What I learned during practice today :

[chopin2015]

My lesson today was really brutal-I hate those days when I'm overwhelmed with what I don't know and what I am bad at. Now I am just sitting here overwhelmed with life because I spent too much time stuck in traffic and my practice time is very limited today. (( I learnt how to glissando today...and that I really need to count right now.

[hfmadopter]

At least you know what you need to do when you get the time. Traffic sucks though, I dislike being stuck in traffic, such a waste of time !

I'm in a holding pattern just praticing repertoire for my little Christmas performance in my house. After Christmas I move on but I swear I may never play some of these piece ever again, I'm tired of them and I need to get on to new material. I'm so tired of them and have a month to go till Christmas eve, by then they may not even sound correct because I could be discusted with them ! Last night I was very phyically tired also and so kept flubbing around after supper with these pieces and that didn't help my impression any. Guess I started a little too early on my Christmas pieces, now I want that done with. So I just have to keep these up and running for the next month. Meanwhile I'm looking at new work to do, that part isn't boring !!

Tomorrow being Thanksgiving here in the US I think I will play two of my pieces for my guests at some point, maybe before dinner ( before I have wine ! Once I get into the wine I'm screwed any more than one glass and add turkey dinner to that forget playing piano).

[ranniks]

The Choice has fallen on the following pieces:

- Fur Elise FULL VERSION! I quote: 2 weeks ago I wouldn't do Fur Elise with you, but now that I've seen the prelude and the easy version, no reason not to go for the full version.

Comment: This piece is hard......

- Chopin!#@!~#!@! Prelude op 28 n4

Comment: He had large hands >..<

Also learning chromatic chords, scales and the inversions. I think I'm good for a month orso now 0.o.

The Clementi and scarlatti pieces will be side projects until we hit the mozart era I suppose.

Outin, the Chopin is filling the romantic voide^^.

Edit:

Oh and David: your prediction/thoughts about the Fur Elise was correct and now we're working on it! If I get this piece by the end of this year I'm gonna jump a hole in the sky, lol.

[ranniks]

Fur Elise is hard! Now I understand what my teacher meant. It's not only actually pushing the notes, it's the timing and manner of how you play. This piece will take me at least 2 months to play like I can the prelude in c major. Maybe it will take even 4 months, who knows. I have the time.

Learning the Chopin prelude op. 28 no.4 is a really excellent exercise for the left hand. But the man must have had magic hands. Or maybe it's just because I am a beginner. The piece is definitely do-able and a lot easier than Fur Elise, but the chords in it!

[hfmadopter]

Fur Elise is hard! Now I understand what my teacher meant. It's not only actually pushing the notes, it's the timing and manner of how you play. This piece will take me at least 2 months to play like I can the prelude in c major. Maybe it will take even 4 months, who knows. I have the time.

Learning the Chopin prelude op. 28 no.4 is a really excellent exercise for the left hand. But the man must have had magic hands. Or maybe it's just because I am a beginner. The piece is definitely do-able and a lot easier than Fur Elise, but the chords in it!

Ranniks, if you are anything like I was then Fur Elise will come together fairly rapidly when you get the hang of it. It will suddenly start falling in place but I loved the classical sound of it so much I just kept at it and memorized it early on. However, the 2 month and 4 month thing ? No, think years. I don't mean to just do it but to gain the fullness of it, the finesse of playing it. Everybody and their brother plays the piece but get it to concert level and include it with other works for maybe a recital along the way and you really need to get the touch down . It's a piece that matures with you as you move along. I think I left it alone and came back to it again to perform it three times in 10 years and after I had moved well past that level of playing.

[outin]

Learning the Chopin prelude op. 28 no.4 is a really excellent exercise for the left hand. But the man must have had magic hands. Or maybe it's just because I am a beginner. The piece is definitely do-able and a lot easier than Fur Elise, but the chords in it!

The prelude was one of the first pieces I took up when I returned to piano. Didn't really polish it but it is waiting for me to work on it more when I have the time

The left hand chords call for a special technique, since they should not be loud and the pulse has to be right. I am sure your teacher will show you. And the right hand needs to sing. This piece is not too difficult to learn to play the notes, but it's not easy to play it really beautifully.

