Q. I've been trying to find chords or piano tabs for The Guide by Borne, but I can't find them anywhere. Does anyone know where I could find the chords to The Guide by Borne?
A. 1) Borne has nothing to do with classical music. Therefore, you have posted in the wrong section. 'Rock and pop' is where you should be.
2) Piano tabs are useless. They are more complex and difficult to read than proper musical notation. And they give you less information than proper music. In addition, very little music is available in these ridiculous 'piano tabs' and so I would strongly advise you to learn to read music. Very young children can do it and, therefore, so can you. Once mastered, you will have the whole of the musical world at your fingertips.
How and when would I use piano chords?
Q. For the past month I've been memorizing a bunch of piano chords, and it donned on me...when would I ever use these? I've seen sheet music with the symbols above the notes but I don't get it...how do I use them? The more information, the better, and thank you (:
A. It amazes me when I hear someone say they are memorizing piano chords. You really don't have to memorize them, when playing you construct the chord on the fly. After gaining some playing experience your hands will automatically configure them self to play them.
As far as when to play a chord, and which chord to play, and in what sequence to play them in is again gained from experience. You need basic theory knowledge in order to analyze a piece of music, i.e., major scales, chord type to play on each scale degree, how to play around the circle of 5ths/4ths. You really don't need in depth knowledge of this but just the basics so that you understand what the music is doing and why.
Anyhow go here for the answer to your question...
http://www.pianobychords.com/index.html
Oh and by the way, use this website to get the bare-bones knowledge needed. You can learn how to construct a major chord and realize all the other chords are nothing more than an alteration of and/or add-ons to the major chord
Good Luck
Piano techincal works? Suggestions?=]?
Q. Hm.. Well, is Loeschorn considered something like hanon or czerny? I just finished the intermediate degree(all three books) and was wondering if there is anything else useful to improve technique? Is Bach's well tempered clavier a good idea? or something else?
A. The Loeschorn pieces are quite nice, however the best way to improve one's technique is still the practice of scales, chords, and arpeggios. There is nothing that is more effective because there are so many ways to practice these idioms. I also recommend Hanon. Just because you played through the book (if you have) there is no reason not to continue working on them. Aim to be able to play Hanon in all major and minor keys! If you can do that you should have a very fluent and competent technique. You can also take a look at Pishna, Schmit and Phillip studies. All are very helpful and have wonderful benefits. I have outlined how to practice scales and Hanon thoroughly later in this post.
In terms of exercises that are more like pieces, Czerny studies are always great! I highly recommend those.
The WTC of Bach aren't technical studies as they are studies in counterpoint. I wouldn't use the WTC as studies as they are not. If you want, you can work on all the 2 and 3 part inventions, and The Little Preludes and Fugues. Those are developmental pieces in Bach's keyboard education system. He considered the 2 and 3 part Inventions essential in any students technical development.
Slow practice is definitely the first step but I think you should also try to articulate the runs differently. When practicing runs, you want to have clarity in tone, eveness (length of notes, spaces between the notes) and clean articulation. A good way to work for this includes the following.
1. practice the runs staccato and slow, not too slow. Listen carefully for each note to be the same length and the spaces between the notes to be the same length. Ignore what some will say about rotating the hand. This is not good as it transfers weight unequally. When playing fast, you cannot guarantee the transfer of weight to be equal which will cause unevenness. Aim to articulate with your fingers. When you are comfortable at a slow tempo, work you way up with the metronome aiming to execute with the staccato. Go back to the written articulation and it will be easier.
2. You can do two note slurs. This will help you to listen to the notes. Part of the problem of playing things with clarity is that we do not hear all the notes. We think we do, but we really don't. By using various articulations your ear learns to hear all the notes. Using slurs helps to bring clarity to what you hear.
3. Play small sections backwards. Just like weight training, working the muscle backwards strengthens just as efficiently as working it forward. Take 1 five note section, play it forwards slowly with any articulation and rhythm then play it backwards.
4. Rhythms. You can dot the notes so you have a dotted rhythm, or you can reverse the rhythm. You can decide to accent every 3rd note or 4th note etc. etc. There are tons of rhythms you can do. Take a section and play this rhythmic pattern long long short short (long notes are twice the value of a short note). This is a four note pattern. You can adapt to a 5 note pattern (long long long short short or long long short short long). There are a thousand combinations that you can do. Again do all these slowly.
5. Practice on the table top. You can hear your fingers play on the table top and hear the click of each note. If you do not hear all the clicks then you know which notes you are missing. Work this slowly so you can hear all the notes on the table and then move back to the keyboard. You find things easier.
6. Hanon and Schmitt exercises are good but often they are taught incorrectly and therefore the power of them are never maximized. So instead practice scales slowly and carefully with the above suggestions. I go into this in depth at the bottom.
