Showing posts with label Piano. Show all posts
Showing posts with label Piano. Show all posts

Tuesday, March 13, 2018

What Makes GRAND PIANOS Sound Better?

Blüthner Stil Flügel
Blüthner Stil Flügel
(Photo credit: Wikipedia)
Grand pianos are seen as the pinnacle of all instruments and are widely associated with the glamorous jazz scene and classical recitals. But what is it exactly about the grand piano that makes it sound better than other types of piano, and is the fact that grand pianos are considerably more expensive really justifiable?

Grand pianos are a relatively modern technology in piano design.  Furthermore, they have proven to be the preferable design of choice for most of the world's top pianists and enthusiasts.  They differ from the other major classification of upright pianos in a number of ways, largely relating to configuration and size.  The grand piano strings horizontally, and benefits from the force of gravity in its mechanism.  Additionally, its sprawling structure allows for a fuller sound to resonate through the bridge, giving an impressive tonal distinction between grands and most upright models.  Uprights, on the other hand, strive to be tight and compact, whilst also affording similar tonal quality.  Of course, something has to give and with uprights, it’s the overall sound quality which is simply non-comparable to that of a grand.  However, the compressed mechanism on the upright is beneficial as a small and compact instrument for practice and smaller public recitals.

Additionally, the grand piano also allows more accomplished pianists to perform ornamentation and certain other musical features thanks to a special lever, which holds the hammer above the string for longer.  This means that by rapidly tapping the key, the hammer has less distance to move to reach the string which ultimately correlates to an increased ability to perform ornamentation and more complex staccato rhythms.  With the upright design, it is impossible to include this feature, therefore you will never be able to achieve the same overall responsiveness and feel as with a grand piano, and the more accomplished player should feel limited by the scope for ornamentation on the upright.



The fact that the grand piano occupies more space allows its mechanism more freedom to strike the string clearly.  Additionally, the horizontality allows for a deeper resonation through the wood which adds to sound.  Throw in the added benefit of the repetition lever, and you've got yourself a quality, unbeatable sound.  Although the uprights really can't compete, they certainly have the edge when it comes to space-efficiency and cost.  It really is a case of determining your needs and objectives, before selecting the piano that's right for you.



Monday, March 5, 2018

CLASSICAL PIANO MUSIC – appeal remains eternal

Piano Sonata in A Major, op. 101, Allegro: man...
Piano Sonata in A Major, op. 101, Allegro:
manuscript sketch in Beethoven's handwriting.
(Photo credit: Wikipedia)
Even though the genre of music changes with the change of ages, the appeal of classical piano music remains never-ending. This is not said by a few people only but by a great number of experts in western music also. If you are cynical still, you can make a meticulous research in the cyberspace and get acquainted with the reality. There are if truth be told, ample numbers of websites in internet dealing with classical piano music and you can have a lot of info from them. What makes classical piano music so attractive down the ages? Classical piano music has not only been instrumental in shaping the route of western classical music but has brought to the fore illustrious composers also.

One of them is certainly Beethoven; internationally celebrated German composer of instrumental music (in particular symphonic and chamber music) and what is most striking that he continued to compose even after his auditory sense was lost. Another unparalleled great composer is certainly Wolfgang Amadeus Mozart, a creative Austrian composer and child prodigy. He is considered a master of the classical approach in all its forms.

Are you interested to have a feeling of classical piano music? In that case, the internet can be a good friend of yours. To cut a long story short, websites are cropping up across the internet without a single interruption and people from all over the world can log in these sites and start on to learn classical piano music and its different versions.

Thanks to the mounting popularity of classical piano music (certainly a turning point once again), many websites are offering the same at reasonably priced rates or even at free. Again, a number of websites do maintain archives of classical piano music and enable the ordinary of free members even to download a number of them.

Now we must focus on the saga of learning. An assortment of websites let users initiate to teach themselves the basic chords along with notes and in this, the application of computer keyboard is enough. If you are the learner, many websites will educate you how to read classical piano music also. For that reason as soon as you get the same, the free classical piano music websites will appear useful for you. This is a good idea since paying money for a piano for a keyboard or a piano is pricey and you may have to expend a good amount of money. On the contrary, use of a computer keyboard is a good and cost-effective approach. Many people have already learnt the basics in this way and you can join their group before long given that you have the dedication, forbearance, intelligence and acumen. Remember that the combination of all these give rise to a new facet of your – competence.



This is just the beginning and on condition that there is proficiency, you can learn Beethoven’s "Fur Elise"- considered as one of the most illustrious creations in the realm of classical piano music. The majority of young piano students gain knowledge of Beethoven's "Fur Elise" during the early part of a career. You can also revel and learn "The Entertainer" of Scott Joplin, "Canon in D major" of Pachelbel and certainly "Moonlight Sonata" of Beethoven.




