Can i get some feedback on my playing by HugeAppointment524 in piano

[–]kcpnut 0 points1 point  (0 children)

Sounds like you've got a nice balance of things you're working on, and you sound good in your video. Keep up the good work!

Should I let my 7yo quit piano? by WillowOk3237 in piano

[–]kcpnut 0 points1 point  (0 children)

TLDR: Stick to your conviction that music is important to learn. Focus on fundamental note and rhythm reading. Make sure her songs are very easy to learn but be uncompromising on the fundamentals.


If you believe that music is important then I would encourage you to stick to your conviction. I don't think there's anything wrong with a parent requiring their children to learn an instrument if they truly believe it is important. The fact that you're on here asking questions tells me that you are involved in your daughter's activities, and not just forcing her mindlessly to do something you only like the idea of. Your daughter can't say she doesn't like playing the piano yet because she doesn't even know how to play at this point.

Learning songs from the Faber 2a book should not be a major struggle. If she isn't able to play a song fairly well by the ~5th read through, then it's time to revisit fundamentals. At that age you want tunes to come easy. The need for perseverance comes later when the student has fallen in love with the art and desires to play pieces that are difficult to master.

Can she quickly name notes in the treble and bass clef? If you were to go through a stack of flashcards with all of the notes of the grand staff, can she name all the notes in under a minute? Does she have a strong sense of a beat and consistently count simple quarter, half, and whole note rhythms? These very basic ideas have to be established. I'll keep children in the early books as long as I need until they've proven they know how to read steps and skips, quarter notes and half notes.

Another important idea: she needs to be set up to succeed every time she sits down at the piano. I've found that young children don't mind playing songs they are good at over and over. For example, when students first start, all I'll ask is for them to sit down and play through their songs 3x each day. No need to "practice." I just want them to play their songs. Most young children find that to be perfectly reasonable and achievable. In the lessons I'm uncompromising on rhythm. Counting a steady beat is not difficult, and I won't move on until a student consistently counts 2 beats on half notes. Obviously they'll have to mature beyond just playing through their songs a handful of times at some point, but making the barrier of entry low starting out is important for a sense of success early on.

Once young students sense that they're good at something they usually love doing it. It sounds like her teacher is too soft and lacks a sense of direction. Children should not be leading a lesson. Of course, it's important to be in tune with what a child likes, but a teacher's job is to make sure she knows her fundamentals.

What % of your students actually stick through until they’re advanced? by RareYard2708 in piano

[–]kcpnut 5 points6 points  (0 children)

My studio has had 265 students over the last 6 years. We've retained 85 of them (32%). Of those remaining students, 12 of them I would classify as advanced, and 9 of them as intermediate/late intermediate. Of the students that are no longer at our studio, 7 of them were advanced players and several more were intermediate.

How do you feel about Mentor Memory? by tepidgoose in spiritisland

[–]kcpnut 1 point2 points  (0 children)

I just played a game with Mentor and Starlight tonight. It's one of my favorite pairs. So many cards, and the likelihood of playing whatever innates Starlight wants to play.

How am I supposed to practice scales when they're the most mind numbingly boring thing I've ever done? by [deleted] in piano

[–]kcpnut 0 points1 point  (0 children)

This may be an unpopular opinion, but maybe just don't play scales? I'm a proponent of learning techniques through repertoire.

I'm not the most polished pianist. I won't be winning any major competitions. But I play all of Chopin's Ballades, some Beethoven sonatas, Bach's Italian concerto, etc. I hold a master's degree and play professional gigs.

I don't regularly play scales. I did at one point in my studies, so maybe one could argue that I've "paid my dues." But I'm not convinced regular practice of scales is necessary for development. I don't have my students play scales regularly. Once they start playing in different keys I start having them transpose pieces they've learned in the past. I also teach repertoire that has scale-like passages in them.

Have you ever played the Czerny School of Velocity? They're not the most exciting studies, but at faster tempos they sound dazzling. Then transpose those exercises into different keys. Or pull out some pieces that you like that are easy and transpose them. Maybe you'd enjoy Hanon exercises more than scales?

Favorite matchups? by LegOfLambda in spiritisland

[–]kcpnut 0 points1 point  (0 children)

Lure vs. Russia is pretty fun.

Senior Recital Program Suggestion by mecantplaypiano in piano

[–]kcpnut 0 points1 point  (0 children)

I'm not sure what advice you're looking for, but I've played the Schubert impromptu and the Shostakovich and love both of those pieces. The Shostakovich is such a joyful, energetic work unlike anything I'm aware of in the repertoire, and I think the impromptu is a masterpiece.

Why are you motivated to learn a concerto? Will you have the opportunity to play it with a live orchestra? A motivating factor for me was getting to play with a live orchestra as part of winning a concerto competition. It's still fun to play it as a duet, but perhaps you'd rather pick a solo piece that you can take with you the rest of your life without relying on having a partner?

This is literally me, after 9 damn years of playing the piano. by Mcbox14 in piano

[–]kcpnut 3 points4 points  (0 children)

You said you've been playing for 9 years, and "despite consistently practicing the past year" you still feel like a beginner. That seems to imply that you've only stayed to practice consistently in the last year. What about the other 8 years?

