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третий

урок

композиции

ромео

джульетта

нино

рота

тема:

смена

позиций

ч.

00:00:00

hello, welcome to the third

00:00:03

lesson on composition from the movie film

00:00:05

Romeo and Juliet Nino Rota

00:00:07

today we will look at the last

00:00:09

fragment we will connect with you the fourth

00:00:12

fifth and sixth places and our task with you

00:00:15

will be the following we will look at the

00:00:18

positions of the hand as they change in the left

00:00:21

hand where they are replaced in the right hand,

00:00:24

what fingering principles do I

00:00:26

follow when I place my fingers

00:00:28

and what principles do I advise

00:00:30

you to follow so that you learn

00:00:32

to see these positions so that you can play,

00:00:35

most importantly,

00:00:37

comfortably and so that your hands play

00:00:40

smoothly so that you can play with a

00:00:43

minimum number of unnecessary movements

00:00:45

minimal so that all movements are those

00:00:48

that are most necessary for you, so

00:00:51

let’s first listen to what

00:00:53

happened with our noses; we ourselves connected 1 2

00:00:56

3 fragments and so we will count for ourselves in order to

00:01:00

feel the smoothness of plunging into this

00:01:02

very gentle, very calm music

00:01:06

1 and 2 and 3

00:01:15

2 1 slightly a little

00:01:19

cm receded

00:01:22

[music]

00:01:30

and

00:01:34

sh

00:01:36

[music]