Tuesday, February 6, 2018

The Keyboard Sonatas of MOZART

Family portrait: Maria Anna ("Nannerl&quo...
Family portrait: Maria Anna ("Nannerl") Mozart,
her brother Wolfgang, their mother Anna Maria (medallion) and father, Leopold Mozart
(Photo credit: Wikipedia)
Mozart, born in Salzburg on January 27, 1756, was christened Johannes Chrysostomus Wolfgangus Theophilus. Born on the feast day of St. John Chrysostomus, his first two names honored the saint, and Theophilus came from Johannes Theophilus Pergmayr, his Godfather. Theophilus is Gottlieb in German, a name Mozart sometimes used, and Amadeus is Italian, the name Mozart preferred and the name with which he is identified by in the world of music.

Leopold, Mozart's father, was a fine musician and had a wide reputation as a wonderful violin teacher. It is he who was Mozart's first music instructor and who introduced Mozart to the public. At the age of five, with his father's guidance, Mozart began to give performances.

Mozart was a prolific composer of opera, keyboard works, vocal pieces, symphonies and chamber music. He was a gifted pianist, violinist, and conductor. Nearly all of his compositions were commissioned works, no commission being too small or too large. Mozart's music is a depiction of the man himself, ranging in moods of comical, noble tragedy, simplistic elegance, courtly majesty and heroic works full of the spirit of freedom.

In December of 1774, Mozart traveled to Munich where he composed a set of six sonatas, K. 282 in E-flat Major included. These six sonatas represent Mozart's earliest surviving works in this genre. Mozart's early works are a light, cheerful style associated with the Galant movement in Italy. The Galant movement was an emphasis on classical simplicity (such as less ornamentation, an increase in the importance of the melody, musical phrases of a regular length and so forth), as compared to the complexity and ornate nature of the Baroque era.

Mozart also modeled his compositional style after many of his contemporaries, including Carl Phillip Emanuel Bach, Johann Christian Bach, and Franz Joseph Haydn. It is Haydn's influence that is particularly noted in K. 280, 281, and 282.

Mozart's keyboard sonatas were not originally intended for the concert platform, but instead for a more private context. They were valuable tools for teaching and they also provided repertoire material for Mozart's performances in the homes of patrons.

The Sonata in E-flat Major, K. 282, begins atypically with an Adagio movement. The movement is in a two-part form or binary form. This first movement, in the key of B-flat Major, is very expressive melodically and demonstrates a strong interplay between forte and piano.

The second movement consists of two minuetts, in the keys of B-flat and E-flat Major. The first of the two minuetts is simple, yet energetic, and reminiscent of Haydn's style. The second of the minuetts has a livelier left-hand accompaniment and "snap-rhythms." This second movement also exhibits the same striking contrasts between forte and piano.


The third movement, in the key of E-flat Major, is in miniature sonata allegro form with a very short development and a full recapitulation. The upbeat motive recurs in a variety of forms, giving an impression of compact unity to the whole movement. This motive also serves as the thematic basis for the development section. The recapitulation begins exactly as the exposition. The coda, tail/ending extends the opportunity to show off the pianist's technical ability and ends almost as an afterthought. It is as though the pianist has stopped, but the music continues on.



Wednesday, December 13, 2017

The Joy Of PIANO Improvisation

Jesus "Chuchito" Valdes - Detroit Jazz Festival 2009
Photo  by Brian Callahan (Luxgnos.com) 
If you have never experienced the fun and joy of improvising on the piano, then you are missing out on a great experience. Imagine an artist who does not know how to draw or paint without tracing or copying another’s work.

That is unheard of. Yet, many piano players lack the ability to improvise on the piano! This is caused by years of rigid piano lesson/structure and a lack of proper guidance.

Many piano players rely on sheet music to be able to play, which would be like an artist only copying another’s artwork and never creating something unique. Improvisation is a fun process. It enables the pianist to bring out the latent potential of creativity and expression inside them.

One thing that will help any piano player to improve on the art of improvisation is to allow unstructured creative time during one's piano practice hours.

Time to just sit down and make up music on the piano is crucial. No agenda, no structure, no goals to accomplish. This process is extremely important in the world of piano playing.

In order to allow the inner expression to come out, one needs to let it reveal itself. A good example of this is how young children play the piano. If you can observe a child learning the piano do so. Very often, young children are able to reach a creative and fun play "scheme" without any guidance at all. Similarly, any piano player should allow 15-30 minutes of "free play" without worrying about hitting the wrong notes.

Traditional piano lessons emphasize the ability to read notes. Reading ability is no doubt one of the most important skills any piano player can possess. This emphasis, however, has created some "lopsided" players who can only play piano by reading. Eventually, this type of player will lose their interest and passion for music.