[rachmaninoff_forever]

Absolutely nothing.

It's too god damn cold outside to practice!  I don't have any air conditioning in my house so it's almost as cold inside as it is outside.

[j_menz]

Absolutely nothing.

It's too god damn cold outside to practice!  I don't have any air conditioning in my house so it's almost as cold inside as it is outside.

I'm sure they have those little air heater thingies in Chicago.

[chopin2015]

Absolutely nothing.

It's too god damn cold outside to practice!  I don't have any air conditioning in my house so it's almost as cold inside as it is outside.

My hands have been cold the whole practice except a couple minutes each time, but mostly the whole 4-6 hours, they are absolutely cold..It is so uncomfortable, I wear a sweater and I get hot and sweaty and can't concentrate.

[hfmadopter]

My hands have been cold the whole practice except a couple minutes each time, but mostly the whole 4-6 hours, they are absolutely cold..It is so uncomfortable, I wear a sweater and I get hot and sweaty and can't concentrate.

I went to my grandsons band performance at the local high schools football game Thanksgiving day. It was warm there in the sun but before we got there it was cold out. My hands were cold and my right index finger went numb for about the third time this fall. I ran it under my sons warm water tap for a few minutes, wrung my hands out and they were fine.

The better news though is the Grand Son did great. He is the only trombone player in the marching band and he absolutely loves it. This is the first year the school has introduced middle school students to the high school marching band. It's his first year in a marching band and second full year playing trombone. He started trombone almost three years ago but then broke his arm so couldn't play. He would like to take up two additional instruments. One is piano, the other unknown at this time. He says he will play trombone in a marching band for his whole life though.

They all went to Gillette Stadium  (which is the home stadium for the Patriots football team, it's a huge new pro ball stadium) last weekend. 3000 students in the stadium all members of marching bands across our state with the main one being a university band. Six hours prepping these guys for their half time performance in the stadium. All 3000 students playing  parts of the performance. Brian was part of that, he will never forget it and what a launch point for a young guy interested in music ! It's something you might dream to strive for at point in your life in his very first year of being a band member. It's just a great break for self esteem for a young musician..

[hfmadopter]

Absolutely nothing.

It's too god damn cold outside to practice!  I don't have any air conditioning in my house so it's almost as cold inside as it is outside.

You live in a house with no heat ?

[ranniks]

I dare not put the heat on in my room. My piano will suffer and I'd rather not have to hire movers to take it apart/throw it away. My room is cold at times but I've adjusted. Sometimes I wear a pair of gloves I've bought recently, without the tops; fingerless gloves. I've cut them myself. Keeps me warm. Although playing with the gloves? Much rather without.

I tried the under warm water technique, but I don't want to get hooked to that before playing.

Has anyone ever tried to combine the chromatic scales of E major and B major? Not sure if that last one is a B major, but the chord has the following notes: B, D sharp and F sharp. It sounds wonderfull if you combine the arpeggios.

My teacher told me I could combine the chromatic chords to make a nice tune. I'm having difficulties combining the B flat Major and A sharp Major with the E Major and B Major chords >..<.

[ranniks]

The prelude was one of the first pieces I took up when I returned to piano. Didn't really polish it but it is waiting for me to work on it more when I have the time

The left hand chords call for a special technique, since they should not be loud and the pulse has to be right. I am sure your teacher will show you. And the right hand needs to sing. This piece is not too difficult to learn to play the notes, but it's not easy to play it really beautifully.

I hope so too. I've listened to a sample and it's a decent piece. Definitely a good exercise for my left hand and a new piece for my repertoire.

You should pick it up again^^.

[hfmadopter]

I dare not put the heat on in my room. My piano will suffer and I'd rather not have to hire movers to take it apart/throw it away. My room is cold at times but I've adjusted.

Sounds like more consultation with the teacher is in order.

