Ask a pianist.
 

Think we are just a bunch of weirdos who never leave our pretty Concert Hall hangout? Here's my chance to prove you wrong. Or not. If you have anything to ask a pianist, though, shoot away and I'll do my best to answer.

Why are you making more of these threads, Face? =/

Why not? It's certainly not any dumber than discussing some Sudanese's misadventures with a goat or recess card games. If/when this thread takes a bad turn, I'll be more than willing to terminate it.

What concerti have you learned? I personally have learned the Rach 2nd, Tchaik 1st, Beethoven 1st and am working on the Chopin 1st :D

Do you do Hanon finger exercises, Face?

Are Debussy's etudes really that difficult?

I'll answer for myself (I want to be loved :( ) but when you start off you should do finger exercises to train your technique, whether they be Hanon or Czerny or whatever. If your technique becomes sufficient then usually just by working on your pieces your technique is being trained.

I don't know if there is any real answer to that. If you were completely forced against your will then I don't know what to say, music like any art is only truly experienced by the willing.

Whats the best way to actually get better at reading notes? I just find them so damn hard to actually read and I've been playing for 5 years!

None yet. I don't intend to make a living as a soloist, but mostly as a teacher and accompanist / chamber musician..

I could definitely see myself learn some in the future, though. Stuff I want to play before I die includes the Henselt F minor, Moscheles G minor, Prokofiev 2nd, Rach 1. I'll probably end up learning a few Mozart ones on the way, but I can't say they're my main goal.
Not anymore. One of my former teachers made me practise those for two years and it did a lot more harm than good. I'm still trying to get rid of the bad habits I developped back then, and I haven't touched those exercises in three years.

I'm not *entirely* against the concept of technical studies and exercises, but come on. Hanon wasn't a composer himself, and he was probably one hell of a shitty pianist. Why would you want to play Hanon when you have actually useful exercises by Brahms, Dohnanyi and many others? Hanon is the seemingly easy way but I think it doesn't pay off.
I haven't played any of those myself. I know a couple girls who did, though, and they sure looked like they were having a hard time.

From the little I know, I'd rate them about the same level as Chopin Etudes. Takes some work, but it's nothing an somewhat advanced student can't tackle.
You know, it only took two years of that for me to lose mine. It wasn't until five years later that I finally started to play the piano again. Except it was by my own will and without anybody's encouragements.

What kind of music do you listen to? From what I've seen I assume VGM isn't quite at the bottom of your list, is it? Why not play some of the numerous VG piano collections available? That's how I got back into the thick of things myself, even though it's a phase I eventually grew out of. I'd say, just sit back at the piano and give a go at something you like. If you're not too easily frustrated, it can be a good idea to pick something challenging, if only to give you a reason to come back at the piano again the next day.

I'd say a teacher could help, too, but it really depends on you (and on the teacher). I was lucky enough to find a fantastic one three years ago, who made my love for music grow to heights beyond imagination.

That, or you could try something different. Why not play some jazz and learn to improvise, for example? Why not try a different instrument?
Sightread a lot, daily if possible. A teacher could help you develop it faster but it's essentially a matter of practise.

Set goals for yourself. Pick a piece you don't know, play it from beginning to end and try to stay in time no matter what. Then go through it again slowly and try to get all the notes right, taking all the time you need. Then play it one last time with the same rules as the first time, and see if you have improved any.

Many believe the key to sightreading is anticipation. It's true, but it's not just that. There are many things that can help you, such as knowing typical harmonic progressions, being able to spot intervals and chords without reading all the notes (for a run in thirds for example, just read the bottom note), knowing your key signatures, knowing your keyboard, etc. When you develop all these things, anticipation just comes naturally.

I realize none of this will actually help you better at reading notes, but to be honest, learning how NOT to read notes is a lot more efficient. There's a lot that can be guessed or figured out on sight (or by ear) without having to read everything. Study harmony if you get the chance, it's really a great help.

What's it called when you mash three fingers down on your piano keys and it sounds good and in tune?

Why, a perfect chord. Musical terms actually make sense sometimes!

What is, out of the pieces you've ever learned, your favorite piece? (That is, if you can even name a few as opposed to many.)

Chopin's Nocturne in C minor (Op. 48 No. 1). Something I'll remember and play all my life for sure.

Hmmm... probably either the Rach 2nd or the Chopin 3rd Sonata.

Double Post:
I love the prokofiev 2nd. Been working on the 1st movement quite a bit, got most of the 1st movement done. The cadenza is a beast and possible one of the biggest musical feats ever! Good luck with that, it's doable but will take LOTS of time.

The Rach 1 is such an underrated masterpiece... luckily this weekend I get to see it live :D

What's your favourite

Schubert
Haydn
Milhaud

piano literature?

On a related note to my previous question, what piece(s) do you aspire to play one day? Rather, what works--that you haven't already studied and played and practiced--make you enjoy what you do even more? (So, I had trouble coming up with the second question >_>)

This might be a bit strange, but stick with me.

Whenever I listen to classical music - and I mean listen as in actively listen and do nothing else - I always have a story playing in my mind. It quite similar to what happens when I read a book. I feel like the composer is trying, with all his/her might, to tell me something, and I just let my mind wander and hope it'll come to me.

For example, I was listening to Peter Tchaikovsky - Capriccio Italien Op 45 last night, and I kept ... daydreaming I guess is the right word, about this young girl going to her first ball. This being set somewhere in the 18th century. There's a lot more to it - my imagination tends to get the better of me in moments like this, and I must admit it is quite enjoyable.

Is this what I am "supposed" to do? Should I just enjoy the music and not think if there perhaps is a deeper meaning as I most likely could not discern it?
Or is it supposed to be open ended and I should expect to come away with only my interpretation?


Slightly offtopic - what is with the naming conventions? What is an opus? How are different pieces of music classified? By length? Type?

Do you play any other instruments?

Also, do you have any tips for a beggining improviser? Other than the usually "practice your scales, riffs and learn your circle of fifths". (Hah! I rhymed :D)

Oh man, that is impossible to answer.

The rest of the Beethoven concerti, the Chopin, Rachmaninov, Prokofiev, Liszt, Mendelsshon and more concertos. The Beethoven Hammerklavier, Appasionata, Op. 111, the list goes on and on.

Double Post:
I play the cello as well.

Was there ever a time in your life where you just wanted to stop playing because it was too hard?

Not for me, but I'm different. Music has been my greatest passion since early childhood so I could never imagine quitting music. Ever.

Why, Jeff, do I get the impression that you are full of crap, when you talk about what you can play?