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So I'm getting back into piano in a big way, I learned it a bit as a child, but being so young I never stuck with anything. I learned about the circle of fifths from this guy and I feel I kind of care more about what I'm playing because I understand how everything relates to everything else, I can't think of any songs specifically I want to learn, but I have only been playing for about 2 months and it is genuinely fun doing scales and being able to go from one key to another and have it sound like something because it is based on some kind of logic instead of me just winging it. I guess I don't actually have any question.. But if anyone is ever confused about any of the theory I found that writing it out again for yourself helps for remembering. Revision is a big part of learning.
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Mar 31, 2014 09:25
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For jazz improv, I've been using Paul Abram's Learn Jazz Piano podcast. It is really great and I've learned some theory on the way too. I just finished episode 7 (Autumn Leaves part 2.) My method is listening to an episode while sitting at the piano, pausing frequently to take notes, and then spending some days practicing the content before I move on. It's been very helpful so far.TheMostFrench posted:I guess I don't actually have any question.. But if anyone is ever confused about any of the theory I found that writing it out again for yourself helps for remembering. Revision is a big part of learning. Definitely. I usally give myself little homework assignments to do at work :cool
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Mar 31, 2014 10:56
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baw posted:For jazz improv, I've been using Paul Abram's Learn Jazz Piano podcast. It is really great and I've learned some theory on the way too. I just finished episode 7 (Autumn Leaves part 2.) My method is listening to an episode while sitting at the piano, pausing frequently to take notes, and then spending some days practicing the content before I move on. It's been very helpful so far. That sounds pretty cool. What I usually end up doing is taking a part of a song that I really enjoy and really dissecting it. I've also been trying to learn the melody of a song transposed to a bunch of various keys, and then playing around with progressions into and from those. I don't know if that's the "right" way to do it, but it's worked so far. The song I posted starts off slow but once I got going I actually feel like I came up with some interesting stuff in the moment. A lot of which I haven't really been able to replicate, so I assume that's my brain just taking over and "knowing" what to do. It's a great feeling. Way more rewarding than just playing something perfect, for me at least!
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Mar 31, 2014 16:46
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On Terra Firma posted:I think given how tonight has gone this is worth sharing. It's a version of My Favorite Things inspired by Mehldau/Evans solo recordings. I stole few bars here and there but I would say around 80% of improvised. No, I do not have anywhere near the technical skill to be able to do decent jazz runs with my right hand, but I do what I can with what I know how to do and try to focus on the mood of the playing above anything else. Nice improv! Sorry to hear about your pet  . I've been pretty disappointed with my own playing (basically all improv) for weeks now. I play with a group weekly and things just haven't gelled for a while. We just had our latest group play on Friday and it was so awesome that it totally snapped me out of my funk. That type of playing where you are barely conscious of what you are doing and are just transmitting the story you see in your mind. Talk about catharsis!
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Mar 31, 2014 16:56
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Incredulous Dylan posted:Nice improv! Sorry to hear about your pet Thanks. It's still kind of noobie stuff because I haven't learned anything super advanced. 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.
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Mar 31, 2014 17:28
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Ana Lucia Cortez posted:I think you're off to a great start! I don't know if it's the recording or the piano but it sounds a bit on the stiff side. You pretty much have the notes down so I'd work on the expression and maybe add a bit of rubato (or not, it's probably not the 'proper' way to play Beethoven but it's what I do. Thanks! Yeah, I'm still working on the entire C part, and not going like ff throughout, adding legato and pedals and speeding up the last part are my primary focus points. As for it being stiff, it's probably a little bit of the piano, since there's a lot of resistance in the keys, because the dampeners are lifting throughout the press of a key rather than just when (or right before) the hammer hits the strings. This makes it a bit harder to play more dynamically if that makes any sense. However, it's definitely mostly my own focus on keeping a constant tempo getting in the way, but I'll definitely work on loosening it up since you mention it. baw posted:Sup intermittent lessons buddy Thanks. I can only recommend it, as I found it a very rewarding piece to learn, and still do even after I finished memorising the notes. Joda fucked around with this message at 01:47 on Apr 2, 2014 |
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Apr 2, 2014 01:12
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) Also I think the arpeggio at the end needs to be at least 2x as fast but I'm sure you're working on it. 