What sort of heat is in your room ? It doesn't kill a piano to heat a room, it just doesn't do it any good if the heat duct ( if that's the kind of scource you have) is blowing directly on the piano. The best situation is one of a stable environment, that means something close to 50% humidity and not huge shifts in temperature. That's ideal, pianos live with less than ideal conditions, just the extremes are not good for it but especially too dry or to wet a condition.

My piano is in the living room but not up against the radiators. Right now two pans of water and the wifes 55 gal. fish tank provides enough humidity in the room. Later in the winter we will need to turn on a humidifier. The room has two radiators in it, the piano is away from the radiators, one pan of water is on the nearest radiator, the other is under the piano. The heat this time of year is running about four times per day, so that's not too too drying. When it gets colder out and the heat is running between several times to many times a day and especially at night and the humidity is low outside already, the room then needs more official moistening.

[ranniks]

Sounds like more consultation with the teacher is in order.

What sort of heat is in your room ? It doesn't kill a piano to heat a room, it just doesn't do it any good if the heat duct ( if that's the kind of scource you have) is blowing directly on the piano. The best situation is one of a stable environment, that means something close to 50% humidity and not huge shifts in temperature. That's ideal, pianos live with less than ideal conditions, just the extremes are not good for it but especially too dry or to wet a condition.

My piano is in the living room but not up against the radiators. Right now two pans of water and the wifes 55 gal. fish tank provides enough humidity in the room. Later in the winter we will need to turn on a humidifier. The room has two radiators in it, the piano is away from the radiators, one pan of water is on the nearest radiator, the other is under the piano. The heat this time of year is running about four times per day, so that's not too too drying. When it gets colder out and the heat is running between several times to many times a day and especially at night and the humidity is low outside already, the room then needs more official moistening.

I had no idea David. I just don't want to break this precious thing I have right now. A picture says more than a thousand words so (don't mind the mess):



Probably bad idea for the heat right? Since it's near the heat.

Oh and this is the workplace^^:



I'm sure you can appreciate an eager student and this marvelous crafted instrument. It may not be a Steinway, but it sure as hell plays fine. Hopefully it won't mind my tuner making the keys less heavy.

[ranniks]

I'm sure they have those little air heater thingies in Chicago.

Have you ever played the BWV 1058 in a concert?

Lord save me if I do not learn this piece.

[hfmadopter]

I had no idea David. I just don't want to break this precious thing I have right now. A picture says more than a thousand words so (don't mind the mess):

Probably bad idea for the heat right? Since it's near the heat.


I'm sure you can appreciate an eager student and this marvelous crafted instrument. It may not be a Steinway, but it sure as hell plays fine. Hopefully it won't mind my tuner making the keys less heavy.

That looks like a radiator to me. I assume the heating system is forced hot water and not steam ? If it's steam there will be a little valve on the radiator that emits a little vapor and pretty outdated these days, so unlikely. On that radiator should be a valve near the floor at any rate, you have the option to just crack that valve partly open and the radiator when the heat is on will just warm up vs getting really hot. It will take the chill off the room though.

Really I don't see the concern as far as heat goes, unless the piano were turned and the radiator was directly behind the piano.. More so watch the humidity, you can buy an inexpenive hygrometer and keep tabs on the humidity level in the room.

[chopin2015]

We should post pictures of our practice spaces, the messiest wins.

[rachmaninoff_forever]

We should post pictures of our practice spaces, the messiest wins.

I could just throw in a bunch of dirt and take a picture of it.

And what if you have multiple practice spaces?

[chopin2015]

what about your most comfortable one? I have 2 or 3 but my main one is my room with my electric piano, where I do not disturb anyone...I cannot work if I am not blending in with the atmosphere well.

[ranniks]

I performed today!

I was visiting the city with 2 of my close friends. We were at this book shop (they don't read, I do) and I was saying this to my friend 'if they had a piano here, I would play'.

My friend: Look over there:




^^

I played the prelude in c major....It went decent. I forgot a few notes but improvised. I'm not happy about that performance though. This yamaha grand had some really LIGHT keys, but I adjusted to it fairly quickly. Then I played the minuet in g Major and that went perfectly for 97% of the time. I played the easy part of fur elise and the beginning of the chopin prelude (10% of it) and that was that.

