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While I am here might as well ask for other begginer song recommendations around the same sort of evel as ode to joy.
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Jan 4, 2012 12:13
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Bach's Invention #1 Cmajor is nice. No big jumps, let's you relax at parts with having the hands take turns in doing stuff, the notes are "close" to each other at most times. Some passages will probably be tough to sight-read, but give it a go anyways.
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Jan 4, 2012 13:14
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http://www.youtube.com/watch?v=-rFV_g6T5lM&list=PL32E8AC976D6FEB11&feature=plpp_play_all When the orchestra starts playing this concerto, any ordinary mortal soloist would experience extreme terror at what's to come. Unless your the Hammy the piano-pillager, that is.
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Jan 4, 2012 13:41
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I've begun to suspect Hamelin is actually some sort of piano playing cyborg sent back in time to make us all feel inadequate. As far as easier works, the 2 Part Inventions have already been mentioned, definitely worth a shot. They're great practice for bringing your left hand up to the same level as the right. Sight reading is indeed tricky; but I found them fun to learn, as playing hands separately is a lot less boring than with most keyboard works.
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Jan 4, 2012 22:30
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I have started taking piano lessons, and I have done fine with everything introduced up until now. My teacher said he wanted me to start playing with my hands deeper in the black keys, rather than at the front of the piano. He wants my fingers pointed out more, so I contact the keys with the pad of them, and literally inside the black keys when I am playing. Far enough up that my thumbs can brush the front of the black keys. He seems to be able to play like this just fine, and his fingers are not any smaller than mine. I have been practicing this on my keyboard at home, and it's extremely frustrating and difficult to me. I am struggling to cleanly strike the keys with any kind of force. I am also having a very hard time with my middle and ring fingers, as they are just big enough that I can't clear both black keys when hitting the whites. He said every student he has had, save for some guy who boxed a lot, has been able to play like that. This is the kind of positioning he is talking about : http://www.youtube.com/watch?v=oqeoKrKDffc&feature=BFa&list=PL2104BD404F1F39C9&lf=mh_lolz Clearly that guy can play very well, so it's not impossible, and it's probably something I am doing wrong. Do any of you more veteran players have some tips or advice on learning to play deeper? It's honestly not even fun to practice anymore because of it. I went from being able to play simple songs really well, to sounding like a loving gorilla mashing on the keyboard.
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Jan 5, 2012 04:15
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Can you like...take a picture of what your hand position is like? I'm having real trouble imagining it.
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Jan 5, 2012 10:32
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Stryguy posted:Do any of you more veteran players have some tips or advice on learning to play deeper? It's honestly not even fun to practice anymore because of it. I went from being able to play simple songs really well, to sounding like a loving gorilla mashing on the keyboard. There are a lot of different situations and scenarios that you need experience handling. The most important thing to remember when playing into the keyboard is that it's a tool for playing some things easier, but it shouldn't be overused or underused - it's just a tool in the tool box. The main purpose of it is to make black keys easier to play in pieces with lots of black and white keys together. The difficulty comes in the fact that many people's fingers don't fit between the keys well. The main solution for this is to curl your fingers more because the end of your finger is smaller than the 'beginning.' Another thing to do is just play normally and accept that you aren't likely to make any noise on the black key on a proper piano with heavy action - pressing down with normal velocity is unlikely to upset the black keys around, even if it pushes them a bit. Of course, it will require more force than normal because your finger is getting 'stuck' a bit on the black keys. This extra force is probably what is styming you right now, and if this is the case, try to curl your fingers more, or learn to apply more pressure in these situations. But really the challenge of it all is understanding the hand and the many different ways it can be shaped, and the many different situations that can arise and the best approach for them. Black