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increpatio
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« Reply #60 on: 14:49:21, 01-05-2007 » |
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It is, or can be, many things. In the example below, from Debussy's Prelude Canope, the pedal is presumably held in the first bar to sustain the D7 harmony in the bass, but the repeated C#s are to be played staccato. In terms of release alone, staccato is meaningless with the pedal depressed (as the dampers do not fall) - it is through a different mode of attack (which, yes, is a little more percussive, or at least pointed, than that for the legato pitches) that produces that variety in timbre. Same is true for the staccato Bb in the third bar, so it can contrast with the slurred Bb-A that follows. These distinctions, I would argue, are produced by subtle gauging of key noise.
Have you/people tried out blind tests to investigate this?  |
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Ian Pace
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« Reply #61 on: 14:52:03, 01-05-2007 » |
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It is, or can be, many things. In the example below, from Debussy's Prelude Canope, the pedal is presumably held in the first bar to sustain the D7 harmony in the bass, but the repeated C#s are to be played staccato. In terms of release alone, staccato is meaningless with the pedal depressed (as the dampers do not fall) - it is through a different mode of attack (which, yes, is a little more percussive, or at least pointed, than that for the legato pitches) that produces that variety in timbre. Same is true for the staccato Bb in the third bar, so it can contrast with the slurred Bb-A that follows. These distinctions, I would argue, are produced by subtle gauging of key noise.
Have you/people tried out blind tests to investigate this? Yes, and generally the difference can be heard. It's subtle, but it can be heard. |
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'These acts of keeping politics out of music, however, do not prevent musicology from being a political act . . .they assure that every apolitical act assumes a greater political immediacy' - Philip Bohlman, 'Musicology as a Political Act'
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Sydney Grew
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« Reply #62 on: 01:28:31, 02-05-2007 » |
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To-day has been one of glory, since quite unexpectedly we have been able to complete our collection of the major works of the renowned critic Sydney Grew. At 11 am precisely the final piece in the jigsaw was slotted into place. http://www.demonoid.com/files/details/1138000/The Art of the Player-Piano what! A "Text-Book for Student and Teacher." Once as a child we remember having destroyed one in our enthusiasm. We went about it the wrong way, but now at last we are able to make amends. We had thought it would never happen so it all goes to show.  Incidentally there are a great many other worthwhile pianistical items in these three collections, but we do advise Members to be quick as all too soon it will be over. |
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« Last Edit: 01:30:05, 02-05-2007 by Sydney Grew »
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trained-pianist
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« Reply #63 on: 06:44:02, 02-05-2007 » |
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Thank you Sidney. I never heard about most of the books. I only heard about The Visible And Invisible In Pianoforte Technique by Tobias Matthay.
I read a few of Matthay's books. I feel that they are very good, but I could not understand much.
It is much better to have some one show to you what they mean. Reading about technique doesn't help very much.
Musical issues are also difficult to deal with in a book, but may be a little easier than technique.
For me teachers that were concearned with a lot of small details (play this note a little bit louder and this particular note etc). did not work. It is not good to overload my brains. I found that it is important to find the whole approach to the piece and then talk about one particular phrase or note if necessary. It is better sing to a student so that he understand himself.
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trained-pianist
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« Reply #64 on: 18:40:07, 02-05-2007 » |
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I am still practicing Blasting Duo by Weber. I find that it is so fast, I have to rely on my instincts. The minut I think, O my God, it is fast - I am gone. It is just go go go, no stop. And the dreaded thirds, octave and arpeggios.
My clarinet player is playing so fast. He just wants to go fast. I have no choice, but to keep up.
Help! His exam probably be the week of 21 May.
Then there is dreaded Horovitz. It is a good piece, but so long (all three movements of that) and all of them Jazz dribble. I love Messager piece. It is nice.
O my God! Why me?
I am practicing today with a metronome (120 for half a bar). I can keep up, but there is no margine for any mistake.
I feel that after playing this we will definetely lift off to some distant planet. (I mean after Weber Duo).
We will have to start with it and then Horovitz and Messager is the last piece.
I am beginning to panic. I feel sorry for a poor student. He deserves better pianist. I bet we have good pianists here who could do much better job. But the student has to do with me and he is not ollie on that clarinet, so he should accept my accompaniment.
