|
On Terra Firma posted:I feel like what gets me out of a funk is sitting down and coming up with a short melody, and then trying to bring it into something I already know, and then coming back to the melody as a reoccurring theme throughout the session. I don't really know how to explain it because I don't know terminology but I think it's just called a device of some sorts? I dunno. Since this thread has gone totally dead, here's something I recorded based around what I was talking about before. https://www.youtube.com/watch?v=oM3OnT5kaw0
|
#
?
Jun 15, 2014 15:59
|
|
|
|
| # ? May 19, 2024 08:27 |
|
|
^^ I know just what you mean. Nice video - I showed a buddy your last one and he sent his sympathies for your cat. I love being able to watch hands, too. So, I finally have my own place and can mic up the digital piano. Sat down after lunch with a little improv to test it out. Any thoughts on what I can do to increase recording quality? You don't hear any key presses because I hit record right before starting and had the Kawai play it back. Pic of the sloppy setup: 
Incredulous Dylan fucked around with this message at 22:40 on Jun 15, 2014 |
|
#
?
Jun 15, 2014 22:38
|
|
|
Would it not be better to record from the audio out, and maybe apply some post-processing to it to tweak the sound? Digital piano speakers + random room isn't the best combination. That said, still sounding pretty good!
|
|
#
?
Jun 16, 2014 20:04
|
|
|
Agreed - I just don't have any type of interface to make that happen  . My soundcard is a ASUS Xonar Essence STX but line-in stuff sounds terrible. I don't really know anything about the kind of equipment you would want to use! Thanks for the feedback, though. It is nice to be able to record some of your ideas instead of having them lost forever two days later like 98% of all of mine, haha.
|
|
#
?
Jun 16, 2014 20:42
|
|
|
Incredulous Dylan posted:Agreed - I just don't have any type of interface to make that happen If you have a video camera I would try to get a modulator and run a line into that. That's what I do. I have to swap channels in adobe premier so audio 1 is left and audio 2 is right in the timeline. It works well though. Losing my cat really really sucked . A month later I did get these two doofuses at 6 weeks old. They're growing up fast.   The first part of that recording was actually something I was banging out when I was really pissed off and upset, and then I came back to it later after a few weeks when I got the kittens and it started sounding a bit less angry. So, one cat out, two cats in. Two from one.
|
|
#
?
Jun 17, 2014 18:05
|
|
|
I wish this thread was more active. Right now I'm obsessed with Chopin. I can play preludes 4 and 7, Waltz in a minor, and Waltz Op. 69 no. 2. I just started learning Mazurka Op. 17 No. 4, and Nocturne in C# minor (the famous one). I've always been too afraid to learn that Nocturne. I assumed that it would just be too difficult. But after sitting down and actually looking at the notes, it's really quite simple. Even the fast run at the end. The hard part, of course, comes from the polyrhythm in some measures. For instance, I can pretty much already play the run up to speed, but adding the left hand just screws me up. Another thing I need to work on is performance. Nearly every night I sit down and play through Moonlight Sonata (1st movement) and try to really perform it with as much emotion as possible. Usually I do a pretty good job, and get through it with little, if any, mistakes. Then my mom comes to visit, asks me to play it, and I completely gently caress it up. Same with Fur Elise. I know that piece backwards and forwards, but as soon as I know someone is actively watching and listening, it's nothing but one flub after another.
|
|
#
?
Jun 17, 2014 22:42
|
|
|
Ana Lucia Cortez posted:I wish this thread was more active. Right now I'm obsessed with Chopin. I can play preludes 4 and 7, Waltz in a minor, and Waltz Op. 69 no. 2. I just started learning Mazurka Op. 17 No. 4, and Nocturne in C# minor (the famous one). I've always been too afraid to learn that Nocturne. I assumed that it would just be too difficult. But after sitting down and actually looking at the notes, it's really quite simple. Even the fast run at the end. The hard part, of course, comes from the polyrhythm in some measures. For instance, I can pretty much already play the run up to speed, but adding the left hand just screws me up. I've been working on Mazurkas too! I like how short they are, it makes me feel like I'm actually accomplishing something while I'm banging away at like, a single measure of Debussy a week or something. Only way to get better at playing in front of people is to play in front of people. My teacher often has me play something for the next student or play audience for the student before me. You might try videotaping yourself, it can create the same sense of panic. 
|
|
#
?
