You know what, I don't know. I have been studying piano since I was very young, I have had good teachers and I practice 3-4 hours a day, every day. On the weekends sometimes I even practice longer. I am very serious with my studies and plan to take music as a career. With that much practice time to devote to the piano anybody can play very difficult pieces.

You think that is a lot? Many kids out there by my age have already learned the Brahms Concerti (way above my league right now), the Prokofiev 2nd, etc. What I've learned really isn't that much compared to many others.

I think it just seems to me odd that ANYONE with such talent finds their way to a gaming forum. :tpg:

Heh. Usually during my (limited) free time I play games. Usually I only get gaming time on the weekends. I just browse the board when I take breaks and stuff.

I know major concert pianists who are gamers too :D

Ah, I wish I was a better Pianist. I've only played the pieces that I have to do in my piano minor class, and I'm always terrible.

Too bad I'm a loser actor and vocalist.

Anyways, back to the topic.

I have a few questions.

I'm a big fan of Chopin, and out of all the pieces he has written, what would you consider his hardest to play?

Same question for Lizt, though I'm not such a fan of his music...I just know his music is very showy, amazing to watch, but not nessicairly to listen too. IMO.

Do any of you know when the extra keys where added to the piano (The last 5 or 6, which add an extra octave, and are ussualy all black.)?

Finally, would you ever play the piano accompinment for me, a vocalist, haha.

Chopin wrote many difficult pieces, his Sonatas, Ballades, Scherzi, Etudes (especially), some of his Preludes and concertos are all difficult. I would say the most difficult SET of music would probably be the Etudes as they focus exclusively on technique (thus they are etudes).

As for Liszt all of his music is difficult. The most overall difficult piece for me is probably his Sonata. This piece is just so deep, so musical, yet so technically demanding. Not to mention the fact that in the 30+ minute piece there are virtually NO breaks.

As for absolute technical difficulties again I would say his etudes for the same reason as the Chopin ones.

And for saying that Liszt is all show, it all depends on the pianist. May pianists tend to play Liszt as fast or loud as they can, and as a result they fail to really emphasize the more beautiful lyrical sections.

Regarding hard pieces by Liszt, right now I think that either his Hugenot's transcription, Don Juan Fantasy, Totentanz, or Feu Follets, are some of his hardest pieces.
But I have by no means managed to print out every single one of his works and tried to play them, as I would probably force my school into bankruptcy.

Oh and his William Tell Transcription (spelling?) That is ridiculously hard. I actually change my vote to that.

Well, of course I didn't expect you to play all of Lizts Music. And totentanz is probably, to my ear, one of my more enjoyed Liszt works. One has to remeber Liszt was the Paiganni of the Piano. Liszt was the far better composer, however.

Out of the Piano works I've stutied (Ive had to study a few, considering my music theory teacher is the piano teacher, heh) Chopin really knew what he was doing, he could even make those Etudes sound amazing, even though they where written for technical reasons.

Anyways, I have another question, I heard a quote somewhere from a famous pianist that said something to the extent of it being harder to play Mozart then it is Liszt, because of mozarts use of the melodic line, and it's need for interpretation. Do you agree with this?

I dislike Mozart's music, and don't listen or play it very often at all, so I cannot say that I can answer that.
And the William Tell isn't nearly as hard as any of those I listed, personally. It is on par with Rigoletto, which is not too bad.

I believe that Mozart is difficult because one must make music with such a small amount of notes. Many people overlook the difficulties of Mozart because the notation seems fairly simplistic. However with Mozart the difficulties don't lie in the technique as much as they do in the musicality and interpretation. I believe that is what he meant.

Double Post:
Oh damn, right I meant the Don Juan transcription. My bad :(

Ok, here is a question:
Do you usually memorize all the music you play, or do you keep sheets around to make sure that you get the right notes, and stuff like that?
If you memorize, what do you find to be the most effective method to memorize music?

If I am seriously learning it for like a concert or competition, then I usually memorize them. I use multiple methods to memorize. Often times it comes to muscle memory, but to really get it in my memory I usually study the score and make sure I know the score inside out. Often times memorizing backwards can work too (too lazy to explain if you don't know what I mean.) Other times I just take it line by line. It's like 12 am and I have to sleep soon :D

Does playing the piano make you any more freaky or dextrous with your fingers? e.g, can you type at the speed of light (or there abouts)?

Nope. Different kind of keyboard. The difference in detexrity of the fingers between pianists and other people isn't that much - it's just that we're trained.

I have two questions:

What's the best way to glissando on all flat keys?

What's the best way to train your ear?

I've been doing ear training exercises for the past few years, but I don't seem to be getting any better. Help?

For glissandos...grow nails. :D

For ear training...I associate intervals with phrases of popular songs. Like, a minor 2nd sounds like the Jaws theme. A perfect 4th sounds like the beginning of "I've Been Working on the Railroad." And so on. Helped me a lot.

To address Dewman's question, though...I feel piano actually does help with other things. It builds up finger strength, which translates to better overall finger dexterity in general, which is useful in a lot of situations. For example, I can beat all my friends at Guitar Hero. :D

What I want to know is have you learned Chopin's First Ballad in G minor cause I'm working on that right now and it's jawesome. Also what is your favorite piece to play?

Schubert: everything. What, do I have to pick favourites? Okay. The D.960 sonata.

Haydn: I just love the style. Some of my favourite sonatas include Hob. XVI:34 (E minor), XVI:48 (C major), and of course XVI:52 (Eb major).

Milhaud: never cared much for him.
Alkan's Grande Sonate and cello sonata, Henselt's piano concerto, Rzewki's "The People United...", Kapustin's concert etudes, Albéniz's Iberia... the list could get quite huge.