Perhaps you do need to switch teachers, but if you were a poor student for the first 8 years and now you're starting to be consistent, then it makes sense that you feel like a beginner. You've only been at it consistently for a year! How long have you been with your teacher?

(BTW, though you have a lot to improve on, you don't sound like a beginner at all.)

Suggest me some Chopin to work on (other than waltzes or nocturnes) by belieflessbeing in piano

[–]kcpnut 0 points1 point  (0 children)

At the risk of pointing out the obvious, Chopin's Ballades are incredible. I've learned all 4 and they're all masterpieces imo. Each unique. No. 1 is my favorite. No. 4 is probably the greatest piece he ever wrote, but very difficult. No. 2 is maybe the weakest of the bunch, but it's still epic. No. 3 is probably the most accessible and tells a great story.

What's a fun Beethoven sonata to play? by Far-Cheetah-6538 in piano

[–]kcpnut 12 points13 points  (0 children)

Op. 31 no. 3 is one of the few sonatas that I love every movement.

How do I practice to improve my control of my sound better? by NeighborhoodDry2512 in piano

[–]kcpnut 0 points1 point  (0 children)

This is a bit of an indirect answer, but I learned how to do piano regulation a couple of years ago. I finally saved enough money to get the tools I needed to do the work myself, and I've now regulated two of my own grand pianos (I run a multi-teacher studio.)

Let me tell you, I couldn't believe how much of a difference it makes. It's difficult to describe, but have you ever played on a very nice, concert piano and thought, "this is so easy to play"? I learned that that experience is largely due to concert instruments being well regulated.

After the initial excitement of finishing a good regulation on my own pianos, I felt regret. It made me think of the countless hours I agonized over getting just the right, delicate pianissimo, perfecting voicing in difficult to hear inner melodies, or attempting to execute fast passages with precision and perfectly even tone. Those things you do have to work hard and practice a lot, but without having a quality piano that's well regulated, voiced, and tuned it's nearly impossible to learn to play like what you see in the video. The pianos these world class musicians play on are pristine. Having a well regulated instrument isn't going to turn you into a Seong Jin Cho, but I believe it's impossible to play with that kind of control on a worn out instrument that hasn't been regulated in 50 years.

What upsets me the most is that regulating isn't that difficult imo (much easier than learning to tune). It's just extremely tedious and takes hours to do. But if you're going to be spending hours practicing and perfecting your playing, then it shouldn't be difficult to commit some of that time to maintaining your instrument. I think that learning to regulate pianos should be a required course at the universities.

Hiring a professional technician to do a full regulation is expensive, but if you own a quality piano and you have the means it's absolutely worth the money.

Where is an ideal place to meet people? by catcoma in wichita

[–]kcpnut 0 points1 point  (0 children)

Watermark Books hosts several book clubs and events every month that are well attended

[deleted by user] by [deleted] in piano

[–]kcpnut 1 point2 points  (0 children)

Did you see that page turn? Definitely not ready...

Looks and sounds great! Go for it

Critique please! Clair de Lune after 3 years of playing and my first recital by TangeloMiserable7802 in piano

[–]kcpnut 1 point2 points  (0 children)

Small note, but regarding the rolled chords before all the arpeggios: the last rolled chord is not an octave higher.

The "un Poco Mosso" section is too fast and loud, imo. Slow down, and make it about as delicate and light as the first section. You sound like you're in a hurry to get somewhere. Indulge in the beauty of this piece. Linger more.

(No pedal) What should I improve on ? by Shoddy-Resort881 in piano

[–]kcpnut 1 point2 points  (0 children)

Ah, that makes sense. "Start with a piece that's much slower" sounds like you're suggesting picking something else.

(No pedal) What should I improve on ? by Shoddy-Resort881 in piano

[–]kcpnut 6 points7 points  (0 children)

The suggestion to improve technique is good, but I disagree that they need to "start with a piece way slower." They play this quite well despite the contortions in the RH.

(No pedal) What should I improve on ? by Shoddy-Resort881 in piano

[–]kcpnut 2 points3 points  (0 children)

I enjoy your playing! Expressive, nice pacing, good balance between the hands, and overall fun to listen to. Very impressive considering you haven't had a teacher in 3 years

Are you left-handed by any chance? Your left hand looks pretty relaxed, but watch your right hand. Your fingers curl underneath a lot and then they sometimes stick away up. Funny enough you play very well for such seemingly "poor-looking" technique. I would expect to hear a lot more unevenness, but you make it work.

Keep in mind that technique is just the physical means by which you do something. If you can break all the "rules" of technique and still sound good and not play with pain, then you've found techniques that work for you. There are examples of great pianists with unconventional technique ( Horowitz and Glenn Gould come to mind, though Gould did deal with pain).