Jun 18, 2014 01:18
|
|
|
Bob Shadycharacter posted:You might try videotaping yourself, it can create the same sense of panic. Tape it with the intention of showing everyone in this thread. Seriously. It helps a ton. Oddly enough, I actually feel more comfortable improvising and playing in front of my mom than I sometimes do by myself. I guess it's just that I know she loves to hear me play and if I can come up with something cool she'll appreciate it more than I would playing it for myself. Weird
|
|
#
?
Jun 18, 2014 04:09
|
|
|
Bob Shadycharacter posted:Only way to get better at playing in front of people is to play in front of people. My teacher often has me play something for the next student or play audience for the student before me. You might try videotaping yourself, it can create the same sense of panic. I started lessons the other week, my teacher asked me to play something out of the book I had and I actually froze up a little being used to playing on my own. He told me you get into a comfort zone and tell yourself subconsciously 'I'm having fun here but I wouldn't really play this for anyone else' and then you end up literally not being able to play for anyone else.
|
|
#
?
Jun 18, 2014 12:16
|
|
|
Incredulous Dylan posted:^^ I know just what you mean. Nice video - I showed a buddy your last one and he sent his sympathies for your cat. I love being able to watch hands, too. looks similar to the current iteration of my deployment setup. is yours a p-85? 
|
|
#
?
Jun 18, 2014 17:04
|
|
|
I used to have a P-95 and switched over to the Kawai ES 100. I have to say that the Kawai grand piano sampling is just way, way better. Better sound quality, action and polyphony with multiple grand piano styles that help if you are playing with a group. I like Yamaha much better for electric piano, etc. but I have a MX61 for that. You can see that the high Eb key is stuck which really bums me out :/. I have to get that repaired but don't have spare cash just for that right now.
|
|
#
?
Jun 18, 2014 17:17
|
|
|
Incredulous Dylan posted:You can see that the high Eb key is stuck which really bums me out :/. I have to get that repaired but don't have spare cash just for that right now. Huh, the ES 100 has been out for less than a year. Is this not covered by the warranty?
|
|
#
?
Jun 18, 2014 19:22
|
|
|
It is totally my fault. It must have gotten stuck while I was moving it around since I don't remember any key having issues when I first got it. I play with a group weekly and since the Kawai is only like 34 pounds I bring it with me. Guess I learned my lesson about buying a hard case! Planning on getting one soon.
|
|
#
?
Jun 18, 2014 19:29
|
|
|
I was planning on leaving mine here and donating it to the chapel or MWR but after dusting it off after it took a helicopter journey and sat on an airfield storage lot for three days in a triwall I've kinda grown attached to it. It's been my piano away from home for over a year now and has held up like a goddamn champ. Might have to buy a hard case to ship it.
|
|
#
?
Jun 18, 2014 20:14
|
|
|
Bob Shadycharacter posted:I've been working on Mazurkas too! I like how short they are, it makes me feel like I'm actually accomplishing something while I'm banging away at like, a single measure of Debussy a week or something. I love his Mazurkas. They are so exquisitely beautiful and contain so much emotion in such tiny packages. I particularly like the Op. 17 no. 4 because it sounds so jazzy. Okay you guys I've been following your advice re: recording myself. I had forgotten how useful it is! I doubt anyone's jumping with excitement to listen to yet another mediocre recording of Fur Elise, but I put it up anyway: https://www.youtube.com/watch?v=Q40GITjSdFg I played it slower than I prefer, because I was afraid I'd screw up. Overall I guess I'm OK with the performance I guess... though I was so concerned with not making mistakes that I kinda forgot to put much expression into it, heh.
|
|
#
?