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Hi piano folks. I'm in a bit of a predicament. I've had this thing - a full size Alesis for about a year now. It retrospect it's pretty crap and I wanted weighted keys on a modest budget. The Amazon reviews were good.  I always play with the touch sensitivity turned to "soft" on the weighted action keys. But now I've got one key (F-5...yeah) that is always in "touch-off" mode. So even playing a scale sounds silly because that one key is twice the volume and doesn't have any sensitivity to it. I could play without the touch sensitivity on, but that's kinda the reason I wanted one. I guess I should ship it somewhere for repairs, but I'd probably need a dolly. And a truck. Even without the stand it weighs as much as if it were filled with concrete, I can't really even lift it into a vehicle myself. I don't think it would even fit. My one local music store is staffed by Gary Gygax 2.0 and he only really sells guitar strings these days. The support on the number I called wasn't able to tell me much except that the model is out of production. Seems like my options are to pay a small fortune to have it shipped somewhere for repairs or Deal With It and just buy a better piano someday when my skill level warrants it. Is this a common issue with cheaper electrics with weighted keys? Is it...even possible to repair for a reasonable fee? Mr. Meagles fucked around with this message at 04:35 on Apr 3, 2014 |
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Apr 3, 2014 04:30
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So after a long hiatus of seriously practicing classical pieces, I've started again and I've been working on the 1st Movement of the Pathetique Sonata and after a few months here I have pretty much the entire piece polished to a decent shine...except for Those 4 Measures At The Top of Page 2™. I'd say at speed, I can crank them out cleanly maybe 50% of the time. I've worked so hard on making them right and I'm starting to think the way I finger that part is flawed, maybe Freddie Kempf is a special god or something. Is there anyone who's got this piece to performance-quality that has some advice as to how to approach those measures? It's probably the single most technically inconsistent mess I've ever had to deal with. Canine Blues Arooo fucked around with this message at 19:09 on Apr 3, 2014 |
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Apr 3, 2014 19:02
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Ronco Showtime posted:Seems like my options are to pay a small fortune to have it shipped somewhere for repairs or Deal With It and just buy a better piano someday when my skill level warrants it. Download the manual, crack it open, and have a go at it yourself. You could get lucky and it's a crusted connection or something? I can't think of any other way. A piano in which one note sounds dogshit is not really playable. You might be able to use a piano lab at a local college in the meantime, maybe. Or just play everything in D major. agarjogger fucked around with this message at 21:32 on Apr 3, 2014 |
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Apr 3, 2014 21:30
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Canine Blues Arooo posted:So after a long hiatus of seriously practicing classical pieces, I've started again and I've been working on the 1st Movement of the Pathetique Sonata and after a few months here I have pretty much the entire piece polished to a decent shine...except for Those 4 Measures At The Top of Page 2™. I'd say at speed, I can crank them out cleanly maybe 50% of the time. http://www.mutopiaproject.org/ftp/BeethovenLv/O13/pathetique-1/pathetique-1-a4.pdf Assuming you mean bars 20-27 here, isn't the fingering nearly identical to 11-19? I don't have my actual score since I'm at work, but I always played them the same (I think? It's been like 10 years since I played it) What exactly are you having trouble with in it?
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Apr 3, 2014 23:23
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megalodong posted:http://www.mutopiaproject.org/ftp/BeethovenLv/O13/pathetique-1/pathetique-1-a4.pdf Yeah, bars 11 to 14 are a serious issue. The motion is so awkward and I never have an 'anchor' point to rely on and end up lifting my hand from any point of reference 4 times (I think it's 4, I'd have to get in front of a piano here to check that out for certain.) This, while booking along around 100~ bpm makes it a drat nightmare to play consistently. I think it's mostly because I lose my point of reference several times in a short amount of time, making those points where I do these major shifts a complete shitshow and it ends up manifesting itself as gross inconsistency. It is identical to it's repeated counterpart later.
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Apr 3, 2014 23:31
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I dunno what your fingering is but here's what I have used in the past: 2 on the c 1 and 4 on the tritone 1 and 5 on the a-flat and f 2 and 4 on the e and g (or 3 and 5 if you have small hands maybe) 3 and 5 on the f and a-flat 1 and 5 on the d and c 2 and 5 on the e-flat and c 1 and 5 on the e natural and c second part of the phrase repeats the same except the last chord is 1235, pretty simple Stephen Hough was pretty crazy, he played three encore pieces (all short but still he just kept coming out and doing them) and he didn't seem fatigued at all after he played all Four Ballades. He played them really fast too, very impressive technique. Definitely the best pianist I've ever seen live.
