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33

Possibly putting the cat amongst the pigeons here. An expert (at anything, be it sport, art, science, etc.) is often not a good teacher. A good teacher knows the subject, of course, but maybe hasn't the propensity to perform as well as an expert. Often, when someone is naturally good at someyhing, they will lack the empathy to understand why the students ...


21

The simple answer is no. Think of it this way: Does a composer write pieces only for instruments he can play? No, he does not. He might compose pieces for instruments that he has never touched in his life. You don't have to be a virtuoso pianist to compose fast music. You have to learn how to imagine what you want to compose. If you can imagine your piece ...


10

The notation reflects the voicing (if you are having two staves anyway, why write the voicing in a single staff?). But actually executing the voicing with both hands is not the worst idea: it makes it easier to maintain consistent per-voice articulation, phrasing and volume. In this particular case, you'll likely have your hands playing staggered and the ...


9

I think it is a common misconception that playing fast makes you great at your instrument. Playing slow music correctly and in time, with good interpretation is to me much more of a skill tester than playing fast. Many times when there is music played a high tempo the speed takes center stage and a lot of the principles of good melody takes a back burner, ...


9

More than likely it shows note timing for another verse, where there are different words which need to be sung/played in a slightly different rhythm.There doesn't seem to be a hard and fast rule as to whether the tail on the smaller note follows the main note's tail or goes in the opposite direction, but it makes sense that the value of each note will be ...


6

Don't ask for it. Others have already pointed that the teacher's mechanical abilities have almost nothing to do with his pedagogical abilities. One more point that I would like to add - if you can't play the instrument, can you judge the musicians abilities? I don't know about you, but most people can't. I am a guitar player and can play a bit of keyboards ...


6

That's exactly it. Most players are better playing block chords with l.h. and the fiddly bits with r.h., so the composer has designated cross hand playing.A good player could play it either way, though. It looks sort of good as well!I reckon that the l.h. is actually playing the 1st and 3rd bass notes with l.h. too. Otherwise the stretch would be a 10th, or ...


5

Well, yeah, the first four bars are the easy bit.... < grin >. Just "playing it slower hundreds of times" won't work. Everybody can play this 100% accurately if they go slow enough to take aim at each individual note, one note at a time. Start by playing scales (diatonic and chromatic) in jumps, for example in 10ths C E' D F' E G' etc or 12ths C G' D ...


4

I strongly recomend that you go to a specialist doctor. If there is a physical condition, anything you do may worse the situation and perhaps cause irreparable damage. If after doing a thorough examination there is no apparent physiological cause, then you may start to apply possible study and performance techniques to try to overcome your difficulty.


4

Shevliaskovic has it spot on: You should be able to hear it in your head That, IMO, pretty much wraps up what composing is all about: imagining how something would sound. Of course, one way to get this imagination is to actually listen to different possible options, by trying stuff on an instrument or a MIDI editor. But that's totally not necessary! In ...


4

The easiest way to do it is write all the music for the scene before you shoot the movie! But seriously, this is pretty much the way that composing music has always been taught and learned. It's the same technique as learning a foreign language: you start by responding to simple musical ideas that only require a small musical "vocabulary" and "grammar", ...


4

Every edition I've seen has had this, so I assume Beethoven himself wrote it this way. Yes, the hands would switch off. Many people feel that repetitive motion should be avoided when possible, which is more commonly seen on repeated single notes: Many editors and teachers will suggest 3-2-1-3-2-1 etc. or something similar. As the player, you can choose to ...


3

If it is possible, go to own of his/hers concerts. Most musicians (despite their musical style) play concerts. So, try to find out if the teacher you are interested in is playing a gig any day now and go and watch for yourself. Try to find others students of his, and ask them. This is more important to me, because a good musician doesn't equal a good ...


3

In various settings, the left hand can do everything that the right hand can do. When musicians first begin playing the piano, it's typically with music where the melody is in the right hand and the chords are in the left hand. As a player becomes more advanced, the melodic line will start to switch between hands. When the player becomes really advanced, ...


