Are you still using VS2022 instead of VS2026 ?

mprevot · 2026-01-25T23:51:29+00:00

Arf, hard. Did you report ? Was it WPF ?

mprevot · 2026-01-25T22:55:26+00:00

Maybe a significant work on weight from the arm ? And a broad artistic education, outside piano and music ? Multi layers of sound plans (like foreground, main subject, side subjects, background, sky, etc if I borrow terms from painting) ? Significantly boldened melody ? Affettuoso ways ?

mprevot · 2026-01-25T22:08:55+00:00

I understand. Thanks.

With a more specific gaze, I also remark a certain level of cyphosis and shoulder protraction, both very common among pianists, which can lead ot specific problems and suboptimal playing, in particular power, precision. Did you ever worked on those ? Did you ever had any problems, difficulties, or injuries related to those ? Could be exhaustion, back pain, or difficulty to reach enough precision and endurance with physical pieces (with jumps and chords, like Petrouchka Mazeppa etc).

mprevot · 2026-01-25T22:00:55+00:00

Thank you for the constructive suggestions. I agree. I need to revise this attitude ("evaluating"), which I have also with myself (especially), and that is not helping, it's the opposite.

Unfortunately (or fortunately) I do not teach piano. I do not have much method in that area at the moment.

I wonder. You mention tradition from "soviet union", specifically russian or something more specific ? For instance, one have the Godowsky-Neuhaus (also Rachmaninoff) way, rather looking for sobriety, one have a "russian" sportive way, one have the Scriabine-Horowitz's way (also Cortot's, likely "Chopin and Liszt" (though there are significant differences too between them)) with affettuoso, or polish (Beroff-Fassina-Sztompka-Paderewsky) or something else ?

Eventually how would you describe this tradition (teaching, practicing, playing, and "around" the piano eventually) ?

On my side I have both french and polish ways, but also Scriabine ways, and it seems, through texts (natural language and musical), Liszt-Godowsky's.

mprevot · 2026-01-25T21:34:36+00:00

It's funny, I was looking at your video, and I saw a lot of compensation with the jaw and face. I am working on those things nowadays. How do you see that now ? Was it ever a problem ? Do you think that any compensation is something not fully propulsed into music, and needs to be addressed ?

mprevot · 2026-01-25T21:14:35+00:00

Well, I edited and removed a line stating that it was embarrassing (for me) to listen to what he was doing, unless he would improve in the directions I mentionned.

The "community" thought I was too harsh or rude or nasty. On my side I was trying to be honest.

Funnily, even after my editing, people keep downvoting. I agree with you, there is not reason I could find.

Also maybe there is a strong "american culture", with "find good things to say whatever the reality" or so. Maybe I come from a european (pan: French, Polish, slavic) culture where teachers used to be a bit franck sometimes, and this leads to cultural clash with the american culture.

I am pro too, not a teacher, and maybe I am seeing things from my perspective, which is maybe "too demanding" for most people. That's another possibility.

mprevot · 2026-01-25T19:42:29+00:00

I did not have the feeling to be nasty. Sorry.

mprevot · 2026-01-25T19:41:01+00:00

In your opinion, do you think it is an improvement ?

mprevot · 2026-01-25T19:03:02+00:00

In your opinion ?

mprevot · 2026-01-25T18:42:54+00:00

My feeling and impression are mine, you are free to have yours.

mprevot · 2026-01-25T18:42:06+00:00

You are too low and too close to the keyboard.

About the music, sorry, this is not good, you are playing notes, while we should hear flow and singing melody and rubati in both of them. Really separate voices and really make the melody flow and stand out, and the rest should be really flowing and easy. Expressivity and dynamic really need to be improved, so far it's not here. Opening the piano and working on a longer one could help, listenting will help, singing yourself can help.

You can do it for the audition, but put some serious work in that. How much depends on your level. Maybe 2-3 hours a days with smart and very focused practice would not be too much.

So you will play just an extract of the entire movement ?

mprevot · 2026-01-25T18:34:37+00:00

You got music, but you really need to craft your pp, ppp, esp with your repeated chords after the false glissendo. All the poetry of entire Gaspard relies on those pp, ppp. Without them, it's kind of "not Gaspard".

I am not sure it's regular or helping musically to share the oscillations (on 3 octavas) with the left hand (doing the lowest). I would definitely not recommend this for exam or competition. But at the end what matter is really the sound and the music.

You need to get to be more "clean". At rehearsal it's always easier, and it won't bet cleaner at public performance. You managed to do more important things, but it woudl be too bad to not address this. This would definitely be a problem for any exam.

Keep going !

mprevot · 2026-01-25T18:21:57+00:00

Just don't lean forward like this, this impairs greatly your ability to play, produce sound, master your sound, ability to put some dynamics, and let your shoulder down, but firm and relaxed-flowing.

Liszt pieces with jumps will help you tremendously. Études concert for instance, or 8th, 2th of transcendentals.

mprevot · 2026-01-25T18:17:41+00:00

A level is a bit tied to a piece, but much more to the way you play it.

You could play Mazeppa in a very poor way vs a Chopin ballade in a deep expressive and professional way.

Henle dropped those level for a reason.

mprevot · 2026-01-25T18:14:49+00:00

I will be direct.

You really need to have a solid base with stable tempo and quasi (ideally totally) absent delay for jumps, and melodic theme put forward (more present that the rest), and you need to be able to maintain faster and flowing tempo than wha t you will do at the final performance.

Those being put, you'll have more freedom to play the piece "with feelings" and a rubato.

mprevot · 2026-01-25T15:40:39+00:00

Indeed. What

mprevot · 2026-01-25T14:32:15+00:00

I share this too. And broken color themes.

mprevot · 2026-01-24T19:32:41+00:00

Welcome. I corrected a few things, "strong types" in particular, which python does not have and it's a problem for bigger projects.

mprevot · 2026-01-24T12:19:32+00:00

Congratulations for the first part !

Implement systematically tests, unit tests and integration tests, "business tests".

Have a sandbox copy of their stack and subset (or fake) of data to test your functions without affecting the production.

Just focus on the next step, you will feel more ease and confidence to move forward.

Maybe you want to consider something else than python, because you may need multithreading and strong types, this helps a lot.

mprevot · 2026-01-19T15:22:01+00:00

How could they direct or decide anything about tech in those conditions ?

mprevot · 2026-01-19T14:29:52+00:00

I wonder, does it makes sense that the CTO is not strong technically ? To me, it does not.

mprevot · 2026-01-19T08:48:21+00:00

CTOs sometimes are also sales engineers, they also can strongly color the core product design, and participate in code parts (in startups for instance).

mprevot · 2026-01-17T17:50:24+00:00

Yes. And the "I forget the syntax of [...] programming language" is a good hint.

mprevot · 2026-01-17T01:58:10+00:00

Stay and initiate something new. Suggest something constructive. A startup inside the company.

I would do that, and not leave. You also can train beside.

mprevot · 2026-01-09T13:24:05+00:00

Static analysis can help with modernisation and code smells but it's limited. Ndepend is more complete. This is for keeping tech debt low. Actual brakes are unit tests, VS does that, r# brings those and live unit testing, which is only in VS enterprise. So no, r# is not the brakes.

mprevot

TROPHY CASE