00:02:23

this is such beautiful music that it

00:02:26

will work out best I played the first two fragments

00:02:28

and couldn’t resist playing to the end for you the

00:02:30

fragment that today you will have already

00:02:32

sorted out right away I want to tell you that

00:02:35

together here we must I want you to

00:02:38

play this last note a little differently,

00:02:42

it will be here, please write to yourself

00:02:50

if you print it out or on a tablet,

00:02:52

yes here, avoiding the chow a little because the

00:02:58

rhythm here is not entirely accurate, there are

00:03:02

different recordings and I’m focusing on

00:03:04

the recording where this is this note is taken

00:03:06

exactly on 4 they are on i plus so it will be

00:03:10

more convenient for you, it will be easier to learn more the music will be

00:03:14

clear and more logical and so now let’s

00:03:18

move on to the

00:03:23

tit positions with you and me let’s look at

00:03:25

what happened at the very beginning the left hand goes

00:03:28

along arpeggio arpeggios are the sounds of a chord

00:03:30

or several chords that go in

00:03:33

turn from bottom to top or from top to bottom, so

00:03:36

in this case we have here going to the

00:03:37

pidgey ball from bottom to top and the sounds of a chord are

00:03:41

our arrangement of keys through, for

00:03:44

example,

00:03:46

through a note or two, yes, here is a typical

00:03:50

option chord and

00:03:51

variant chords have options, the

00:03:55

so-called inversion, but now we wo

00:03:58

n’t go into it with you at first,

00:04:00

just remember that a chord is a

00:04:03

combination of three or more sounds in 45,

00:04:07

which can be located either through one

00:04:09

note

00:04:11

or through 2 through 2, this only applies to

00:04:15

doubling most often, after

00:04:18

all, after one,

00:04:21

so we will now look at the left

00:04:25

hand, just pay attention,

00:04:27

we had a left hand

00:04:31

that had these jars, let me

00:04:33

explain to you why I chose such fingers,

00:04:36

and by the way, here this figure will not be

00:04:37

typical or repeated will be from

00:04:39

different notes many many many times here there

00:04:41

are three notes I always put on the outermost

00:04:44

well here 5 in the face what I see next

00:04:46

is a wide spread of notes this is the distance of the

00:04:50

extreme sounds that I can cover

00:04:53

will be more of an act further I can’t

00:04:56

cover everyone talking about themselves I

00:04:59

was able to take it in the most different way possible, it

00:05:01

will all be within one position,

00:05:03

remember up to the position this is when each

00:05:05

finger has its own key, but

00:05:08

here it turns out that there are three notes I

00:05:11

can only cover the remaining 2, this

00:05:14

will already be the second position, I will need

00:05:15

how- then connect one position to another,

00:05:17

because I will play three notes, then I will move

00:05:20

through 1 finger 3 will play connected 2 more, we

00:05:24

see here whether you are ready, so I

00:05:26

will play connected and smoothly like

00:05:30

this, and one more time it

00:05:37

will turn out like this,

00:05:39

then we go with you the same thing look,

00:05:42

I have three notes, my disco club

00:05:45

and 4, that even 5 can fit under the palm of my hand,

00:05:48

probably hardly, well, 4. but I am

00:05:51

guided by what principles I don’t

00:05:53

need my hand to stretch once again,

00:05:55

not a small hand, it’s deft,

00:05:58

but it’s small, that’s why I

00:06:00

pulled it off on purpose, to stretch it

00:06:02

here, I don’t want to go there once again, I’d

00:06:05

better play compactly and I’ll take the beginning of

00:06:08

fewer sounds and two more, you

00:06:11

always look at your hand, if you have

00:06:13

longer fingers, a more flexible palm, and

00:06:16

you can reach here and it’s convenient for you to

00:06:18

play, for example, like this, 4 sounds and 1 to the

00:06:22

house for drain, otherwise please, this is all

00:06:25

possible,

00:06:26

but if your hand is small, then I advice

00:06:30

always collect your fingers inside and

00:06:34

two more or here you can 2 1 someone plays 3

00:06:39

2 options are also possible here remember the

00:06:42

fingering that I’m giving you

00:06:45

is not from apple which is not the

00:06:47

only correct one I’m just showing you an

00:06:50

option that in my opinion is considered

00:06:52

convenient but you can make some fingers for

00:06:56

yourself, we always remember the main

00:06:59

rule, we never make

00:07:01

fingers that harm the music, that is, for

00:07:03

example, if you play there and then you

00:07:06

jump, but here, for example, you need to play

00:07:08

everything connected smoothly, understand the date,

00:07:11

such fingers will not only damage, so

00:07:15

we’ll choose those fingers so that we get a

00:07:17

beautiful smooth line so that we don’t

00:07:19

need to turn it too much

00:07:21

once again with the brush and

00:07:24

look, most often, another

00:07:27

rule, our position most often

00:07:28

ends with the first finger, it can end with the

00:07:30

second, but the majority

00:07:33

ends with the first, starts with 5 from the

00:07:35

outermost ends first the

00:07:38

same will be in the right hand until the position

00:07:40

is mirrored and

00:07:41

thus we have the left hand lined up, I

00:07:44

also want to draw your attention

00:07:46

to this third place 2 3 so it means that

00:07:50

at first we will have something

00:07:53

like we had before one position

00:07:57

within the octave, 2 more notes and a second

00:07:59

position and now look, it would seem

00:08:02

this is a different league,

00:08:05

but what can you say about these notes

00:08:08

la si la fa la salt they are all

00:08:14

under the palm they are all under the fingers we do not

00:08:17

change the fingering there and it turns out that

00:08:21

we have this is one position it happens,

00:08:23

too, a piece of 1 passage is

00:08:26

connected positionally with another another league

00:08:31

here, even if you are a passage in a different league,

00:08:33

this is normal, it’s better than you play

00:08:36

once position 2,

00:08:38

separate, play another third, I’m in favor of

00:08:42

having as few positions as possible

00:08:44

now one more important woman site

00:08:46

positions should be as small as possible

00:08:48

because each position is absolutely

00:08:52

correct, this is a shift of the hand and you

00:08:56

don’t need to disturb your hand again and so there is only one position left here

00:09:01

[music]

