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OK , I am sorry I never read that . I could say there could more to be concerned about than the lock, however a U1 is actually quite expensive.If everything else is OK that is very good . I hope the problem with lock can be resolved. For the first free tuning I would ask that the technician do some prep work on the piano and some voicing ( the prep work is important ) Also if the treble becomes "mettalic bright",a little voicing can work wonders.
I think that even children who play well at a young age have formed a subconscious corpus of hundreds of pieces just by being exposed to classical music at home.
If you already have that listening experience especially as a young child, it's kind of like having learned a language. You may forget that you actually learned it, but it stays with you. So the ideas which come to mind, which you use to interpret pieces, are heavily influenced by your database of pieces, and understanding of the style.
I think that immersion is incredibly powerful in that sense. It is what I've used to learn classical music so far. Every other system of music has an aural tradition. The fact that the European classical tradition has gotten divorced from that does not mean that music learning happens any differently. Of course, once you have a strong imprint of a hundred Strauss and Chopin waltzes in your head, you can probably come up with meaningful ways to interpret the next one you hear. Notation is just an approximation of the actual music.
You will usually not find the interpretive ideas written down. It's not as if there will be a note in the margin -- "agogic accents might be a good idea here ^^". So how do those ideas come about in the first place? This is where listening to recordings is instrumental. It's very common to see people who decide to learn entirely from the sheet music play like robots -- and it's because this whole internal machinery isn't in place which "tells" them what to do, where to take liberties, what makes sense musically.
So, you listen to recordings to get a sense of those tools. You try and imitate them so that you can be sure that you properly understood and internalized the specific ideas, and check if they're working as they should.
It's a misconception in many creative fields that ideas come "out of nowhere". It is useless to think this way imo, because while your idea may be a very clever combination of existing ideas, it will never be new in a fundamental sense. So, it's a great idea to keep collecting ideas of other masters, and eventually, you will be able to draw the links to come up with your own ideas. If you actively handicap yourself by not listening to and imitating recordings, you will probably never get many of those ideas in the first place.
[...](There is a violin-clef with an 8 below, but not above as in Forrest-Gump score)
Can you confirm that the 8va in a violin-clef (what's a violin-clef?) is written below the staff, meaning to play an octave lower? That makes little sense to me. How high is the actual writing in the score and how many leger lines are involved if what you say is the case, given that the violin's lowest note is the equivalent of G below "middle C" (on a piano)?
Kailord, I think you are describing MPE (Midi Polyphonic Expresdion) keyboards. The best example is the Seaboard by Roli. I think there are six or seven parameters that can be assigned to various aspects like vibrato. Sinking into the key, shifting side to side, moving up the key, all enhance the expressiveness.
Not many here will be interested in such an advancement... because acoustic pianos are what we were born with. But young people will have no problem making the evolutionary move. In 50 years the acoustic piano will not occupy the same niche it does now.
Bach is 1 of a kind composing music with complex layers of melodies & harmonies. If you try to embellish his music too much you'd take away some of the harmonic lines. Like you take a piece with 4 parts and switch the notes in the lower lines around you hear the melody and chords like a Lead Sheet but not the same harmonies. Bach chorales have been rearranged for an orchestra played with modern instruments and dynamic variations work quite well.
Bach's music was never intended to be played on a piano. His 2 favorite instruments were organ & clavichord. Both are not instruments with dynamics. His oratorios were performed with an ensemble in church accompanied by an organ. The exception was the Musical Offering he composed for Fred the Great of Prussia who had a collection of fortepianos.
Pieces that were intended for an organ redone on a piano you change the sound. I found that out playing a Bach chorale on a piano recently.
Are the studio monitors worth it? I thought the P515’s built-in speakers sounded pretty good when reinforced with an external subwoofer. Or maybe I’m missing out on a whole other level of sound quality...
Short answer: No (about the studio monitors.) The subwoofer does seem to clean the low frequencies and adds a little boom so it's a good sound overall. The monitors are either off or on very low gain. The P515's built-in speakers are one well engineered feat by Yamaha. They sounded inadequate when the setup was in my large basement, but here in my bedroom, they sound simply wonderful! That Bosendorfer sound on the built-in speakers is really something else.
--- The monitors including the sub were from my VST setup which I have started to get out of. I decided to keep the monitors and I just set it up with the P515 instead of putting it in storage.
The recordings were pretty decent considering that they weren't done in a high end studio, and Robert's performance may not have been on the level or Hororwitz, but the difference in the core of the tonal character of the 2 pianos was clear. Yes, so there was a 50/50 chance of being right, but for one intimately familiar with the NY Steinway sound (playing one every day), it was not a guess. The instant I heard the 2nd piano, all doubts went away. Maybe Robert's experiment tells us as much about our hearing as it demonstrates the differences between 2 pianos on opposite ends of the spectrum.
Anaconda looks like a separate programming environment for Python. Looks like anything I write in Python you can run in Anaconda. I just run Python in the original IDLE (Integrated Development and Learning Environment), which is the original programming environment for Python.
2. I used the Piano Room to turn up the brightness of the Bosendorfer voice to 7 (default=5) and used System->Backup->Backup Setting->Voice=ON to save this setting even after turning off. This seems to be an interesting "hack" in that, as far as I can tell, the *binaural sample* for Bosendorfer is unreactive to the Brightness setting in Piano Room, whereas the normal stereo sample used for the speakers is affected by this setting (if you turn binaural off, you can hear this setting change the tone, but not with binaural on). This seems to be some kind of bug that is specific to the Bosendorfer binaural sample (CFX binaural seems fine btw)? Anyway, the net effect is that Bosendorfer gets a bit brighter through the speakers but stays the same through the headphones - which is exactly what I wanted for this voice since I find the sound to be lacking in brightness when playing through speakers.