keys are best pressed with flatter fingers, but keys between black keys are best played with curled fingers. So when both exist in a piece you have to switch up what each finger is doing. Some fingers have to be curled while others stay flat. A great piece that comes to mind is the D Minor Invention. The first two bars of the piece for the right hand have this fingering: 212345 The two crosses over and presses D, then the 12345 plays the next 5 notes in the D Minor scale. D (cross back) E F G A Bb Next comes: 154321 Db (black key with thumb) Bb (black key with pinky) A G F E So with your right hand, you go up the piano, then play a low black key, then come back down. Here you are doing what is usually dreaded - playing black keys with your pinky and with your thumb. This is probably intentional on Bach's part. You are also playing all of the white keys in between the set of 3 black keys between E and B - also probably intentional, and this theme repeats later in the piece. So this is a good example of where you should play into the keys. The trouble is, flat fingering is preferable for playing black keys, especially with your thumb and pinky, while curled fingers are better for hitting the notes in between the black keys. Bach loves to torture you with these paradoxes, but there is a point - you will eventually figure out a way to handle it that works for you. edit: typoz CowOnCrack fucked around with this message at 15:07 on Jan 6, 2012 |
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Jan 5, 2012 10:40
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Hawkgirl posted:Can you like...take a picture of what your hand position is like? I'm having real trouble imagining it. This is about how I have been playing: http://i40.tinypic.com/313n1xx.jpg This is how he wants me to play: http://i42.tinypic.com/28vr338.jpg Actually, he wants my hands flatter than that probably. My fingers on my right hand are slightly wider than my left, so it's harder with that hand. CoC -- You pretty much nailed my troubles with it. It sounds like I don't always have to play that deep, but it prepares me for situations when a song calls for it. It's helpful thinking of it that way. Sounds like how you play in between keys can vary a lot person to person and song to song. Thank you for the in depth post, it's helpful to me. I will play around in different positions to see if any of it helps. My middle finger on my right hand has zero clearance between the keys though. Practice practice practice I suppose 
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Jan 6, 2012 04:16
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Talk to me about movements. What are they? I'm talking in regard to classical music, ie Mozart's Wicked Bad Concerto 79 in Db Minor 2nd Movement. Who decides where they go? Is it the composer? Splitting up their own work for creative (or practical) reasons or is to done later to make some 50 page monster more manageable? What differentiates it from a part or section or is it just a music word for the same thing? While I'm at it, difference between a concerto and a symphony (and other things of that ilk I seem to have missed).
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Jan 6, 2012 16:28
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Movements are different sections of a larger work. Usually they could stand alone if you want, sometimes they're more integrated with each other. It's not so much to break things up so they're not too long, more like it provides a contrast and shows range. And yeah, 100% up to the composer. They're more separate than just a section or part though. Like, first movement ends, there's a pause, and then the second movement starts. It's its own thing. It's usually in a different key, too, has its own melody etc. Does that make sense? A concerto is a large scale piece for an orchestra with a soloist. So a violin concerto has a whole orchestra and one special person who plays the most difficult stuff and is the star and gets paid the most.  A symphony is a large scale piece with no main soloist, more of a group effort.
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Jan 6, 2012 17:04
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Bob Shadycharacter posted:Movements are different sections of a larger work. Usually they could stand alone if you want, sometimes they're more integrated with each other. It's not so much to break things up so they're not too long, more like it provides a contrast and shows range. And yeah, 100% up to the composer. Thanks for explaining. So movements might be described as tracks on a particularly well connected album?
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Jan 6, 2012 18:43
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Cast_No_Shadow posted:Thanks for explaining. Well, I don't know...I would call them more connected than that. They're intended to be played together in a specific order, more so than tracks on an album that might be split up to be played on the radio or whatever. Depends on the album I guess?