Many young children drop out of piano lessons as a result of struggling with music reading. Children who are younger than 5 or 6 are discouraged from traditional piano lessons due to the fact that they cannot yet read musical notes properly.

Music is commonly referred to as a "language." There are many ways of learning a language. Young children master the language skill by frequently talking and interacting with their peers and caretakers as well as imitating other people. The ability to read comes a little later in their life. A similar approach needs to be taken to foster the love of piano music among young children. Sometimes by just allowing young children to make up music on the piano without placing emphasis on playing the correct notes can be just as important.




Friday, November 24, 2017

GRAND PIANO - Music-Instruments of the World

Grand Piano - Music-Instruments of the World




Monday, November 6, 2017

The Story of FRANZ LISZT's "Liebestraum"

Franz Liszt
Franz Liszt (Photo credit: Wikipedia)
Franz Liszt was born in 1811 in the Kingdom of Hungary, which was then a part of the Hapsburg Empire. His nationality is often disputed since many records were destroyed by the Ottoman Turks. Usually, he is claimed as either Hungarian or German, though a small group recognizes him as a Slovak. Adding to the debate, his musical character is often described as French.

His father had dreams of being a musician, and he studied piano, violin, and guitar while attending university. Because of his poverty, he had to give up his music lessons and was employed by Prince Nikolaus II Esterhazy. On several occasions he sat in with an orchestra on the second cello, keeping his musical love alive.

Liszt's father claimed that by the age of nine the boy had played through all of the works of Bach, Beethoven, Mozart, and others. He was forced to buy over eight thousand pages of new music by the masters so that young Franz could keep playing. In 1820 he played to an elite group of socialites who offered to buy his education abroad, but it took two more years before the prince would consider a leave of absence for his father.

Franz's early lessons in Vienna were hard for him because his instructor forced him to learn proper fingerings. Liszt attempted to outsmart his teacher by telling his father the teacher was trying to show him illogical fingerings. Lessons continued after Liszt's father realized his son's trickery.

Early performances in Vienna established him as a child prodigy, but tragedy soon struck. His father's sudden death and a failed love affair in France threw him into depression. He didn't play or compose for a few years until revolution took over Paris.

Travels and tours throughout Europe allowed Liszt to meet many noted composers and artists of the day. He had many love affairs and a few children as well. Eventually, he ended up in Weimar, where he wrote the Liebestraum.

The Liebestraum is a delicate piece of music written in his own romantic style. Playing it requires dexterity in both hands and a grasp of sensitivity that takes time to master. No classical pianist's repertoire is complete without the Liebestraum.

Liebestraum is German for "dreams of love." The name Liebestraum is often used to refer to the third of the pieces, though it is actually the name of the entire set. The three parts are based on poems by Ludwig Uhland and Ferdinand Freiligrath. Each poem describes a different type of love: exalted love, erotic love, and mature love.

The third movement of the Liebestraum is the best known. It is also a reliable test of a pianist's ability. At the time, a version of the Liebestraum for piano and high voice and another for piano two-hands was published.



Throughout his varied life, Franz Liszt created mesmerizing works, including the Faust Symphony and the Liebestraum. He is often called the greatest pianist who ever lived, and the Liebestraum is a great argument in his favor.




Thursday, November 2, 2017

The History of the PIANO

dusted
Photo  by ercwttmn 
Many people do not realize that the PIANO is a stringed instrument. Because the strings are hidden away inside of the piano, and out of sight, it is not generally realized that strings are used to create the sounds of the piano. Because of its stringed quality, the forerunners to the piano include such instruments as the dulcimer (which was played by hitting stretched strings of different lengths with a hammer). But all of it began in the annals of prehistory when humans noticed that a stretched animal-gut string created different sounds depending on length and tautness.

Keyed instruments that resembled some sort of a keyboard first appeared in the middle of the 12th Century. It was called the monochord. Eventually, enough keyed strings developed into the clavichord. This instrument was unique, in that having keyed strings better facilitated the ability to strike more than one string at a time. This meant that it was possible to produce two sounds, or notes, at once. It until a couple of centuries later, in the 14th Century, that metal wires was used in place of strings for many instruments, including the keyboard instruments.

The harpsichord came into being before the piano did (sometime in the 14th Century). It was based more on the old instrument called the psaltery. A psaltery was a simple instrument where the strings were placed in a box and then plucked with the finger, or with an instrument called plectra. When the keys of a harpsichord were struck, plectra pulled on the sting, plucking it. However, the harpsichord was incapable of creating changes in volume.

