Coldplay - Clocks (piano cover with keyboard) A Rush Of Blood To The Head Play with ear no sheet Midi for background music is taken from www.findmidis.com
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Sunday, December 25, 2011
Friday, December 2, 2011
How To Play The Piano With Expression - Part 1
This article will hopefully give the piano student a better idea of how to acquire the knowledge, which is necessary if the piano student wants to play the piano well. That is the knowledge to produce a good tone.
It is necessary for the piano student to observe, and learn fully and precisely, as much of the mechanism of the piano as possible. It is only with careful study that a scientific knowledge of piano-touch can be attained. No piano student, however musically gifted they may be, can, in these days of "higher development," afford to depend solely on the aesthetic side of his nature for the cultivation of his technique.
If the technical study of the piano is approached in a spirit of calm inquiry, there is no reason why a study of the piano should not brace the mental system of the student, and do him as much good as would a careful study of grammar or geometry. And although this technical study is not sufficient of itself to make an artist, still the benefit derived from it will be always at hand to help the piano student unravel many difficulties which otherwise could cause a great deal of frustration, and would slow the learners progress.
Of all musical instruments, the piano is perhaps the one, which a player can, quite easily misuse. The pianist has an almost unlimited freedom of movement for the body, arms, and hands; and the instrument imposes few conditions to its use. Therefore, it is necessary for the student to have a knowledge:
(1) of the correct use of his limbs,
(2) of how to use correctly the mechanism peculiar to the piano, and
(3) of how to adapt the one exactly to the other, before he can acquire an un-exaggerated style of playing.
It is unfortunately a commonly accepted idea that the piano, like the organ, is dependent for its quality of tone on the manufacturer alone, and that "Broadwood" or "Bechstein," as the case may be, is wholly responsible for the kind of sound, which the player produces. And parallel with this opinion runs the generally accepted one that touch, or, the method of producing correct tone, cannot be taught, and is entirely a "gift."
When a great pianist plays, there is a beauty, delicacy, and richness of tone in what the piano player produces. This is usually thought to piano players touch being born with the player. Or to the fact that his fingers have been for so many years never off the keys, or to his large hands, or long fingers. Or to some other qualification possessed only by pianists of similar rank, and quite out of the reach of less gifted players.
In examining the question of how one may learn to produce good tone, the following fact should offer a foundation for observation and reasoning, that is to say, that both the great artist and the poor player have one common field of action in the external mechanism of the piano, that is, its Keyboard.
The great artist and the poor player may both be seen at work, and notes may therefore be taken of their different methods of using the means given them for the production of tone. The hands of both obey the same primary laws of muscular movement and the piano, is a keyboard instrument that will reproduce accurately what is being played on it, good or bad, and no respecter of who is playing. It is simply the acted-upon, and not the agent.
When therefore the great artist is seen to use his hands differently from the poor player. The reason of the different character of the tone must partly be that the method of touching the instrument is different. Part of the reason lies, of course, in the fact, that the great piano player starts with a greater degree of musical talent than the poor piano player does.
But as this article discusses not so much musical feeling itself, but rather the expressing of musical feeling, and as it is very evident that the great piano player does use the hand differently from the poor piano player.
Tuesday, November 15, 2011
Review - Yamaha CP33 Stage Piano
The Yamaha CP33 Digital Stage Piano is the entry digital piano in Yamaha's professional stage piano lineup. This is basically the same piano as the Yamaha CP300 but about 00 cheaper. The CP33 is a large step up from the P-series units in both sound and feel.
This piano is perfect for a professional gigging musician or an amateur that wants a serious digital piano. Let me cut to the chase - the sound is vibrant, sparking and authentic. You can actually hear harmonic overtones and felt dampers when using the pedal. I had the privilege of finding one for sale at my local music store (these pianos are hard to find) and the sound was so sweet and inspiring I had to drag myself away from the keyboard.
Not only does a piano have to have a magical sound that will inspire you to keep playing it also needs to be responsive to your fingers. Well let me tell you, the CP33 feels great. This piano has impressive keyboard action that really lets you express yourself thanks to their advanced Graded Hammer Effect technology that gradually increases the resistance of the keys as you hit the lower notes. As a serious musician realistic piano action is very important to me and the Yamaha CP33 gets top marks here.
All in all, the Yamaha CP33 stage piano is a very balanced digital piano suitable for the professional musician. Sure there are many fine digital pianos out there that cost less but if you can afford it, it's truly worth the few extra hundred bucks -- you'll thank me in the long run.
The CP33 is one classy digital piano for the serious pro musician and the amateur alike. This keyboard is an investment that you'll never regret.
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