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20

There are several situations where this notation makes sense in piano music. There is one note in one part, for example the melody, but several notes in the accompaniment (written on the other staff). There is a "symmetrical" arrangement of a two hairpins showing a crescendo and a decrescendo. One of the hairpins is over a single note, the other over ...


9

Since it's pedalled all through the bar, play the r.h. lower A, pedal, and then play the l.h. A each time it comes. No need to hold the r.h. A key down - the pedalling will sustain it.


8

There's at least one case of these "impossible" crescendi that definitely isn't a mistake: at the end of the Liszt Sonata, the fifth- to third-last chords are marked pp; crescendo; ppp. The only possible realization is through gesture, and certainly Liszt was aware of this.


8

It's pretty common to change the clef in piano music. In your case, the right hand has moved in the lower range of the piano, so it wouldn't be easy to read many ledger lines below the staff. That's why the person who wrote this sheet has changed the treble clef to the bass one. You don't change octaves. The low B in the left hand is played in the octave ...


8

I agree with Tab's comment — this is probably an artifact from re-arranging the piece from a wind/other instrument that could indeed alter the volume at will over the duration of a single note. It could also be a poor way of indicating a transition from one volume to another, with the note being a single intermediary volume. However, if the marking ...


6

As @Jacques said, the link for the full sheet music is not working, so we can't tell for certain what is intended in context, but here's my educated guess: The person that wrote your sheet music should have separated the pitches into two different voices to show that the lower note holds through for the full measure while the upper voice adds some ...


6

Your basic problem is that your organ technique will "get you by" on the piano in the sense that you can play the right notes at the right time, but the techniques of the two instruments are really very different. Probably the quickest way in the long run is to put most of your effort into technical exercises that force you to use "piano technique" rather ...


5

Alfred Brendel was notorious for having his fingers bandaged when playing. I've read several contradictory justifications for this, but the most credible, attributed to a personal interview, is that his fingernails broke easily and he had to protect them like this: (I found this picture on the web, it is not attributed and I have no assurance that it is a ...


5

Don't try to hold the notes down for the full duration. Let go of the notes and move your whole hand (and arm) sideways to hit the next octave. Practice playing scales and arpeggios in octaves. Start slowly. Your speed and accuracy will improve with practice. You can also practice "five-finger exercises" in octaves. At first your hands and arms will soon ...


5

In terms of Liszt’s music, the label “piano transcription” is often misleading. Although Liszt did write many (relatively) faithful transcriptions, such as the Beethoven Symphony series, most of his derivative works were concert paraphrases or “enhanced” transcriptions, such as his version of Danse Macabre. Among piano composers, Liszt was one of the ...


4

Usually this happens when the piece was originally for some other instrument, and most likely for more than one. For instance, this might have been an orchestral piece or a song for voices, where it would make sense for two different voices to play (or sing) the same note. Of course, on the piano you cannot play the same note twice. So, you will only play ...


4

This is one of those things that makes Debussy really hard, and not really appropriate for a beginner despite the slow tempo. Debussy was an excellent pianist, and it seems that he leaned on his ability as a performer and didn't worry about the notation that much. His piano music is full of places where what's written doesn't match what he intended (we ...


4

I'm only a guitarist, but I play once a week on a real piano at my teacher's studio, and I have a Yamaha P-115 digital piano at home (weighted keys, $600 retail most places -- I got lucky and paid $400 at a salvage store). The feel is a bit different between the two, but it's in the ballpark (for a tyro like me). No trouble adjusting. I originally started ...


4

B# and C are basically the same note. They are called enharmonic tones. In modern musical notation and tuning, an enharmonic equivalent is a note, interval, or key signature that is equivalent to some other note, interval, or key signature but "spelled", or named differently. The one note differs from the other depending on the harmony of the song. ...


3

I think it depends very much on whether you take the "old school" view that fingering a passage like this involves "passing the thumb under", or the more modern idea the that driving force comes from your hand and arm moving sideways, and not from your fingers. There is nothing "wrong" with either method. The difference is mainly in how you move and ...