It is unclear exactly when a truly hammered keyboard instrument appeared. There are letters indicating that an instrument that could play both loud and soft was available in 1598, but historians are unsure as to whether this was a hammered piano or a cleverly rigged harpsichord. In any case, most historians agree that what can actually be called the "pianoforte" did not make an appearance until 1709. This instrument was capable of a wide range of artistic expression.

The name piano is a derivative of the term pianoforte. "Piano" is a term that means "soft," and "forte" is one that means "loud" or "strong." The name given the piano originally is quite descriptive. It basically means "soft-loud" and describes the feat of being able to play a keyboard instrument with varying degrees of volume. Originally, there was little interest in the pianoforte. However, as an article written about the new keyboard invention was translated into different languages made its way across the European continent, makers of clavichords and harpsichords began also to make pianos.


As the piano evolved, it began to take different forms, including upright grand (1739), upright (1800), and different styles of grands and uprights, including those that expanded to include more octaves. While the keyboard arrangement has not changed much since the 14th Century, keyboard instruments have expanded to include more than one sounding board and several octaves.



Thursday, October 19, 2017

The Well-Tempered Clavier by J S BACH

Well-Tempered Clavier MuseScore edition
Photo  by MuseScore 
The Well-Tempered Clavier is generally referred to as the pianists' "Old Testament of Western music", also in Barenboim's fingers, it definitely has an "Old World" condition to it. Seen in its entirety, the performance brings to mind Edwin Fischer's recording from the thirties: great pianism, frequently elegant playing, notably by means of the liberal use of the pedals.

This is, needless to say, planets independent of the incisive, razor-sharp resolution that Glenn Gould, as well as Mehmet Okonsar, brought to these works. As opposed to concentrating on offering the spectacular complexity as well as the polyphonic aspect of those compositions, Barenboim is without a doubt more happy putting together an abundant harmonic texture to each piece, magnificently experienced on a contemporary Steinway.

I'm a tremendous fan of Bach. He was simply a fabulous genius and far in advance of his time period and the Well-Tempered Clavier is just mind-blowing. As a recreational piano player, I discover his music a genuine treasure. The complexity and beauty of his music continue to be so incredibly inspiring.

There are considerable records to support Bach's claim that he employed the Well-Tempered Clavier as part of his lessons, nevertheless, the work accomplishes so many purposes that it must be an easy task to overlook its part as a teaching tool. Obviously, the most crucial feature of the Well-Tempered Clavier is that its full of sublime music from cover to cover.

The fact that it illustrates Werckmeister's "well-tuned" technique pertaining to keyboard instruments seems incidental to us all right now, however, it was outstanding in Bach's day. We still wonder at the genius which expended each prelude and fugue using a unique musical style, drawing on a multitude of compositional processes to shed light on his students. The idea sounds dry, having a piece in every key in ascending arrangement from C major, however, the result could not end up being closer to excellence.

Fugues are usually said to be in a number of voices or parts (the term voices may be used whether or not the fugue has not been written with regard to singers), which is, self-sufficient melodic lines. Fugues are generally in from three to five parts, however, eight and even ten parts are achievable in large choral or orchestral fugues. Fugues in fewer than 3 parts tend to be rare since with 2 parts the actual subject is only able to jump back and forth between the upper and lower part. The best-known illustration of a two-voice work is certainly the E minor fugue out of Book 1.

These forty-eight preludes and fugues in all the major and minor keys have got very little related to public virtuosos, stages or even audiences. Like a lot of Bach's work -- especially the music written, or at least put together when it comes to the ending of his existence -- the ''Well-Tempered'' makes statements, advances concepts, draws together bodies of expertise. Moreover, its lessons happen to be learned, and its particular messages attained, in the home.

The Bach preludes and fugues are actually, to utilize Schumann's well-known explanation, the keyboard player's "everyday bread." All musicians exercise however rarely perform them. Wrapping one's ears and fingers around these pieces amount to both an undergraduate and a postgraduate training: what things to make visible, what you should render as background, how to make the load of the finger interact to the control from the ear and so forth.

My commitment to the original issue of Gould's performance of the Well-Tempered Clavier was sizable however by the time Okonsar's recording emerged it had wanted to some degree.

There was (and still is) no doubt Gould's awesome proficiency to managing, varying as well as diverse touch in clarifying textures through 'orchestration', however Okonsar's reading of the work and the eschewing all forms of obvious pianism remained (and remains) a new testimony to his faithfulness to representing this kind of music, as he observed it, devoid of seeking back to the harpsichord or forward to the nineteenth-century piano.

As numerous reviewers at that time excited, Gould's was an impressive success, yet the cautiously calculated however communicative as well as packed with feelings playing of Okonsar, along with some idiosyncrasies added up to an analytical as well as a human performance of it.

The actual doubts began to find their way in, and retrospectively, with Prelude I of Book 1: the varying articulation of the last few notes of each group speaks of Gould as well as Okonsar, but what does it say of Bach? Echo answered as it did to other, subsequent concerns.


