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.

Jam it back in, in the dark.

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.

There's nowhere I can't reach.

Originally Posted by Jeff135

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

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.

Originally Posted by Spatula

Do you do Hanon finger exercises, Face?

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.

Originally Posted by Cal

Are Debussy's etudes really that difficult?

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.

Originally Posted by Sir VG

How do you get your desire back to play a piano after having played for over 10 years only because you were nagged by your mother?

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?

Originally Posted by Spyer

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!

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.

This thing is sticky, and I don't like it. I don't appreciate it.

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

Most amazing jew boots

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

Most amazing jew boots

Originally Posted by Cal

What's your favourite

Schubert
Haydn
Milhaud

piano literature?

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.

Originally Posted by Snowknight

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 >_>)

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.

Originally Posted by neus

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?

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.

Originally Posted by neus

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

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.

Originally Posted by hiya

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 )

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.

Originally Posted by The Wise Vivi

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

No.

Originally Posted by Rangel

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: 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!

Originally Posted by t(-_-t)

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?

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.

Originally Posted by Dewman

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)?

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.

Originally Posted by Blanka

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?

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.

Originally Posted by Gr|M

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?

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.

What kind of toxic man-thing is happening now?

Originally Posted by Bernard Black

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"?

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.

Originally Posted by Gr|M

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.

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!

Originally Posted by Sepharite

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?

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.

Originally Posted by xen0phobia

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 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.

FELIPE NO

Originally Posted by eriol

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

NO. Fuck no. Get a good teacher and practise as they advise, that's all anyone should need. If you intend to teach yourself, you'd better damn well read books and essays about technique and expression if you intend to have a clue what you're doing (but I personally doubt you can get very far that way).

There's so much a pianist needs to know, I wouldn't know where to begin. Really, get a teacher.

Originally Posted by Legato

Hey I got a question: in your time, how many jokes have you encountered regarding the fact that "pianist" sounds so much like "penis"?

Never. I've thought about it, though, but only because the similarity is somewhat more disturbing in English than it is in my language.

Originally Posted by Minion

What should I play right now?

Depends, what are you in the mood for? And how much effort are you willing to invest?

Have you played any of Brahms's Intermezzi/Klavierstücke? I've recently rediscovered those and they are lovely. I'll definitely look into those when I'm done with my current programme.

Originally Posted by Rangel

You might not know the answer to this, but do you know of any other composer that used those lower notes other then Bartok?

Messiaen used the lower notes in his Vingt regards de l'enfant Jésus.

Originally Posted by t(-_-t)

Also, does anyone know if there was a piano made that could accomadate that extremely high chord that Scriabin has in his 7th Sonata? The chord that literally goes off the keyboard.

I think the Bösendorfer Imperial might also have extra keys in the treble, but I can't tell for sure.

What, you don't want my bikini-clad body?

Originally Posted by jouhou

Can anyone play Pachelbel Cannon in D?
How long did it take you to learn that song? Can you play it well?

I actually once "learned" and recorded a rather easy arrangement of it, just to spite a former member of these forums who was renowned for loathing the piece.

If you'd like to hear it for yourself. It was some time ago, though, and very little practise went into it (just went over it a couple times before recording it, so it was mostly sightreading). Please don't judge me on that.

Originally Posted by Bernard Black

I suppose both of those; it's just timing in general. Would practicing with a metronome regularly be a good idea at all? I find it quite hard to stay with those.

If you're having trouble staying with a metronome, then yeah, I think you need to practise with one for a bit. The metronome is essentially a phase every musician has to grow out of (I barely use mine anymore), but that shouldn't be skipped.

Complex rhythms will become easier with practise. Remember anything can be slowed down and subdivided for practising purposes.

Timing issues often have something to do with technique issues, though. Why do we all naturally tend to slow down when playing softly and to speed up when playing loudly? Because we don't produce sound the same way (using various degrees of strength and velocity). But no matter the intensity, your hands should be resting comfortably at the bottom of the keyboard on every note. I've seen this referred to as "fingerprint memory" in a great book I've read. Because feeling uncomfortable will definitely affect your timing, and that happens a lot when trying to play pianissimo for example, since we naturally don't "dare" to reach for the bottom of the keyboard. I could expand on this for hours, but these few ideas should be enough to get you started.

Originally Posted by Lady Miyomi

I have a question for you. How long do you think it would take a person that doesn't know how to read music, but has played the piano by ear for years to learn how to?

You can pretty much understand it on the spot if someone explains you how it works. At least the general principles. Of course there are countless details to master, but those come easily once you've got the basics down.

Now, knowing how to decipher music doesn't mean you'll be able to read it proficiently and sightread a piece on the spot. This takes months if not years of daily practise.

How ya doing, buddy?

Originally Posted by -BR-

I got a few questions,

1. How often should one practice per day/week?

2. Do you ever have a general perference for a Key signature?

3. What inspires you to continuosly practice a song?

Cheers!

1. Depends on your level and ambitions. I need six hours a day to fulfill mine, but that's because I'm not quite as good as I ought to be considering my age. If you just want to maintain a level, just keeping in touch with the instrument a few times a week should be enough.

2. I don't know. Used to be C# minor, but now I have a thing for the splendid, luminous keys such as C# major (Granados Concert Allegro) or F# major (Chopin's Barcarolle). And when I improvise, I always seem to end up in G minor for some reason.

3. I end up loving most of the music I play, so that's enough to give me the ambition of playing it as well as I can, and therefore, practising my hardest. I've never gotten very far with pieces that bored me out of my mind (but there have been few instances).

There's nowhere I can't reach.

Originally Posted by Minion

How can you play a piece for more than a month and still find it interesting?

If that's what it takes to master it, my motivation will remain intact. If I can master a piece faster than that, I'll usually move on as soon as I'm satisfied with my work.

Originally Posted by Sepharite

I don't remember from your videos, but when you play the piano, do you bob your head up and down like a complete retard. Do you fake it?

Have you played Fantasie Impromptu by Chopin? How long did it take you to play it? Me - 4 years! =D

1. No, I don't think I do. And I don't fake anything while playing, I do have quirks but they are beyond my control.

2. No. Well, yes, at some point I was kinda wondering if I should learn it, but I lost interest after sightreading it a few times and I don't think it's going to come back.

And Rangel, t(-_-t) took the words right out of my mouth. Gotta add Sokolov and Radu Lupu, though, since they are gods to me as far as interpretation goes (especially Schubert). So is Arrau, but he's dead.

This thing is sticky, and I don't like it. I don't appreciate it.

What did you have to play for your Grade 10 exam? Just so I get an idea of how your level system works.

I am a dolphin, do you want me on your body?

Originally Posted by pianist

but apparently if you wanna be a conducter you need perfect pitch (absolute pitch).
Is this true?

Is this bollocks?

Spoiler:

YES

You do need to be extremely good at reading obscure clefs and transposing on sight, though. But that has little to do with perfect pitch.

I was speaking idiomatically.