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73

My teacher instructed me to think of two different approaches to practice: "Stop" -- where you are trying to learn the piece, work out the fingering (or other technical aspects) etc. You're not too concerned with keeping time, and when you make a mistake you stop, go back (maybe to the beginning of the phrase) and fix it. This mode allows you to fix in ...


46

You are ignoring the dotted line with 8va written above the upper G-clef. This means that the notes written in this clef should be played an octave above the written notes. (This notation is called All'ottava and is sometimes used to avoid ledger lines.) When you do this there is no conflict between the notes in the red box.


44

You can divide up the octave however you want, but it turns out that doing what you suggest doesn't really make good sounding music, at least to our western ears. It all has to do with overtones and pleasant ratios of pitches. An interval sounds consonant to us when the ratio of the frequencies is mathematically simple. It causes the waveforms line up and ...


24

The best-written summary I could find of this was on Wikipedia. Technical preliminaries (you can skip this if you don't care) All chordophones (musical instruments based on vibrating strings) can be analyzed using the same physics model of a string under tension that is fixed on both ends. The model is slightly simplified and differs from reality in two ...


23

Well, "Jingle Bells" ain't no Bach, but the same principles apply: if you have two voices hogging one key, you play in a manner doing justice to both. In this case, the left hand has a leading voice down, so you strike the key hard enough (and possibly with the tiniest of lead which you keep up for the rest of the left-hand phrase) to have it ...


23

Both are right, these marks are to denote the section you are playing and you don't play anything specifically for them. The proper name for these marks are rehearsal marks. In an sense you can look at them as practice checkpoints as they are typically where you would want to start playing if you needed more practice on that section instead of playing the ...


23

They are actually eighth note triplets instead of eighth notes. The alternative notation to this would be to group the eighth notes and rests in threes and put a 3 over them like a standard triplet, but it's easy enough to see that you are fitting 12 equally spaced notes in a measure which end up being eighth note triplets which would kind of screw up the ...


20

Is it too late for me to learn an instrument? No. It's never to old to learn anything. Having the determination and persistence to continue is the hard part. It might be harder for you to learn as your brain isn't as flexible as it was. Music is a language and it will take work to learn. Don't get discouraged though! Can I learn it by myself? ...


19

The reason is that dividing an octave into 12 notes sounds the best for a very mathematical reason! The frequency of each semi-tone is 21/12 away from its neighbours. Note C × ? Fraction Note C × ? Fraction C 1 1/1 C 2 2/1 C♯/D♭ 1.059 18/17 B 1.888 17/9 D 1.122 9/8 A♯/B♭ 1.782 ...


19

This is definitely an error. I would stay away from whomever edited / published this music. Nothing is vertically aligned and the print quality is abhorrent.


19

The eighth notes in the left hand are all triplets. The ones in the right hand are normal. Note how the note heads line up vertically in measure 4. On a purely technical level, this is incorrect notation. But it's something that can be figured out pretty easily, so I guess Liszt either didn't care or wrote it like that for artistic reasons.


18

When I was taking piano lessons I learned each piece three times: Once with the right hand, once with the left hand, and the third time putting both together. After a while, the third "learning" came a lot more quickly, and after a few years I would start to slowly sight read both parts together. Today I will still practice the hard pieces one handed from ...


18

It means quite simply that the voice in question is moving between the clefs (and usually between the hands as well). In this case, the voice starting with G above middle C falls an octave to be continued in the left hand until it returns to G below middle C, then rises back up an octave to be played in the right hand. Edit: Here is the original score of ...


17

The piano is very useful when teaching theory and music notation for a few different reasons. Let's look a picture of how notes and the pianos keys relate: From a notation perspective we can see that: The white keys and the naturally named notes line up perfectly so teaching them as distinct ideas won't be a problem. You get exposed to both the treble ...


17

There are no "correct" or "incorrect" fingerings for scales (or anything else). But some fingerings are obviously better than others. In particular, the 12312341... (assuming you continue for >1 octave) you learned for C, which works all the way through G, D, A, E, to B, doesn't really work well for F, because of the Bb. So generally you use 12341231... so ...


17

Beethoven got close in the final movement of his last piano sonata (the relevant part is from 0:30 to the end of the video)


15

Not particularly true! I've just sold a grand in mahogany. However, one of my theories could cover grands as well as guitars. I feel that if a solid guitar is made from a good looking, well grained piece(s) of wood, it's best just to lacquer it, so the good looks come through. If it's not that good - use a solid colour on it, and nobody will know! Grand ...


15

Practice it by playing it as slowly as needed to attain as close to 100% accuracy as possible (no perceivable mistakes). Use a metronome. Once you master it at a given slower tempo, speed it up until it becomes a challenge again and practice at the faster tempo until you master it at that tempo. Repeat this process until you can actually achieve 100% ...


15

Those letters are just section identification. They are not meant to indicate notes to play. You might use them in a rehearsal where someone says "Ok let's all play section C now".


14

You need to consider the total weight of the piano (say 300 pounds / 135 kg for a small upright, up to 800 pounds / 350 kg for a full size grand) compared with a typical piece of wood furniture. When a piano is moved about by "non-professionals", there is the possibility that a lot of weight gets transmitted through the hinges on the lid and the fallboard ...


14

First, I don't agree with that interpretation personally (if that's what Chopin had wanted, he would have written it that way, meticulous soul that he was), so I wouldn't put too much stock in how something "should" be played. In this etude, the voices are this flying passage and the melody in the bass. Breaking it up further is artificial-sounding. ...


14

You have stumbled across the PENTATONIC SCALE. Of which there are two - major and minor. Ascending, by starting on F#/Gb, you have the major pent., start on D#/Eb and it's the minor. The five notes (hence pent!) work well and harmoniously together, with nothing that clashes (is dissonant). These notes work well together, as the 'avoid notes' as we call ...


13

If you are practicing, then you need to correct wrong notes. HOWEVER. This does not mean that when you play the wrong note, you simply replace it with the right one and move on. That doesn't correct the wrong note: all it does is practice in the wrong note and the correction, and that will be what happens in your performance. If you are practicing, and ...


13

There is no theory to tell you which key you're in. Different people can hear the same chord progression in different ways. Of course there are very clear cases of chord progressions, but yours is not one of them. The notes of these four chords are not from only one scale. This doesn't mean that there is no key, it just means that things could get ambiguous. ...


13

May I suggest that it is not an 'x' per se, but actually two lines clarifying the voice leading for the top voices. Such lines are found in the first two bars as well.


12

Contrary to that, when going to classical concerts, I've never seen grand pianos other than black. This is likely to follow the convention of 'concert black' attire. In more formal concerts, musicians will uniform to sharp monochrome colors typically white tuxes, black bowtie, with black pants or black skirts, black shoes. The piano then fits that ...


12

I will throw in my own take as I differ from the other opinions on a few points: Like everyone says: go for it. If you put in the time and attention to it, you will get rewarded. You mention "3 hours free time on weekdays and whole day on weekends for practice". I'd suggest that you start slow: practicing is tiring. Practice a tiny bit but regularly, ...


12

Can't use feet well, but if you could move a knee to one side, it would be a simple lever attachment to the pedal, maybe from your wheelchair. Look at knee levers that pedal steel players use. You only really need the damper pedal - the 'soft' pedal could be added later, but it's not as vital as the sustain.


12

There are actually two "schools of thought" about this. One (not so common these days, I think) that does not recommend practising one hand at a time, and the other uses "hands separate" a lot for learning purposes. Personally, I have found hands-separate practice essential for learning pieces that I find difficult, although, as Todd rightly explains, there ...



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