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Apr 4, 2014 07:13
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Canine Blues Arooo posted:Yeah, bars 11 to 14 are a serious issue. The motion is so awkward and I never have an 'anchor' point to rely on and end up lifting my hand from any point of reference 4 times (I think it's 4, I'd have to get in front of a piano here to check that out for certain.) This, while booking along around 100~ bpm makes it a drat nightmare to play consistently. I think it's mostly because I lose my point of reference several times in a short amount of time, making those points where I do these major shifts a complete shitshow and it ends up manifesting itself as gross inconsistency. It is identical to it's repeated counterpart later.  Here's my horribly photographed score. The fingering on it is what I use, with the exception that I play the first C with 3, rather than the 2-1 slide shown there, and I play the D+B♮ with 4-1 rather than 5-1 and the E♮+C with 5-1 rather than 3-1, since it's always flowed easier for me than playing 5-1, 5-2, 3-1. I don't remember ever having any real trouble with coordination on it or anything like that, so I probably won't be much help, but I do think it's easier to learn if you split the sequence up into "parts", almost as if it were slurred, rather than trying to play the entire passage as one piece. The B♭+E♮, A♭+F is one "slur", with the next 5 chords up to the E♮+C being the next. Even accent the E♮+G and B♭+E♮ as if they were the start of a slur (but not whet playing it properly of course). Sorry I couldn't be more help
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Apr 4, 2014 07:25
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Got to see the Fred Hersch trio this afternoon at university of Richmond. Was really lovely. I was really impressed with how much independence Fred has in his left hand, and I can certainly see a lot of the roots that you find in Mehldau's playing going back to Fred's techniques. Very educational.
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Apr 13, 2014 23:07
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I ended up picking up a midi controller and some software and have been having an entertaining time playing with various sounds. I'm probably going to get some legit lessons soonish to make sure I'm not going to be stuck with a bunch of terrible habits I'll have to unlearn. I have a couple of nontechnique questions: 1) I'm lead to believe that some higher end keyboards have the ability to play one set of sounds as well as allowing you to plug in an additional midi controller (like the one I have now) to play a second set of sounds orginating from the first keyboard. So, for example, I could have a nicer weighted keyboard hooked up to an amp and setup with Rhodes sounds and connect my existing controller to that keyboard to trigger Hammond samples through the amp without having to involve my laptop at all. Is this correct? If so, what is that feature called? 2) Can anyone recommend a book/source of music that's more complex/interesting than Twinkle Twinkle but realistically something approachable by a new keyboardist? My preference is rock/blues/jazz pieces more so than classical. Some stuff with walking basslines in a 12 bar blues format or solid examples of how you'd play in a band context is what I'm looking for. Thanks, goons! EDIT: Also, it' clear that MIDI is crazy powerful/scriptable. While it's seemingly straight forward as far as hooking up a keyboard to my computer, I see midi outputs on all sorts of things--my guitar delay pedal (TC Flashback x4) included. Can anyone recommend a good resource of info on what you can do with MIDI, how to determine what random functionality a given item w/ a MIDI port can offer and, in general, how to script everything to your will? Bolange fucked around with this message at 15:10 on Apr 15, 2014 |
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Apr 15, 2014 14:04
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So I've been playing on my P105 for about 4 months now and visited my grandparents who have a real piano (albeit an old Schafer & Sons upright covered in dust). I played moonlight sonata on it, my first time playing on an actual real piano. It sounded incredible. Like chills down my spine amazing compared to a keyboard. I just want to say this thread owns for getting me to learn piano for that experience alone. I'm really happy with the P105 but drat I want a piano now.
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Apr 16, 2014 06:23
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Muscular Typist posted:So I've been playing on my P105 for about 4 months now and visited my grandparents who have a real piano (albeit an old Schafer & Sons upright covered in dust). I envy your experience, we have a 'digital piano' which is a like a baby grand look but with digital I/O and a couple of sounds, and you can hear this unnatural static as you go to the lower notes, like the amount of bass is too much for the speaker. Being able to plug in a quality pair of headphones helps, but then you still have things like the weight of the key-press and the pedals not sounding right.
