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Do you mean 12’ x 12’ room in your 50Hz example? How do you know what Hz your specific piano goes to? Easy to calculate based on piano length?
All pianos with 88 keys go down to 27.5 hertz, but most pieces (but some do of course) dont use the lowest octave or even 1,5 octaves. So practically we are more around 55 to 60 hertz.
yes of course there is a formula, the length depends on the speed of sound which varies based on temperature and atmospheric pressure. In first approx to get the wave length you divide the speed of sound which is 1130 feet/s by the frequency.
i played the S9 for about an hour.the platinum sounds are very lively and remind me a lot of Roland modeled sounds.
but 50 seconds to start the keyboard is too long for me. i think the same goes for the sx modules.
I would not rate the key action, because 1 hour is too little.for me, the sounds were more important that day, because I was thinking of buying the new sx 8 module. you always have to familiarize yourself with the instrument first. but I found the key action very pleasant and high quality.
I use the PLT German all the time, really great; unlike Roland’s modeled sound, lol!
I have sneaky feeling Estella may be wise in choosing one of the new pianos. Athdara's posts speak for themselves. Last year a member from Singapore said a Fazioli imported for Angela Hewitt had much improved after two or three years. I can't remember his exact words but resonance and suppleness come to mind. From memory it hadn't been voiced.
That memher was me. That Fazioli had not been voiced, but the dealer - an excellent master tech - had it regulated in such a way that significantly changed the tone of the instrument. This was not the first time i had witnessed him altering the tone through regulation - he did that with both my Bosendorfer and Sauter, as well as my Steinways.
I find it hard to believe that the Fazioli hadn't been voiced, probably to a considerable extent, at the factory.
How can regulating affect voicing? I can understand how voicing can affect regulation but not the other way around.
19. Thepianoplayer 416- As always, such a delightful piece to listen to. You did great but probably need to work on "the flow" a little more. It sounds like it's almost there.
20. Snejana- I really like the overall theme. It truly does give one a feeling of dispair and hopelessnessand even has a slight Russian feel to it. I could see this playing as a backdrop to the frightening scenes we are seeing.
21. sandalholme- Very nice. I like how short and to the point these works are. Well done!
22. Flygbladet- I know nothing about online games but I hear this as just a very interesting, challenging piece. You play it with great command!!
According to what I can find, this is supposed to cancel a double-sharp and give a single sharp on a note.
But I ran into it where there is no double-sharp to be cancelled. There's a G flat in the key signature, however, and the idea appears to be to cancel the flat and make it G-sharp. Why it couldn't be written as an A-flat I don't know.
The accidentals indicated are always absolute and not relative and they are unrelated to the key signature. The Natural sign cancel all previous accidentals, ie you get a G (white key), irrespective of what is in the key signature or previous accidentals. There is a common misconception that the natural sign cancels only one sharp, but that is untrue. In some editions, you will find a double natural sign after a double sharp or flat, but that is strictly not necessary, the single natural is enough.
If you want to get a G sharp after a previous double sharp, you need to write one sharp (assuming the key signature does not have one, and we are in the same bar). Most editors for clarity will put a natural sign and a sharp by courtesy.
In your case, if there is a G flat in the key signature, and you see a natural G, then it is exactly that, a natural G (ie white key). If the author wanted a G sharp, he would put a sharp or possibly and by courtesy a natural and sharp.
My refinisher sent some progress photos. I am very pleased. He has 2 to 3 more weeks of polishing yet to do, then the piano goes to Art Reblitz for more work on the player system.
Remember spending a lot of time on one particular trill near the end as the ability to execute it defined the tempo for the whole piece for me.
If you mean the trill in bar 109 then you don't need to play many notes. Even just a 4-note trill is fine. It's more important to be able to play it reliably and consistently.
I don't think the ability to execute one trill should ever define the tempo for a whole piece, especially at the intermediate level.
Completely agree that in theory there does not have to be a reason why an acoustic action is "better", providing it is fast enough to cater for any style and any level of control.
Where things are complicated is down to the fact that learning on a digital and then having to play an acoustic can be very jarring and tricky. That plus the current discrepancy in sound and 'connection' to the instrument is why in certain circumstances there really is no substitute for an acoustic.
