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Wednesday, April 22, 2020

My Favorite Piano Literature Sources

I have such a huge library of music already, why do I keep acquiring new music? Well, because I love new music and because my students often want to play a particular piece at a particular level. So this post contains some of my favorite sources for written sheet music.

Free music is great, but there is good free and bad free music. The good kind of free music is music that is either out of copyright and in the public domain or has a type of copyright where people can print off the music for their own use. The bad kind of free music is stuff that has been posted online by random people who have transcribed the music without permission from the copyright owner. FYI - The Music Teacher National Association has a great information page here on music copyright.

IMSLP - The ultimate goal of the IMSLP is to gather all public domain music scores in addition to the music scores of all contemporary composers (or their estates) who wish to release them to the public free of charge. However, another main goal of IMSLP is to facilitate the exchange of musical ideas outside of compositions: for example, the analysis of a particular piece of music. IMSLP uses a Creative Commons License. Typically the music scores available on IMSLP are scans of old out of copyright editions of music, so you do need to be careful in case the edition is careless.


Mutopia- The Mutopia Project offers sheet music editions of classical music for free download. These beautifully clean copies are based on editions in the public domain, but a team of volunteers typesets the music using LilyPond software, so its easier to read than the IMSLP scans.  Mutopia also offers some number of modern editions, arrangements and new music where the respective editors, arrangers and composers have chosen to make these works freely available. Most of the music is distributed under Creative Commons licenses.

Musescore - Musescore.org is a composing software (which I use and love). It is an open source desktop software application that supports more than 50 languages and is available for PC, Macintosh and Linux. Musescore.com is a sheet music sharing social platform. Anybody can create a free account and upload their music, to share with the world or to be kept as a private backup. Musescore claims to work closely with copyright holders to make sure that the music is appropriately shared.

Folk Songs are another great source of non-copyrighted music for piano students and teachers. Songs like London Bridge, Hot Cross Buns, Greensleeves etc. can be used by students for arranging their own music or can be arranged by a teacher for use by a student. And don't forget all the Christmas carols... many of our favorite Christmas Carols are very old songs and well out of copyright.


Sometimes the music you want is definitely not out of copyright. For instance, at one point I decided that I wanted to play the theme from the HBO show, "Game of Thrones". So, I went to the ubiquitous Sheetmusicplus.com. Sheetmusicplus is a great online music store that has almost everything you can want (and you can get a discount as a piano teacher). The main downside is that the website is kind of klunky in general and their search function could definitely use some improvement. However, I have ordered quite a lot of music from them over the years. Something nice that they've done relatively recently is created SMP Press. SMP Press is a global community of independent composers, arrangers, and songwriters creating and selling their digital sheet music. Interestingly, SMP has secured rights to over 1.8 million copyrighted songs and anyone can legally start to create and sell arrangements of these copyrighted songs exclusively on Sheet Music Plus. Now some of the arrangements are better than others, but I found a really great arrangement on SMP Press of the main "Game of Thrones" theme. Someday it might be fun to browse the available titles and see if I can sell my own arrangements....

Musicnotes is a great website when you want to find a particular piece. They are partnered with tons of companies and arrangers, so they have a large inventory of legitimate sheet music. All the music can be downloaded directly upon purchase, so you don't have to wait. They do try to get you for an extra charge to download a pdf, but I just print straight to pdf, so that's a fee I avoid. Some of the arrangements are definitely better than others, so its worth your while to look over the arrangement choices carefully. MTNA and NAfME are coroporate partners, so they are definitely legit.

I still like books though and books are a cheaper way to go for music if you like the composer and will purchase more than one piece. For instance, I paid about $7.00 (with tax) for my digital download of Summertime by Gershwin at Musicnotes. I could have purchased Gershwin's Complete works for Solo Piano edited by Maurice Hinson for around $20.00 on Amazon. (Although, supporting your local music store is a much  better idea than ordering on Amazon.) Unfortunately for me, Summertime isn't actually one of Gershwin's piano works (it comes from the Porgy and Bess Opera), so I needed a piano arrangement. In this case, Musicnotes was handy because I was able to find a wonderful Phillip Keveren arrangement there.

Monday, April 6, 2020

Tips for students making piano performance videos using a phone

Make sure your piano performance space is quiet and without noise distractions including pets, appliances, and other people.

The camera on the back of the phone (non-selfie) has better image quality, use that camera side for your videos.

Make sure you are videoing in landscape mode. Iphones need to make sure that the portrait mode lock is not "on" in settings.