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Apr 16, 2014 07:11
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I know just what you mean. To date, even having played on a full grand, my favorite piano in the world is this little shitbox upright painted bright yellow at my aunt's lake house. When I was first teaching myself piano in 2011 I was basically on the worst, tiny Casio synth you could imagine from the late 80s. Shortly after I got it, we went to the lakehouse and I just sat at that thing for a lazy weekend afternoon. I actually just read my first post in this megathread from 06/11 that lead to great recommendations on what I could replace that Casio with. Now I'm working with a 2 tier setup - Yamaha MX 61 on top and a Kawai ES100 on bottom. Thanks to all the folks giving out helpful advice here. I wouldn't be enjoying myself three years later like I am without it! Here's me from the other day, playing with some buddies on a lazy two chord thingy: https://soundcloud.com/incredulousdylan/something-in-d We just love to jump into a key with no structure and just feed off eachother and see what happens. I'm on the fusiony synth and grand piano sounds and the other keyboard guy is on his awesome old Yamaha from back in the day with the horns and other electric piano sounds. Incredulous Dylan fucked around with this message at 17:32 on Apr 16, 2014 |
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Apr 16, 2014 16:30
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Ok, in looking around I've found a great deal on an 88 key Korg SV-1. The reviews seem generally favorable and it seems to match up very well with what I'm looking for (excellent Rhodes, acceptable acoustic piano and organs, fairly straight forward to operated with the ability to dive in via usb and edit things more deeply if I'm so inclined). I'm going to go over tomorrow and take a look. At ~$1k it's on the high end of what I was hoping to spend but allegedly the action is pretty good (per the internet). All in all it looks like a solid deal. Any of you goons have an SV1? Advice on things I should look for tomorrow when kicking the tires?
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Apr 18, 2014 13:30
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OK so I'm gonna try to cram as many lessons into the next month as possible, but it's gonna be tough because we're gonna be travelling a bit. My tutor gave me three new songs and we're gonna be working through them. Yann Tiersen, Michael Nyman, and a Bach suite. She knows that I want to work my way up to Chopin en route to more complex modern pieces. I'm pumped to learn all of these songs and continue on the track she's planning for me, but I also will be trying to learn jazz improvisation with the help of Paul Abraham's podcasts and a few books. I've founds some great apps for learning general theory and I'm going to purchase Jack Levine's The Jazz Piano Book and a fake book. My first question is, which fake book? I think I've narrowed it down to two, Just Standards Real Book by Donny Trieu and The Standards Real Book by Chuck Sher. I'm learning towards the Sher one both for the quantity of songs and extra information that comes with them, plus it is spiral bound and the idea of a music book not being spiral bound is nuts imo. Also, is it worth picking up How to Play from a Fake Book? Unless I can find another local tutor in our small town who teaches jazz improvisation, I'm kinda on my own for this.
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Apr 21, 2014 18:48
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I was wondering about something in the sheet music for Moonlight Sonata (1st movement.) The right hand of the 12th bar (the one that has three left hand chords) ends on a triplet that starts with two F#'s. Why are these F#'s marked with #s in front of them when the F's are noted to be sharp throughout the movement, and this hasn't been canceled out in the bar? Am I supposed to lift it to a G? E: Does canceling out sharp/flat carry throughout the line or just the bar? If it's for the line that would clear it up. Joda fucked around with this message at 20:06 on Apr 23, 2014 |
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Apr 23, 2014 18:40
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Joda posted:I was wondering about something in the sheet music for Moonlight Sonata (1st movement.) The right hand of the 12th bar (the one that has three left hand chords) ends on a triplet that starts with two F#'s. Why are these F#'s marked with #s in front of them when the F's are noted to be sharp throughout the movement, and this hasn't been canceled out in the bar? Am I supposed to lift it to a G? It's a courtesy accidental from the previous bar's naturalised (naturaled? whatever) F#. They depend on the editor as to whether or not they're put in, and where they're put. I usually find them more annoying than helpful.
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Apr 23, 2014 21:17
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Can anyone tell me what m.s. and m.d. stand for here? I'm pretty sure it's something to do with hand placement, the m standing for manual or something similar, but other than that I don't know what it's indicating. From the 2nd movement to Brahms' 3rd Sonata, this image is from the first measure of the fourth line. e: nevermind, I've got it - m.d. is man droit, right hand, so m.s. would be sinister for left or whatever it is in french. Still not clear why the hand placement is odd here, it's doable with just the right, maybe the editor was feeling silly. Kolodny fucked around with this message at 03:40 on Apr 24, 2014 |
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Apr 24, 2014 03:32
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Kolodny posted:Can anyone tell me what m.s. and m.d. stand for here? So you can still play legato on the main melody when it jumps from the Ab+Bb to Eb.
