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125

You will always make mistakes, so the key is practicing in a way that eliminates mistakes. "Practice makes perfect" is a Big Lie. If you don't practice in a smart method you will never get that good -- so what is important is not just practice itself, but good practice technique. When practicing a piece of music or song, there are really two modes I ...


76

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 ...


68

Consider the wise words of Ira Glass: Nobody tells this to people who are beginners, I wish someone told me. All of us who do creative work, we get into it because we have good taste. But there is this gap. For the first couple years you make stuff, it’s just not that good. It’s trying to be good, it has potential, but it’s not. But your taste, the thing ...


64

There are composers like Beethoven, Chopin, and Mozart out there today--you just haven't looked hard enough. On YouTube, I've found Shuwen Zhang, who has some Asiatic and ragtime influences in his music but otherwise composes somewhat like Chopin. He nails the classical musical forms, and he's written some of the most memorable scherzos I've ever heard. On ...


63

Your experience is quite typical. Playing two hands at the same time is completely different than playing both separately. But the point of learning parts separately is NOT about making it easier to play both hands together. It's about learning all the "other" stuff (like correct hand position, articulation etc.) without having the distraction of the second ...


63

If your aim is to record smooth performances without having to do too many takes, the simple answer to that is to perform pieces that are comfortably within your capabilities, rather than pieces where you're pushing the limits of what you can do. This is generally what you are seeing when you watch an impressive performer playing live - however complex the ...


60

Yes, you're right, it is like playing some extra notes on the piano. Note that when your friend plays a C major chord, he probably plays 5 strings (but for other chords, e.g. the G major, it might be 6). The guitar strings will be playing the following notes: a middle C, a middle E, a middle G (the same notes as you are playing on the piano) plus a high C ...


56

Hopefully a personal anecdote as an answer is helpful: I was forced to take piano lessons when I was young. When I became a teenager, my parents made it my choice whether to continue and I chose to stop piano lessons. I did not find it exciting or fun, it was just pressing keys in a certain order every day and "making music" that I didn't recognize and didn'...


54

Try Bach's Two Part Inventions (BWV 772–801). They were titled by Bach: "Honest method, by which the amateurs of the keyboard – especially, however, those desirous of learning – are shown a clear way not only (1) to learn to play cleanly in two parts, but also, after further progress, (2) to handle three obligate parts correctly and well; and along with ...


52

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 ...


51

Jalmus provides what you are looking for and it has a MIDI interface. It is also free open source, is cross platform (written in Java, it works on Windows, Linux, and Mac), and is available in English, French, Spanish, Italian, Danish and German. From the website: Jalmus is a free, open source music education software helping the musicians, ...


51

There are physical and psychoacoustics reasons behind it. A vibrating string held by its two extremities can only vibrate at certain frequencies (cycles per second, expressed in Hertz, i.e. 440 Hz = 440 cycles/second), which relates to the characteristics of the string (e.g. its weight per unit of length, its flexibility) and how it is used (e.g. the ...


50

Jazz is an unbelievably expansive genre with over 100 years of musical tradition; a big part of this tradition is an ever-increasing list of sub-genres that fall under the larger umbrella term of "jazz." Your "(I'm guessing it is)" is encouraging; it suggests you realize it's maybe a little silly to think you can mimic such a broad tradition by "just ...


47

A skilled sight-reader surely can (except if the piece is really difficult). And they can do more, for example they can read the music and play it in a different key, or they can read a string quartet (that is, four independent staves with three different clefs simultaneously) and play most of the important things in it, and so on. Not every good pianist is ...


47

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.


47

Another approach would be to simply state the instructions either in a blob of text preceding the music page or perhaps somewhere between the title and the music: This though would require translation should the work be published for e.g. Klingons or Lojbanists who may be familiar with classical music scoring conventions but not English. % LilyPond ...


46

Why are we making such a fuss over this? If you want the piece to start mp, write 'mp' in the first bar. If you want a particular section played mf, write 'mf' at that point. Then 'mp' again. A confirmatory '(sempre mp)' might be useful at a new section of the piece. BTW, there is no such thing as 'regular volume'. If you want mf, say so.


45

The first thing you need to do is: Stop writing the letter names!!! This applies to piano or any other instrument. If you keep doing this when you practice, you won't be practicing your sight reading, only your technique. In other words, this is training you to play an A when you read the letter "A", instead of the musical notation for it. If you can ...


45

First off, for any melody that stays within a key, you have about a 1/7 chance of any random note you guess being the next note. Second, there are popular melody patterns and techniques, and sometimes the chords being played will suggest likely places for the melody to go. Depending on the chords and the harmony, you may be instinctively understanding that ...


44

I'm assuming that you're talking about the one that looks like a blocky X.....this is a double sharp. Instead of shifting the tone up one half step, it shifts the tone up 2 half steps (i.e. 1 whole step). This image shows G double-sharp in the treble clef, and E double-flat in the bass clef. G double sharp is enharmonic with A natural, and E double-flat ...


44

The left hand is in treble clef.


43

Possibly putting the cat amongst the pigeons here. An expert (at anything, be it sport, art, science, etc.) is often not a good teacher. A good teacher knows the subject, of course, but maybe hasn't the propensity to perform as well as an expert. Often, when someone is naturally good at something, they will lack the empathy to understand why the students ...


42

One of the tricks you can use is one I have learned watching Gustav Leonhardt in concert. For difficult page turns, he uses a little copy of the start of the next page that he pastes on the side of the preceding right page as a flip. Not only is it easier on his memory but it allows to grab the page quickly and turn it efficiently. Now that scanners and ...


38

In general I find that I am slowed by grabbing the page, not by the actual turning. You could bend the corners of the pages forward so that it's easier to grab quickly, or use those sticky flags on the pages, or something like that. As for turning pages where there's no break for one hand, you need to memorize the music. You can memorize all of it and ...


38

Digital pianos really have come a long way from where they were 15 years ago, when I started playing. I started on an unweighted 61-key touch-sensitive keyboard (touch-sensitivity is, by the way, essential, but implied on the weighted keyboards. You cannot play classical piano music even remotely musically without touch sensitivity. Organ music is a ...


38

Learning improvisation is a long trip. Most people start with one of two ways: going by ear, just play something that fits. Try until you think it's good. going by chords. Learn what tones fits the chords in the chart. Try until you think it's good. Soon you notice that it's not either one way or the other, it's a combination of both. Good improvisers are ...


38

Your notation may work for a free form melody, but that's it. How will you notate several notes played at once? How will you notate exact rhythms if you don't split up a bar into beats and subbeats and give each note an exact duration? Which octaves are those notes? I agree that standard notation (common music notation) is complicated, but there are pretty ...


37

replete's answer is correct that the original reason was to have a bigger range, as needed for some organ music. However, I don't think that's the reason those Imperial models are so sought-for over all these years – actually playing the lowest notest is scarcely musically useful. The reason why people want Bösendorfer Imperial is that they sound awesome, ...


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