The actual harpsichord cannot provide more weight to any one line, nor is there any proof that players of Bach's period employed severe variations of articulation pertaining to such a function, notably in the ready-balanced texture and consistency of a fugue; such 'painting by way of numbers' is an anachronistic imposition.

Amongst the currently available piano versions of the 48 Schiff's on Decca remains, in my opinion, the most effective and the freest from excess; its pluses and minuses were broadly mentioned. Keith Jarrett's recording (ECM/New Note) is all that particular may well reasonably desire. That both occupy simply three discs may encourage a few readers to purchase Gould's and/or Okonsar's sets, both amaze as well as irritates by turns, and also over which controversy will certainly likely carry on for a long period in the future.

    Although I am a literary person and a novel editor classical music is always there when I work for publishers. As a side effect, I started to provide some reviews and articles on a couple of classical music papers as well. My favorite Bach interpreters are Glenn Gould and Mehmet Okonsar.
    Article Source: EzineArticles


Saturday, October 7, 2017

Joseph Haydn's PIANO SONATAS

Portrait of Joseph Haydn - younger by Ludwig G...
Portrait of Joseph Haydn -
younger by Ludwig Guttenbrunn, ca. 1770.
(Photo credit: 
Wikipedia)
Haydn's musical education began as being a choir boy at the St. Stephen Cathedral in Vienna. Still, the turning period inside his musical instruction has been the encounter with Porpora who tutored him singing and musical composition.

In 1757, Haydn penned his first quartets, op.1 and op.2. Those early creations created his fame inside the Viennese nobility. His primary consistent work had been proposed by Count Morzin in 1758. In 1761 he was hired by the Esterhazy family as music director at the castles of Eisenstadt and also Eszterhaza, palaces branded as "little Versailles". Both having two theaters. He remained in that standing up to 1790. Haydn has written for the Esterhazy all his operas, lots of symphonies and an important quantity of chamber music.

Joseph Haydn met with Wolfgang Amadeus Mozart in the course of the winter months of 1781-1782. A significant companionship, full of shared appreciation will bind the two composers. In 1791, the year of passing of Mozart, Haydn, free from his engagements at the Esterhazy court, travels to London. He possessed a triumphal welcome. He authored the initial series of his "London Symphonies" (n.93 to 98). An additional stay in London, 1794-1795, again having a large achievement saw the publication and performance of six new "London" symphonies (n.99 to 104).

Returning to Vienna in 1795, Haydn composes a series of six Masses, a wide variety of string quartets, and most importantly, his two big Oratorios: "The Creation" and "The Seasons". His very last public appearance took place in 1808 on a public performance of his "Creation", this is an apotheosis. He will pass away the subsequent year.

Franz Joseph Haydn possessed a long, productive professional career, he had been a commendable composer with the completion of a sense of humor. His numerous production has embraced almost all types and types. Aside from the excellent symphonic works and the two delightful Oratorios one should not ignore the magnificent chamber music works; 68 string quartets, a good number of trios and "Divertimento"s. He also composed a variety of religious creations including the gorgeous "Last seven terms of Christ at the Crucifixion", cantatas, lieds and operas.

The piano works by J. Haydn, that felt a little bit neglected for a time, is now regaining favor among primary pianists. Performers like Wilhelm Backhaus, Lili Kraus, and Glenn Gould include mixed lots of sonatas and variations. Paul Badura-Skoda offers an "authentic" performance on a "pianoforte" of that epoch.

Inside the sizable productivity of Franz Joseph Haydn, compositions for the piano are solely overtaken in quantity by symphonies and string quartets. Compared with 106 symphonies and 68 quartets we have got "only" around sixty sonatas for the piano. The earliest ones are definitely meant for the "clavicembalo".




One needs to add into the list those pretty valuable works that are: the variations, a "Capriccio", a "Fantaisie" and particularly the 45 trios for piano, violin, and violoncello upon which the piano has got the best part.

Guaranteed, Joseph Haydn did not formulate the sonata form nor the symphony. But his expansion and emancipation of those musical types provided the style for all future composers. The constitutional frameworks produced by Haydn are even now alive. For this brilliant composer, the musical form had been by no means a pre-set rigid mold.

The "Haydn-Sonata" has by no means been a quickly arranged invention. The composer continually stated his references towards the "real" father of the sonata-form: Carl Philipp Emanuel Bach. Since the years 1760 the style of C. Ph. E. Bach, typical with its "Empfindsamkeit" (sensitivity) and rapidly changing moods did impress rather very much Haydn. Even so, the Austrian master did infuse in those surfacing musical forms and styles a coherence, a balance that had been missing inside his famous Nordic forerunner.