Make sure the phone is at right angles to the piano keyboard. This is the standard view for pianists and was invented by Liszt, piano's first rock star.

Make sure the phone is slightly higher than the piano keyboard so we can see both hands and the top of your head. (You can use an ironing board as an adjustable stand.) If possible, showing your feet and the pedals is also desirable.

Make sure the phone is stable and the phone microphone at the end of the phone is unobstructed. Don't cushion your iphone with extra padding that blocks the microphone end of the phone. Try to make that end of your phone as free as possible for good sound capture.

Put your phone in airplane mode before videoing and make sure it is well-charged.

Make sure your lighting makes you look visible to the camera. You may need an extra lamp or to close curtains on windows behind you. After you adjust your lighting, put your phone into a constant exposure mode before each video take.  For constant exposure and autofocus with an iphone: First point the camera at your subject and choose the area you want to focus on. Put your camera in video mode, then instead of tapping, press and hold until the camera locks on to it. You will know this has happened because a yellow box with the words “AE/AF LOCK” in yellow will appear at the top.

Don't put your phone on the piano because the audio may pick up vibrations from the piano.

Don't use the digital zoom on your phone, it lessens the quality of the video. Just move the phone closer if necessary.

Place your phone near the treble end of the piano for best sound and if you have time, take a couple of test recordings from different locations and check the quality of sound before starting your actual performance recordings. If you are using a digital piano, try recording with different volumes to see what sounds best.

Remember no performance is perfect. Do whatever number of takes you can stand to do and settle on the best. “If everything was perfect, you would never learn and you would never grow.” – BeyoncĂ©

For people who want more tech to improve their recordings:

Use a standard camera tripod for your phone with a phone mount.

Use a start and stop bluetooth camera button for your phone.

Use a plug in microphone for your phone for best audio quality.

Use video editing software for your phone either as a iphone app or computer software.

Thursday, March 26, 2020

My online lesson technology

Like many piano teachers, I've moved all my piano lessons to the internet during the current health crisis. I have been teaching a small number of piano students online for a number of years now, so its not a big transition for me. In this blog post, I'm going to discuss my standard lesson technology.

Video Conferencing Software: In general, I'm not very found of internet lessons because the audio quality always seems terrible to me despite my best efforts. The main problem with the audio in any video conferencing software is that the sound is optimized for voice transmission which typically includes limiting the audio frequency range transmitted. Basically, you can hear a lot more sound than is being transmitted in any video conferencing software. You wouldn't think this lack of frequency range on both the upper and lower end would make a big difference, but unfortunately it does. However, we don't have a lot of choice in this area at the moment and there are websites that have tested the main two competitors, Skype vs. Zoom, for audio quality and the consensus is that if you configure all the audio settings in Zoom appropriately, then Zoom is superior. The three key audio settings in the Zoom audio advanced tab are: 1. Set "Suppress Persistent Background Noise" to "Disable", 2. Set "Suppress Intermittent Background Noise" to "Disable", and 3. Make sure there's a blue checkmark in the "Show in-meeting option to 'Enable Original Sound' from microphone" box.

USB Microphone: I use a Yeti Blue USB microphone as the audio input to my computer and love it. The microphones built into laptops are pretty poor generally and as a musician you need good audio quality. As a side benefit, this microphone is great for making recordings of yourself or students playing the piano. When I want to make an audio recording of myself, I hook my Yeti Blue microphone into my laptop and use it as an input to Audacity (a free music recording software for windows and mac computers) and Voila, I have a recording of myself with great audio quality. The other wonderful feature of this microphone is that it has a headphone jack. Because the headphone jack is on the microphone, you don't get a lag in time from the sound going into the computer and then going out to your headphones. Basically, you hear what is going into your computer. The only downside to this microphone is the price, but because I use this microphone a lot and audio quality is important to me, this item is an example where I went high end in my online lesson technology. If you can't afford a high end microphone, acquiring an external microphone is still an excellent idea, look for one that has a usb connection in your price range.

Good Quality Headphones: Headphones can also make quite a bit of difference in what you hear. If you have a great quality input going through your USB Microphone into poor quality headphones, the sound will also suffer. I splurged a number of years ago on Sony MDR-7506 professional headphones. In my home studio, I have a big grand piano and a digital piano. Sadly, I often practice on my digital piano because my family also lives in my house and the grand piano is very loud. Studio quality headphones have great audio response and  are headphones that don't generally hurt your head or ears even if you wear them for hours. I also like having a cord because I can plug the headphones into my Yeti microphone, laptop, or my digital piano. These headphones are also expensive, but I've been using them for over 10 years now (and replaced the ear pads once), so its an investment for the long term. Once again, if you can't afford a high end headset, get the nicest headset that has a wired connection and will plug into an audio jack.

