New answers tagged

0

Since you've only been playing for six months, I'm going to guess that the pieces you're learning are not especially long so if that's the case, I'd proceed as follows; Step 1: Before you even play a note, read the piece through. Try to hear it in your head. Even if you're not able to hear the pitches very accurately, you'll still be giving yourself a ...


0

My first thought about how to play this was, as mentioned by others, to depress the sostenuto pedal during the second beat when the F major chord in the right hand shifts up to the G major. However the G major falls back down to F major in the next measure but the octave G in the bass should still be sounding at that point. There doesn't seem to be a way to ...


0

The "ties" are actually slurs. Imagine you're singing those eighth notes in the left hand. Sing the G and F in one breath and take a quick breath before singing the C and D. Now sing all four notes in one breath (i.e., as if there were no slurs). You should notice the subtle difference which the slurs make in the phrasing and try to incorporate that "...


7

It depends to a large extent on what you're aiming to achieve as a pianist. If your aim is to become a good classical music player, the ability to sight read to a high standard is pretty vital; less so if you're just aiming to attain enough technical proficiency to enable you to jam, improvise and "sit in" with other musicians. In the latter case, my ...


2

So is the purpose of the music that I read along when I play so I know exactly what I'm doing? Or is it there to teach me, and then be a general guide when I'm playing? Both true. You have no liberty to change things as you wish (emphasis on change!). What you need to keep in mind always is to deliver a performance faithful to the composer's intentions. ...


2

I play the piano as well and will be taking level 9 soon. I generally use the sheet music to learn the pieces as is recommended and slowly start to not look for specific notes but more patterns in the sheet music. An interesting experiment to try on yourself is to use a differently formatted sheet music for the same piece. eg: One text is bigger than the ...


8

For the purposes of your Grade 1 examination, the requirement is to play the notation accurately and completely. There is room for individual expression, but it doesn't extend to changing stuff that IS notated. Like the notes! There are musical situations where the notation may - and should - be considered more of a general guide. But, particularly when ...


10

So is the purpose of the music that I read along when I play so I know exactly what I'm doing? Or is it there to teach me, and then be a general guide when I'm playing? Both. If your are able to memorise aspects of the music, then it's going to be very hard to disable that ability - so it's inevitable that the information you take from a given piece of ...


0

For professional, solo playing - the piece is expected to be rendered exactly as in the sheets, but no sheets are used (learning music by heart is an essential skill). In orchestra pit, comping etc. - sheets are used for reference.


4

It's just there!! Or not!! Of course it's there initially, for someone to learn to play from. It's also there as a reminder for someone who's already learned it. It's also there for someone who is a good sight-reader to play it immediately. If someone has learned it 'by heart', then it matters not if it bursts into flame! My students are constantly reminded ...


2

For some people they need the sheet music. For some it is used just like you are using it, as crutch to learn or a guide to remind you of the bigger picture. Some don’t need it at all. There are some situation where it would be inappropriate to use sheet music (think rock band live show), and some where it would be fine (broadway play pit musician that ...


1

The only tie shown is between the two G note (3rd and 4th). The lines are slurs - phrasings. The bass clef has stems up and down to show that the 1st, 3rd and 5th notes are held longer than they would be with only up stems. It's written as a three part tune - treble clef os top, bass clef/stems up is middle, and bass clef stems down the lowest of the three. ...


2

They are not ties. They are slurs. It just means play then legato. Note that the bottom notes are also held longer, suggesting a melody in the bass.


1

I think most musicians experience what you're feeling and it could be looked upon as a good thing. You've described to us a little about your musical past, and expressed uncertainty about your musical future. I have had an intense interest in music since I was a small child. I've had periods in my life when I've pursued that interest like a dog, and other ...


-1

It's all confusing - your teacher should have made it all crystal clear to you, and if it's for an exam, what ABRSM states is what they believe is best for that performance. there are no bonus marks for playing a piece faster! Although there's always room for interpretation, particularly at the higher grades, and that will inevitably include tempo, which for ...


2

Your teacher could have meant two different things:: practice at quarter (crochet) = 60, but set the metronome for the eighths (quavers) at 120 BPM set the metronome to 60 BPM and practice at eighth (quaver) = 60 BPM You should ask your teacher which one they intended, although I would assume they mean the first one. The second one would be extremely slow....


0

Specifically: It doesn't matter, because the damper pedal is held. Play only as many notes as there are note heads. The feathering suggests accel/decel, nothing more. Yes, because that's in the spirit of ad libitum, improvvisazione. Pulling off the amoroso may matter more than any rhythmic or dynamic quibble, especially when the composer's own recording ...