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increpatio
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« Reply #65 on: 00:30:46, 03-05-2007 » |
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Have you/people tried out blind tests to investigate this? Yes, and generally the difference can be heard. It's subtle, but it can be heard. I'll have to give it a try myself next time I'm proximate to a real piano! Hmm..I was wondering if any people have thoughts about the prospects of modifications to the piano in the twenty-first century? I remember (I think; my recollection of the details is a bit foggy) reading something in the Sunday Times magazine that had some dulcimer player as it's "next big thing" who had developed some apparently novel and exciting way of easily making minor tuning adjustments to dulcimers that could be applied to pianos. But yeah, are there any other technological advancements on the horizon that people know of, even if the likelihood of their coming into general adoption is slight? Or any crazy ideas? I personally, think that the golden age of keyboard technology has long passed:  |
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« Last Edit: 00:47:37, 03-05-2007 by increpatio »
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trained-pianist
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« Reply #66 on: 06:24:24, 03-05-2007 » |
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increpatio, I was thinking with fear at one point that piano was becoming absolete and composers did not want to write for piano anymore. But lately I changed my mind. I think that the piano is going to stay with us for the forseeable future. There are so many people that play it ( I am teaching a few of them) and there are so many people that love it that these facts changed my mind lately. It doesn't mean that other instruments will not develop that would use piano as a base. Now Royal Irish Academy has exams for keyboard (electric instrument), harpsichofd, organ. Also there are electric pianos (I had one for fibe years). May be some other instruments will develop, but piano (acustic piano as they call it) is here to stay, I think. I did not think keyboards were interesting instruments, but now I can see that they are developing into a different field all together. And electric pianos have so many buttons to change the sound. My viola player used to jump with surprise when I would change the sound (become organ or something) before he used to that. I don't know any other developments for now.  |
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Strangeways
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« Reply #67 on: 20:32:57, 06-05-2007 » |
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Hello, I am new here. I play the piano.. who else plays the piano on here?
I am only a beginner though and wonder what should I be playing except for the Brahms I am playing now.
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Baziron
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« Reply #68 on: 20:52:47, 06-05-2007 » |
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Hello, I am new here. I play the piano.. who else plays the piano on here?
I am only a beginner though and wonder what should I be playing except for the Brahms I am playing now.
It all depends Strangeways - please tell me exactly WHAT Brahms you are currently playing. Baz  |
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Strangeways
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« Reply #69 on: 20:57:19, 06-05-2007 » |
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Bazziron, I have only just found out how to reply to you, please excuse my slowiness.
The Brahms I am playing is Johannes Brahms, a composer.
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Baziron
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« Reply #70 on: 21:00:37, 06-05-2007 » |
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Bazziron, I have only just found out how to reply to you, please excuse my slowiness.
The Brahms I am playing is Johannes Brahms, a composer.
Thanks Strangeways. That seems perfectly acceptable for a beginner. You should find - if you read the score diligently enough - that your understanding of its written contents will improve very quickly. Have fun! Baz  |
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richard barrett
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« Reply #71 on: 21:01:26, 06-05-2007 » |
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The Brahms I am playing is Johannes Brahms, a composer. Phew! There we all were thinking you were playing the Broad RAnge Hadron Magnetic Spectrometer at Brookhaven National Laboratory! http://www.bnl.gov/rhic/BRAHMS.htm |
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Baziron
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« Reply #72 on: 21:20:49, 06-05-2007 » |
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The Brahms I am playing is Johannes Brahms, a composer. Phew! There we all were thinking you were playing the Broad RAnge Hadron Magnetic Spectrometer at Brookhaven National Laboratory! http://www.bnl.gov/rhic/BRAHMS.htmI carefully studied your link, Richard, but have to say that it looked more like Cage then Brahms. Although we mustn't be too fussy, I feel Cage may be just a little too "advanced" for a beginner used only to Johannes Brahms the composer. Baz |
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richard barrett
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« Reply #73 on: 21:35:03, 06-05-2007 » |
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just a little too "advanced" for a beginner used only to Johannes Brahms the composer Well, Baz, particle physics is known for its virtuoso demands on both brain and fingers. For one thing, you can never be absolutely certain you've played the right notes. |
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Baziron
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« Reply #74 on: 21:36:37, 06-05-2007 » |
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just a little too "advanced" for a beginner used only to Johannes Brahms the composer Well, Baz, particle physics is known for its virtuoso demands on both brain and fingers. For one thing, you can never be absolutely certain you've played the right notes. Notes, Richard - "NOTES". Whoever mentioned anything about "notes". Baz |
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