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Jan 6, 2012 19:25
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Cast_No_Shadow posted:So movements might be described as tracks on a particularly well connected album? Sure, in a way. Back in the day, form was extremely important to composers and musicians, and part of the prowess of a composer was how the composer made music within the confines of his selected form. Mozart is a great example of a composer that operated that way (Haydn too). For example, a sonata from the Classical period meant a very specific set of movements with specific forms: http://en.wikipedia.org/wiki/Sonata#The_sonata_in_the_Classical_period As you can see mentioned in the link, a symphony also has a specific set of movements with expected forms to match them. It was Beethoven, and to a smaller extent Haydn (who was Beethoven's composing teacher), who started playing with the rules. The old tale is that it's Beethoven's fault that we don't clap between movements of a major work, because Beethoven didn't like it and in at least one instance specifically combined the 3rd and 4th movements of a symphony so that the audience wouldn't have a chance to clap inbetween. Other than that I think "concept album" is a good way to think of multi-movement works, especially if your "concept album" includes songs that highly contrast with each other. Also, from what I recall (and by the way, definitions moved around a lot): Concerto = instrumental solo piece with orchestra, like Bob said; sonata = instrumental solo piece with piano; symphony = what Bob said; and so on and so forth. As you might imagine (nerds ), Wikipedia's classical music sections are pretty well fleshed out if you are interested in more.
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Jan 6, 2012 19:26
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uXs posted:Any ideas on what to do about loving up on recitals? Last night, when I wasn't even feeling particularly nervous, I just started making mistakes where I normally never make any. And for the difficult sections, where my normal playing is fairly fault-tolerant (I can make a mistake but just ignore it and keep playing), I stumble, stop, and then I'm just lost. I used to play a lot of recitals as a kid. The worst is when you're waiting your turn to play, that you over think the song and draw a blank on how to play one particularly part. I can't give you any advice. But I don't think I ever played a song perfectly without making some minor mistake during a recital and yet it would still be good enough to beat the other kids. You just have to keep playing recitals until you're used to them. And realize that everyone makes mistakes, and people are not going to notice those mistakes with the exception of the judges. If you stumble and become lost, start from the part that you remember and play again. Stumbling and stopping is quite common. You just have to keep playing.
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Jan 6, 2012 20:15
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dogpower posted:I used to play a lot of recitals as a kid..... While I can't offer any technical piano specific advice, having only just begun that road myself, I have played a lot of music in front of various people\crowds, so hopefully I can help on this one. Step 1 is obviously knowing the music. You say you've never known anything better, but do you really know it? Can you hum it all the way through without so much as looking at a piano (ie. you know the actual music not just finger\muscle memory). Can you play starting from anywhere, be that starting from a phrase or even half way through a bar comfortably? Perhaps for Piano specific (if this point is bad advice please correct just theorising) you could try playing it HS but swapping hands every 4 bars or so. 1-4 RH, 5-8 LH, 9-12 RH and so on. Can you do this without struggling? Step 2 is playing in front of other people, I don't know how much you do now but get used to it. Play in front of any friends that will listen, every time you see an instrument you can play (and its appropriate for the situation) play something to people, it doesn't have to be the best thing you can play, just bashing out some pop songs at a party will help no end in getting you used to the sensation of having someone critique your work. I know people at parties or whatever are not actively critiquing what you play, but you try telling that to someone nervous about it. Step 3 sort of correlated to step 2, record yourself, constantly. Literally every practise session I do I record myself. I also try to actively listen to my playing while I play but if its something difficult that I haven't mastered that's hard to do. But recording is easy, set it up, leave it, be aware its there and listen back. Part way through the session, after the session, really listen to your playing and be really critical and then work on what you didn't like, isolate what it was and work on it. Once you know what you sound like it adds confidence. The first few times you do this you'll be amazed how many little things you pick up on that you didn't even know you were getting wrong, small things that make a big difference, slight mistakes in rhythm, a note or two louder than you want so that its jarring, a slightpause in a difficult bit. Step 4 A bit more idiosyncratic but when I know how to play a piece well I stop thinking about