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Apr 24, 2014 04:03
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Going to see Brad Mehldau tonight at the sixth and i synagogue in DC. Two years ago I saw him at a solo show and caught him outside, but was too nervous to say anything to him. Later I wrote him an email through his website, and a month later he wrote back. Kind of hoping i can catch him outside again and go "Hi, we almost met two years ago." so incredibly pumped  post-concert edit: So after mustering up some courage, I went up to Mehldau before the show outside and introduced myself, and told him we almost met in DC two years ago, and he immediately said "Oh I remember now, you wrote me that really nice letter. thank you." We shook hands and I told him thank you for becoming a musician, and that I love his work. It's so stupid and such a little thing, but that was just such a cool moment. I got to meet one of my idols. God drat! On Terra Firma fucked around with this message at 06:46 on Apr 25, 2014 |
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Apr 24, 2014 18:59
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Is there a basic level of music theory / general knowledge I should have before looking into lessons? I've got no musical experience whatsoever but I'd like to give piano (well, keyboard to start with) a try, but I don't know if a teacher is going to expect me to have some baseline knowledge or not.
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May 4, 2014 21:22
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Grizzled Patriarch posted:Is there a basic level of music theory / general knowledge I should have before looking into lessons? I've got no musical experience whatsoever but I'd like to give piano (well, keyboard to start with) a try, but I don't know if a teacher is going to expect me to have some baseline knowledge or not. Nope. Reading music etc. is all part of what you should expect to be taught. Nothing wrong with looking into music theory/reading music before you start lessons though.
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May 4, 2014 23:00
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I'm kind of keeping my eye out for a good deal on a keyboard on Craigslist, what brands should I be looking for and what should I avoid? Like today there was an 88-key weighted Casio for $200, but I don't even know what kind of price range I should be looking at for a decent beginner's keyboard.
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May 5, 2014 22:14
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I personally prefer Yamaha for the cheapest models and Roland and Kawaii for mid-range ones. I don't really like the sound sets of Casios or Korgs. However, as far as I've been able to pick up, it all depends on personal preferences (i.e. different people prefer different kinds of feel/sound,) so it's generally best to try it out for yourself before buying. Maybe go to a music store that sells digital pianos and try out a number of models a bit over your price range to see what you like the best. Then go to craigslist (or an equivalent) to see what you can get it for used. Barring that, make sure the keys are properly weighted and not semi-weighted. The first keyboard I bought had semi-weighted keys with springs, which not only didn't feel like a real piano, the resistance in the keys also deteriorated within a year. Also, if your only focus is going to be learning the piano, go for one that has as few extra features as possible, as that increases your chances of the grand piano sounds (and features) being of a better quality. All you'll really need for a beginner piano is 88 keys, a grand piano sound set, fully weighted keys (I assume all keyboards with weighted keys have some resemblance of hammer action) and the option to plug in a sustain pedal. In my experience, you're not gonna get a very good grand piano sound under ~$1200, but since you're just starting out you should probably not invest that much. I hope that's helpful. I haven't been playing for very long, but that's what I learnt by shopping around for digital pianos before I decided to get an upright.
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May 5, 2014 22:43
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Do you want to play keyboard (mostly chord-accompaniment and arrangements with backing, organ style riffs) or piano (need weighted keys)? The equipment for both is unfortunately not really the same. Keyboards generally don't have weighted action. I know only of 3 that do: the Casio CDP 220/230, Casio PX 350 and the Yamaha DGX 650. There might be some in higher price ranges (though I can't recall any), but if you shop there you generally already know which of the two you want. For piano, here's a list of budget stuff with weighted actions, in rough order of price, generally it's "you get what you pay for". If it's below this range, you probably don't want it. Avoid semi-weighted (which is really non-weighted!) like the Yamaha NP series. Sound and action are a personal preference, so try before you buy. Casio CDP120 Yamaha P35 Korg SP170 Casio CDP220 Casio PX150 Casio CDP230 Yamaha P105 Korg SP280 Kawai ES100 Casio PX350 Yamaha DGX650 Roland F20
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May 6, 2014 08:14
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Muscular Typist posted:So I've been playing on my P105 for about 4 months now and visited my grandparents who have a real piano (albeit an old Schafer & Sons upright covered in dust). I've had a P95 for a few years and I was looking to upgrade to a better digital piano a few months ago because I got tired of the P95 sounds. I ended up just buying pianoteq instead. I always play through headphones anyways so the software route works fine for me and I think pianoteq actually sounds really drat good when it's calibrated properly. And you can't really beat the price if you are happy with the P95/P105 weighted keys action - $250 for the standard version, plus a midi<->usb interface versus $1500+ for a whole new digital piano. It would be great to have a real piano but that's not really an option for me right now. Someday in the future when I actually own a real house or something I guess instead of renting a tiny apartment 
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May 6, 2014 15:15
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Skuto posted:Do you want to play keyboard (mostly chord-accompaniment and arrangements with backing, organ style riffs) or piano (need weighted keys)? Ideally I would like to be able to play both, but I'd be more interested in piano if I could only pick one. Aside from the weighted keys, what major differences are there between a piano and an 88-key keyboard? My main issue right now is that buying an actual piano is a pretty big monetary investment without knowing for certain if I'll even enjoy it, whereas keyboards seem a lot cheaper. I was basically thinking of taking piano lessons and getting a keyboard to practice on inbetween, but that if that a really bad way to learn then I guess I'll just have to keep saving until I can afford an actual piano.