Adjustable Laptop Stand: I have a Samson LTS50 adjustable laptop stand for my piano studio mostly because I like to teach standing up instead of sitting down. That way I can stand back from the piano to hear the total sound a bit better and I can also move around the room more easily. I use Onenote (try evernote if you are a mac user) software for all my student lesson records and with a tall laptop stand, I can put my Microsoft Surface Computer on the stand and take notes with my electronic pen (and send them to the student using an email link). With online lessons, I adjust the stand down and it sits by the piano ready for my computer. The other great feature for me with this laptop stand is that it folds up so I can put it into the closet when I'm done with my teaching for the day. Fortunately, this laptop stand costs a lot less than my headphones or microphone. A lot of my musical friends don't have an adjustable laptop stand, so they are using ironing boards for this purpose which is cool.

Microphone boom stand: I wanted a cheap way to hang an additional webcam over my piano for my online lessons. However, sometimes I think you could do a lot of teaching just fine without the additional camera. I have recently noticed some nice internet lesson setups where the teacher has a camera on an adjustable arm that connects to the piano reading desk, but I do love my boom. Its very inexpensive and I like the fact that it doesn't actually attach to my piano. I'm very protective of my instrument and prefer not to have objects make a lot of contact with the finish on the piano surface. So, how do I rig the webcam on the end of the arm? Well, I went into my toolbox in the garage and found some velcro strips and jump rings. So, I attached the webcam to the end of the boom using those. Its generally very stable and I can adjust the angle of the camera a good bit which is very helpful when trying to make sure that the student sees the keyboard instead of the top of my head. I do have to use a USB extension cord from the webcam to the computer because the webcam cable wasn't long enough. In addition, I had to test a number of USB extension cords to find one that would transmit the video properly.

Additional webcam: I went low end with my additional logitech webcam because I really don't need great video quality for my online lessons, average quality is plenty good. I do like the arm coming out of the camera because it gives me a way to attach it to the boom stand arm with velcro. The webcam has a usb connecting cable.
Powered USB Hub: My computer only has one USB input, so I use a powered USB Hub (it looks similar to this) into my computer. Using a hub allows me to connect my USB microphone and the second USB webcam into my computer at the same time.
Brydge Bluetooth Keyboard: I love my Surface, but I bought it originally to be a big tablet so I could use it to read music and turn pages using a foot pedal. My Surface came with a rather flimsy keyboard  as shown in the first photo, but I found out that there are other sturdier keyboards like the Brydge that you can attach to your surface (or ipad) and the great thing about being attached to a sturdy keyboard is that I can angle the camera. So, I put my Surface on my laptop stand and angle it up for my head at the start of the lesson and I can easily angle the laptop camera down (without adjusting the stand) so that it can look at the piano keys from a side view. One camera, two views and now my Surface doesn't fall on the floor when I try to reorient the camera. Yeah! Brydge also makes similar keyboards for ipads.

In a conference call with my fellow EMTA music teachers discussing online lessons, some people mentioned using their cell phone as a camera that could be handheld and moved around to highlight specific items or even specific measures in a student's music. This is a great way to get an additional camera for your studio, but make sure to "mute" the audio so you don't have feedback. Zoom is currently free to use for an unlimited amount of time if you only have two people talking to each other, but if you add a third person (like your iphone as an attendee), then you need to pay for a subscription or keep your lesson under 40 minutes. To add my camera as an attendee, I would click on the lesson link in the email or call into the lesson on my phone and use the phone camera video. Also, when you are using your iphone as the second camera on a zoom call, make sure that your control panel setting allows the screen to rotate between portrait and landscape mode.

And one more idea, maybe you happen to have an old webcam roaming around your home gathering dust. Any spare webcam could be plugged into your computer (nice to have the extra USB ports for this) as a spare pointing camera instead of having your iphone attend your zoom lesson. Then, you would just go to the video ^ arrow inside Zoom and toggle between the video sources to access the camera.

Monday, February 24, 2020

Who is your favorite pianist?