Jun 20, 2014 21:34
|
|
|
Ana Lucia Cortez posted:I played it slower than I prefer, because I was afraid I'd screw up. Overall I guess I'm OK with the performance I guess... though I was so concerned with not making mistakes that I kinda forgot to put much expression into it, heh. Just go for it. Go balls to the wall and record everything. Yeah you'll get nervous and make mistakes. poo poo happens. I used to be a lot more conservative about that sort of thing, but as time has gone on I've found that a lot of times I'll improvise something after a mistake that's really worth just letting the camera roll. I really just stopped giving a gently caress with my last recording. I still get nervous, but I definitely went off the reservation at a few points and I don't regret sharing that.
|
|
#
?
Jun 20, 2014 21:56
|
|
|
I agree that recording yourself is an awesome tool, even if it makes you cringe a little. Anyway, hey, thread, I just bit the bullet and started inquiring about lessons. Hopefully I won't get ripped off. I've been playing off and on again for about 10 years, but haven't taken any formal lessons for about 7 years. I'm mostly into jazz piano, although despite my best efforts I haven't been able to find a group or a vocalist to play with. I also deeply enjoy playing rags. Ragtime Nightingale is my current challenge. https://www.youtube.com/watch?v=3CRlyyoqiBw
|
|
#
?
Jul 1, 2014 21:57
|
|
|
dopepope posted:I'm mostly into jazz piano, although despite my best efforts I haven't been able to find a group or a vocalist to play with. Do a google search for "[your town] jam session". There are like a million in any major city. It's about 50/50 jazz and blues. If you're in Chicago I can give you some recommendations too, if you'd like.
|
|
#
?
Jul 1, 2014 23:53
|
|
|
I'm looking for a way to record myself playing, for practicing purposes. Any ideas on how to do this? It's an upright piano. It doesn't have to be professional quality, but I want it to sound decent, not like it has been recorded with a mobile phone, which is what happened when I recorded it with my mobile phone.
|
|
#
?
Jul 6, 2014 11:54
|
|
|
I finally managed to slog through the entire thread, a long but rewarding read. I'm one of those adult beginners who have absolutely no previous experience of playing an instrument but really wants to learn the piano so I picked up a Casio keyboard a couple of months ago. After reading this thread I understand that it isn't the best instrument to start with but I didn't know any better and it had good reviews - and anyhow I'm satisfied with it for the moment. I've been listening to jazz for many years now and my goal is to become good enough to be able to play some of the more easier jazz standards, but I do realize that that won't happen for quite some time (and lots of practice). Right now I am going through two "how to learn the piano" books which contain easy songs and scales , reading up on basic music theory and sight reading and mixing it up with some songs that I've always wanted to play (like Tom Waits - Martha). I don't have a tutor yet but I am on the lookout for one if the price is right and s/he seems decent. It's something really rewarding with being able to play music, even on such a basic level as mine, and I am noticing that I am starting to think about music theory and playing songs in my mind even when I am at work. So cheers for a really nice and addictive thread!
|
|
#
?
Jul 6, 2014 13:04
|
|
|
I want to learn how to play the piano. I'm not sure what I want to play yet, I just want to learn how to play one. I played percussion from elementary through high school so I can read music and know/knew how to play e.g., the bells and xylophone so I'm familiar with scales, chords, and theory and whatnot though I've never touched a piano before. From the OP I get that I should get a keyboard with weighted keys. I figure this keyboard should also have foot pedals too. I don't think I want an upright piano because I don't want to deal with tuning and poo poo, I just want to turn it on and practice/play. My budget is in the <$1000 range. What is the keyboard that I'm looking for? e: I'm learning for fun and as a hobby. I have no intents to ever quit my job and run away and join an ABBA cover band.
|
|
#
?