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May 6, 2014 18:20
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Grizzled Patriarch posted:Aside from the weighted keys, what major differences are there between a piano and an 88-key keyboard? My main issue right now is that buying an actual piano is a pretty big monetary investment without knowing for certain if I'll even enjoy it, whereas keyboards seem a lot cheaper. I was basically thinking of taking piano lessons and getting a keyboard to practice on inbetween, but that if that a really bad way to learn then I guess I'll just have to keep saving until I can afford an actual piano. (Digital) pianos will focus on action and the piano sound (better samples & loudspeakers), keyboards will focus on accompaniment features and having more non-piano sounds, rhythms & variations, sampling & arranging capability, etc. Keyboards also usually don't come with 88 keys, but tend to be 61 or 76 keys. The combination of 88 keys with a weighted action is basically also a large part of what makes the price difference. For some other options: You can rent (digital) pianos, and second-hand keyboards can be had dirt cheap.
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May 6, 2014 19:01
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Used actual pianos are often somewhere between dirt cheap and free. It just takes a little while to find a really good one (you can hire a tuner to come with you if you're not sure what to look for).
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May 6, 2014 19:08
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i like nice words
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I've written some solo piano transcriptions of Samuel Barber's artsongs for voice and piano for my recital program next year. This one, "Nocturne" ("Night Piece"), has turned out to be my favorite so far: https://www.youtube.com/watch?v=CthTs_wVkYE For reference, here's the original piece: https://www.youtube.com/watch?v=OQtloRute-s
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May 8, 2014 05:30
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I'm looking for a keyboard to learn how to play on. In particular I enjoy listening to people doing their own covers of various video game, television, and movie themes on youtube. It's just a little hobby keyboard to screw around with. Binding of Isaac Dr Mario Pokemon It would be nice to have something that could play in the same quality as these samples. I don't know much about keyboards and I'm not looking to spend several hundred dollars on this interest quite yet. Touch sensitivity seems to be a necessity. Does anyone have any recommendations?
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May 13, 2014 14:22
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This might be the dumbest goddamn question, but I was disappointed to read the Jerry Lee Lewis never lit a piano on fire while playing it. Has anyone? nm found an answer https://www.youtube.com/watch?v=a7C8I_3HHaQ kinda disappointing, tbqh. now that i think about it the 20k+ pounds of tension in the piano box might be kinda dangerous with strings snapping and everything. piano really is the best instrument isn't it baw fucked around with this message at 18:58 on May 14, 2014 |
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May 14, 2014 18:54
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baw posted:kinda disappointing, tbqh. now that i think about it the 20k+ pounds of tension in the piano box might be kinda dangerous with strings snapping and everything. I remember hearing there was a problem with pianos built during WWII. Apparently due to rationing they were built with wooden frames, which held up fine for about 10 or 15 years. Then they started exploding. In the above case I imagine the strings heating up would first make them expand so much they were under far less tension, before snapping or melting or whathaveyou.
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May 15, 2014 22:55
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baw posted:piano really is the best instrument isn't it Yes, etc. 
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May 18, 2014 05:49
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Hello Piano People, I would like your input, if you'd be so kind. I have a choice between a Kawai RX-2 (1996, 5'10") and a Kohler & Campbell KCG-650D (2006, 6'1") both for the same price. I know nothing about pianos and this is a surprise for my wife, so I'd like your input on which you'd choose and why.
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Jun 4, 2014 00:52
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