In 2018, Classic FM published a list of the 25 greatest pianists of all time. In February of 2019, Classical-music.com published their list of the 20 greatest pianists of all time. Of course, there are quite a few of these lists and all the lists seem very different. I think I prefer the Classic FM list as it includes Liszt and Clara Schumann. However, those lists are simply interesting speculations, after all Liszt and Clara never made any recordings, how could anyone ever truly venture such opinions.

There are just as many opinions and articles about who should be on the list for the best living concert pianists. Here are some of my favorite pianists that are alive today.

CLASSICAL PIANISTS:

Lang Lang is a Chinese concert pianist currently living in New York City.  His performance style has been criticized as being flamboyant and he has also been described as the J.Lo of the piano. Lang Lang is one the most popular and accessible classical pianist of our time.

Martha Argerich is an Argentine pianist born in 1941. She avoids publicity, but is acknowledged as one of the great pianists of our time. Argerich has often remarked in interviews of feeling "lonely" on stage during solo performances. She is noted for her recordings of 20th century concerto works.

Daniel Barenboim was born in Argentine in 1942 from Jewish Russian parents. He is a citizen of Argentine, Israel, Palestine, and Spain and lives in Berlin.  Barenboim has rejected the current authentic performance movement and argues instead for finding the tempo of a piece from within the music. He is a noted interpreter of Beethoven and a world famous pianist and conductor.

Mitsuko Uchida is a Japanese born British pianist acclaimed for her Mozart recordings.  She is regarded as one of the finest contemporary pianists and has recently turned to conducting major orchestras.

Christoph Eschenbach is a German born pianist and conductor. He was orphaned during World War II. His mother died giving birth to him; his father, a politically active anti-Nazi, was sent to the Eastern front as part of a Nazi punishment battalion where he was killed. As a result of this trauma, Eschenbach did not speak for a year, until he was asked if he wanted to play music. He has made more than 80 recordings as a pianist, conductor, or both.

Katja and Marielle Labeque are French sisters who are a highly acclaimed piano duo.  True celebrity arrived for the sisters when their 1980 two-piano recording of Gershwin's Rhapsody in Blue sold over a half million copies. Beyond the traditional classical repertoire, their repertoire extends contemporary classical music, jazz, ragtime, flamenco, minimal music, baroque music on period instruments, and even pop music and experimental rock.

Zoltan Kocsis is a Hungarian pianist, conductor, arranger, and composer. He is known for his interpretation of Bela Bartok and won a grammy for his interpretation of Debussy's Images.

Vladimir Ashkenazy is a Russian born pianist and conductor, currently residing and a citizen of Iceland.  He is currently Principal Conductor and Artistic Advisor of the Sydney Symphony Orchestra. Ashkenazy is most famous for his interpretation of Russian and Romantic composers.

Aldo Ciccolini was born in Naples, Italy. His father, who bore the title of Marquis of Macerara, worked as a typographer. He began his performing career playing at the Teatro San Carlo at the age of 16. However, by 1946 he was reduced to playing in bars to support his family. He became a French citizen in 1969 and taught at the Conservatoire de Paris. Ciccolini is a celebrated interpreter and advocate of the piano music of the French composers Camille Saint-SaĂ«ns, Maurice Ravel, Claude Debussy and Erik Satie.

Nikolai Kapustin is a Ukrainian Russian pianist and composer. During the 1950s he acquired a reputation as a jazz pianist, arranger and composer. He is steeped, therefore, in both the traditions of classical virtuoso pianism and improvisational jazz. Kapustin regards himself as a composer rather than a jazz musician. He has said, "I was never a jazz musician. I never tried to be a real jazz pianist, but I had to do it because of the composing.

Jeno Jando is a Hungarian pianist and Professor of the Franz Liszt Academy of Music in Budapest, Hungary. JandĂł enjoys being both a solo and accompanying artist. He is known for singing while playing, and to stop this, he puts an unlit cigarette in his mouth.

Alfred Brendel is an Austrian pianist, poet, artist, and author. He was born in the Czech republic to a non-musical family and had to dig trenches in Yugoslavia in WWII until he developed frostbite and was hospitalized. Brendel is regarded as one of the most thoughtful interpreters of classical Germanic works by such composers as Beethoven, Schubert and Mozart.

Evgeny Kissin is a Russian classical pianist famous for his interpretations of Liszt and the Romantic repertoire. He was a child prodigy who entered the Gnessin State Musical College at the age of six where he only ever had one music teacher.

Ingrid Fliter is an Argentinian pianist who now lives in New York and Europe.  She is known for her effortless technique and sensitive interpretations. She is one of the few concert pianists that will have music on the stand during her concerts.

