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18

The way I was taught was also to avoid looking at my hands; however, in some cases, it makes sense to look at my hands instead of somewhere else. In my opinion, at least from the teachers I've had, the point is to avoid reliance on looking at your keyboard. Relying on manually positioning based on sight slows you down compared to having the muscle memory for ...


17

There's two things going on here that may be a bit confusing. There are cross-stave notes, like you already noted. The rhythm is a so called 'tresillo' rhythm, that's often used in latin-american music. Here the rhythm is structured as 3+3+2 in eighth notes. The note groupings and accents reflect this rhythm. That's why it can seem a bit awkward to read ...


10

Arpeggiating isn't an exact science. You could play two notes (or more) during the arpeggio. Chord-wise, the first to be sacrificed is usually the 5 note - in chord C7, for instance, the G would go Think about it - without C, it's not a C chord. Without 3 (E), it's not major, and without 7 it's not a 7th chord. So the same could apply in arpeggios. If ...


8

Use your right foot1 for the middle (sostenuto) pedal, since you wont need the damper pedal, but you might use the una corda pedal with your left foot. The primary issue is keeping your heel grounded (i.e., on the floor) so you can use your ankle as a fulcrum. Keep the ball of your foot on the pedal so you have enough surface area to control it comfortably. ...


8

Depends what you're doing! When sight-reading, looking at hands/fingers/keyboard is usually not a good idea, as there's a tendency to lose one's place on the sheet. When one knows a piece fairly well, particularly when it's, for example, a jumpy bass pattern, it makes sense to look at what's happening on the keys, at least until some form of 'muscle memory' ...


8

The difference is the kind of 7 you use. A "regular" G7 (also called a "dominant seventh" chord) is a G-major chord with the minor seventh added, so it's G B D F. A "Gmaj7" or "GM7" is a G-major chord with the major seventh added, so it's G B D F#. (For the sake of completeness, Gm7, or "G minor seventh", is ...


8

You should play an F doublesharp, which is enharmonically equivalent to a G. This is because accidentals are not cumulative; the doublesharp does not raise the F♯ by two half steps, but rather it replaces the single sharp already present on the F. Thus you should play F raised by two half steps, which is enharmonic to G. And as it turns out, this F ...


7

Firstly, is it necessary to look at your hands? Well, not if these blind pianists are anything to go by. 5 Famous Blind Piano Players You Should Know Ray Charles, Stevie Wonder, Art Tatum, George Shearing, Nobuyuki Tsujii. Here is a video of Nobuyuki Tsujii playing Chopin - Etude Op. 10 No. 12 ‘Revolutionary’ Secondly, do highly skilled pianists look at ...


7

It's true that piano doesn't offer the similarity between chord shapes that guitar does, though that's not true of all chords (i.e., those that have open strings). To play the same progression in multiple keys on guitar will also frequently involve rearranging patterns a bit. Anyhow, advanced pianists often spend a lot of time practicing patterns in ...


6

Look at your hands to aim during a leap. Otherwise, prefer feel to eyesight. The spacing of the black keys tells your fingers how to refine their aim. If you're staying within four or five octaves and not playing something designed to show off your virtuosity, you should rarely need to glance at your hands. Historically, the piano's keyboard grew higher ...


6

It's not 100% clear, but I'd say that you either use a capo at 3rd fret, and play an Em chord shape, which results in a Gm, or you play Gm with a barre at the 3rd fret. Indeed it could have been explained better...


5

There was a very comprehensive question (and answer) on this site yesterday which will probably give you much food for thought: Am I too old? Is it too late?: A guide to a popular question The answer of course is yes, just get on with it. And why drop piano? Keep the two going. At your age, there aren't things like a job, a family, a mortgage, grown up ...


5

There is a general consensus that the trill should start on the principle note (A#) with finger 4 and consist of 5 total notes, including the trill ending. Beyond that, there is little agreement. There are dissenters in all aspects, especially with regard to fingering. Here is a table reflecting the choices of various editors. Starting ...


5

If the temperature occasionally goes below 10°C or above 35°C there should be no problem as long as you can avoid sudden changes of temperature. You should at all costs avoid having the piano exposed to direct sunlight. It makes sense to keep the piano in a room that is heated to at least 15° during the winter. If the temperature changes a lot, the piano ...