00:09:05

we help ourselves a little with the brush the

00:09:07

melody goes down to the left the brush goes to the left

00:09:10

the melody goes up to and the brush leads to the right, it is

00:09:13

very important that Dushan’s brush, but now

00:09:15

let’s figure it out further, we still have

00:09:17

three whole pieces ahead of us, and so

00:09:21

now our right hand plays according to the notes,

00:09:23

let’s get right and first we’ll figure it out,

00:09:25

call it together, but you remember, we can

00:09:28

start in the middle of the darkness maybe I could I suggest

00:09:30

with not salt

00:09:33

seller and

00:09:37

rifar on salt for now let's stop here

00:09:40

let's now try to

00:09:42

clap the block this rhythm

00:09:45

I do everything once at a time well you remember

00:09:48

you do three I already have the skill

00:09:50

plus we have a limited time for our

00:09:53

lesson I'm trying for you write lessons in no

00:09:54

more than 20 minutes, otherwise we ourselves will quarrel and for

00:09:57

five minutes we can here, piece by piece on

00:09:59

micron checks, sort out everything all all all

00:10:02

all the details and then the lesson will take you a lot of

00:10:05

time, so I give you

00:10:07

the direction, I give you all the tools and

00:10:10

you do it yourself 3 times you yourself

00:10:12

will play here now we clap there means

00:10:16

we take the pencil it should be convenient like this and the

00:10:19

second pen we will clap we draw the

00:10:22

pencil along the counting tape and

00:10:24

we can draw for ourselves here like this so that

00:10:26

we can understand from the side

00:10:29

what we have - in the face of

00:10:31

which moment,

00:10:34

don’t be shy to count directly,

00:10:37

because this is your understanding, this is your

00:10:39

understanding of the rhythm, so you can say

00:10:42

why I’m going to do this, I’ll

00:10:43

play it somehow, then

00:10:45

somehow you get the concept because

00:10:48

it’s not in your head, it’s clearly in the prints

00:10:51

there should be a clear picture of some kind of tritone and

00:10:53

then you will start to get confused and if you

00:10:55

really know some 3 there

00:10:58

you will play it, it is clear that everything is

00:11:00

forgotten over time everything needs to be repeated there is

00:11:03

no panacea here that I learned

00:11:05

once and for all but you provide yourself with

00:11:07

understanding for some long period of time while

00:11:09

you are learning while you are playing while you

00:11:12

are doing this you will have complete

00:11:13

clarity here this is the most important thing so let's go

00:11:17

we will now start counting the first bar and

00:11:20

here we will stop

00:11:22

get ready 1 and 2 and 3 left clap and

00:11:29

4 and 1 and 2 and 3 and

00:11:36

4 and times there will be a very characteristic figure

00:11:41

then and then and four and times I advise you

00:11:46

to say this note and 4 and lyres or

00:11:51

and 4 or and times that is this note it

00:11:55

should sound if you and I don’t

00:11:57

take a more complex version of counting, but when the

00:12:00

magician counts once and up to 2 and up to 3 and

00:12:02

up to 4 before eating until thereby filling out all

00:12:05

all all the durations that are here

00:12:07

through the smallest durations 16 for the

00:12:09

sake of these small ones but so but it’s inconvenient,

00:12:11

and if we don’t do this, then we

00:12:13

still have to somehow calculate this note,

00:12:15

otherwise every time we have troubles there will be

00:12:17

confusion, but when will I play one more

00:12:19

time 1 and 2 and 3 and 4 league 1 and 2 and 3 and 4

00:12:30

and 1

00:12:31

here press pause if you need to

00:12:34

double the slow tempo for

00:12:37

this function and you can go slower

00:12:40

with me it’s like this look at this

00:12:42

rhythm but now we go to the

00:12:44

keyboard note looked at the rhythm

00:12:46

looked at something else that’s good good

00:12:49

to say in the rhythm of the notes By the way, can you talk

00:12:51

about clapping your hands, let's

00:12:53

close it again now, I'll show you how it will be

00:12:55

like this, please don't come up,

00:12:58

the notes are falling, okay, with one hand,

00:13:01

then about clapping 1 and 2 and 3 for

00:13:07

cigars and

00:13:09

and 2 and 3

00:13:13

2 sol here for a pause, be sure to

00:13:17

press and clap with me and

00:13:20

again 1 and 2 and 3 G and 2 and 3 rev

00:13:31

G and pay attention, I don’t throw away the

00:13:35

lengths of the notes, I always see them with my voice

00:13:37

because your finger will hold the note

00:13:40

until you are mentally with this music

00:13:42

you should kind of prolong this