I was not aware people were looking, well I was, but not so many. My friend told me people above looked down at the piano to hear it play (the piano was not on the first level). It was really COOL. Only an old gentlement sat near the grand to hear me play. Afterwards a  man and a woman came and asked me if it was my piano to which I answered no. The man played piano for 21 years and the woman for 14 years apparently.

She played some Chopin which was cool. I was kind of bummed down that she totally blew my performance away, but what could I expect? She had that much experience above me. I did mention I only played for 3 months, so they didn't get the wrong idea. According to my teacher I am learning fast for these short 3.25 months, so I'm happy.

David, can't wait to learn the whole fur elise. Then I'll marvle them.

To be honest I wasa busy with the people and forgot my environment completely, lol.

Well, that was my day! Hopefully you all had a wonderfull sunday!

[ranniks]

That looks like a radiator to me. I assume the heating system is forced hot water and not steam ? If it's steam there will be a little valve on the radiator that emits a little vapor and pretty outdated these days, so unlikely. On that radiator should be a valve near the floor at any rate, you have the option to just crack that valve partly open and the radiator when the heat is on will just warm up vs getting really hot. It will take the chill off the room though.

Really I don't see the concern as far as heat goes, unless the piano were turned and the radiator was directly behind the piano.. More so watch the humidity, you can buy an inexpenive hygrometer and keep tabs on the humidity level in the room.

Thanks David! I put the heat on slightly today and you are correct to assume that it is water.

[hfmadopter]

Thanks David! I put the heat on slightly today and you are correct to assume that it is water.

Very good and also excellent that you were able to play in public !

[teran]

I learned that I love heavly accenting really dissonant clashes.

That will make people jump in their seats.

[ranniks]

At the moment I am trying to learn a few broken chords so I can dream them.

The Chopin piece is going well. Outin, like you said, my teacher showed me how to play it. I can trully feel Chopin's intention while playing.

Fur Elise is not going as well as I hoped, but the second part of the piece (the hard version) is not that easy. I got the right hand movement down, but combining it with the left hand will take some time. Fur Elise will just have to be a side-project with my teacher explaining/giving tips for 10 mins every week orso.

I am eager to know which piece we'll be working on after the Chopin piece. Currently I'm not memorising the piece, but reading it from the sheet. It is an odd piece because the extra stress on the left hand. Memorising it is also very tedious for me because I would need to count how many times I play which chord before moving on with the right hand.

How is the playing coming along for you all? I hope well.

[ranniks]

How can I recognize that a piece is played in an octave higher/lower?

[outin]

How can I recognize that a piece is played in an octave higher/lower?

There's a marking above or belove the notes "8va" and a line to indicate how long before you go back to the actual notation.

[outin]

How is the playing coming along for you all? I hope well.

My right hand is back to normal so I have been able to practice a lot today and learned a whole new page of one of my Scarlatti sonatas

[ranniks]

There's a marking above or belove the notes "8va" and a line to indicate how long before you go back to the actual notation.

I can't seem to find it on the piece. Well, whatever. My teacher told me to play it higher so we'll see.

I finally had the 'aha' moment with this piece. Now that I've seen it, it isn't that hard anymore. You switch notes with the right hand on every first and 7th chord of the meassure.

It is indeed beautifull. A piece I lack the ability to play it well. Practise practise practise I guess. I keep hitting the chords too hard, lol.

My right hand is back to normal so I have been able to practice a lot today and learned a whole new page of one of my Scarlatti sonatas

Outin, why does Scarlatti compell you so much? Bach compells me because his pieces vary a lot. The minuet for example is just pure 'class' while the prelude shows me a piece of heaven.

Beethoven is more love/drama.

Chopin seems drama all the way (in a good sense!)

Mozart...Dunno, never played a piece of his, lol.

The scarlatti piece you gave me Outin, seems like something beyond what Beethoven and Chopin produce. It seems like a 'origin' piece if that makes any sense. Basically the source from the drama music, or something.

Btw, what do you think of the Beethoven Listz symphony 9 mov 2? It is very compelling.

