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[quote=Jethro]Your proposition that strings break because molecular sized razors of diamond hardness are cutting into them is hardly the simpler explanation of the two.
No? It seems a simple explanation to me. Whether it is true or not I have no idea. I am not a materials scientist. I suspect you are not either.
There's a difference between simple and simpler. In my line of work I deal with the human body and we are also dealing with solid materials such as dense connective that experiences "creep" such as ligaments or tendons that overstretch and eventually can rupture or deform permanently when placed under long term.....quite/Jethro
Are you talking about chiropractic science Jethro?
1 Arietta (No. 1 from Lyriske småstykker, Op. 12) by Edvard Grieg 2. Abide with Me arranged by Jerry Ray 3. Waltz in E minor, Op. 38 No. 7 by Edvard Grieg 4. Create in Me a Clean Heart by Keith Green/arr. by Philip Keveren
Csj24 - Faber does have a collection of classical literature that you might want to check out. Under publications on the Piano Adventures website is a series called The Developing Artist that you may want to check out if your teacher isn't already familiar with it.
Azunyan - Welcome to Faber-land. Yes, method book pieces can be a mixed bag. I never know what I'm going to get until I start playing the piece. I guess Piano 'adventures' is a good name for the process we're going through.
Keep in mind that customers judge by their own requirements.
Originally Posted by Sweelinck
It is fundamental to software engineering that you test to requirements.
Yes. I'm sure there also are customers unhappy that it does not sound good or like a violin when they play the A0 key on a digital piano with a sampled violin patch.
I likely would be happier if all the pianos other than the SK-EX in my MP7SE were left out and additional acoustic instrument samples were included in their place. That does not make the absence of additional acoustic instrument samples a bug.
When I was actually in China i had 2 teachers. Both were Sichuanese women. One was a married woman in her thirties the other just out of conservatory. The youngster was the better pianist but the older was a more experienced teacher.
I needed the wisdom of Solomon. Each anniversary of me starting lessons I would give them a basket of fruit each. I went to considerable pains to ensure that the baskets were identical. Once I painted the grand stave on the whiteboard for one of them. I immediately made the same offer to the other.
I'm using some beginning classical books for sight reading purposes. Snell series and also I recently got Introduction to Classics to Moderns. There's another volume called Easy Classics to Moderns, but most of them are too difficult for me for sight reading practice, so I'm saving that book for later.
At about the beginning of the 21st Century I saw an ad for the most amazing camera ever made for the everyday consumer. It was from Nikon, and it sported an amazing 3 megapixels. No, it couldn't equal the quality of my little Minolta 35mm film camera, which was equivalent to 6.1 mp, but it was cool, and only cost around $3,000 or so.
Two decades later, long after 35mm film has bit the dust, I currently own the 50.6 mp Canon 5DsR digital single-lens reflex camera, which I bought on sale brand-new for $1,499. But owning the camera by itself doesn't do it. Taking full advantage of digital, I have an ultra-powerful computer that has the best development and enhancement software that consumers can buy, from companies such as Adobe, On1, Skylum and Topaz. Does digital make much of a difference here? Let's take just one small example...
With my Minolta, shooting in low-light conditions with anything even slightly moving required 400 ASA film, showing immense grain that no photo lab could possibly remove. Grain just went with the territory. The 5DsR, with 50 mp stuffed inside a full-frame sensor, can show noticeable digital noise at an ISO as low as 1600. At a setting of 12,800 the noise is beyond awful. But that's not a problem in the world of digital. Noise-reduction programs, such as DxO Deep Prime, Topaz DeNoise and On1 NoNoise not only remove all noise and fringing, but rebuild the image to look sharper than the original file. And as for the creative manipulation of photo images, comparing film to digital is like comparing a paper airplane to the world's most modern passenger jet.
The point I'm making here is that digital is totally open-ended, while mechanical processes are limited. This applies to digital pianos as well, although for the time being it only holds true for the home market. But along that line, when I can afford the successor of the Kawai CA99/79 series, which should be released perhaps in the next two years, I will buy a DP whose sampled/simulated grand piano tones will be more appealing than tones from an acoustic upright.
The math, then, is quite simple. Digital has nowhere to go but up; acoustic has nowhere to go...at all.
I agree in principle, but a minor quibble is that images from 35mm film are higher in quality than 6mp digital, and 20 years ago there were fine-grained 400 ASA films. It takes a 3000x5000 pixel scan to capture a 35mm image, or about 15mp. The convenience and immediate feedback of digital imaging is what all but killed 35mm film. It is still used some-- I just shot several rolls myself.
For large format images, say 4x5 film format, film is still highly competitive.
But if a digital piano obsoletes acoustic pianos, I expect the first place it would happen is in the concert hall. The cost of a 9' piano provides an ample asset amount for the sound system that will be needed. This is probably the opposite of the order of defeat of film.
We already are there with organs. Very few people haul actual B3's around any more, and churches with fully digital organs are not uncommon. $3-5K is enough to have a phenomenal digital "pipe" organ at home.
Wow, great point I had given zero thought to. Not just the piano but a bunch of other electronics we have. We're looking at retiring to Mallorca, an island off the coast of Spain, in a couple of years. Who knows what the plugs they use there. Thanks again, I'm going to have to spend some time researching this. Thanks again drewr!