00:13:46

sound, let the mod gradually

00:13:47

fade away on our instrument, yes we know its

00:13:50

nature, yes this is the nature of the sound for the

00:13:54

nature of each note, unlike the violin,

00:13:57

for example, where we can make the bow

00:14:00

put a little more weight on it

00:14:02

pressing more will give more sound to a violin,

00:14:04

for example, or a voice, we can, yes, for example

00:14:07

[music] yes, we can

00:14:09

make it stronger and we can make it quieter right away,

00:14:12

but on the piano, no, we took

00:14:14

the sound with you, we pressed a key, this is its

00:14:16

brightest sound, and then it will

00:14:18

gradually fade away and I always teach you to

00:14:21

sing long notes inside and inside as

00:14:24

if to make a crescendo on them and even

00:14:26

when you think your will should be felt in everything

00:14:28

and that the sound will

00:14:30

last, that it will last and you

00:14:33

even last it in the count and when you sing this is

00:14:36

also one very very important piece of advice for you and

00:14:38

so the right hand we now have a rhythm

00:14:42

along with mods, we just have

00:14:43

to add fingers than we are building the

00:14:45

first position here it will be but you are

00:14:50

G A B fingers one two three four

00:14:53

and

00:14:54

let’s first do this piece ourselves and

00:14:57

so let's try to swallow we count

00:15:00

1 and 2 and 3

00:15:05

sports Ramsey

00:15:08

and for red 1 and 2 and

00:15:12

3 here they pressed pause and played with me one more

00:15:16

time now I will only

00:15:18

count the notes with my fingers and

00:15:22

put 1 and 2 and in this rhythm 3 and

00:15:28

4 and 1 and 2 and 3 now only fingers 1 and

00:15:35

2 and 3

00:15:40

2431

00:15:43

so we already have this piece ourselves,

00:15:45

you played it three times in each way,

00:15:47

remember the monasteries and the methods, the

00:15:50

first method is with notes, the second method

00:15:52

is with fingers and 3 with the ear counting the most

00:15:56

important of them in the end turns out to be the

00:15:57

counting of the servants because the

00:15:59

rhythm of the rhythm is very important to us, but this is the water of the servants, you will pick up and the

00:16:02

fact that you definitely won and fingers when

00:16:05

knitting, yes, you know, probably all three

00:16:07

methods are important for a reason I call them yes

00:16:09

it’s like such a triangle the three

00:16:11

most important pillars on which the

00:16:14

analysis of your work rests, let's move

00:16:15

on with you to prepare the next piece

00:16:19

yourself note D F G

00:16:21

fingers 1 3 and 4 the rhythm is exactly the same it

00:16:25

contains 1 and 2 and 3 now and 4 and 1 varieties

00:16:34

I just played and here this piece is

00:16:36

from here, yes, that is, I add from the first

00:16:38

beat and still move forward

00:16:41

the rhythm is exactly the same, the fingers are all standing

00:16:44

notes there is one more time 1 and 2 and 3 and

00:16:51

salt

00:16:53

here we pressed pause three times to make

00:16:56

it work and now we connect

00:16:59

1 and 2 and 3 and

00:17:06

2 and 3 and

00:17:09

[music]

00:17:14

here we already have our

00:17:17

right hand with you, well, now we

00:17:19

will move on to the left in the left hand we had

00:17:22

with you but

00:17:24

few of you guys leave the room

00:17:30

taken out of the preview I looked

00:17:32

Now I’m giving you a cheat sheet like this key,

00:17:34

and then we will have the note E flat

00:17:37

G

00:17:38

7

00:17:41

to save your time, so

00:17:45

now let’s play a little faster, I

00:17:46

named the position, so we

00:17:49

will have the second position and

00:17:51

[music]

00:17:54

4 one

00:18:02

more time 3 and 4 and

00:18:07

[ music]

00:18:17

this is now let's try to connect 1 and

00:18:22

2 more slowly and three and four and

00:18:30

two and three and four

00:18:35

let the name mine your and

00:18:40

you and

00:18:42

here we will stop for now

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How can I download "2. Третий урок по композиции «Ромео и Джульетта» Нино Рота (тема: «смена позиций») (ч.1)" video to my phone?

You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.

How can I download an audio track (music) to MP3 "2. Третий урок по композиции «Ромео и Джульетта» Нино Рота (тема: «смена позиций») (ч.1)"?

The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.

How can I save a frame from a video "2. Третий урок по композиции «Ромео и Джульетта» Нино Рота (тема: «смена позиций») (ч.1)"?

This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.

What's the price of all this stuff?

It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.