[outin]

I can't seem to find it on the piece. Well, whatever. My teacher told me to play it higher so we'll see.

I don't think I understood your question. You play this piece exactly as it is written. He must have meant something else...

It is indeed beautifull. A piece I lack the ability to play it well. Practise practise practise I guess. I keep hitting the chords too hard, lol.

You also need some experience, so don't over practice so that you strain yourself. This piece will get better with time...

Outin, why does Scarlatti compell you so much?

I wish I knew...But he was original, different, broke some rules of composing... The way he handles voices is often different. In general his music sounds so perfect to me, it's compact and it's never boring.

Beethoven is more love/drama.

Is that why I don't get him at all?

Btw, what do you think of the Beethoven Listz symphony 9 mov 2? It is very compelling.

To think of something about it I would have to listen to it and I don't want to 

[rachmaninoff_forever]

I can play everything faster if I keep my wrist low.

You know what that means?!

One step closer to Valentina Lisitsa!   

[j_menz]

One step closer to Valentina Lisitsa!   

Or the Asylum. 

[49410enrique]

Or the Asylum. 

[hastur]

Long time no writing! Well, I'm finally getting back to reasonably regular practice (Though my schedule is rather cramped, and then I'm going away over Christmas (no piano! ), so there will be another break soon). Finally making some headway with my Satie (Gymnopédie No. 3), I've been having lots of difficulties reading the chords and harmonies but got through the major hurdle of it, I think. Just need some more practice time on it and I should have the notes memorized to the point where I can start working on dynamics (all those crescendos/diminuendos) etc.

I'm intending to try finish it asap so I can play it whenever I stop procrastinating getting a new piano teacher (I moved here in April, and still haven't done much about it). I really miss those deadlines that you get with weekly lessons..

My biggest frustration is without doubt that my technical proficiency and reading proficiency are so far apart, pieces that are on the right level for me reading-wise are far too easy technically speaking, and pieces providing some technical challenge are nigh impossible for me to follow at any reasonable pace (if I can decipher them at all).

Also, hello to Ranniks and all the other new people to this thread!

[ranniks]

Long time no writing! Well, I'm finally getting back to reasonably regular practice (Though my schedule is rather cramped, and then I'm going away over Christmas (no piano! ), so there will be another break soon). Finally making some headway with my Satie (Gymnopédie No. 3), I've been having lots of difficulties reading the chords and harmonies but got through the major hurdle of it, I think. Just need some more practice time on it and I should have the notes memorized to the point where I can start working on dynamics (all those crescendos/diminuendos) etc.

I'm intending to try finish it asap so I can play it whenever I stop procrastinating getting a new piano teacher (I moved here in April, and still haven't done much about it). I really miss those deadlines that you get with weekly lessons..

My biggest frustration is without doubt that my technical proficiency and reading proficiency are so far apart, pieces that are on the right level for me reading-wise are far too easy technically speaking, and pieces providing some technical challenge are nigh impossible for me to follow at any reasonable pace (if I can decipher them at all).

Also, hello to Ranniks and all the other new people to this thread!

Welcome back and hi!

[hastur]

Welcome back and hi!

Thanks

Solidified what I learned yesterday, hoping to have most of the first page before I leave Saturday morning. Looking at some of the pieces recommended here, that César Franck piece was beautiful, and I actually have that Chopin prelude in my sheet music shelf. Never thought about attempting a Chopin, but after giving it a listen and actually looking at the music, it seems doable (the grade seems to be set at 5 mostly because of the chords and expression markings).

Both look like fun pieces to learn and add to my repertoire.

[perprocrastinate]

My forearm pain today told me that I probably should sit further to the right of the piano bench when practicing pieces for the left hand alone.

(Ouch, chords in the high register!)

[pianoplayjl]

TIL by positioning my thumbs towards the edge of the black keys and the pinkie inwards, I can play double octaves easier.

JL

[hastur]

OMGOMGOMGOMGOMG. I actually have the notework of the first page down! Now to debate working on dynamics vs. working on the second page's notework...