Jul 6, 2014 23:27
|
|
|
Boris Galerkin posted:I want to learn how to play the piano. I'm not sure what I want to play yet, I just want to learn how to play one. I played percussion from elementary through high school so I can read music and know/knew how to play e.g., the bells and xylophone so I'm familiar with scales, chords, and theory and whatnot though I've never touched a piano before. Whatever you are considering, it is probably worth your time to go to Guitar Center to try it out first and be sure exactly what you are buying. blaise rascal fucked around with this message at 19:59 on Jul 7, 2014 |
|
#
?
Jul 7, 2014 19:57
|
|
|
This is kind of x-post from the recording thread but I was hoping to get some insight from dedicated Piano players too: I'm thinking of picking up a Midi controller and the common quandary of 49 or 61 keys is rearing it's head. I've read two points of view: 49 keys is sufficient for the first year or so of learning piano, and 61 keys is sufficient for the majority of piano playing aside from Liszt/Chopin virtuouso pieces. Please note: I'm not looking to be a dedicated keys player, but I do have a niggling desire to learn how to compose on keys. Style-wise I'm primarily looking at R&B, Gospel, Blues, Blues/Alt/Stoner-rock - I do enjoy Thrash too but I don't see much call for it. I would greatly appreciate your advice on this matter.
|
|
#
?
Jul 8, 2014 12:01
|
|
|
Boris Galerkin posted:From the OP I get that I should get a keyboard with weighted keys. I figure this keyboard should also have foot pedals too. I don't think I want an upright piano because I don't want to deal with tuning and poo poo, I just want to turn it on and practice/play. My budget is in the <$1000 range. What is the keyboard that I'm looking for? http://www.pianoworld.com/forum/ubbthreads.php/topics/2167459/Comparison_of_Portable_Digital.html#Post2167459 tl;dr Kawai ES100 is considered best in this range but try things and see what feels best for you. Note that a real piano doesn't even have to be turned on, cutting one step from your practice routine
|
|
#
?
Jul 8, 2014 12:05
|
|
|
Is the fingering of the high melody notes in Moonlight Sonata important? I tend to forget about finger notation unless I can't intuitively find a way to make it work, so I just now realised that I'm supposed to use finger 4 for the 16th notes at the end of bars where you have the "signature" melody rythm of the piece (I don't have much of a vocab in music, so I hope that makes sense.) So far I've just been using finger 5 for all of it, since that's what I found easiest, and I kinda find it hard to make finger 4 work sometimes because of how I have to stretch my hand. Should I start practising with the noted fingering or does it not matter? For instance, when I finish learning the sheet music and move on to adding expression, will the fingering I'm using now get too much in the way?
|
|
#
?
Jul 8, 2014 14:27
|
|
|
Joda posted:Is the fingering of the high melody notes in Moonlight Sonata important? I tend to forget about finger notation unless I can't intuitively find a way to make it work, so I just now realised that I'm supposed to use finger 4 for the 16th notes at the end of bars where you have the "signature" melody rythm of the piece (I don't have much of a vocab in music, so I hope that makes sense.) So far I've just been using finger 5 for all of it, since that's what I found easiest, and I kinda find it hard to make finger 4 work sometimes because of how I have to stretch my hand. Should I start practising with the noted fingering or does it not matter? For instance, when I finish learning the sheet music and move on to adding expression, will the fingering I'm using now get too much in the way? I'm assuming from your question you're talking about the 1st movement. I'm also assuming you're talking about the poly rhythm that's the really famous part. The Dum-duh-dum bit. Anyway, understand that fingerings are suggestions. Also understand that they are suggestions to help you and have been put there for a reason. Sometimes that reason is obviously "Do it this way so you don't end up with a mangled crab hand" and sometimes its clearly "Use your thumb here, even though it might not be the natural finger to use so you can reach this next bit easier" etc. Some times it isn't obvious though, I personally use my little finger for that bit. I'm surprised 4th is listed in the fingerings but I'd guess its to help emphasize those notes? They should be louder than everything else going on which can be a bit tricky given the position in the register of everything so using the 4th might be easier there? But then again big stretches are also harder to control so actually I'm confused now. Anyone with a better understanding of this want to chime in? Anyway whatever reason, fingerings are a guide, 9 times out of 10 you'll want to follow them, but they are not a set in stone requirement. Just make sure you stay consistent with whatever you actually use and try and understand why the suggested fingering is what it is and why you want to deviate from it.
|
|
#
?