how to play it. Especially when I'm under pressure, my mind and body already know exactly what to do having done it so many countless times before. Instead I focus all my mental energy on conveying the feeling or emotion I want to convey in the music, I don't actively ignore my playing and fingers etc but I don't focus on it I more kind of trust in my fingers to go to the right place and put my efforts into how it sounds. It tends to work for me, I'm not worried about playing the right notes, I'm worried about making it sound forlorn, so when I get that blank block thing it just tends to not be as forlorn but still played correctly. I dunno YMMV on that one. Note - I don't know how well that would work with the more complex classical pieces, I'm just used to memorising everything I play in a song so reading the music etc has never been a part of performing. [edit] I notice you said you normally play through mistakes, which is the best way to do things, most of that time your audience wont notice, sometimes maybe even a judge\examiner wont (you never know they are only human). Playing through is an increasable valuable skill to have as the natural urge it to stop, correct it and carry on. If you don't already utilise it and encourage it when you practise, just make a mental note of the part you flubbed on and come back to it, see if you flub again while playing just that part then isolate, fix and try the larger part again. Cast_No_Shadow fucked around with this message at 20:47 on Jan 6, 2012 |
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Jan 6, 2012 20:38
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I have a quick question about the first part of Fur Elise, the left hand arpeggios, they should be played legato right, but should I be holding the individual notes as long as possible or releasing when the next one is played? I'm thinking the former because that's what I think most performances sound like but I'm still a little nervy about committing to anything for certain at the moment. [edit] Just looked at some videos and apparently its released when next note is played, pedal maybe? It sounded better holding on when I tried it, probably just my playing though. Cast_No_Shadow fucked around with this message at 22:47 on Jan 6, 2012 |
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Jan 6, 2012 22:41
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Cast_No_Shadow posted:I have a quick question about the first part of Fur Elise, the left hand arpeggios, they should be played legato right, but should I be holding the individual notes as long as possible or releasing when the next one is played? I'm thinking the former because that's what I think most performances sound like but I'm still a little nervy about committing to anything for certain at the moment. There's no wrong or right way to do it -- that's a part of personal interpretation. Just because more people play it one way as opposed to another doesn't make it "right". Just play whatever sounds better to you. Most people do pedal, though, to answer your question.
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Jan 10, 2012 02:20
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I've been putting effort into finally learning how to read sheet music. In the past week I've worked through Chopin's Nocturne Op. 9 No. 2, the simpler arrangement found on 8notes.com. The difficulty level of this seems to be exactly where I'm at in respect to playing and reading ability. So, I've been searching for similar works but what I've been finding is either too simplistic or much more difficult. Any suggestions on some works I should try? More Chopin would be great, but I'm open to anything that's fun to play. This is the arrangement I'm talking about : http://www.8notes.com/scores/452.asp
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Jan 11, 2012 07:25
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Looking at that arrangement kind of breaks my heart a little bit.
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Jan 12, 2012 00:47
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Has anyone here had any experience with carpal tunnel? I've spend a lot of time doing things that probably aren't good for my wrists (typing on the keyboard, having a repetitive manual labor job, extended time on game controllers, etc.) The other night I was playing a fighting game on my joystick for an extended time when I started having difficulty with my right hand hitting buttons with the right timing. The next day tip of my right index finger was numb and tingly, and it still feels a bit off. This kind of thing has happened to me in the past too. My main concern is I don't want to screw up my hand for piano playing. I've already put the joystick away, ordered a wrist brace for when I sleep, and am taking off the piano practice for the moment. Is this something I can stave off, or has the damage been done and will it just get worse? a_gelatinous_cube fucked around with this message at 02:35 on Jan 12, 2012 |
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Jan 12, 2012 01:05
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Alizee posted:Looking at that arrangement kind of breaks my heart a little bit. I'm sorry.  I'm going to check out the RCM guide and see what's listed in the lower level repertoires. Do you have suggestions for any other sources to find ability appropriate works to try?