[ranniks]

Hi all in need of advice from you more experienced players,

The chopin prelude op 28 n4 which I am working on is a beautiful piece. But for a 4-5 month beginner like myself the 4 finger chords are killing my right hand. My teacher did not want me to do them and basically turned them into 3 finger chords.

However, on the last 2 meassures (24 and 25) of the piece the g cleff turns into a bass clef. I tried the 3 finger chords just like my teacher told me and it sounde okay, but then I tried them 4 fingered and my right hand was kind of sore after a few times.

I'm not sure where this idea came from, but I did a switch with my hands and played the left hand with my right hand since it required lesser notes (octave B and E's). I am now able to do the 4 fingered chords of the right hand with my left and and the easy notes of the left hand with my right hand. Basically turning the last 2 measures of the piece into me playing it in an X arm position.

What are your thoughts on this. In the future I may be ready for the 4 finger chords with my right hand but for now this could solve it?

[j_menz]

What are your thoughts on this. In the future I may be ready for the 4 finger chords with my right hand but for now this could solve it?

For my two cents, the crossing of hands for these seems rather awkward.  There's nothing wrong with it per se, though. 

You probably aren't all that far off being able to manage the chords in your right hand, and it will be easier to learn to add the extra note than it will be to relearn with the "correct" hands.

I suggest you learn it as your teacher wants. Then, once you've moved on you can do as you please should you still wish to play it.  It seems to me the hand crossing is a temporary solution to a temporary problem though, and it won't be long before you don't need it - don't let it linger beyond that point.

[outin]

Hi all in need of advice from you more experienced players,

The chopin prelude op 28 n4 which I am working on is a beautiful piece. But for a 4-5 month beginner like myself the 4 finger chords are killing my right hand. My teacher did not want me to do them and basically turned them into 3 finger chords.

However, on the last 2 meassures (24 and 25) of the piece the g cleff turns into a bass clef. I tried the 3 finger chords just like my teacher told me and it sounde okay, but then I tried them 4 fingered and my right hand was kind of sore after a few times.

I'm not sure where this idea came from, but I did a switch with my hands and played the left hand with my right hand since it required lesser notes (octave B and E's). I am now able to do the 4 fingered chords of the right hand with my left and and the easy notes of the left hand with my right hand. Basically turning the last 2 measures of the piece into me playing it in an X arm position.

What are your thoughts on this. In the future I may be ready for the 4 finger chords with my right hand but for now this could solve it?

I have seen that done, but I agree with J_menz. Best to do what your teacher says.

As it happens I have exactly the same problem. I cannot properly reach the first of these chords, it doesn't sound good enough because of too much streching. So it's either roll or leave out the first note. I decided to do the latter. I think I can manage the chord sooner or later. My right hand is more flexible on some days than others and a few times I have been able to do it.

[hfmadopter]

I agree as well, it's much easier to learn than to relearn, it may take longer initially and you need to condition your hands but I suspect trouble relearning later on. Course the two hand approach you could stick with ( switching cleffs and sharing with the left I assume is what you mean), if a bit untraditional. I have a couple of pieces I do that are flipped, in time it becomes common feeling but you still know in your heart it can be done the other way !

[ranniks]

Hi all.

Had a good practise today. We were going through the Chopin prelude and how to play it. My teacher has made it clear that this way is not the good way:

Basically because the prelude is written in Largo. And he told me the left hand movements should be much slower. I tried playing it like in the video but my teacher told me it is not the correct way. But how come I've seen a concert level pianist do it that way? Or are they not in fact concert level?

Also we went through a few measures of fur elise and it is still not an easy piece. I'm refering to the hard parts and not the easy version which everyone can play.

Also asked my teacher to teach me another piece since we basically are finished with this piece. Will practise the prelude at home until it's at a good tempo.

The next piece is: Bach March from anna's notebook.

Also been asked to learn the F major scale.

Also, my dear fellow pianists and most of all my elders and more advanced players: how can I train my counting? My teacher has commented that that is my major weakness.

Are there any specific exercises? I was thinking of making a few of my own:

Mixing chords in slow and fast pace and playing in 1 and 2 and 3 and 4 and......Mix the notes up etc.

