Taught by renowned instructor
Boris Giltburg
How can sound create an impression of "color" in a listener's mind, and what is required of a pianist to achieve this physically? In this course, Boris Giltburg explores the intertwined topics of sound and color at the keyboard. Starting with the body, Giltburg shows how our physical approach at the piano is a matter of controlling different-sized levers. He then turns to the mind, and reveals the essential process of applying your imagination to the notes and markings of the score in order to develop a creative conception of the work. Finally, Giltburg demonstrates how to merge the body and the mind through acts of touch at the keyboard, conjuring colors and ideas from the instrument and refining through a thoughtful process of self-critique. Featuring practical case studies taken from Bach, Beethoven, Liszt, Scriabin, and Prokofiev.
Introduction
In this introductory video, Boris Giltburg confronts the question of "color" at the piano. What is meant by the metaphor, and is it worth a pianist's time to try to capture different colors at the instrument? Giltburg thinks so, and he gives an overview of his course on how to do just that.
A Pianist’s Physical Toolkit
To create color at the piano, one must first learn how to connect physically with the instrument. In this video, Boris Giltburg demonstrates the core sources of sound production at the piano. First, he breaks down how to transform our playing mechanism into levers of different lengths used for sound effects. This, combined with a variable transfer of weigth and the application of finger activity, will provide you with a flexible foundation for translating your musical ideas into sound.
Imagining Sound
Pianists tend to obsess over the physical challenges of playing their instrument at the expense of the mental demands. Yet, our bodies will have a much easier time executing tasks that have been developed by the imagination, as it gives our muscles and limbs a clear intention to move with purpose at the keyboard. In this lesson, Boris Giltburg considers the art of developing a conception of the music you're playing through silent score study. By first imagining the color you want to achieve through your sound, you can more easily realize it in performance.
Playing with Color
After developing a physical foundation at the keyboard and studying the score with an open mind, you're ready to realize the fruits of your labor in the act of performance. In this video, Boris Giltburg demonstrates the process of working out your imagined conception of a piece of music at the the instrument. With a clear intention in mind for the kind of color you want to capture in a piece, your may now dedicate your practice to developing the acts of touch required to bring your musical ideas to life.
Sound Study: Bach 3-Part Invention in G minor (Opening)
In this study, Boris Giltburg applies his process for refining his sound and color at the piano to an interpretation of the first phrase of Bach's 3-Part Invention in G minor, BWV 797. Using his phone, Giltburg records himself playing the passage and listens back critically, demonstrating his creative process in practice room.
Sound Study: Beethoven Sonata, Op. 101 (Opening)
In this study, Boris Giltburg applies his process for refining his sound and color at the piano to an interpretation of the opening of Beethoven's Sonata in A major, Op. 101. Using his phone, Giltburg records himself playing the passage and listens back critically, demonstrating his creative process in practice room.
Sound Study: Liszt Sonata (Heroic Theme)
In this study, Boris Giltburg applies his process for refining his sound and color at the piano to an interpretation of the Heoric Theme from Liszt's Sonata in B minor. Using his phone, Giltburg records himself playing the passage and listens back critically, demonstrating his creative process in practice room.
Sound Study: Scriabin Etude in B major, Op. 8 No. 4 (Opening)
In this study, Boris Giltburg applies his process for refining his sound and color at the piano to a passage from of Scriabin's B major Etude, Op. 8 No. 4. Using his phone, Giltburg records himself playing the passage and listens back critically, demonstrating his creative process in practice room.
Sound Study: Prokofiev 7th Sonata (Opening)
In this study, Boris Giltburg applies his process for refining his sound and color at the piano to an interpretation of a passage from Prokofiev's Sonata No. 7 in B-flat, Op. 83. Using his phone, Giltburg records himself playing the passage and listens back critically, demonstrating his creative process in practice room.
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Unlock Course →One of the leading pianists of his generation, Boris Giltburg is a prolific recording artist who can be heard on the greatest stages with the leading orchestras around the world.
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