Interesting .. So, it's not a bug - it's a feature!
Ok this is pretty interesting (to me). My house is in the northeast, and it was built in the 40s, which means climate control in my home is a losing battle, even with heavy munitions (I've been struggling to humidify above 25% at night with 3 humidifiers running near my piano. So it's been a bit nerve wracking for me.
I installed a dampp chaser this evening after work, and the results look encouraging after only 30 minutes. While the room stays just under 30%, the air under the sound board rose to 40% give or take a few percent. The level of humidity is controlled via a heating element draped with damp pads, so the temperature rise a few degrees as well. Here's a couple screenshots to show what I'm talking about. It will be very interesting to see how tonight goes.
I’m looking to buy a portable Kawai digital piano. I generally liked the ES110, but was left wanting a bit richer of a piano sound and for speakers that were better/louder (I did like its action pretty well compared to the Rolands that I played...). Talking to local dealers (Canada), it might be a few months before either the ES520 or ES920 are in stock and the first batch of arrivals are already spoken for. To get a piano you pretty much just need to just take a leap of faith and order one, which I’m a little reluctant to do without having playing one first. My inclination is to go for the ES520 as the ES920 is a fair bit more expensive.
Any opinions on the ES520 vs the ES920? Is the sound engine *that* much better? Big difference in the actions? In general, is the ES920 worth the cost difference above the ES520?
Hi waldoh, not sure where you are in Canada (I am in Canada also). I just got to try the ES110 and ES520 this past weekend. I feel that the ES520 is definitely a step up and to me seems worth it just to get the newer technology, improved speaker system, and other extras. But it was a significant leap in price compared to the ES110, so you will have to decide if that is worth it for you.
For me, once I've gone so far in price of the ES520, then considering the ES920 becomes another one to really consider (my personal dilemma!). I was told that the price difference was $300 between the ES520 and ES920.Though I really liked the ES520 overall there was something that I didn't like about the action that was not my favorite. I couldn't really put my finger on what it was, maybe the bottoming out of the keys? I mean it was responsive and all but just something made me notice it. I imagine I would probably get used to it over time. I wish I'd taken more time to compare the action to the ES110 more but didn't think of it at the time because I was really focused on the ES520 and spent most of my time there. I really did love the sound though. And I felt the speaker system was quite powerful.
I am also under the impression if I want either of the ES520 or ES920 (which I really believe I do!) then I have to order it and wait as the expected delivery times are unknown/unclear.
I also got to try a CA49 and really loved the action on that one and I haven't had the chance to check specs to see how that compares to the action on the ES920. If the ES920 comes close to the CA49 then I would be very happy. I believe they will be different though given the prices between the two and one is portable and one is furniture style.
Tickets are $20, but I think in keeping with the theme of giving voice to composers who haven't always had one, and making that accessible to those who might otherwise also be underrepresented, there's also a free link, and pay-what-you-can link.
Also Ferencz Liszt was known having many expressions. And you can not accuse him of being a superficial player. I think it also has to do with cultural background. Liszt was Hungarian and much more passionate in personality. I also once experienced Andras Schiff close-up and he certainly "played" along with his face.
It's a common stereotype people who are into Classical rely on reading the score while those into Jazz play by ear.
There are the Classical students who are taught to read from day 1 and then there is Suzuki. Suzuki gets the students into playing Book1 for a year by imitation & memory before learning to read. And there are Jazz musicians who are comfortable reading Lead Sheets with chord symbols on top than a bass line. Classical performers played certain pieces often enough they can play small sections of a piece from memory. You see a pianist in a performance playing pieces from memory and one with the score and a person next to him/her to turn the page.
Robert Estrin did a few videos on memorizing music:
They are in the shop for a little short of $4k, which seems too high...but I have no idea what's reasonable. Middle 2s? 3k?
I'd say $1,500 to $2,000 max - and that's only if work has been done on the piano beyond refinishing.
Thanks Carey. The best I could manage without sheet music were scales and the beginning of Fur Elise...but yes, they sounded like the videos (more like the first video). They couldn't tell me anything they'd done to either piano, and both have been sitting on the floor for more than a year. And although 1 is refinished, it still needs some touchup. And I'm pretty sure both are 100% original (save 1 hammer on the touched up piano that is definitely new).
The store is going to have their tuner ensure they are both tuned up, then I'm going to ask a friend to come with me so I can hear what they really sound like. Then, if that goes well, then I'll have a Tech come in (they were open to an outside Tech inspection).
I thought $1500-$2k, but figured I'd be laughed out of the store. There is another pre WWII console in Boston selling for $2.5k (from a Tech I know) so I figured that's the very top end. And I wouldn't mind taking a road trip back to my adopted home....figured I could haul the piano back if needed.
And, IIRC, the earlier Aeolian models weren't bad...I thought after the 50s, the quality really started to tank. Case in point, the store has a 60s Model 50 on the floor. The touch was absolute garbage (at least to me).
There's also a Pre-Aeolian Model 0 out on the West Coast in a similar price range....that might be a better long term investment...but the idea of getting me out there (not crazy about traveling right now), then getting it hauled back is a whole other level of PITA.