Really would be deadly gracious to anyone who is willing to give me advise in that.

Also, David, could you check your inbox in about 10 minutes? I have a question for you. 

[ranniks]

And before I forget; thanks for the advise regarding the chords, I will do just as you all say!

[hastur]

Hello there Ranniks,

We were going through the Chopin prelude and how to play it. My teacher has made it clear that this way is not the good way:

::Video Clips::

Basically because the prelude is written in Largo. And he told me the left hand movements should be much slower. I tried playing it like in the video but my teacher told me it is not the correct way. But how come I've seen a concert level pianist do it that way? Or are they not in fact concert level?

Sergio Tiempo is a concert pianist, but he's not playing it how it's written. He uses frivolous amounts of rubato, to the point of changing the piece. I agree that it sounds nice, but it's not "the right way" to play it - just as your teacher commented.

Also, my dear fellow pianists and most of all my elders and more advanced players: how can I train my counting? My teacher has commented that that is my major weakness.

Are there any specific exercises? I was thinking of making a few of my own:

Mixing chords in slow and fast pace and playing in 1 and 2 and 3 and 4 and......Mix the notes up etc.

That would be a good exercise, especially if you do it together with a metronome so you get your counting right. After a lot of practice you'll likely develop a sense of inner rhythm. Another one that I did a lot was trying to find the rhythm in music I listen to and tap my foot to the beat. (Practice is key here, but remember that practice without any guidance what-so-ever makes permanent, not perfect as the saying goes. So it would likely be a good idea to ask people around you every once in a while if you have found the correct beat to a piece/song, or if you have big trouble finding it, get them to help you by perhaps clapping the rhythm for you while you try to replicate it by tapping your foot. In time, it will get easier.)

Sincerely,
Hastur

[outin]

Basically because the prelude is written in Largo. And he told me the left hand movements should be much slower. I tried playing it like in the video but my teacher told me it is not the correct way. But how come I've seen a concert level pianist do it that way? Or are they not in fact concert level?
 

Here's the thing: When you are learning to play on a basic level, it's not good to rely too much on professional recordings/youtube videos of the masters. It took me a while to understand it too.

Trying to copy what you hear leads to disaster when you don't have the technique and control they have. Recording is also never the same as hearing someone play in real life. You should go by the score and your teachers advice to achieve the best you can at this moment. What concert pianists do with pieces is possible because they CAN play it exactly as written but choose not to because they need/want to make a personal interpretation.

How could you sound like someone who has been playing for 15 years, probably practicing every day? You should go for the best sound and interpretation you can achieve at the level you are at. If you stick to it it will keep changing, when you play it 2 years from now the piece will sound completely different.

This is how I see it now after going through pretty much the same process as you

[keypeg]

Re: Chopin Em Prelude above
I started working with my teacher this year, and the Chopin Em Prelude is the first piece we worked on.  Since it's the first time I've ever had a teacher and I last played self-taught 35 years ago there's a lot to work on - I was stuck without a teacher for a couple years now.  That said, this is how we approached it and what he emphasized:

- learning how to pedal properly (since this was my start), and understand timing of pedal for this piece
- LH softer than RH.  Since I was learning everything for the first time, the first step for me was to simply make the hands as ridiculously different as possible to get the coordination.  For my degree of control, that wasn't that much different.  
- timing, to begin with, accurate and mechanical - then I was ready to play with rubato and expressiveness in general
- the triplets were tricky, and I think I spent two weeks on two against three one.  The triplets went in two stages: a) get the basic timing of triplets right, b) some stretch to them to make them expressive within the sense of the piece.  If I had not gotten "a" right, then he would have had me leave the piece at that level, and make it fancier some other time in the future.

We've talked a lot about rubato.  For rubato, you should know why you are doing it, and you have to be able to do rubato while not destroying the pulse.  Very often I ended up with something ridiculous or cliche first, and I've spent a lot of time chasing a sense of pulse.  I think that is why we begin by playing very evenly and precisely.

