NOV 17, 2012: This would work with any electronic keyboard. Keep the keyboard turned off. Then go to a desk and memorize a portion of music. It can be only a few bars or a few lines---however much you can manage. Then go to the keyboard and, without turning it on, play the passage at a playable tempo for you. You might start at half-tempo and slowly work your way up using a metronome. While you are doing this, imagine how the music would sound---not only the notes but the tone quality.
Then--after getting it up to tempo---turn the keyboard on and play the passage the way you would hopefully play it for a live perofrmance. You might be surprised at not only how many notes you got but how close you were as far as the tone quality and the nuances.
The quickest way to learn would be to go straight from memorizing the passage at a desk to playing it at tempo, but this is another way of accomplishing close to the same thing.
Saturday, November 17, 2012
Tuesday, November 13, 2012
Mixing Methods
NOV 13, 2012: The methods described on this blog can be used in a lot of different ways and can be altered to fit your way of working and conceiving music. You might try mixing some of the various methods and see how it holds your interest.
I believe that one of the most important things in working with a method is that you are able to stay interested in your piano studies. A lot of people have given up the instrument mainly because the music they were working on and/or the methods they were using to learn that music did not hold their interest or continually frustrated them.
Whatever way of working you use, your ability to stay with could be the difference between just a casual interest in the instrument and a lifetime of enjoyment with it.
I believe that one of the most important things in working with a method is that you are able to stay interested in your piano studies. A lot of people have given up the instrument mainly because the music they were working on and/or the methods they were using to learn that music did not hold their interest or continually frustrated them.
Whatever way of working you use, your ability to stay with could be the difference between just a casual interest in the instrument and a lifetime of enjoyment with it.
Monday, November 5, 2012
Composer's Style
NOV 5, 2012: One way to find out more bout a composer's style is to listen to non-piano works by that composer. Whether it's symphony or chamber music, you'll learn a lot about how this composer works in other media than solo piano.
Often, you can apply what you learned from an orchestral work to a solo piano work written by the same composer, because that composer may be thinking orchestrally.
At any rate, it fills in a lot of gaps of knowledge to be familiair with a composer's output other than just solo piano.
Often, you can apply what you learned from an orchestral work to a solo piano work written by the same composer, because that composer may be thinking orchestrally.
At any rate, it fills in a lot of gaps of knowledge to be familiair with a composer's output other than just solo piano.
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