elegie
We are talking about the structure and Kemal points out that everything played must really sound well
Kemal plays Bach - Prelude and Fugue in c Minor WTC I
What allows us to produce tones that have musical value and no agression in them?
We are covering dolce appassionato and presto sections and talking about the character, harmonies..
Transcendental Etude No. 9
E flat major prelude and fugue WTC I
Wilde Jagd performance
Kemal plays Bach
Kemal plays Liszt - Feux Follets
Kemal plays Bach - Prelude and Fugue B Flat Major WTC I
Kemal plays Liszt - Chasse-Neige
Kemal plays Bach Prelude and Fugue in C# WTC I
Kemal plays Harmonies du Soir
A Quick update from Jovan on this series
You can play all the notes but the "atmosphere" has to be there
We are talking about dynamics and some interesting effects one should do when playing this waltz
Kemal is looking for a specific dirty sound and explains the difference between accents and non accents
Stefan performs for Kemal and they start working on the piece, trying to understand what it is about.
Wilde Jagd from Tauberbischofsheim, 2015
Part 8, more on dynamic levels, articulation and voicing.
As we progress throughout the etude, we get to talk about sound levels
We are talking about the main two themes, artistic freedom and getting down to the nitty gritty of this etude.
Metric, dynamic contrasts, a bit more on Liszt and how he composed..all that in part 5
Digging deeper into the score, main themes, the opening
A lesson given a few years back in Novi Sad, Serbia. Mini series in a few parts
We are digging in a bit deeper into the score in this Part 3
Part 2 (translated)
Kemal working with a student on two musical moments
Liszt Etude - Bach Prelude and Fugue, that is the pattern
Another Feus Follets from Kemal Gekic, but from a different recital
Another performance of prelude and fugue in B flat major, this time from Tauberbischofsheim
Transcendental Etude No.12 from Tauberbischofsheim, DE 2015
Opening of the second recital in Germany 2015
Transcendental Etude No. 11
Prelude and Fugue
Another transcendental etude from Kemal
Another prelude and fugue in this recital
Transcendental Etude No. 5
PianoTechnique.org exclusive series
Kemal is helping a student with Prokofiev Waltz
We wrap up this mini series with part 3
Alan talks about elastic loading, stretch reflex, Kemal Gekic, Taubman
3 part mini series with Kemal Gekic
From a mastreclass in Trossingen, Germany 2008
Part 2 of 3
From a workshop in Trossingen, Germany
Part 2 - Scherzo with Kemal
Kemal starts working with a student with a simple question. What do you think this composition is all about?
Unedited lesson from a masterclass Kemal gave in Japan. One hour and 16 minutes long
Kemal's performance in Sombor, Serbia - Somus Festival 2014
It'a all about the rhythm
Mini series on Suite in C with Kemal Gekic
We dig into the score a bit more
Kemal is explaining what this etude is all about.
The only DVD Kemal has ever released. A valuable insight into playing one of the most versatile piano players today.