2

The "classical" technique for repeated notes, in twos or threes, is to "change fingers", e.g. fingering a fast triplet 1,2,3. This may be what Tim meant.


2

The key recovery time on grand pianos is much less than on uprights, due to a different mechanism, so it's more difficult to execute this on most uprights.Thumb,index and middle are the usual way, with the hand suspended over the key.


2

I am not pretending that what I will write is the answer (especially since answer is already given and accepted) but I just couldn't hold myself... I am a family man with children, a job, and being 52 years old, considering myself not hopeless in learning the piano and I started half year ago... So in some sense I am in the same boat with you... senseiwa, ...


2

Most excellent responses from Lee and Tim. You can indeed musically explain any pile of notes. That helps you to better understand what you have created, and might help you find the next note or chord. Theory does not tell you what you can't do.


2

As the question itself admits, there is no "true" mathematical answer to the question since the best tuning varies from piano to piano. But one can use a formula that includes a quadratic term to give some approximation of the Railsback curve. It is therefore probably a closer fit for most pianos than equal temperament would be. Source: Original research. ...


2

If you are playing one section slower than the rest because of technical issues: no, you shouldn't do that. Of course you can do it when you practise, but then the goal is to improve it so that you are able to play it all at the same tempo. It's not that you can never change the tempo, but any change should be controlled, within the style (so in the case of ...


2

Accomplished musician does not always make an accomplished teacher. Pavarotti was a great singer, but I would not have brought my child within a mile radius of him. Domingo on the other hand, he would be a great teacher of children. There is more to a good teacher than just the mere mastery of the subject matter, (That is important though.) to me the ...


2

No, you don't have to even play an instrument to write for it. But you need to know how to write for that instrument, otherwise you can write things that are not playable, or that don't work well on the instrument. Since you are asking the question, you don't know well how to write for piano, therefore I suggest you get advice from a good pianist who can ...


2

Guessing the time sig. is 4/8, it is written regularly. the 1st bar shown has two lots of four semidemis (7+rest) probably played with l.h., then eight beamed together, played r.h. No problems there. Next bar is 8 semidemis beamed together, then four, but the last 5 are played in the time of 4, so no other way to write it. Bar 3 - they're all triplets, ...


2

The notes would be grouped 8 - 8, except that the notation in the first bar shows (by the stem directions and the rests) that the left hand plays the first 7 notes (written with stems down) and the right hand the remainder (with stems up). Beethoven wrote this concerto to perform himself, so the notation that shows how the notes are split between the hands ...


2

Pitch matching and ear training is very useful for learning. One of the primary goals is simply to accustom your voice and your ear to a consistent set of pitches or intervals, enabling you to reproduce them with ease and recognize if you're singing off-key. Singing along with scales also helps with things like quick note transitions when doing runs of ...


2

Your question is a good one, but I think you can go about it in a slightly different way and end up with much more meaningful results. If we acontextually (that is, away from the music itself) try to compile a list of various musical traits, it will never be complete and it will never be specific enough. So instead of trying to list musical traits and then ...


1

Depending on context this may mean a number of different things: it could be a used in a different verse as Tim suggest, but since you state "pokemon theme" I have some doubts, whether any text exists it could be some sort of embellishment (grace note), where the big note indicates the dotted quarter as total duration and the small says, that it is ...


1

You can play just supporting chords and rhythms. You can support the melody. You can "fill in the gaps" in the melody with melodic figures. You can play a complete counter-melody. The rule is to play sustained notes while the melody moves, be more active when it rests at the end of a phrase. All rules may be broken. You will probably decide to do a ...


1

It's not a question if you should or not (obviously!), since music is free, unrestricted will. As far as i understood, according to your question you might be asking it differently "should i add a counter-melody?" or "is the first melody or counter-melody more effective?" Most important thing is to consider that the counter melody is a "second voice" in ...


1

The clef doesn't necessarily mean to tell you which hand to play with. It's there to make the music easy to play, compared with putting the notes on ledger lines. The bottom of the two staves is for your left hand to play. Just read it as if it's the notes you are used to playing with your right hand, except you play those with your left. When it goes back ...



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