One additional powerful influence is Domenico Scarlatti, even though in no way referred to specifically by F.J. Haydn. This is often to some degree evident in the melodic melody lines, but Scarlatti did not adhere to the emancipation of the "sonata" musical form.

The "new" edition of Haydn's works, published in 1960 by Christa Landon, enumerates some 62 sonatas. Most of those cannot be genuinely attributed to Franz Joseph Haydn. The definitive listing made by Anthony van Hoboken is created on the Breitkopf und Hartel publication and chronology. This Hoboken directory is counting 52 sonatas for the piano.

By Mehmet Okonsar - Article Source: EzineArticles


Friday, September 15, 2017

Thanksgiving Piano Music - Simple Gifts Enjoyed by American Composer, AARON COPLAND

The beautiful melody, Simple Gifts, is from a book of songs published in the 1840s by the Shakers, a religious group who settled in areas from New England to Kentucky. The melody for Simple Gifts was used in American composer, Aaron Copland's ballet, Appalachian Spring. It's theme of simplicity, freedom, and humility are appropriate for a ballet, but for celebrating the spirit of our National Thanksgiving Holiday.

English: Aaron Copland
Aaron Copland (Photo credit: Wikipedia)

'Tis the gift to be simple, 'tis the gift to be free, 'Tis the gift to come down where you ought to be, And when we find ourselves in the place just right, 'Twill be in the valley of love and delight. When true simplicity is gained, To bow and to bend we shan't be ashamed, To turn, turn will be our delight, 'Till by turning, turning we come round right.

This year at your family's Thanksgiving table take a moment to count the simplest of your blessings and feel the peace. We can spend so much time focused on the future and forget to celebrate each day and to make the most of every moment with our loved ones. Achievements are important, but without the people, we love the most to share them with, they mean little to us. Relaxing piano music is a lovely way to bring a little extra peace into your home during the busy holiday season. Make your first purchase a piano CD of this musical part of our Thanksgiving heritage - Simple Gifts. Who knows, it might turn out to be one of your family's favorite traditions at Thanksgiving.



To learn the best way to share the gift of music with children visit Amazon.com for my Piano Bears Musical Stories for Children The exciting Piano Bears Musical Stories for children ages 5 to 11 feature the loveable characters, Mrs. Treble Beary and her new piano student, Albeart Littlebud. Children love following along with Albeart to Mrs. Treble Beary's piano studio in Musical Acres Forest. Here they learn what piano lessons are all about in a fun way that kids readily understand and appreciate! Piano students laugh and giggle while reading "Little Bear's Musical Garden" and "Little Bear's Piano Goals."



Tuesday, August 15, 2017

HARPSICHORD - Music-Instruments of the World

Harpsichord



Thursday, August 10, 2017

Classical PIANO MUSIC – appeal remains eternal

Even though the genre of music changes with the change of ages, the appeal of classical piano music remains never-ending. This is not said by a few people only but by a great number of experts in western music also. If you are cynical still, you can make a meticulous research in the cyberspace and get acquainted with the reality. There are if truth be told, ample numbers of websites on the internet dealing with classical piano music and you can have a lot of info from them. What makes classical piano music so attractive down the ages? Classical piano music has not only been instrumental in shaping the route of western classical music but has brought to the fore illustrious composers also.


A grand piano with music
A grand piano with music
(Photo credit: 
Wikipedia)

One of them is certainly Beethoven; internationally celebrated German composer of instrumental music (in particular symphonic and chamber music) and what is most striking that he continued to compose even after his auditory sense was lost. Another unparalleled great composer is certainly Wolfgang Amadeus Mozart, a creative Austrian composer, and child prodigy. He is considered as a master of the classical approach in all its forms.

Are you interested to have a feeling of classical piano music? In that case, the internet can be a good friend of yours. To cut a long story short, websites are cropping up across the internet without a single interruption and people from all over the world can log in these sites and start on to learn classical piano music and its different versions.

Thanks to the mounting popularity of classical piano music (certainly a turning point once again), many websites are offering the same at reasonably priced rates or even at free. Again, a number of websites do maintain archives of classical piano music and enable the ordinary of free members even to download a number of them.

Now we must focus on the saga of learning. An assortment of websites let users initiate to teach themselves the basic chords along with notes and in this, the application of computer keyboard is enough. If you are the learner, many websites will educate you how to read classical piano music also. For that reason as soon as you get the same, the free classical piano music websites will appear useful for you. This is a good idea since paying money for a piano for a keyboard or a piano is pricey and you may have to expend a good amount of money. On the contrary, use of a computer keyboard is a good and cost-effective approach. Many people have already learned the basics in this way and you can join their group before long given that you have the dedication, forbearance, intelligence, and acumen. Remember that the combination of all these gives rise to a new facet of you – competence.