7. Dynamics. If the musical line goes up use a crescendo, descending use a decrescendo. Again this helps with listening and reacting. To play fast passages well one has to be able to hear all the notes. Not just some of them. Dynamics will help to shape the line and give it character. But it does help for finger control because now you are aiming to play every note with musical intention.
8. The problem with this etude and pieces in general is fingering. Many students don't write down the most efficient fingering. To be honest, very few write down a fingering. Therefore, when you practice you cannot guarantee that you are using the exact fingering every time when practicing. Chances are you unconsciously have a couple fingers for many of the patterns which when you play causes mistakes and slips because you never really know what fingers to use. Write down the best fingering and memorize it. Learn it! Use on fingering because if you have more than one, your fingers get confused and this only deepens when you are nervous.
9. Listen - half the issues is listening. Yes we hear the music but do we listen? Do you know the harmonies that you can dictate the progression? Can you sing the entire piece by memory? If you can't do either than you haven't listened deeply enough. Listening means singing so that you can hear the line - like I said earlier, listen for clarity! Listen to where the line is moving, how the harmonies work, and in this etude all the chromaticsm.
10. Do not practice for speed! Practice for comfort. If you practice for speed you will always make mistakes. Your fingers will play fast when they are comfortable and in control. One does not practice for speed, you practice for control. Control = Speed. with control, you can then play fast. Your fingers need to know the fingering, develop muscle memory, your ear needs to hear every single note (chords and passages) and you consciously must know every note. When you have all of this, you have control. When you have control you have speed.
11. Practice without pedal. Often we practice too much with pedal. Get off the pedal! This only blurs the harmonies and weakens your fingers because you do not learn how to play legato. Legato is never achieved by pedaling. Legato is achieved only by the fingers. The pedals are used to change the color and inflection of the notes. The pedal is an amplifier, what you do well sounds better, what you do poorly sounds worse. Plus, when you practice you don't practice at performance tempo, so pedaling is useless. Pedaling when a piece is slow is not the same at performance tempo. The duration of harmonies and sustained notes is different thus altering the way you would pedal.
12. Conscious Practice... Always tell yourself what you are doing when you practice. If you are learning a new fingering, say the finger out loud to yourself. If you recognize a cadence, tell yourself the cadence. If you play a sequence, identify the sequence and how the melody is used. The reason why it takes many a long time to learn music is because they just play through it! They don't actively tell themselves what is going on. If you just play through it over and over again, you are not practicing. You are not reminding yourself about what is going on. You have to be active! Your mind must be involved. Count out loud, sing the musical lines, work small sections, tell yourself the harmonic progressions... even something as simple as reminding yourself about how the theme repeats will help you memorize and understand the piece. When you are playing a crescendo, tell yourself! This way you associate the dynamic with the musical line and the fingering. This is what professional musicians do to learn music.
In my opinion, one of the best things to do is the staccato practice. This is very helpful as it allows you to articulate every note and hear them.
How To Practice Hanon
Closed Position Exercises
Hanon and Schmitt
These are great for general velocity and finger independence. What I like about both is that they tell you which fingers are being strengthened at the beginning of each exercise. These exercises are very boring, ridiculously boring! But are very helpful. The first thing to do is move the L.H. down one octave. Its a lot easier to play these things with you hands shoulder length apart. Hanon suggests a couple things - practice slowly and increasing the speed until fluency is developed. Start at 60 = to the quarter and work your way up. He also suggests to transpose the exercises to different keys once you know each one. Take a look at the first 20 exercises. Once you know them and can play them through consecutively (without a break between each exercises) move the metronome up and then learn in a different key. Playing the exercises in b minor is much more difficult than C major. Try C# minor or major and you will see how tricky it is. You will have to take slowly so your fingers can navigate all the black keys!
The key to playing Schmitt and Hanon is watching your fingers. Sasha Goronitzsky use to assign Hanon to all his students at Juilliard! The students would laugh as many of them were quite accomplished but when Mr. Goronitzsky asked them to do them a specific way they all bombed! Goronitzsky would use open fingers for Hanon and Schmitt.
1. Low wrist
2. Only one finger touches the keyboard. When the note is to be played, only the finger that plays that note comes down, the rest of the fingers are in the air.
3. Bring down each finger deliberately watching the mechanics of the finger and hand are correct
4. Each finger comes down strong on the tip, as if they were slapping down
5. As the next finger comes down, the finger that just played lifts up remains high until it plays again
Mr. Goronitzsky called this "open fingers position". He instructed all his students to do it slowly and to never rush because training the hand takes precision and attention to the muscles. If you play the exercises fast you don't get a chance to train properly. Keeping the wrist low isolates the finger muscles. Lifting the finger up high stretches the muscles and bring it down with authorit
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Title : Where can I find the chords to The Guide by Borne?
Description : Q. I've been trying to find chords or piano tabs for The Guide by Borne, but I can't find them anywhere. Does anyone know where I ...