2

You need to find an outlet for your talent. What good is being able to play if you have no one to play for? Every performance is worth ten practices so performing makes practicing addictive. Here are a few suggestions: Find a singer or instrumentalist, put together a one hour program and offer it to nursing homes. Many (here in the USA) pay $100- $300. ...


2

Excellent question! I think you're asking about the single most essential thing which makes people find solutions and tools and whatever is needed to get music (and life) going, and that is: purpose. If you have a purpose for your musical activities, then the right questions start popping up: "what musical elements and skills do I have to learn and improve ...


1

What you're feeling is perfectly natural. You won't always be "on" every day. You will have "off" days. That's part of life, but especially part of any creative process. There will be some days where you make lots of progress and feel very inspired, and there will be days where you don't. Just take it as it comes and move toward your dreams at your own pace. ...


0

A lot of self taught guitarists start to improvise by learning to play major and minor pentatonic scales. I would think it would work for any instrument. The pentatonic scales do a pretty effective job of eliminating the notes that might seem to clash when harmonizing with other diatonic notes of any given scale, and enable a person to start building ideas ...


1

One approach could be just using chord tones and common chord tones. Eg. Bb D F D / B F D B / C F A Eb / D C A F# / The #IV Dim leading to I7 / 5th in the bass is very common, and strong bass line construction. There are many other ways to outline the chord changes you mention. Ideally you want to have chord tones on Beats 1 & 3 as a starting point....


1

Pianists are trained to play the thumb from their abductors and ironically the thumb's weakest muscle is its abductor. They are also trained to cross the thumb under the palm but there too, the flexor intersects with the long flexor of the index finger and that both grinds the two tendons together and locks up the extensors. The best and most efficient way ...


1

My shoulders become stiff and come up when I play. If they're loose and low before you play, then there's hope. Try this: play something simple, but with the intention that keeping them loose is more important than playing. Aim most of your attention at your shoulders, very little at the piano. When they try to stiffen, immediately loosen them again or -...


4

I used have sore shoulders after playing for an evening at an Italian restaurant in college. I finally figured out that it was because I was lifting my shoulder up to high while playing. In the moment, it seems expressive and natural, but turns out that it's much more natural to let your shoulders relax all the way, sit up straight, and make sure the ...


2

You should immediately stop playing as soon as something starts to hurt to prevent any serious injury. It is not necessary to stop playing for a long time, though. Just make sure to stop right away to prevent injury. Pain is an indicator that you are tensioning muscles which should be relaxed. Every finger should play independently, avoiding any 'help' ...


4

That’s a MIDI breath controller. It lets him articulate the woodwind sound he’s playing on the keyboard in the same way an actual woodwind player would. It should work with any MIDI controllable synthesizer, software, or effect processor, although many setups will require some kind of interface between the breath controller and the device to be controlled. ...


3

I grabbed a file from imslp.org and found your measure. It is a simple mordent.


9

You could try something like this, using just repeat signs and volta brackets: |-1.,3.-|-2.,4.-| || intro ||: A | B :|| C :|| outro ||


2

Lines and phrasing. Nothing more. Freddie approached this song as a singer also playing the piano, not a piano player playing both the melody and piano part. Think orchestrally or as if you are singing. The RH plays the melody notes of A Bb Bb and, how the music is written, the final Bb is a whole note. Now sure, you can use the sustain pedal and ...


3

If anyone here can elaborate that would be excellent, since I think it would be rather pointless to do this as it's easy to reach the F3 and G4 if you are not playing them together. It is octaves. You can not easily reach those octaves with the right hand. Doing it the way he does with cross-handed technique is just a simple way that makes sense. You could ...


2

It's a standard boogie style rockabilly. Played much like Jerry Lee Lewis would play, minus the right heel on the keyboard. The right hand is doing mostly 16th note switches from the two note chords of in the upper register of the piano. notes are "a,d" "a,d" "a,e" "a,d" for the chord running against the left hands bass walk style. The LHand is walking down ...


0

I agree with the above answer 100%. I'm currently working on the last three sonatas and using both the Von Bülow and the downloaded free score. I prefer not to have Von Bülow's suggested dynamics and peddling because it's difficult to distinguish with what are Beethoven's actual markings. I frankly wonder if anyone has understood especially the last five ...