In your clip what I noticed was PEDAL.  There are a number of places where the chords wash into each other where I think you would want to pedal more often.  It is the most noticeable at the end where you have plenty of time to change pedal.  Personally I thought it sounded rather nice.

I wanted to add my clip as another student but my face keeps popping in and I'm shy    There's someone who thinks he can fix that, so maybe I can upload it later. (Is upload the right word?)  There's a lovely single wrong chord in there but well, it was mid-practice.
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Addendum: We looked at a number of performances of the Em Prelude.  No professional pianist seems to play the LH totally even, "as written".  I rather like Tiempo's version, and there is sense behind every single thing he does.   I would not imitate him because I have neither the technical ability nor the understanding.  

[keypeg]

My practice:
Having done the piece for the little competition here, I'm back at the grind of getting physical playing in order.  The first thing I managed to get somewhat decent was playing chords without the hands being a rigid curved shape or the wrist being locked.  That's working decently.  The whole thing is like having been locked in a wrongly shaped cement casing and coming loose but also trying to get in balance.  Being self taught first sucks for that side of it.

I was doing chords: majors, minors, minor-diminished, major-augmented, going to sevenths - the theory part was no problem.  But by the time I was on the third chord HT, I was locked up in the upper body.  So it was back to the drawing board.  One thing is that since I used to arch my back and have a kind of "military posture", my elbows are not in front of my body.  Even if I think I am "leaning forward", I arch in the lower ribs (so I'm not really leaning forward) or I think I'm moving my elbows forward, but I'm actually hunching the shoulders forward.  Like, "What part of 'elbow' do you not get?"  The body works together as a whole, but I have to get at the parts and then bring them together again.  Otherwise I'm overwhelmed.  There is a principle that says "If you fix one part, then the others start fixing themselves too." (and vice versa).

I've been doing a kind of exercise of playing a chord or two at the highest register to the right, and then the same at the lowest register to the left.  What I'm after is getting the body to work together.  When you're in the middle you don't have to do much.  When I was leaning I was sort of leaving the lower body behind and my arms were like robot arms.  There's also the misconception (which I had been told once) that the arms "hang from" the shoulders, which had made me picture the shoulders like a kind of 3D coat hanger.  In fact that arms are part of the body an the muscles that move them run along a great deal of the torso.  Doing this seems to help unlock whatever was happening when I was trying to practise those chords.

There are a couple of other things like that to work on.  It's abstract.  It's not music.  But I noticed when I went to working on pieces, there seems to be more body awareness to draw on.  I'm relying on my teacher to tell me he sees improvement, or where I'm off - often things that I'm not aware of or looking for.  Right now my playing issues are 90% physical.

Next piece to finish off is probably the Chopin Cm Prelude.  I started it early on and then stopped because some technical things had to be learned first.

[vsrinivasa]

Today's practice (and yesterday's, for that matter):

WALDSTEIN SONATA
I have the first movement pretty much performance ready, with a few touch-ups which need attention. The second movement is relatively simple technically, but musically and expressively it's a nightmare. I also learned that I am holding my fingers much less stiffly than I thought I was, so that's good. But I have been having issues with arm strength and always have. I am remarkably weak and thin despite my height and some of the forceful chords in the first movement sound too light under my fingers. So I am working on that. The third movement doesn't need too much attention right now besides the coda with those octave "glissandi".

OP. 101
Not too much trouble with this sonata; learned I have issues with portraying the emotions of the late Beethoven.

FESTIN D'ESOPE
The fifth variation is a real pain. More arm strength issues here, and octave endurance is not my strong suit. The theme is easy enough, but the variations get very difficult very quickly. I also learned here that I don't like playing Alkan in general; I have only played a few of his works before and they were reasonably okay, but most of his works are very annoying

APRES UNE LECTURE DE DANTE
Pretty much everything I could have imagined has gone wrong in this sonata, but I think they are errors that mostly have to do with not knowing the music very well.

PAGANINI ETUDE 1
Going reasonably well. The only issue is the introduction with those incredibly fast runs and strong chords.

So that's everything except Gaspard, which I'm documenting in another thread.