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Jan 12, 2012 03:55
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Go to a music store and look through some books?
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Jan 13, 2012 00:09
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Cast_No_Shadow posted:Step 3 sort of correlated to step 2, record yourself, constantly. Can I ask what sort of microphone you use for this? I assume I'd need a half-decent one to properly assess my playing, not just any old cheap one from the computer store.
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Jan 15, 2012 06:26
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Tgent posted:Can I ask what sort of microphone you use for this? I assume I'd need a half-decent one to properly assess my playing, not just any old cheap one from the computer store. My Piano records me for me The wonders of modern technology.Alternatively I'd give poo poo advice for a real mic, there are however some good thread in this sub-forum that give good advice, check out home recording and\or the singers thread. That said, in times past or just on my guitar, any old poo poo mic will do. Seriously, this isn't so much about producing something to make you proud, this is listening how is your timing and rhythm really? How does that complicated bit sound. Its just detaching the concentration, moving it from playing to listening as its hard to do both. You must have some lovely mic somewhere, even if you just hook up that bluetooth thing for your phone to windows sound recorder or whatever, give it a go!
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Jan 16, 2012 00:00
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'lo goons I'm gonna be getting a digital piano soon, probably http://www.kraftmusic.com/catalog/digitalpianos/homepianos/index.asp?product=8048 . Been wanting to learn to play since I was a kid watching/listening to my Mom play the Peanuts Theme. I absolutely cannot get an acoustic piano due to living sitation. I have no music background. I'm primarily interested in playing video game music, from 8-bit NES themes to stuff from Oblivion/WoW. I'd also like to get enough theory and general ability that I can pick up new pieces efficiently instead of having to slowly memorize one piece at a time through brute force. And since a lot of themes don't have sheet music for them, I'd also like to be able to train my ear so can I write sheet. The home bundle linked has a book with some newbie lessons, but what I've seen of it is pretty childish. I'd like something much more substantial, orientated to adults, comprehensive, serious. Basically looking for a Bible of sorts for learning and practicing piano music theory from scratch to pretty drat good. Further, I'm hoping for recommendations for MIDI software. I'm hoping there's software out there that will play a note/chord/whatever in whatever musical instrument, and I can play it's equivalent back on the piano and the software can tell me if I was right...basically to train my ear. Any recommendations or something close?
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Jan 23, 2012 02:39
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The P95 is a great newb piano, I have one, but that bundle?? Not so sure As far as software goes - try http://synthesiagame.com/ but others will be able to advise better
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Jan 23, 2012 02:51
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Honked posted:The P95 is a great newb piano, I have one, but that bundle?? Not so sure What makes you hesitant about the bundle? I'm trying to find a nice balance of affordability and aesthetics as I'd really like the piano to look more like a piano than a keyboard, "furniture style". http://www.amazon.com/Williams-Overture-Key-Digital-Piano/dp/B0021F36J4 looks better imo but I'd need to shop around for the extra stuff. I'll check out synthesia
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Jan 23, 2012 03:35
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Eustacia posted:What makes you hesitant about the bundle? I'm trying to find a nice balance of affordability and aesthetics as I'd really like the piano to look more like a piano than a keyboard, "furniture style". http://www.amazon.com/Williams-Overture-Key-Digital-Piano/dp/B0021F36J4 looks better imo but I'd need to shop around for the extra stuff. If you're concerned about the look of the keyboard and its stand then I cannot advise you.
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Jan 23, 2012 03:43
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I have a P-95S and it looks fine. I did get the stand (and the pedals), which makes a huge difference. If you just put it on an X-style stand or whatever, you wouldn't like it.