You're very lucky to be so spontaneously imaginative, I wish I were like you. I've already experienced what you're describing, but only when listening to music while I'm on the verge of falling asleep after staying awake for longer than I should have.

Really. I think it's a great gift you have. Don't worry about what you're (not) supposed to do, everyone enjoys music in their own ways and yours is perfectly valid.
Opus = work.

In a nutshell, there are two types of classifications. When a composer has one of his pieces published, it is labelled with an opus number. The first work they publish will be opus 1, and so on. Posthumous works are usually treated as extra opus numbers at the end or labelled "WoO" (without opus) and classified chronologically.

This works well with composers who published most of their works. Now, keep in mind it's quite a recent thing. Printed sheet music was quite rare and expensive until the 19th century. So we have cases of composers like Bach who wrote kilometers of music but only published a handful of works. These composers' works are usually indexed after their death, thus resulting in composer-specific methods of labelling works. BWV for Bach, kv. for Mozart, L. or K. for Scarlatti, D. for Schubert. Those aim at being chronological when the sources allow it, but it can be pretty random at times (with Scarlatti's works for example).

Of course those obscure composers did have a few works published, so you'll find opus numbers for some Schubert pieces, for example. But the more thorough classifications (D. in that case) always seems to take over.

Used to play the drums and classical percussion. I can fiddle with a guitar but nothing too serious. Also took a few violin lessons but I gave up for lack of time and haven't touched the thing in months.

I don't really have any tips, as I'm actually a complete beginner at improvising myself.
No.
Chopin: everything he wrote is hard, because however easy it might look to get the notes right, expression is another matter. So when getting the notes right isn't a piece of cake either, we pianists are in for a bit of work. Ballades, Etudes, Scherzi and Sonatas come to mind, not to mention individual pieces like the Berceuse and Barcarolle. They're all so hard I don't really make a difference anymore.

Liszt: I'm not quite familiar enough with his works to give you a definitive answer. I'm tempted to say the B minor sonata, though, if only for the gigantic scope of the work.

I don't know when these extra keys were added, but I'd say early 20th century. The information can probably be googled easily enough. I've recently gotten the chance to play on a Bösendorfer grand that had 4 extra keys and it was certainly an interesting experience. I think it's a Bösendorfer-specific feature.

And I certainly would!

I don't know, never really had to try or use a method per se. I automatically memorize anything within one or two weeks of practising it. It just happens, and I'm thankful for that. I like to keep the sheets around when practising, though, for reference and all. I may remember a piece from start to finish but have doubts about where a specific crescendo begins and ends.
Absolutely not, actually I'm probably the most clumpsy person you can ever hope to encounter. Playing the piano is just about the only thing I can do with my hands.

I do type at light speed (and mostly with my index fingers), but it has absolutely nothing to do with the piano.
I usually recommend using the nails for glissandos, but it doesn't seem to work as well as I'd like on the black keys. So I do it with the tips of my 2-3-4 fingers (NOT the back!)

As for ear training, you're probably asking the wrong person. I have a (pretty basic) form of perfect pitch which has allowed me to get this far without really having to train my ears per se. Of course I've developped some things over time, but I'm not sure how it happened exactly.
Nope, I haven't. I sure would like to give it a go when I'm ready for it, though.

My favourite piece to play these times is Granados's Concert Allegro, because it's really rewarding and fulfilling.

I can type pretty damn fast, but then I suppose I spend more time typing than practicing piano >.<

Is there any way at all I can improve my timing? I'm getting there with other techniques but my biggest short-coming is my timing.

Also, have you ever attempted to play "Flight of the Bumblebee"?

Yeah if you haven't heard his Ballad in g minor it's on the pianist soundtrack if you have that or seen the movie. Otherwise I could send it to you somehow. Let me know. It's definately worth listening to.

Have you ever had sex on the piano?
Have you ever met some hot chick (or dude, whatever you prefer) while playing piano?
When are you going to get new recordings?

Is reading notes kinda like reading arrows in DDR? What i mean is that do you eventually get so good at it that it requires no thought... like you could play and talk at the same time. Thats how it is now that i've been playing DDR for just over a year. I no longer have to concentrate on the arrows... i just kinda "know" where to move. Is piano similar?

I have learned the Chopin G minor and have performed it several times. It is really a wonderful piece, I especially love that coda at the end :D

Double Post:
I have never had sex on the piano.

If you mean met like in a relationship, then no. But I have caught the attention of hot chicks while playing :D

Um, I am not really sure. I don't plan when I get them, I just do when I feel like it :D

Double Post:
In a way. It is very difficult to explain. It's actually almost exactly like reading words in a book. You don't necessarily read every word, you just need the shape of it to tell what it is. When you are comfortable enough with reading then it does become second nature. HOWEVER, it is still difficult (of course) to sightread through certain pieces (cough Prok 2nd, Rach 3rd, Brahms 2nd, etc)

Not really. Well I probably sightread some transcription once but I can't say I got hooked.

What do you mean by improving your timing, precisely? Staying in a tempo without slowing down/speeding up? Playing complex rhythms correctly? Please enlighten me there.
I've heard it more times than I care to remember, and I have more versions of it than I care to count. I was actually first introduced to it by the recording on that soundtrack, though!
No.
Yes, a girl once came into my practise room to confess her undying love for me. I'm positive the C minor nocturne helped a great deal with seducing her.
New recordings coming by the end of the week if all goes as planned.
I can sightread and talk at the same time, though it's difficult, yeah. Eventually you don't have to "say" every note in your head, hand/eye coordination develops itself to the point that you'll instictively play the right notes upon seeing them. Still requires a lot of concentration, and it's probably harder than DDR, but yeah, I guess you could make a connection.

what should I do to become virtuoso? must I study piano like the pianoholic? 10 hours per day playing hanon?