Reputation
356
Top tag
Next privilege 500 Rep.
Access review queues
Badges
2 7
Newest
 Nice Answer
Impact
~35k people reached

Feb
9
comment How to approach learning long complex piano scores without the instrument?
Also, I'm talking about memory for the architecture. Sure, your muscles (more properly, your ganglia) remember the fingerings in a tough passage. But they don't remember if you're supposed to repeat da capo or move on to the bridge and so forth. That is how you get lost.
Feb
9
comment Why does the V6 chord sound so different from the plain V chord?
This is the most instructive answer. +1
Feb
9
revised Is there any evidence that JS Bach, A Vivaldi and J Handel had perfect pitch?
What other kind of perfect pitch could there be? It's unlikely we would be talking about EYE pitch or NOSE pitch, or some kind of tar ...
Feb
9
suggested approved edit on Is there any evidence that JS Bach, A Vivaldi and J Handel had perfect pitch?
Feb
9
revised How to approach learning long complex piano scores without the instrument?
edited body
Feb
9
comment How to approach learning long complex piano scores without the instrument?
@Todd: It's precisely because my mind is free to wander that I sometimes lose my place if I'm relying on muscle memory alone. I remember getting totally "wandered" in the middle movement of Bach's Italian Concerto, with all its meanderings that seem to go on forever.
Feb
8
answered How to approach learning long complex piano scores without the instrument?
Feb
8
comment Is there any evidence that JS Bach, A Vivaldi and J Handel had perfect pitch?
I think it may be easier to have absolute pitch within the range of the instrument you play. I'm a flutist and for any pitch between middle C and three octaves and a fifth above I get a "finger feel" of where the pitch is fingered on my instrument, and that's how I decode the pitch. And all the musicians I've known who have unlimited absolute pitch have been piano players, who play all the notes.
Jan
15
comment Liszt's B minor sonata crescendo
If this is the only problem you have with the B-minor sonata, good for you. How I would interpret the crescendo is that Liszt wants you to hear the chord swell in your mind so that the sudden ppp of the next chord feels like more of a drop: it's more about what follows the crescendo. All he's saying is: "Hey, I want you to give me an audible difference between pp and ppp." Also note that it might mean that the second chord is simply played a little louder than the first, but maybe not so much as to go from pp to p. But you can't really be too literal with the Romantics.
Oct
1
awarded  Nice Answer
Nov
5
comment What is the difference between a mode and a scale?
Good question but it's a lengthy topic and I don't have time to discuss this just now. You can check out other sources, such as Wikipedia's discussion of tonality.
Nov
5
comment What is the difference between a mode and a scale?
@CurlyPaul: There is a sense of resolution to V-I, meaning that the dominant leads the ear back to the tonic once the progression has ventured forth from the "home base" of the tonic. Look at the famous I-V-I of Strauss's Also Sprach Zarathustra (you may recognize it from the opening scene of Kubrick's 2001: A Space Odyssey), which is represented programmatically as the "world riddle" (the fact of being born and dying). If one could put that into words, it might be stated as: "I am born, I go forth, I return" (i.e., I am finished, or "I die").
Sep
24
awarded  Autobiographer
Jul
28
awarded  Necromancer
May
23
answered What is the difference between a mode and a scale?
May
23
awarded  Commentator
Feb
7
awarded  Yearling
Jun
29
awarded  Scholar
May
5
comment Stopping high E string from muting by palm when using thumb to frett
Agree with @horatio: Some people have gigantic hands with long skinny fingers, and these are the people who wind up playing lead in rock and metal bands, where they hold the guitar at crotch level (where it would be impossible to do bar chords without thumbing). I myself could never play clean bar chords with my thumb (even on a Rick 620), which is one reason I play keyboard and bass now.
May
2
comment Sight reading (“two hands”) for one non-performers?
This. Keeping going through mistakes, even botched mish-mashes, is the surest way to sight-reading proficiency. The music marches on, whether you can handle it or no. Eventually you learn to read ahead a measure or two and plot out your fingerings even while you're playing behind what you're looking at and digesting.