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Jan 23, 2012 10:06
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Yeah the pedal board helps the P95 look better vs the loose sustain pedal that comes with the keyboard itself. Been scouring the net for other options, and after looking through pretty much every yamaha, casio, and roland, the only other piano that I like is the Yamaha YDP161 which is twice the price. SO nah, gonna get that P95 package...like right now. Finding lots of sources for video game sheet music too. Feelin' pretty good about what I'm about to do
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Jan 24, 2012 00:01
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I'm completely new to piano but it's something I've wanted to do for a while now and I'm looking at the Yamaha P95. I can save £75 if I get it in silver instead of black. Is there any difference at all between the two or is it literally just £75 extra for black plastic?
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Jan 25, 2012 02:00
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AFAIK they are exactly the same!
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Jan 25, 2012 02:29
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Eustacia posted:Yeah the pedal board helps the P95 look better vs the loose sustain pedal that comes with the keyboard itself. This is a very good point - the loose sustain pedal is pretty horrible.
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Jan 25, 2012 23:25
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I also just picked up a P95+stand and I'm happy with it. I played piano from when I was about five till I got to high school, then dropped it in favor of trumpet/marching band, but now that I'm out of college and have my own place I want to start playing again. Can any of you recommend an ipad app for handling sheet music? I'm not against going to a store and buying paper copies but I'd rather keep everything on my ipad if possible.
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Jan 26, 2012 02:53
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P95 arrived! It works and looks fine. Gotten through about 4 lessons in the book it comes with but need a break. Also took a stab at the right hand of Kraid's Lair from Metroid. No chords so it's not that bad but has sharps and flats which are later in the book and I don't know the fingering for em yet. But I recognize a couple measures I played from the game. Happy Stacy is happy.
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Jan 31, 2012 00:27
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I just got a P95 too, can anybody recommend a temporary stand I could use for a few months till I move house? No matter what combination of words I use on Google I can only ever find the official stand which I just have no room for here. Would something like this be ok? I realise the first review says 'not suitable for a P95' but that only seems to be because you can't secure it permanently to the stand which I'm not looking to do. Also I'm enjoying it a helluva lot more than I did the guitar.
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Jan 31, 2012 17:04
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I've used some X frame from the 80s for my P95 and have never had any issue with moving, etc. I just sit it on top and go to town. It is also great for popping over friend's houses for jams, etc. Just fold and go. I guess don't clumsily trip and throw half your weight into the piano while walking by and you'll be fine, hah. You'll find the best of both worlds just by keeping your guitar next to your piano. Switching off on instruments when you are feeling creative just seems to give you that much more of a chance of finding that sound you are looking for!
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Jan 31, 2012 17:47
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Finally moved somewhere big enough (thanks, baby daughter) for a boudoir grand and have a (Bechstein-made) W.Hoffmann T186 being delivered this Monday. I'm ridiculously excited. Been listening to my Gilels recordings of the Beethoven sonatas (God, they're incredible) in anticipation; watched Shine again yesterday, and have The Pianist lined up for a first viewing too. Only hope this drat snow doesn't last long enough to get in the way of the delivery. 
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Feb 4, 2012 21:19
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OneSizeFitsAll posted:Finally moved somewhere big enough (thanks, baby daughter) for a boudoir grand and have a (Bechstein-made) W.Hoffmann T186 being delivered this Monday. I'm ridiculously excited. Congratulations! What is a "bodoir grand", exactly? I used to keep my grand in my bedroom but that's because there wasn't room anywhere else and I already had an upright in the kitchen.
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Feb 4, 2012 22:11
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| # ? May 20, 2024 17:07 |
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Bob Shadycharacter posted:Congratulations! Thanks! Been waiting for this for a long time, and am really hoping to knuckle down and put some effort in to improving again after having been so lackadaisical in my approach since turning 16 or so. Boudoir (or parlour) grands are basically mid-sized grand pianos, between about 5 to 5 and a half ft and 7 ft. Smaller ones than that are baby grands and larger are concert grands, going up to generally about 9 ft, though 10 ft 2 for the Fazioli F308 (which also has four pedals).
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Feb 5, 2012 00:12
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