Murray Perahia is an American composer and pianist. Perahia may have started playing the plano when he was just four but it wasn't until the age of 15 that, he says, he became seriously interested in music. In 1972 he became the first North American to win the Leeds Piano Competition. In 1992 a bone abnormality caused his hand to swell and forced him to take some time off from performing. It was during this time that he found solace in the music of J.S. Bach. His Bach recordings are regarded as some of the best ever made.

Andras Schiff is a Hungarian-born Austro-British classical pianist and conductor.  Schiff was born in Budapest into a Jewish family, the only child of two Holocaust survivors. He has received numerous major awards and honours, including the Grammy Award, Gramophone Award, Mozart Medal, and Royal Academy of Music Bach Prize, and was created a Knight Bachelor in the 2014 Queen's Birthday Honours for services to music. He is also known for his public criticism of political movements in Hungary and Austria.

Maurizio Pollini is an Italian pianist. He is known for performances of compositions by Chopin and Debussy as well as works by contemporary composers. His father was the architect Gino Pollini, one of the leading representatives of Italian rationalism and also an expert violinist. His mother, Renata Melotti, studied piano and singing and was the sister of the well-known sculptor Fausto Melotti, who had a lasting influence on the young Pollini.

Yuja Wang is a Chinese classical pianist known for wearing short skirts and backless dresses when performing. She has said: “For me, playing music is about transporting to another way of life, another way of being. An actress does that.” Yuja Wang lives in New York City.

Stephen Hough  is a British-born classical pianist, composer and writer. He became an Australian citizen in 2005 and thus has dual nationality. Named by The Economist as one of Twenty Living Polymaths, Hough was the first classical performer to be awarded a MacArthur Fellowship (2001) and was made a Commander of the Order of the British Empire (CBE) in the New Year’s Honours 2014.

Helene Grimaud  is a French classical pianist and the founder of the Wolf Conservation Center in South Salem, New York. Grimaud doesn't sound like most pianists: she is a rubato artist, a reinventor of phrasings, a taker of chances. "A wrong note that is played out of Ă©lan, you hear it differently than one that is played out of fear," she says. She admires the "more extreme players . . . people who wouldn't be afraid to play their conception to the end."

Daniil Trifonov is a Russian pianist and composer. Described by The Globe and Mail as "arguably today's leading classical virtuoso" and by The Times as "without question the most astounding pianist of our age". Trifonov was born in Nizhny Novgorod, Soviet Union on 5 March 1991, the only child of a composer father and a music teacher mother. He began studying the piano at the age of five, and gave his first solo concert at seven. When Trifonov was eight years old, he gave his first performance with an orchestra in a Mozart concerto, losing one of his baby teeth during the performance.

Mikhail Pletnev is a Russian concert pianist, conductor, and composer. Pletnev was born into a musical family in Arkhangelsk, then part of the Soviet Union. His father played and taught the bayan, and his mother was a pianist. Pletnev has acknowledged Sergei Rachmaninoff as a particularly notable influence on him as a musician.

Emmanuel Ax is a Grammy-winning American classical pianist. He is a teacher on the faculty of the Juilliard School. Ax was born to a Polish-Jewish family in Lviv, Ukraine, (in what was then the Soviet Union) to Joachim and Hellen Ax. Both parents were Nazi concentration camp survivors. Ax began to study piano at the age of six; his father was his first piano teacher. Ax has been the main duo recital partner of cellist Yo-Yo Ma since August 3, 1973.

Angela Hewitt  is a Canadian classical pianist. She is best known for her cycle of Bach recordings which she began in 1994 and finished in 2005—covering all of the major keyboard works of J.S. Bach.

JAZZ PIANISTS:

Chick Corea is an American jazz and fusion pianist, keyboardist, and composer. Growing up surrounded by jazz music, he was influenced at an early age by bebop. At eight Corea also took up drums, which would later influence his use of the piano as a percussion instrument.

George Winston is an American pianist born in Michigan. Winston dresses unassumingly for his shows, playing in stocking feet, stating that it quiets his "hard beat pounding" left foot. For years, the balding, bearded Winston would walk out on stage in a flannel shirt and jeans, and the audience would think he was a technician, coming to tune the 9-foot Steinways that are his piano of choice

Brad Mehldau is an American jazz pianist, composer, and arranger. His father, Craig Mehldau, was an ophthalmologist and his mother, Annette, was a homemaker. Meldau has said, "I love the part of the Orpheus myth where he is allowed to take his wife out of Hades on the condition that he doesn't look back at her for the trip on the river Styx. When he can't help himself, he looks back, and she is pulled back downstream away from him, taken away forever. Music is that moment right when he looks at her: seeing something that you love for an instant being taken away forever. There's an element of folly to the whole thing – you look even though you know you shouldn't. Music kind of yokes together the feeling of attainment and the feeling of loss at the same time."

