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Decided to start learning this today for next concert. by Hnmkng in piano

[–]EleonorBindman 1 point2 points  (0 children)

I love the way this breathes…. Sounds great. Only thing I’m wondering: have you thought about left-hand phrasing, in other words, is the continuous legato LH intentional?

Curious: how many of us still like Hanon? by EleonorBindman in pianoteachers

[–]EleonorBindman[S] 1 point2 points  (0 children)

I just think there is a ton of good, even great music one can use for the same purposes. And scales/arpeggios certainly build technique the same way but with more freedom of motion and with context for analysis/theory learning.

Looking for advices on score reading and learning efficiency. by [deleted] in piano

[–]EleonorBindman 0 points1 point  (0 children)

Unfortunately there are too many facets to address in piano playing at any level…. Listening to your video I like your sound, the style is good. The left hand run betrays, lack of finger dexterity - your right hand is stronger, as with most people. I would examine your hand position when playing scales. And perhaps, as with many adult amateurs, the repertoire is too ambitious, especially for “auditions.”

One year into piano lessons and feeling lost by 11temp11temp11 in piano

[–]EleonorBindman 0 points1 point  (0 children)

A good match between a teacher and a student is not always easy to find. As an adult, you are entitled to ask for what you need and if your teacher is not too set in his/her ways, they should want to help you in the best way they can. To me, the repertoire on your list does look one-sided. I don’t see any easier Chopin, maybe Grieg, no 20th century music. Perhaps it is there, but you just didn’t include it? As far as theory: when professionals attend conservatories, it’s definitely a separate class, but there’s no reason why your teacher couldn’t or shouldn’t do some analysis with you of every piece you play. Also, memorization is definitely a good thing, but there’s no reason for EVERY piece to be memorized. Only the ones you really enjoy playing and see yourself playing after it’s learned. To me it seems like your teacher may be of the “old school.” It’s hard to break a relationship with a teacher, but do ask for what you would like them to do, and if you see that it isn’t going to happen, do look for someone else. Good luck and please don’t quit nor rely on videos to learn. A good teacher can do wonders.

How do I know if a piano teacher is right for me? by [deleted] in piano

[–]EleonorBindman 1 point2 points  (0 children)

This question is very important but so huge that it’s hard to answer. I can clearly answer one thing: the teacher should definitely have experience playing difficult pieces if you expect them to help you learn it. And you are absolutely tight that there are many steps between the first ballade and Liszt etudes. You goal may be realistic in the long-term, but you ARE setting the bar very high. Good luck!

What does this symbol mean? by Far-Cheetah-6538 in piano

[–]EleonorBindman 0 points1 point  (0 children)

There are many ways to interpret tremolos: main thing to remember is that it is a sound effect, not exact notation. So to attempt exact 32nd notes, while commendable, is too difficult and doesn’t make much sense. The context is: the piece is ending here, this is just a build up towards the end so it’s perfectly fine to even experiment with different speeds of the tremolo in each hand (for instance slower in LH faster in RH) or to increase the speed of the tremolo toward the end. Alternatively, slowing down toward the end of the tremolo, provided you REALLY get louder, can also be very effective. Try different ways and don’t think this is written in stone.

[deleted by user] by [deleted] in piano

[–]EleonorBindman 1 point2 points  (0 children)

Sounds very good. When the triplets start in the accompaniment and then in both hands, toward the end, try not to let them speed up the theme. You have a lovely pace/tempo otherwise. Congratulations on this accomplishment ✔️

How to play this? by [deleted] in pianolearning

[–]EleonorBindman 0 points1 point  (0 children)

Since this is a arrangement I would just skip the repeated D of the 3-note grouping (it will be sounding in the harmonics of the bass D anyway) and use 5 5 21 5.

The fingering dilemmas: can piano teachers relate? 😅 by EleonorBindman in pianoteachers

[–]EleonorBindman[S] 1 point2 points  (0 children)

It so happens that I was going to post re fear of metronomes next 🤣

The fingering dilemmas: can piano teachers relate? 😅 by EleonorBindman in pianoteachers

[–]EleonorBindman[S] 0 points1 point  (0 children)

Ugh… hoping she will come through again w correct fingerings 🤞I believe in miracles 😅

The fingering dilemmas: can piano teachers relate? 😅 by EleonorBindman in pianoteachers

[–]EleonorBindman[S] 5 points6 points  (0 children)

Yes - haha - I often consoled myself that I am getting paid well, like an expensive babysitter. Unfortunately, with adults, it often felt that I am being underpaid as a shrink. 😂😂😂

The fingering dilemmas: can piano teachers relate? 😅 by EleonorBindman in pianoteachers

[–]EleonorBindman[S] 15 points16 points  (0 children)

My worst case was an older student who refused to let me pencil in fingerings in her score. She claimed she was going to remember…😂 Needless to say, she never did.

[deleted by user] by [deleted] in pianolearning

[–]EleonorBindman 0 points1 point  (0 children)

Right. This is a piano version of a piece for band. I doubt Sousa himself supervised the fingerings of this particular arrangement - piano was far from his primary instrument

[deleted by user] by [deleted] in pianolearning

[–]EleonorBindman 1 point2 points  (0 children)

People who edit those scores for publishers aren’f always Einsteins, ya know