3

Calluses do have an effect, but nothing that can't be overcome. In fact, most professional pianists have calluses, and many string players with heavy calluses also play piano without issues. Some even say that the firmer contact points help control the gradations of pressure in key strokes. The main negative effect is that the callused fingertips are ...


3

If you’re like most pianists, your ability to memorize music is probably fine, but your ability to recall what you’ve memorized is affected by new and stressful surroundings, such as unfamiliar feel and sound of an unfamiliar instrument, unfamiliar acoustics, peer pressure, heightened fear of making a mistake in public, or any number of things that are ...


3

If learning to play piano is your objective then a used stage piano with onboard speakers is a good option. Most come with MIDI connections so you can connect to computer as required. That way you are free to switch on and play, no connections, with or without headphones, and with other musicians. Learning is challenging enough and added distractions can ...


3

There are similar questions around, and this is sort of answered already. The left hand contains two separate 'voices'. The higher one keeps moving upwards, while the lower one stays on and holds the low A. It just happens that both 'voices' start on that same A.


3

The whole point of a digital piano is attempt to re-create an acoustic one. Maybe better isn't the right way to think. There is an instrument called the piano. It's big and feels and sounds a certain way. There are many digital imitations of the real things called pianos. The primary reasons why digital pianos exist in the first place are cost and size. ...


3

I own, and have performed on both kinds. I use them for different reasons, in different scenarios. If you can have only one, you should choose according to your needs. What kind of music will you mostly play? Does your digital need to be portable? ACOUSTIC: A good many classical composers have written piano music that deliberately creates an interesting ...


3

Which leads me to wonder - just how much difference is there between a decent contemporary digital piano (something on the order of $1000 or more) and an acoustic piano? If put to the test, would the experts be able to tell the difference? Or perhaps it's time we revised this "old truth"? Does anybody have any hard evidence on this? Any double-blind AB ...


3

First of all, attempting that piece after 5 years of study is probably too early. I guess it's possible, depending on your study "regimen" for these 5 years, your age, and your natural talent, but to give you a reference, Chopin's Op.10 is in the Syllabus of the Associate Diploma (ARCT) in Piano Performance of UK's Royal Conservatory. I'm not fully familiar ...


3

There are various organizations in music that lay out what students should learn at different stages. The one I've heard of most of is ABRSM(http://us.abrsm.org/en/our-exams/piano/piano-grade-1/). It tests at 8 different levels, with the highest being a competent pianist, ready to enter a good college music program. If you look at their requirements at ...


2

I have just found an e book written in 2014 by Chaun C .Chang called "Fundamentals of Piano Practice " which is the best advice I have ever seen about learning the piano . Chapter 7 covers Trills and muscle tone etc.


2

Play an easier piece. Think of playing with a metronome as a skill to be learned. You'll be frustrated if you try to use a metronome and learn something else at the same time, so start with music that's so simple that it requires almost no conscious attention to play. If you have a lesson book, try the metronome with one of the early lessons. Playing the ...


2

It's not clear from the question whether your fingering is for your own playing, or whether you want to add fingering to the score for other people to play. For professionally published scores, usually there is no fingering, or the fingering is added by the editor, not by the composer. So if you are "a bit of a novice", don't put any fingering at all in the ...


2

This is obviously not an answer (can't post photos in comments), but here is an example: from Debussy's Des pas sur la neige, bar 1:


2

The problem with adults is they have a lot of other stuff on their plates. Kids are in a great position, with relatively few draws on their time, in reality, and probably some financier there as well. Go for it. There will always be other things to pull you away from having some practice time, but force these things into the background. If you have the ...


2

Can't believe all this about calloused fingertips caused by playing guitar. It's not necessary. But in any case, I play both, don't have callouses ( I play bass guitar as well), but do not believe that callouses will affect piano touch. It's how you address the keys rather than the feel of the fingers on ivory/ebony. Do not be concerned at all.



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