This is just the beginning and on condition that there is proficiency, you can learn Beethoven’s "Fur Elise"- considered as one of the most illustrious creations in the realm of classical piano music. The majority of young piano students gain knowledge of Beethoven's "Fur Elise" during the early part of a career. You can also reveal and learn "The Entertainer" of Scott Joplin, "Canon in D major" of Pachelbel and certainly "Moonlight Sonata" of Beethoven.



Monday, July 24, 2017

The Pucky Sounds of the Classical HARPSICHORD

The harpsichord is related to the organ and the piano, to mention a couple that has been created with the same idea of the harpsichord. The harpsichord was developed around the same time that the clavichord came around, which was sometime during the 16th century. It is a stringed instrument that is played by pressing the keys. When each key is pressed, it strikes the string and this is what causes the string to vibrate in order to make a sound.

Harpsichord, angle view
Harpsichord- Photo   by     Princess Ruto
For a while, the harpsichord was a popular instrument that was often used during the baroque music period. Its popularity may have been maintained had it not been for the creation of the piano. Once the piano was created, popularity fell from the harpsichord as the piano became the preferred instrument.
The harpsichords design is not too different from that of the piano, probably because the basic design of the piano originated from the harpsichord. The sounds produced from the strings of the harpsichord alone are not very loud. In order to enhance the sound, each string is set over a bridge that allowed the string to vibrate freely. The harpsichord also resembles the piano in appearance when one takes the time to compare the two.

With such similarities, one might wonder why most would abandon the harpsichord for the piano when the piano was invented. It could have been that the piano was more efficient and more versatile than the harpsichord, though the harpsichord is still played today in modern music. While it may never again be anywhere near as popular as it once was, the harpsichord appears to still have a place in music and it might never be obsolete. While it shares similarities with the piano, it is still its own unique instrument that offers its own unique sound.

While most will favor the piano over the harpsichord, there are some who play the harpsichord because they like the sound. It is not an overly complicated instrument to learn how to play. Someone who has interest in learning how to play it and finds a good teacher will have little trouble. The sheet music is also fairly basic and few will have much difficulty in gaining good control of the instrument. Someone who is familiar with playing the piano will have even less difficulty because the basics are more or less the same.


Finding a harpsichord to play might not be as easy as finding a piano, but they are still being constructed. Finding a used one might the best idea for someone who is new to playing the instrument because a new one can be quite expensive. Finding a teacher who can teach the harpsichord may also prove easier than one would think. Again, the basics of playing the harpsichord are not too different from the basics of playing the piano. They are related instruments and share many similarities that make it possible for one to have little trouble in playing both. The harpsichord is certainly an instrument that is worth the effort for anyone interested enough to give it a try.

    By Victor Epand
    Victor Epand is an expert consultant for used CDs, autographed CDs, and used musical instruments.
    Article Source: EzineArtilces


Sunday, July 23, 2017

3 Steps to Playing Comfortably for a Crowd

Most people are not comfortable performing in front people. When I say of performing, such as an instrument, or singing, or acting, I mean more than just knowing how to do well at your chosen craft, I mean doing it well and in front of people. It’s the “in front of people” part that gets us every time. How many of us sing like a bird in the shower but then when people are watching we can’t carry a note. Here are three steps to start you on the road to comfort (never complete) when called on to shine.

Bebe? Baby? I don't know. But she was a hottie...
Bebe? Baby? I don't know. But she was a hottie, could sing for miles, and had the crowd eating out of her hand. Her various crotch grabs and atypical "Bush sucks" ranting - even with her broken english - ran a little dry for me.
(Photo credit: Wikipedia)
1. Don’t neglect to practice. Whether you sing or play an instrument practice is the key to being relaxed. The more familiar you are with what you are performing, the less anxiety you will have about messing up.

2. Don’t back up. Piano teaches pass this on all the time. If you mess up in the middle, or any place in your piece, don’t back up and repeat the offending passage. Keep going. Chances are your audience didn’t even notice.

3. Try not to be critical of your technical skill. Focus more on your overall performance. How does it sound as a whole? If you’re a pianist and you worry during your piece about your fingering then you’re ignoring the song and how it sounds. Worry about technicalities when you practice. Which should be often.

With time playing in front of and for other people will come much easier. You'll be a natural. So use every opportunity to show your stuff!




Saturday, May 20, 2017

Five Steps To Embellishing A Song At The PIANO

Sheet music for a piano arrangement of one of ...
Sheet music for a piano arrangement of one of Marguerite's songs 

(Photo credit: Wikipedia)


You love playing the piano but are increasingly frustrated with only being able to reproduce what is in front of you. No sheet music, no play. Oh you only have it in the key of Eb? Well sorry I can't play that. Does this sound like you?