Herbie Hancock is an American pianist, keyboardist, bandleader, composer and actor. Like many jazz pianists, Hancock started with a classical music education. He studied from age seven, and his talent was recognized early. Considered a child prodigy, he played the first movement of Mozart's Piano Concerto No. 26 in D Major, K. 537 (Coronation) at a young people's concert on February 5, 1952, with the Chicago Symphony Orchestra (led by CSO assistant conductor George Schick) at the age of 11.

Jon Batiste is an American musician, bandleader, and television personality. He has recorded and performed with artists in various genres of music (Stevie Wonder, Prince, Willie Nelson, Lenny Kravitz, Ed Sheeran, and Mavis Staples), released his own recordings, and performed in more than 40 countries. Batiste regularly tours with his band Stay Human, and appears with them nightly as bandleader and musical director on The Late Show with Stephen Colbert. Batiste also serves as the Music Director of The Atlantic and the Creative Director of the National Jazz Museum in Harlem.

Keith Jarrett is an American jazz and classical music pianist and composer. Jarrett started his career with Art Blakey, moving on to play with Charles Lloyd and Miles Davis. Since the early 1970s he has enjoyed a great deal of success as a group leader and a solo performer in jazz, jazz fusion, and classical music. His improvisations draw from the traditions of jazz and other genres, especially Western classical music, gospel, blues, and ethnic folk music.

Chick Corea is an American jazz pianist/electric keyboardist and composer. His compositions "Spain", "500 Miles High", "La Fiesta" and "Windows", are considered jazz standards. As a member of Miles Davis's band in the late 1960s, he participated in the birth of jazz fusion. In the 1970s he formed the fusion band Return to Forever.

McCoy Tyner is a jazz pianist from Philadelphia known for his work with the John Coltrane Quartet and a long solo career.

Ahmad Jamal is an American jazz pianist, composer, bandleader, and educator. For five decades, he has been one of the most successful small-group leaders in jazz.

Ramsey Lewis is an American jazz composer, pianist and radio personality. Ramsey Lewis was born in Chicago, Illinois, to Ramsey Lewis Sr. and Pauline Lewis. He began taking piano lessons at the age of four. Lewis has recorded over 80 albums and has received five gold records and three Grammy Awards.

Thursday, February 13, 2020

Digital or Acoustic Piano


Acoustic or Digital Piano?

digital piano is a modern electronic musical instrument, different from the electronic keyboard, and is designed to serve primarily as an alternative to a traditional piano, both in the way it feels to play and in the sound produced. The goal of the manufacturers is to provide an accurate simulation of a real piano.

Advantages to a digital piano include:
1. Price: a good quality digital piano is not cheap, but compared to a good quality acoustic piano, it is significantly less expensive and there is also a significant used digital piano market.
2. Ability to use headphones and practice quietly
3. Never needs tuning
4. Easier to move and place in the home
5. Built-in metronome
6. Ability to record
7. Various digital inputs and outputs, including being able to connect your phone or computer to the piano directly
8. Different available styles of keyboard sounds like organ, harpsichord, strings.
9. Electronic transposition so that you can play your song in one key and have it sound like a different key with the touch of a button
10. Easy to record one hand and then play along with the other hand
etc. etc.

I recommend playing the best available digital piano from all of the three leading brands: Kawai, Yamaha, and Roland to see which digital piano model would be best when you are looking to buy an instrument as the market is constantly being updated with new and better models. I have personally found that as you become a better pianist and musician, you will start to notice the limitations of the digital piano compared with the acoustic piano.  With time and design ingenuity, these differences will become smaller, but for now there are still significant differences between the best digital and acoustic pianos.

I practiced for many years on the best digital piano I could find while I was studying for my music examinations. Although I was able to "get by", I was also significantly impacted by not being able really hear how differences in my technique sounded on my practice instrument compared with a "real" acoustic piano. It was only after I purchased my own fine acoustic piano that I truly realized how handicapped I had previously been by my digital piano during my piano examinations.