Jul 10, 2014 11:40
|
|
|
For those who dig Chopin, you might also like Alexander Scriabin's music. He's basically the late-Romantic Russian equivalent in lots of ways (wrote primarily piano music such as etudes, preludes, mazurkas, sonatas, etc.). I just finished working on one of his sonatas, check it: https://www.youtube.com/watch?v=uvsIV46O3dw
|
|
#
?
Jul 10, 2014 14:09
|
|
|
Cast_No_Shadow posted:I'm assuming from your question you're talking about the 1st movement. I'm also assuming you're talking about the poly rhythm that's the really famous part. The Dum-duh-dum bit. Also - and this is far, far beyond my skill level, both practically AND theoretically - it's possible that you're supposed to use a certain fingering because of the quality of the sound. For instance, the last piece I had to learn had a ton of notes that I had to play (and hold) with 3 or 4, then swap that finger with 5. There was no reason I could see that required playing it with anything but 5 to begin with. The only way I could be certain that the weird fingering was on purpose and not a mistake, is that the same 'technique' was used in a variety of places, always at the start of specific sequences.
|
|
#
?
Jul 10, 2014 14:25
|
|
|
I've always seen switching fingers as a way to preserve legato when you can't do it any other way. Like if you need to hold a note down so you can connect it with another one, but you also have something else going on that requires changing hand positions. It's been too long since I played the Moonlight though (well over a decade!), I have no idea if that's what's going on there. I will say this: no matter what, don't stretch your hands out too much to reach something that isn't comfortable! I gave myself tendinitis doing that with some Ravel last year. He must have had really big hands.
|
|
#
?
Jul 10, 2014 17:24
|
|
|
Yeah finger switching for legato isn't needed in the right hand here. Left I can see but not right. Its not written as 4 then 5 or visa versa is it? Seconding not stretching more than you can physically. The stretch here is only an octave but don't push so hard you end up doing damage. [Edit] gently caress it just tried it and 4th is dumb use your pinky. Also if 5th is good enough for Kempff its good enough for me. https://www.youtube.com/watch?v=O6txOvK-mAk Cast_No_Shadow fucked around with this message at 18:11 on Jul 10, 2014 |
|
#
?
Jul 10, 2014 17:48
|
|
|
Yeah, I can't really remember - but isn't there a bit where it goes up on the third note of the motive? In which case four would be a good choice? I'll have to look at my score when I get home, I'm curious now. I've been toying around with the idea lately to sort of record myself playing...like making a CD, a few different pieces. I have no expectation of anyone actually paying money for such a thing, but does anyone have advice on how to put it together and make it available for free, so I can let my friends and family in other countries download it? I have a little digital recorder thing (a Zoom H2) but I don't know how to go from that to like, multiple tracks...it just records onto a little memory chip. Also I don't know where to put it so I can link people to it. I'm bad at computers ok. Tried googling for advice but all I got was how to download OTHER people's CDs, which is unhelpful.
|
|
#
?
Jul 10, 2014 18:27
|
|
|
Man, I've been hitting a real wall the last month or so about getting motivated to play. A lot of really uninspired nonsense stuff has been coming out of my keyboard. I finally snapped out of it by finding something new to learn. I am stealing Chick Corea's Starlight and re-purposing it as a soft bossa nova ballad. Take that, 80s!
|
|
#
?