I think Spain uses standard German plugs & sockets that operate on 230 VAC/50Hz .... lets hope the island does too. If any of the electronics you have happen to be powered by wall-wart AC/DC power adapters, there is good chance you can get new wall-warts for 230/50 ( some say 240, some say 230 .... quoting Mr. Mom “yeah, 220 .... 221....whatever it takes 😊 ) and continue to enjoy your old gear, but any gear you have, including your new YAG, that takes in 120VAC only .... may need to be replaced 😕 .... and yes, make notes of all these and keep in a book, just in case........Mallorca .....THAT would be a road trip to rival going to Wash State!
They're coming to pick it up this Saturday, and they'll perform a full inspection at their location (workshop?). I'd better not void the warranty by doing anything at this point.
Some parts of that wood look flaky and dented, likely the result of missing chunks or bits that fell off. I will take more photos beforehand to show the extent of the problem, and the prinstine condition the piano is in (everywhere else). The representatives from my Kawai distributor said apparently it's not made of chipboard/particle board, but I'm pretty certain it is LDF from its appearance.
Hopefully, they'll fix it right up, and give us back the same otherwise as-new piano without this annoying issue.
I know that many people use PM in this forum. I wonder how do you deal with errors in the music sheet?
PM is wonderful tool. I use it to learn new pieces. The note tracking feature keeps me looking forward when I practice. As I am using more and more, I discovered that many classical pieces in the library have minor errors with the score (for example, Chopin's Noctourne in C#m Liszt's Consolation No. 3), which makes the practice very difficult. How do you deal with this?
What I would like to see is the capability of saving a public piece into a personal collection, and then making a correction to it so that it won't affect anyone esle. I know that I can import my own music score to the App, but that would take a lot of time for me to create one from scratch using a notation software like MuseScore. If you encounter similar issue like I do, could you please share you way of working around it.
I've had a few manual shift vehicles, with the 3 pedals, but over the years I've learned to appreciate a vehicle with an automatic transmission (2 pedals ).
But when it comes to pianos, I honestly like the 3 pedals, although I only use the sustain/right pedal. It's just comforting knowing the other two pedals are there, just in case I decide to change gears while playing....
Many music students don't learn to identify chords by ear but read everything off the sheet. If there is a spot that doesn't sound right, they wouldn't know. Some are really good readers and can read through difficult pieces the first time.
Another group of people like myself arrange, compose music or improvise. We need to be aware of the intervals & chords in the score. I learned basic chords & intervals in high school from a teacher who taught Strings (violin, viola, cello & bass). I couldn't reproduce 3-note chords on a violin but was aware of what they sound like. The students get tested in class. The teacher would play a chord off the piano and we needed to identify it by ear.
Ear training makes playing easier. You figured out the chord progression of a piece you can anticipate the next notes without relying on the sheet to learn them.
Ignoring budget or speakers (you can always add external speakers), for that bright “poppy” piano sound you can look at
- Korg Kross/Krome/Kronos The more budget arranger keyboards such as Kross have less complex piano sounds (less resonances, less dynamic layers), on paper that sounds like taboo here but it sounds pretty good to me and it would give you that clean, consistent sound you are looking for.
- Roland Fantom8/RD2000 Particularly with the v-piano sound engine. Out of budget but arguably roland’s best sounding piano till date.
- Nord stage 3 Something about the piano sound that is an instant hit. Maybe it’s because it gives you that “Ferrari” vibes when you own one.
- Roland Fp90x Particularly models with pure acoustic sound engine. Try with brillance +7 (bright) soundboard 3 (adds some “meat” to the sound), touch 40 (bright). Personally I find mellow Roland to have more character (-1, 3, 60).
Lots of organists seem to like them for the light action. I love them for the sound too, clarity and delicacy, real musicality. Nick
Yes you can get an extremely well controlled pianissimo on it probably because there's always that feeling of being in touch with the jack, or at least in touch with it for much longer than on a double escapement action.
In this lesson the student practises moving up the keyboard by step. The music is for piano, solo cello, solo viola, and strings. There is a long intro here without the student playing which may seem strange for a piano lesson but hey, if you play piano in any sort of ensemble you may often have to wait while the other instruments play. So, may as well get use to it now.
I just made an account for a deep discussion about this. I started to learn Rachmaninoff's Moment Musicaux no. 4 and am currently stuck. I really want to be able to play this. I am able to successfully play pieces like winterwind and revolutionary etude without tension, or sometimes with only minimal tension near the end. But this piece, even at the early pages give me tension.
This is because I cannot use wrist movement like rotation in this piece, it force my left hand, with all the closed note to note passage, to do all finger works only without able to use forearm or wrist rotation.
The basic pattern where it goes from EBG, I use single rotation to the right, then the rest finger works because the notes are cramped together. Then again the pattern keeps going like that for left hand, which slowly it produce tension to my forearm. My left pinky, when playing with finger works only, will bend inward, which produce tension in my forearm. This is unavoidable to me when playing with fingers only without wrist technique.
Is it finger works are the only way to go here? I seemed to read somewhere they also mentioned that revolutionary etude is easier coz we can still use wrist technique there, but here in Rachmaninoff's moment musicaux 4 all finger works.