An acoustic piano is a musical instrument played by means of a keyboard.  Pressing a key on the piano's keyboard causes a padded hammer to strike steel strings. The hammers rebound, and the strings continue to vibrate at their resonant frequency. These vibrations are transmitted through a bridge to a sounding board that more efficiently couples the acoustic energy to the air. When the key is released, a damper stops the string's vibration and the sound.

The advantages of a good acoustic piano start with the fact that it's the "real thing," inherently capable of nuances that are difficult for the digital piano to emulate. The experience of playing an acoustic piano — the harmonics, the vibrations, the touch, the pedals, the visual appeal, the interaction with the room, the connection with tradition — is so complex that digital pianos cannot really compare. When I finally purchased a good quality acoustic piano, I was amazed by how it impacted my technique. All of a sudden, I could hear lots of nuances in sound that weren't possible on my digital piano. Also, I was finally able to use a pedal properly to enhance the quality of sound.

Buyers of acoustic pianos do need to be careful. Not all acoustic pianos are created equal and there are plenty of new acoustic pianos on the market that I feel are actually inferior to a fine digital piano. So, it really helps to try out lots of different instruments so that you have some idea of what sort of sound, feel, and capability you require to like your piano. I purchased my used Steinway from Ben Klinger at Classic Pianos in Bellevue and I probably tried about 30 pianos in his showroom as well as 100s of grand pianos in various showrooms over many years. Interestingly, Ben wrote a short book about buying acoustic pianos called, Why We Play, which describes the value of personally connecting to a specific piano during the buying process. It certainly worked that way for me. Although I was just casually looking (and playing) various pianos in the showroom, I happened to sit down at one piano and instantly loved it like I had loved no other piano. It can happen that way sometimes if you are lucky.

I still use my digital piano, but mostly because it has headphones and I like to practice early in the day when people are still asleep. However, I love my acoustic piano. It is such a treat to open it up, sit down, hear the sound, feel the keys, use the pedal the way it was meant to be used. My digital piano still helps me learn, but my acoustic piano brings me joy.

Thursday, February 6, 2020

Using a Time Tracker App for recording your practice hours

I like to record my piano practice hours. Its a big motivator for me because I can see my actual time spent at the piano over weeks and months. Looking at my table of practice hours helps me feel guilty about not practicing enough and then I figure out ways to fit more practice time into a busy schedule. In the past, I  have typically practiced in one larger session instead of smaller sessions. Then, it was easy to enter my time into my computer because I also used my computer for reading my music during my practice.  Lately, I've been trying something a bit new where I am not giving up on my "bigger" sitdown practice session, but I'm also trying to add in some "walk-by" practice sessions. A "walk-by" practice session is a shorter practice session, maybe 15 minutes or so where you literally walk by the piano and work on some little idea, like practicing the start of a piece by memory, or working on just one little difficult part in a piece, etc. During my "walk-by" practice session, I haven't been using my computer (because of the setup time) and so this practice time hasn't been incorporated into my practice time table. That's a problem because I want to give myself credit for absolutely all my time spent practicing.
Consequently, I've been trying out various time tracking apps to see if any of them would work for this purpose. I wanted something free (I like free) and easy to use, but I also wanted to access the data, so I could incorporate it into my practice log on my computer. I have eventually settled on the Toggl time tracking app. Its easy enough to use and you can subdivide your project like "piano practice" into different tasks such as technical work, improvisation, piece practice, etc. (In fact, I'm currently considering whether or not to record my practice time on individual pieces to see how many practice hours it takes me to bring the piece to a performance standard.) I have found that all of these apps are somewhat kludgy because they are designed for tracking billable time for clients, but Toggl has worked well enough for my purposes. In fact, its great that I don't need the paid upgrade to get the client reporting feature.
The app sends me a weekly email report which I then copy and paste into my practice log. I now log only the weekly instead of daily practice, but it seems like a reasonable trade-off for more accurate time tracking. I also like being able to log into the website to see my weekly hours in their different charts. Its nice being able to view the data on my computer instead of just my phone, sometimes the phone is just a bit small. One other important feature with Toggl is that once I start a task, I can easily edit the start and stop times. I find that feature extremely useful because sometimes I start a task and then remember that I'm supposed to be tracking my time, so I then just edit the start time (and sometimes the end time) and voilĂ .
Once I started on this "time tracking" idea, I've added more projects like "piano teaching" and sub-category tasks like lesson prep, piano teaching, and even piano blogging. Its been quite an eyeopener to have some actual data on how much time I spend on various tasks during the day. I find some tasks take quite a bit longer than I realized and others a lot less time. However, the most important thing is that I'm looking at the data and making decisions about how I spend my time and that makes me more productive. Of course, it also means that I am more addicted to my phone than ever.