That is why I say that at the moment, digital/hybrid and acoustic aren't like-for-like and simply interchangeable (though that of course is the future aim with manufacturers of digitals, as the market matures and technology improves).
I think it's now that I realize what the problem is, in fact I know what the problem is as I know my son, he doesn't have confidence to read music by himself. My son has very little confidence in reading sheet music because very little time has been spent on theory instead he has been shown how to play music instead of learning how to play music and I do understand that has it's benefits to. There seems to be a generic way of teaching here in Thailand where one shoe fits all regarding age groups and there seems to be no consideration of a Childs learning capability by not identifying and cultivating talent. .
If he can't read music at all, something is truly amiss.
If he doesn't even know how or where to start, it's obvious he's being taught entirely by rote. If you want him to be able to read music so that in future, he can pick up any piece of music (that he's capable of playing technically) and learn and play it by himself - just like someone who can read can pick up a book and read it by himself -, you need to tell his teacher to teach him to read music.
I assume it wasn't there in the beginning. Otherwise you probably would have noticed it after all this time. If you tried to rub it off gently with a damp micro-fibre cloth, and it doesn't come off, then it could well be stained into there - burrowed right in. Hair dye or something - hard to say.
Hopefully the piano tech can help out. It sounds fine, as you mentioned that you're ok with it. And if you do want to sell the piano later, then the tech could probably help as well - eg. keytop or key replacement.
There are other works that Beethoven dedicated to Count Waldstein. No one knows why this particular one got the name. BTW in Italy they call it "Aurora".
The way nicknames stuck can be curious. After all, Op.101 also has the epiphet Große Sonate für das Hammerklavier, but no-one, not even in Germany, calls it the Hammerklavier. And anyway, if we translate "Hammerklavier" properly to 'fortepiano', it doesn't sound quite so impressive.....
As for dedications, B dedicated many works to his fondest patron, the Archduke Rudolf - including the Hammerklavier (the one and only), the Les Adieux (which should properly be called by its German name Das Lebewohl, but we Anglo-Saxons love our French, if not the French ) and the Emperor Concerto - which is only called thus in English-speaking nations -, but only his greatest and grandest piano trio is named thus (here, appropriately, with the pianist playing on a Hammerklavier):
Totally agree. It's rare to hear 'improvisation' that doesn't contain any structures/patterns somewhere within it that we and everybody knows already. We clearly all detect those patterns within it all the time. It's pretty much impossible to escape from it.
Thank you. I think that's the best thing to do is hire a technician. It's pricey, but probably worth it in the long run. Don't want to inadvertantly end up with a piece of junk!
Hello, may I ask what headphones you're all using with your ES models? I'm looking to upgrade from my trusty but now fairly old closed-back Audio Technica phones. So preferably open-backed, comfortable etc. Cheers
No takers?
I use Audio Technica Headphones but can vouch for the Beyerdynamic 770 had those beforehand. Go for low resistance like the 80 ohm suggested above me those are better for just playing / monitoring since you get a better bass response - these sound great!. The advantage of the audio technica unlike the 770 is that the cable is detachable so when it goes bad you don't throw the whole thing.
Can you tell me the model of Audio Technicas you use? And yea, I was looking at the 770s but the non-detachable cable is a little annoying.
It sounds like a user calibration feature is needed, right? As in ...... for each of the 88 keys ... a machine is needed to strike at a particular velocity (that should really align with your own max velocity that you're capable of) .... and knowing when to stop, without damaging the key etc. And a software setting would allow you to set the upper limit value of 124 or so. Also noting that graded hammer weight etc means different force to generate the same velocity. Actually ...... we probably expect acceleration to be involved as well. But if velocity is what they estimate, then we just go with it. Sounds like calibration could involve a fair bit of work and time and effort ... for each key. And each person has different performance characteristics ..... so this could get fiddly.
Thank you for this. I am played Bach inventions and now sinfonia in lessons. I do have an edition that writes out the ornaments in black, but it's also has optional ones in grey, so I was not really clear how they decided.
You can work out with your teacher which ornaments should be played and why. That would be a good exercice to understand the usage of ornaments.
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) and the Emperor Concerto - which is only called thus in English-speaking nations -, but only his greatest and grandest piano trio is named thus (here, appropriately, with the pianist playing on a 
):