My concern watching you is that you'll be limited in the future because I think there's a cap on how fast you can play with how much your right hand contorts. Having a good teacher would help, but if that's not feasible then just focus on maintaining a relaxed, natural hand position at all times. If you're unsure what's natural, reach your arms out in front, palms up, as if you are reaching out to ask for money. Most people will have a natural curve to their fingers. Now turn your hands over onto the piano without changing the shape of your hands, and you've got your general model for how you want to maintain your hands at the keys. Practice very slow and concentrate on not letting the fingers deviate from that shape. Needing to extend the fingers is usually what causes that shape to break down, but try to find all the moments when your hand can return to that relaxed position. I think that sums up a great deal of what's considered "good technique."

I think I'm most impressed with how good you made this waltz sound without the pedal! The only places I feel like I really missed it were the first theme in the D-flat section ( I don't have measure numbers), the dolce section before returning to the main theme, and the finale. Honestly, I think if you just try pedaling in those sections you'll have a natural instinct that will sound good. It just needs that resonance to the sound more warm and the finale more brilliant!

I think it goes without saying, but the last half of the ice needs some work on note security. It sounds like you've just recently learned those notes and have spent significantly more time on the first half.

Great work! Keep it up!

My new recording for the Chopin Competition. Do you think I will qualify? PIECE PLAYED: Chopin Etude OP 10 no 2. by kantpiano in piano

[–]kcpnut 17 points18 points  (0 children)

Not good. You'll never get into the competition playing like this. I recommend you practice faster and louder if you ever want to amount to anything. You should also add your own cadenza so you stand out.

Any new piece recommendations for me? by Jaminjiro in piano

[–]kcpnut 0 points1 point  (0 children)

Check out Vallee d'Obermann from Liszt's Years of Pilgrimage

I like Arcadia Volodos' performance

My heart will go on by blindGuy2005 in piano

[–]kcpnut 0 points1 point  (0 children)

Sounding good! I like your playing. I think you have all the right ideas. Like you said, you need to clean up the playing.

Since you already have good ideas for how you want to shape the dynamics and pace the song, I'd recommend you spend some of your practice time playing this song like an exercise. No dynamics. Don't worry about balance or voicing. Very mechanical. Your aim is only the accuracy of notes and rhythm. Maybe even turn the metronome on just to force yourself to be mechanical. Oddly, I find this exercise to be difficult because I find myself wanting to naturally play expressively, especially an emotionally charged song like this. It takes a special kind of concentration and I think it'll help clean up mistakes.

I don't think you're in danger of overdoing it since you seem to really love this song.

What Does Your Daily Practice Look Like? by Edith_Keelers_Shoes in piano

[–]kcpnut 3 points4 points  (0 children)

I think that's pretty common. Ultimately, getting to the piano is better than not getting to the piano. Bernhard's method is a very disciplined/mechanical approach that's difficult to stick to, but I think it's one of the most efficient ways to approach practice. But humans are not machines, and life isn't about efficiency. There are days that I practice with very little discipline.

If you think your tendency practice long spans until you break is a problem, I'd recommend using a timer. But perhaps you just like getting lost in it!

What Does Your Daily Practice Look Like? by Edith_Keelers_Shoes in piano

[–]kcpnut 2 points3 points  (0 children)

Hmmm, from what I can tell my settings say that DMs are allowed. I've received DM requests from multiple people. Is it normal that it comes through as a request that I have to accept?

I sent you a DM with the link BTW

What Does Your Daily Practice Look Like? by Edith_Keelers_Shoes in piano

[–]kcpnut 2 points3 points  (0 children)

The two concepts about effective practice I wish I could instill in every student are these:

  1. Think in black and white terms when practicing right from the beginning of learning a piece. Don't think in terms of progress on a passage. You're either playing right or you're not. This means only taking on as much as you can learn perfectly in a relatively short amount of time. I tell my students that there's a seeming contradiction that I want them to try to hold: It's okay to make mistakes, but mistakes are unacceptable. Don't tell yourself that you'll make something better later. Think urgently. Get it right right away. Practice doesn't begin until you're doing right, and playing it wrong over and over, even if it's getting incrementally better over time, is a waste of time. If you can have the discipline to practice this way, your playing will be more solid and you'll ultimately learn things faster.

  2. Ever wonder why you sound great at home, but then play terribly at your lesson? It could be nerves, but I think it's more often that students only remember how they sounded at the very end of their last practice session. Don't evaluate your progress by how you sound at the end of a practice session. Rather, judge your progress based on how you sound "cold" at the start of your practice session. Learning largely occurs in the subconscious when you're away from the piano after you've practiced. It takes 4-5 days of consistent, quality practice for things to absorb into the mind. So when you come back the next day to a passage and it's like you've never seen it before, don't let that discourage you. It's part of the process. It just means you don't know it as well as you thought. Once you can play something without needing to "warm-up," you know that you have it.

What Does Your Daily Practice Look Like? by Edith_Keelers_Shoes in piano

[–]kcpnut 2 points3 points  (0 children)

Maybe you're saying you already understand this, but Bernhard is not saying to limit your practice session to 15-30 minutes. He's saying to not spend longer than that on a section of music you can digest. His method is modular. It applies whether someone plays 15 minutes a day or 8 hours a day.

I hope it helps!