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increpatio
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« Reply #225 on: 23:08:29, 30-05-2008 » |
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and found myself for the first time being really very deeply impressed/moved with the prelude&fugue number four.
A good choice for being moved by, that one. For the highest depths though, number 16 awaits... Ah; I don't have the printed score of that one. I tried spinning it just there, but I'm at saturation point shostakovich-wise at the moment and had to turn it off. (Actually, I quite like the idea of learning one of Medtner's easier sonatas (he wrote a number that at least sound reasonably manageable)). |
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Jonathan Powell
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« Reply #226 on: 00:12:13, 17-06-2008 » |
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Try op.9 no.2 (the middle one of the "Sonaten Triade"). It has a superb tune!
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increpatio
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« Reply #227 on: 18:29:04, 20-06-2008 » |
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Try op.9 no.2 (the middle one of the "Sonaten Triade"). It has a superb tune!
If you had the time to trawl through every thread of these monstrous boards, you would find, somewhere, me saying that that was exactly the one in the end that I picked  It does have a nice tune indeed, though I do find the off-beat bits in the middle (with the rather dull melody in the bass) to be a little weak (or at least hard to pull off convincingly). I was apprehensive before I started with it that even the main melody, though quite delicious, might get a bit boring after a few practices (I find the melodic content of the first of the Sonaten-Triade to be the most interesting of the three). It hasn't though. Overall I'm finding the learning of it to be blessedly unproblematic though.
Largely unrelated question: Has anyone here what has a clavinova ever gotten it serviced or had do do anything like that with it? I've had two Es and a C sticking on mine for the last couple of months. It's rather irritating. |
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harmonyharmony
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« Reply #228 on: 11:30:03, 05-08-2008 » |
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I have, for a week or so, been trying to get my fingers used to playing again.
I'm attempting to brush up a few pieces that I used to play donkey's years ago: Shostakovich's Aphorisms and Schumann's Faschingschwank aus Wien.
I'm also having a look (with the possibility of possibly learning them) at Stravinsky's Serenade and Bull's Chromatic Pavan ('Queen Elizabeth's).
I'm interested in how it's not just my fingers that are out of practice (technical exercises are helping but they rather illustrate how far I have to go to get back to where I was - if that's even possible!) but also how my brain is out of practice to learn things.
Also I forgot about the fingernails. They grow so bloody fast!
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Lady_DoverHyphenSole
Gender: 
Posts: 63
Warning: armed with a stout hatpin or two!
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« Reply #229 on: 12:04:19, 05-08-2008 » |
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Also I forgot about the fingernails. They grow so bloody fast!
Tell me about it! Ten days is the absolute very maximum I can leave it before they need hacking back to piano tolerance. |
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RuthElleson: "Lady_DHS is one of the battiest people I know"
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increpatio
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« Reply #230 on: 12:55:35, 05-08-2008 » |
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My piano fingers are out of shape  |
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harmonyharmony
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« Reply #231 on: 13:01:33, 05-08-2008 » |
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 cotitsalv (but don't have nightmares) |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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harmonyharmony
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« Reply #232 on: 18:15:17, 05-08-2008 » |
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Spent about 1.5 hours on technical exercises and a very short passage from the Schumann. Don't necessarily feel like I've achieved that much but it's feeling a lot more like I know what I'm doing. The dept secretary (herself a pianist) said that it sounded like my hands were tighter and that I had more control. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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Peter Grimes
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« Reply #233 on: 11:39:40, 11-10-2008 » |
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"On the Internet, nobody knows you're a dog."
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harmonyharmony
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« Reply #234 on: 11:58:50, 11-10-2008 » |
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Learning to read music is like learning a second language. There are no shortcuts - you simply have to slowly familiarise yourself with the grammar and appearance of written music. Oh yes. Nice to see that actually written down. Interesting that this thread has re-emerged today. After a month of neglect (virus, busyness, etc.) I went back to the piano yesterday. Finding practice time in the middle of term (we have 27 first study pianists over the four years) is going to be tricky but, I suspect, worth it. |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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brassbandmaestro
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« Reply #235 on: 08:07:40, 15-10-2008 » |
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I havnt played the piano for a few months now, as I always have to go to my parents place, which is not far away though. Now they have noved house and ofcourse the piano, an upright of quite a few years old, is in need of a tune. They have someone to tune it though, but when I get back to playing it again, I will be hopelessly out of practise. I suppose I will have to do lots of scalic excercises etc to get back in again. Any advice, people?
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harmonyharmony
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« Reply #236 on: 08:12:06, 15-10-2008 » |
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I use Geoffrey Tankard's exercises as a start to my practice, but I know people who swear by Hanon (I used to swear at Hanon, which is why I switched to Tankard!). It's also worth getting hold of an ABRSM Grade 8 scale book and starting with C major and A minor, and relearning them. I keep on meaning to do this  . |
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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brassbandmaestro
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« Reply #237 on: 08:54:20, 15-10-2008 » |
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Thanks hh, I will do this.
Also, what about concentration! How do I get to grips with that because I find I need more on piano than tuba?
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harmonyharmony
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« Reply #238 on: 18:14:36, 15-10-2008 » |
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I love the way that your exclamation mark and question mark have swapped places! It creates a rather interesting effect.
In terms of concentration, I try to be fair to myself. It's a long time since I concentrated in this way, so I try to set myself reasonable targets and don't beat myself up when I don't meet them. But push yourself. If you feel yourself ready to lose it, just spend 5 more minutes trying to push through it.
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'is this all we can do?' anonymous student of the University of Berkeley, California quoted in H. Draper, 'The new student revolt' (New York: Grove Press, 1965) http://www.myspace.com/itensemble |
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time_is_now
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« Reply #239 on: 19:32:18, 15-10-2008 » |
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Learning to read music is like learning a second language. There are no shortcuts - you simply have to slowly familiarise yourself with the grammar and appearance of written music. Oh yes. Nice to see that actually written down. Really? I saw a copy of that Guardian insert on someone's kitchen table at the weekend and read that very quotation, and thought it was a really bad comparison! *You have to speak a language, and communicate thoughts of your own using the pre-given words and structures. When you learn to read music you only have to interpret a set of symbols. ... Or am I wrong? Should we see reading music as a subset of notating it yourself? ______ * Not: Really! I saw a copy of that Guardian insert on someone's kitchen table at the weekend and read that very quotation, and thought it was a really bad comparison? |
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The city is a process which always veers away from the form envisaged and desired, ... whose revenge upon its architects and planners undoes every dream of mastery. It is [also] one of the sites where Dasein is assigned the impossible task of putting right what can never be put right. - Rob Lapsley
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