Several years ago I could only play exactly from the piano sheet music in front of me. If I looked up from the music for a fraction of time I lost my place. I was only comfortable in the keys of C, F, and G. Sometimes D and Bb. But I longed to play and smile at the congregation in my church. Or check the worship leader to see if he was going to add another stanza. Then I started to learn Pachelbel Canon in D. Ever heard it? A study on the D scale. It opened my eyes to improvising or embellishing on a song at the piano.

Here are five key things to remember to help you do the same.



  • Learn and practice your scales in all keys. Nobody likes this. It's not fun but it can greatly increase your playing proficiency if you are diligent.
  • Learn and practice chords. Especially the odd ones such as diminished, augmented, 6ths etc. These can quickly give color and style to your songs.
  • Fake it. Use a fake book to play. This will greatly encourage you to add to the harmony and melody because you only have a chord symbol and one melody line in front of you. It will sound very dry so you will be motivated.
  • Use the whole piano. Play those same notes just an octave higher. Now try one more octave
  • Don't get discourage by your first results: You may not like your first results but don't give up.

Visit the Struggling Church Musician Piano page for more resources to playing the piano by ear and chord piano.


Tuesday, May 16, 2017

THELONIUS MONK - One of the Pioneers of Bebop

From amongst all the jazz legends and pop legendary pianists, Thelonious Monk is most known for what can be called 'straight forward jazz'. Born Thelonious Sphere Monk on the 10th of October 1917, Monk began playing the piano at the tender age of nine. Most of what he knew on the piano was self taught in addition to the tricks he learned while slyly dropping in on his elder sister Marian's piano classes and a little formal training.

English: Thelonious Monk, Minton's Playhouse, ...
Thelonious Monk, Minton's Playhouse, New York, ca. September 1947.
(Photo credit: 
Wikipedia)

He dropped out of Stuyvesant High School where he was doing his schooling to start playing the piano professionally. He toured with an evangelist for whose meetings he played the church organ. In his later teens, he got gigs playing jazz piano. He was the house pianist at a club - Minton's Playhouse - in the early 40's. His influences at the time were most the stride pianists of the era - Duke Ellington, James P Johnson and the likes.

His trademark style of playing was something that he polished incessantly during the cutting competitions that took place at the club late at night featuring all the piano greats of the time. His stint at Minton's Playhouse brought him in touch with the other exponents of Bebop - Charlie Christian, Dizzy Gillespie, Miles Davis, Charlie Parker and Kenny Clarke. It is this period of time that the bebop style of playing was created . He influenced the the bebop style of playing so much that he has arguably been referred to as the founder of bebop.

Monk then moved on to playing for groups. His first ever studio recording was made featuring the Coleman Hawkins quartet in 1944. He became the leader of the Blue Note three years later. His recordings with Blue Note displayed his penchant for coming up with composing music with strong melodies. The same year saw his marriage to Nellie Smith, with whom he had two children. His son TS Monk was born in 1949. He is a jazz drummer, composer and band leader. His daughter Barbara was born in 1953.

In 1951, Monk ran into trouble with the police. A car in which he and fellow pianist Bud Powell was found to contain narcotics. During the trial against Bud Powell, he refused serve as witness testifying against Bud Powell. As a result, his New York City Cabaret Card was taken away by the police. Thus not being able to play in New York where there was liquor being served. He continued to play in other places though.

He continued recording, touring and composing. After his contract with Blue Note Records lapsed, he moves to prestige records. At Prestige, he recorded some not-so-successful but critically acclaimed albums with Sonny Rollins on saxophone and Art Blakey on drums. It was around this time that the famous Christmas Eve sessions were recorded which were released in the form of the two albums - The Modern Jazz Giants and Bags Groove and Miles Davis - both of these by Miles Davis.

He visited Europe in 1954. He went to Paris to record and perform. He met jazz patron and member of the Rothschild family, Baroness Pannonica de Koenigswarter, with whom he struck a friendship that lasted his life long.





Though Monk was well recognized in jazz circles by his contemporaries and the jazz audience , his records didn't sell as well. He shifted from Prestige Records to Riverside Records, who bought out his contract. In an effort to get the masses in tune with his style of music (which was thought to be too difficult at the time for the average listener), Riverside asked him to record an album two album of his own versions of the jazz standards of the time.

Thus Thelonious Monk Plays Duke Ellington was released with the intention of increasing Monk's market. The album has Duke Wellington's tunes redone by Monk for which he had to study Duke Ellington's pieces from scratch. On his next release, Brilliant Corners, he got a chance to actually record his own tunes. Expectedly the title track of the album was so difficult that it had to be put together from a total of three takes. Sony Rollins accompanied him on the album.