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5

Fingerings. A number is assigned to each finger. The numbers suggest you which fingers to use to play the note or chord.


5

You will run into this a lot — basically any time the arranger or composer is trying to make it clear that it should sound like more than one voice. In fact you find it everywhere in the keyboard works of JS Bach, where it can be challenging to play the voices clearly. The way to play it in the 3rd measure is as if the first G was a dotted half note tied to ...


5

You need to hire a professional piano tuner and repair person. It takes an expert with special tools and parts to fix a problem such as this correctly.


4

It looks like nowadays the Yamaha Silent Pianos actually hits a sensor instead of a barrier that runs to some kind of digital piano embedded in the system, which plays through headphones. The rod connecting the hammer to the action is stopped by a padded knob. Sounds like it would be "more silent" than the original. I'd still give it a try in a store if you ...


4

I would say that conservatories are very strict on their standards, usually trying to incubate the 'worlds best' and working in a very closed and inward-looking community of classical performers. It seems to me that it's very much possible to make a living as a teacher and accompanist, or indeed as a performer, without re-admitting yourself to a ...


3

A book I've always liked for a no-nonsense introduction to playing keyboards is "How to play the piano despite years of lessons" by Ward Cannel and Fred Marx. In a very short period of time you can start playing chords to lead sheets and start reharmonizing.


3

On the third measure, you play the chord, and hold it for 3.5/4 of the measure. At the last eighth of the measure, you play G again and on the 1st beat of the 4th measure you play the chord again (thus you also play the note G again). On the 11th measure, you play the chord, then you play the notes that follow: Bb, G, Bb, C, Bb and then on the next measure ...


3

All pianos need tone regulation ("voicing") and action regulation from time to time, because of wear on the hammers and other parts. In your case, it's time.


3

I'm in a similar situation. I was classically trained for 13 years, and 6-7 years ago I started playing pop styles. I'm still not excellent at it, but I've come a long way and am generally competent. The biggest difference, as I'm sure you've discovered, is that you can't just play what's on the page (if there even is a page!) and have that be enough, ...


3

I'm not an advanced pianist by any means, but one difference I've noticed is that classical music is more voice-oriented than pop music. That is, it concerns itself largely with horizontal relations between notes to create multiple independent melody lines, each following voice leading. In pop music, these seem to be much less important relative to the ...


3

One of the main reasons that a whole-tone scale works so well to indicate dreaming and rootlessness is that it's a symmetrical structure that divides the octave into equal parts. Multiple notes can therefore work equally well as a "tonic" which kind of means that they're also equally bad at being tonic. A symmetrical structure makes it much easier to avoid ...


3

Try to work out what is transmitting the clatter of your keys to your neighbour's apartment. It's unlikely that sounds that quiet would transmit through the air, then through a floor, to be loud enough to disturb -- otherwise you wouldn't be able to have a private conversation in your own home. More likely, the clattering is being carried through the body ...


2

Let me add some perspective here from a completely different angle: climbing. Climbing is obviously a sport where people train a lot, and people "working out" in the sense of "sculpting an impressive body" tend to be amusingly bad (from the perspective of climbers not overly impressive to chicks while they keep their shirt on) at it. That's because ...


2

The style of the impressionist can be very dreamy. Listen to Le Plus Que Lent by Debussy, or perhaps Ondine. A number of his preludes create this dreamy ambiance too. As far as Ravel goes, La Valse does a good job of presenting a foggy, distorted version of the main theme. If I were to summarize these techniques briefly, parallelism and extended tertian ...


2

I don't really know much about piano but what I do on the guitar is to listen to a drum beat (usually latin or jazz for complexity) and then I replicate the beat in my strum or by playing single notes. When I get good and clean at it, I look for another beat and work on that. I have found that it helps me a lot when it comes time to improvise. I have a ...


2

Speak with the stage manager beforehand and ask him or her to have a stagehand check the condition of the keys after each person's performance and clean them off if necessary -- or, better yet, clean them off after EVERY person's performance so as not to make it look like one particular player was at fault. You, the performer, should not be cleaning the ...


2

Those are recommendations for fingering the chords. The fingers are numbered with 1 being the thumb and 5 being the pinky. So in the first chord, labeled 1245, you use all fingers except your middle finger to play the chord, and in the second chord, labeled 125, you only use your thumb, index, and pinky fingers.


2

It's the fingering for the notes. I am pretty sure you know that your five fingers can be represented by the numbers 1, 2, 3, 4 and 5, 1 being your thumb and 5 being your pinky. When it is stacked like that, it means to play the chord using those fingers. For the first set of stacked numbers on the left, You use every finger but the middle(3) finger to play ...


2

Pop music is very different indeed. (Fill in black music/white music stereotype here.) Things usually done wrong by classical players: In the beginning, there was groove. If everything else fails, the groove must survive! You can't play the wrong note, only at the wrong time. Don't relax, keep the tension. There's a trap door under your chair: lose the ...


1

Metrically, I'd start breaking each three of the 6/8 into two dotted 8th notes, increasingly emphasizing the new rhythm. You could do this either in the melody first (I'm presuming that to be in the right hand), or you could continue with the melody or chords in the right hand while shifting the left hand's rhythm in this way beneath it. Eventually, the ...


1

Something that makes your question difficult to answer is that you talk of "pop music" as if it's one genre. In fact if you pick two pop keyboard parts at random, you're likely to find that they're using completely different techniques. One pop song might be backed by long chords of synth strings. Another might have a showboating solo on a monophonic synth. ...


1

This is all great advice, but it treats you like a total beginner who doesn't know what to do. You have a huge advantage from your classical training, which is the ability to read. I would look for the most detailed transcriptions of the type of pop music you want to play -- for instance, if you like the Beatles, see the Complete Transcriptions which capture ...


1

I guess you're asking about the G note which is written as held for 2 bars, along with the Bb, except that you're told to play the G again, at the end of bar 3, while it's still pressed down. It's not written too well, perhaps simply, to show that the Bb+G are one voice, while the tune is another. To do it correctly, maybe the G should not be shown as held ...


1

If your interfere a particular person, try to figure his timetable. Maybe sometimes he is away and you can play without problems, or maybe you are unlucky enough to play often in some time that is particularly bad for him. Or discuss the time table with him, if it is still possible to talk.


1

I've found new and used books at Amazon US (if that's your location) for ~$10 (Peters, Henle) if you go with half the suites (no. 1-3 or 4-6). Searching for "Englische Suiten" appears to result in more hits...


1

It doesn't make much sense to me to perform something for your teacher what you haven't practiced. So if you haven't started using the pedal for a particular piece yet (for whatever reason), tell him so and ask to perform without pedal. If you teacher suggests you practice without pedal (at all / most of the time / only when starting a new piece / until you ...



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