Thursday, January 23, 2020

Memoirs of A Secret Pianist by Robert M. Fells

As an adult piano teacher specialist, I am always very interested in auto-biographical books written by older piano students learning to play or re-play the piano. The books that I have read in this genre all paint very different pictures with respect to the pianists motivations and self-observations. This reflects my own experience in teaching adult students. They are all very different and as a teacher, you need to meet them on their own terms and be very flexible in your teaching methods.
I have a bit of a love-hate relationship with this particular slim volume. I love his introduction where he discusses "learning to play a musical instrument is one of the best ways to keep the ageing brain agile and retentive." I also very much appreciate his observation that "you don't have to be very good at it to derive enjoyment from playing." (I would add a caveat that "good" piano playing is a very nebulous term.) I also totally agree that learning play the piano should be fun. Mr. Fells advice on choosing an instrument, though basic, has some good points. I agree that digital keyboards are very useful and that if you are going to buy an acoustic piano, you should love how it sounds.
Once we get to Chapter 2 however, Mr. Fells tells us that "the basics of piano playing are so simple to master that it seems almost wasteful to hire an instructor to explain them to you." And I guess I would agree if you just want to explore the piano entirely on your own for financial reasons or because you can't seem to find a teacher that fits your needs. However, as an adult piano teacher, I would ask; why not take advantage of a teacher's expertise on how to avoid common injuries, how to practice effectively, what are the best and fastest learning strategies, what's a good curriculum for you personally, to have help finding enjoyable literature, and help finding safe performance opportunities with other adult students? I also find in this small volume several misconceptions about music which bother me quite a bit. For instance in this chapter, Mr. Fells states that increasing the tempo is allegro and slowing it down is adagio, but that is incorrect. Allegro means lively and fast and Adagio means slowly. Increasing the tempo would actually be an accelerando and then ritardando for decreasing tempo.
Mr. Fells also talks about how he learned to play as an adult through adult group lessons, which can be great, but I have to admit I'm not a big fan of the old and stale John Thompson method when there are so many more new and interesting method books available for adults. Many of these method books include CDs so that you can hear each piece as well as have access to accompaniments giving you a backing band as you are playing. Mr. Fells also attributes a well-known quote about practicing to Vladimir Horowitz, ie. "If he skipped a day of practice he could notice it in his playing. If he skipped two days the critics noticed it. And if he skipped three days, the audience noticed." I've seen this quote attributed to many people, but never Horowitz. Usually its attributed to Paderewski, but upon a little more research this quote may have originally come from Listz, but certainly not Horowitz. Anyway, its a bit of an indication of sloppiness in his writing.
I also disagree with his idea that its helpful if he calls his practice, "rehearsing". For me rehearsing has a very specific meaning and its what I do when a piece has been practiced thoroughly and I'm preparing for a performance. However, once again if it helps him to "practice" the piano by calling it "rehearsing", then I'm glad it works for him.
Then, its back to what I love about this volume. Mr. Fells strongly urges you to learn only works that you really want to play. I totally agree with this idea. You need to love the music you are trying to learn. But then he spoils it by talking about "Head Bobble syndrome", where the pianist hasn't taken the time to learn their notes or their way around the keyboard very well and so they have to constantly look at their fingers to figure out where the notes are located. Mr Fells doesn't mention little helps like steps, skips, and leaps which can help pianist with their kinesthetic movement around the keyboard. He also doesn't mention in this section that many great pianists do look down from their sheet music to check the geography of the keyboard for larger leaps. Its quite acceptable to have an occasional "bobble".
And so it goes with this volume. I find sections I totally agree with and then hit something that is quite jarring. For instance, I don't think Chopin deliberately wrote his compositions with complexity to simply showcase the dexterity of the performer. Chopin agonized over every note in his compositions trying to get them to sound exactly right to his ear and one of my favorite quotes by Chopin is: "Simplicity is the final achievement. After one has played a vast quantity of notes and more notes, it is simplicity that emerges as the crowning reward of art." Quite a different sentiment than the idea of Chopin writing his compositions simply to showcase a performers dexterity.
In conclusion, I really enjoyed reading this volume and getting a sense of Mr. Fells observations about piano playing. However, I don't think I would give this volume to one of my adult students, unless they would like to read all my handwritten notes avidly agreeing with some sentiments and strongly disagreeing with others.