5

I think your question might be better worded as... why did the composer or arranger of this sheet music use an A7 chord label for chord tones E G #C when the purported chord root A is missing? The simple answer is: in this case the chord is regarded as an incomplete chord. Strictly speaking you would say the first chord is a C# diminished chord in first ...


4

Normally these sorts of passages are written using smaller notes which usually add up to more than a normal bar. I think your passage would be perfectly clear if you were able to write the solo in smaller notes (like the arpeggios in Aarons answer) whilst having a full bar tremolo in the left hand written full size. The physical length of the bar still ...


4

Some teachers emphasize not looking at your hands as a way of reinforcing playing sheet music at sight. However, this varies amongst teachers: some encourage hand-looking, some are neutral, some are against. However, outside of learning to sight-read, one plays however it works best for that individual. I look at my hands and the keyboard a great deal, ...


4

There is a naming convention for chords. G = G major, or X = X major where X = any note, the triad is (1, 3, 5) G- = G minor, or X- = X minor for any note X, triad = (1, b3, 5) When it comes to 7ths just a '7' indicates a dominant 7th chord and that has a flat 7th. G7 = G dominant 7th = (1, 3, 5, b7) = (G, B, D, F), this is the V ("five") chord in ...


3

I'm self taught on piano, so I'm just using experience and intuition here, but I would say it's good to look at your hands so long as you've very intentional about it. If you're learning a tricky section, learning with each hand independently, you obviously can't rely on sight for both hands. So making decisions bar by bar about where your eyes should be, ...


3

The necessary observation is that her left hand is always playing the roots of the ii-V-I progression: D-G-C. Going step by step through her modifications: ii-V-I in root position (Dmin - Gmaj - Cmaj) "Ok let's mind the voice-leading" Looking only at her right hand, she appears to play Fmaj - G7(omit 5) - Cmaj. However, you have to consider her ...


3

...Some kind of chromatic walk-down? I think so. Depends on the voicings and what you're reacting to that sounds "good." I played... xx0222 320002 2x2220 1x2210 020000 ...to get a lot of half step movement. In some cases you might call Fmaj in the key of D major borrowed or even a chromatic mediant depending on how it is used. Alternating D ...


3

Solution A A fermata may be placed over the tremolo bar and can stand alone or in conjunction with other solutions. In addition to the fermata used here, there are notations for "long" and "very long" fermatas, which could be substituted. Pictures and descriptions of the various fermata types can be found here. "Sempre tremolo"...


3

Chord symbols are an approximation and simplification of essential harmonic ideas for accompanists, leaving precise details up to players to decide. Whoever wrote the notation, declared that the essential idea is "A7", and playing the notes written on the lower staff is one possible realization of that idea. Chord symbols are a way to describe the ...


3

Since we don't know why the hand-crossing was suggested, here is some discussion of how the piece could be played with it, and why. For reference, the score can be found on IMSLP. For Facilitation I find no passage facilitated by hand-crossing, so unlikely this was the reason. The piece is laid out very well, and notated clearly, to be played without hand-...


3

Much of the piece is straightforward, and the fingering reasonably intuitive. However, there are some sections to watch out for and some requiring license. mm. 3-4 These two measures require some wide leaps so may need extra practice for accuracy. mm. 13, 15, and 25 The problem in these three measures is that the hand-span is too large (for anyone who can't ...


3

I would find this easier, especially if it's fast:


3

Two TEACHERS? One of them shouldn't really be teaching! Key signatures and accidentals aren't cumulative. Fx is two semitones above F, whether the key signature includes F sharps, F naturals or F flats (it COULD happen! Just...) Sometimes it's convenient to spell Fx as G. Usually, this will do no practical harm to the music. Though, paradoxically, it ...


3

That should be possible, especially with MIDI as notes are coded as orders. However, have you think about how risky that would be? An algorithm trying to detect the tempo and then counting the beats in order to manage a transition would have some chances to fail somewhere. If that would be the case you would have no way to recover which, for a live ...


2

You would arrange the 4 notes as closely as possible. C, E, G, C. One of these in my picture. Or a further octave transposition to be pedantically complete, but the first one will do for a theory exam question! Despite the 'Piano' tag and the word 'strike' in the question, some people have assumed this MUST be about SATB writing, and have described a ...


2

Yes, a chromatic walk-down. And that's a full and sufficient justification. Always remember, the diatonic notes are a framework, not a restriction. And not every chord demands a scale.


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