Jul 10, 2014 19:15
|
|
|
I was really motivated to learn all the Bach two part inventions this summer but working full time this summer is tougher than I thought. I don't have the energy to go practice after work, maybe some coffee will help. For any teachers, if I'm going into my sophomore year playing nachos inventions, what's the likelihood I'll be able to play anything fit for a recital by the end of my sophomore/junior/senior years if I practice a lot? E: last semester I played chopin's prelude in e minor, Schubert's waltz in c major and a minor, bachs preludes in c major and d minor, a Handel sarabande, and bachs sonata no 1 Hoshi fucked around with this message at 07:08 on Jul 13, 2014 |
|
#
?
Jul 13, 2014 07:01
|
|
|
Alright, I'll just keep using my pinky then. I have the Schirmer's Library version of it, and it isn't all noted with the fourth finger. If we say the signature rhythm is dun-dun-dun the fingering for each beat is suggested as 5-4-5. Also, as far as I can tell Kempff makes much more liberal use of the pedal than what is suggested in the sheet music I have, so maybe I should try using the pedal more.
|
|
#
?
Jul 13, 2014 07:43
|
|
|
Skuto posted:http://www.pianoworld.com/forum/ubbthreads.php/topics/2167459/Comparison_of_Portable_Digital.html#Post2167459 I have an ES3 from Kawai (which is now pretty old) and I love the Kawai Portable Digitals. I have some really minor complaints about the action, but that's really it. I'd vote in this as well and say you could do a lot worse than the ES100, which I really would like if I could justify it in any way.
|
|
#
?
Jul 16, 2014 19:18
|
|
|
I keep saying it but I have been extremely pleased with my ES100. The piano samples and action are just much better in that price range than the Yamaha P series I've played. I will say that I prefer Yamaha portables for any other type of voicing besides piano. Then again, just get a synth if you really want to have those. That's what I did and I've been much happier.
|
|
#
?
Jul 16, 2014 20:05
|
|
|
Got my pieces for next semester: English Suite in G Minor - Bach 1. Prelude "Tempest" Piano Sonata - Beethoven 3. Allegretto Intermezzo Op. 118 no. 2 in A Major - Brahms Passacaglia - Copland Should be a good small concert for my junior standing I think, will probably end up learning more of the Suite and the 2nd Tempest movement if I have time.
|
|
#
?
Jul 17, 2014 10:21
|
|
|
Any thoughts on pedal control? I have no idea how it actually is supposed to go and have just been winging it. Sometimes it works out but I am playing something slow it just gets too muddy IMO since I hold the pedal too much. I ran into that problem tonight when I was sketching out an idea I liked on the piano. Recorded what I mean about the muddiness: https://soundcloud.com/incredulousdylan/beamfall Cool posts about Bach make me want a teacher :/
|
|
#
?
Jul 18, 2014 02:25
|
|
|
Incredulous Dylan posted:Any thoughts on pedal control? I have no idea how it actually is supposed to go and have just been winging it. Sometimes it works out but I am playing something slow it just gets too muddy IMO since I hold the pedal too much. I ran into that problem tonight when I was sketching out an idea I liked on the piano. Recorded what I mean about the muddiness: I always find that it's easiest to get around the problem by hanging onto the root of a chord or progression a bit while backing off of the pedal. I saw Mehldau doing it in DC when he played where he would finish a chord or run but keep a key pressed down, let up on the pedal, and keep going when he put the pedal down again. There has to be a more technically precise way of saying that, but I think you get the gist.
|
|
#
?
Jul 18, 2014 08:47
|
|
|
|
| # ? May 19, 2024 08:27 |
|
|
Haam posted:Got my pieces for next semester: Nice selection! Probably my favorite Brahms piano piece, and the G minor English Suite is one of my old standbys. The English Suite Preludes are pretty awesome; it's weird to find such long and complex pieces inside a keyboard suite. The D minor one in particular is ridiculously long; the Preludes are structured almost like mini-concerti. Haven't seen that Copland before, good luck with that  Personally, I've been continuing work on some Gershwin songs from this awesome book. They're super fun to play and sound awesome, as Hamelin demonstrates.
|
|
#
?
Jul 18, 2014 22:47
|
|