0

The fact is, you can't just look at a key signature and know what key the piece is written in. You have to look at (or play) the notes of piece in order to determine the key. On the other hand, once you see the key signature, you can say the music is probably written in one of two keys: the major key with those sharps or flats or the minor key with those ...


3

Perhaps if you're playing sheet music it's not that important. You play the notes as written and that's it. However, if you're into other genres where improvisation is part of the performance (jazz, blues, sometimes rock), then knowing the key is essential. It tells you where the tension centres around, so you can build up the tension (perhaps by playing a ...


9

Why is it important to know what key a song is in? Sometimes it is important, and sometimes it isn't! If you're singing along to a song by ear, then it may not be important to know the key, unless you have perfect pitch. (It might be useful to know if a particular song has been transposed, in case that's better - or worse - for your singing range). If you'...


4

As a beginner, if you're playing a piano piece from sheet music then it's not necessarily important to know what key the piece is in. You can look at the key signature as a shorthand device to help you know which notes to play. As you become more familiar with songs in different keys, however, you'll start thinking about shapes more than notes. For ...


4

Let's assume a key signature of two sharps. If someone has zero understanding about keys and harmony, the key signature (and accidentals in the score) will simply be mechanically applied. When you see a C or F notated the key signature tells you to play them as sharps. So, you may be thinking 'what else is there to know beside that?' The important thing ...


5

A piece in a key will far more often than not use the diatonic notes from that key. Those notes are the ones that constitute the scale that belongs to that key. For example, C major contains the notes C D E F G A and B. There are no ♯ or ♭ involved. Therefore the key signature contains no ♯ and no ♭. Sometimes there are times when one ...


3

Murray McLaughlin is the chairman of the European Piano Teachers Association. His book on piano technique begins with posture, finger independence, finger strength, flexible wrists and the minimisation of tension in the upper arms, shoulders, neck. Step 1 is to start with the correct posture - seat height, distance from piano, wrist alignment and back not ...


0

Depending on whether your initial teacher used a particular method book to teach you from, I'd suggest obtaining that same method book and working through it again. Most of them are pretty focused on what you need to pay attention too, and you might find your training coming back to you as you work through it again. You can do this at your own pace and in ...


0

In terms of interpretation a believe the sudden pianissimo in bar 2 provides a clue. Instinctively the first thought would be that giving emphasis to a passage or group of notes requires louder playing. However a sudden pianissimo can achieve a similar purpose. Here the markings are unusual in that the second F in bar two is accented albeit at a pianissimo ...


1

I don't know the structure of your hand specifically. I have a large hand and, after some experimentation, find the following to produce the most musical results. The point is to put the 5th finger on the first F#: The relationship of hand wrist and arm needs to be preserved - which as you say precludes any screwing round of the hand which would throw ...


0

Another way to re-start practicing might be one of the many learning apps out there (for Android, iOS etc). Some of them are quite good at teaching theory and getting you into a nice daily/weekly routine. Once you get a feel for your available time (and interest) after a few weeks/months, you could move to the next stage and, as @JimM suggests, invest ...


3

First of all, I recommend not thinking about your age or the "elasticity" of learning now. I got interested in music when I was 14, and in the country where I lived at the time I would not be accepted into anything but percussion, because I was considered too old (and even that came with noticeable displeasure from my teacher). I had played percussion (...


4

Lets start with the obvious: you will do better with a teacher than without a teacher. This is for many reasons but two of the main ones are that it will bring structure to your learning and development and you will get regular feedback on how you are progressing. If you cannot get a teacher then you are going to have to be very disciplined. If you were ...


0

This is a case where linear graphic notation can be useful as it can give precise fine grain visual information that mere words are single symbols cannot....


1

Contrary to popular advice excessive slow practice can be counter productive and lead to "getting stuck" at a ceiling tempo that is too slow. Once you have the notes under the fingers try practising hands separately at first very quickly in groups of different numbers I.e. In groups of 3 four 5 and 6 and with different accentuation. In very fleeting pieces ...


0

Either start learning some Etudes that have a focus in building hand strength, there's a lot of them. Another is to practice all of your scales, then do them in odd patterns, so instead of going: C D E F G A B C, go C D E D E F E F G F G A G A B A B C, and start doing them faster and faster; plus just playing pieces with challenging left hand parts. A ...


1

You can make a remark at the beginning of the piece (perhaps write a foreword). Make a legend for the individual pedal stages and describe what sound the player should achieve. *use pedal slightly. Allow strings to vibrate w/harmonics only. Modern composers are very strict sometimes in giving detailed notes regarding the performing of their(!) musical ...


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