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I think that this is the kind of issue you could go into a lot of depth with with the right teacher.
I have heard from many teachers that done amount of strengthening the hands is required in the way you describe. What you should absolutely avoid is trying to isolate the fingers from the rest of the mechanism. That is dangerous.
Of course nobody here has any way of previously knowing this, but in the mid to late 90’s, i thought about - how hard would it be to develop a device that was not a full PC but had enough intelligence to function solely as a USB host
but a USB host still needs software/drivers in order to actually do anything. So the question is, what do you want to plug into it? You can currently get devices that are USB hosts that do nothing except provide MIDI connections.
Leaving magic ingredients with apothecaries for now, the root of this discussion was Fazioli's aim to isolate the the soundboard from the rest of the piano, acoustically. Fazioli's clarity or sterility of sound, whatever you choose to call it, has to be the result from what they have done to achieve that aim.
They say they construct their rims to minimise the amount of energy escaping from the soundboard. Had they been completely successful in that aim (a physical impossibility, I know) then changes in tone and timbre must come from changes in the hammers, the strings, the plate, and the soundboard including the bridge and the ribs.
The question here was whether a significant part of the changes in tone of the F278 in Singapore could have come from the soundboard.
In a previous thread William Truitt described his experiments with different woods for bridge caps. Some produced a richer sound and others did not. In other words changing the properties of the caps affected the tone. In this case the bridge caps have not changed but William says soundboards do"come up". That implies the properties of the soundboard must change a bit.
The pianist said the sound of the F278 was more "malleable" and that would with accord with a (slightly) more "malleable" soundboard.
According to the Fazioli paper, small changes in stress in the soundboard can have have a big effect on sound. Minor (geometrical) changes in the rim due to settling in could conceivably produce such changes in stress. Who knows whether they would be beneficial or detrimental to the sound.
Ranjit You csn have a teacher who has a doctorate in performance from a top conservatory but that does not mean they would be a great teacher. They may not even be a good teacher. All you know is that they play well.
I'm saying it's necessary but not sufficient to be an excellent pianist. It's not that hard to understand.
My Henle does not contain the C#, and the editor's notes do not explain its absence. I looked at the Gutmann manuscript, and I see it also does not contain the C#. I also have a Könemann urtext edition which includes the C#, and the editor simply notes it is missing in the Gutmann manuscript. The editor also says that in editing this scherzo:
"As the main source, Gutmann has been used, which may have been based on the same manuscript as the French edition. This manuscript now lost was probably altered by Chopin after the publication of the French edition and before the copy made by Gutmann. Gutmann also evinces some deficiencies in certain places; thus where the Notes draw attention to this, it is worth taking the French edition into consideration as an alternative option. The German edition is based on the Gutmann manuscript."
I'm guessing the C# in question was one of those "deficiencies" in the Guttman manuscript.
For me personally, other tablets, if their screen size is no larger than that of the 12.9-inch iPad Pro, are not of interest. But this is already more interesting. I hope this will push Apple to release a larger iPad with a screen with proportions of 3:2 (after all, 4:3 is quite "square" for sheet music).
Below is an image of the una corda lever that pushes the action. So should there be some padding on the lever? On the other end of the lever there's a round leather padding (the lyre rod is pushing on that padding), but here it's just iron directly pushing the wood.
BTW I figured out what's wrong with the image in the original post - if you browse the forum with https, it works, if you browse with http, it doesn't. The image was embedded with https URL, so if I'll try with just plain http in this post, let's see if it works better...
Here's also the first image embedded with plain http URL:
I don't know how to make a good cake but I know a good cake from a bad cake.
Oooh! Did someone mention cake? Mine's a whacking great slice of Victoria Sponge please. Don't skimp on the buttercream. And none of your gluten-free rubbish neither - I want to be able to swallow it without having to chew 100 times.
Taking a page out of Steve Martin’s can’t fail simple procedure for becoming a millionaire, Step 1 - get a million bucks. For good cakes, substitute liberally step 1 ) get a good cake or failing that, 1B) marry someone who knows how to make good cakes, failing those, take a page out of macmacmac’s solution ...... eerily similar to George Carlin’s segment on strange expressions “ man that REAlly takes the cake! .... where do you take a cake? .... down to the bakery to visit all the other pastries.
...you are able to reproduce this behaviour consistently (i.e. the SK Concert Grand sound is selected every time you press a sound button)
Kind regards, James x
This happens pretty often, meaning most of my sessions with my ES920 it happens at least once. Obviously if it happened only once or twice a year I wouldn't have thought much about it nor I'd remember this is a thing probably... but I find it hard to determine what causes this nevertheless since I have no access to the software, not knowledge of how it is programmed and there are way too many contributing factors to be able to do proper diagnosis. I WILL try to video film it just like the last bug I caught, it may take me a couple of days since I'm a bit on the busy side right now. Hopefully I can catch it and post an update in this thread.
What is the most difficult piece among these? Please do consider ranking them [musically/technically/both]. 1) "Liszt- Un Sospiro" 2) "Rachmaninoff- Moment Musicaux Op 16 No.4" 3) "Chopin- Heroic Polonaise Op 53"
I love all of these pieces and all of them are completely different from each other. I also plan to learn them. Which of them should I be approaching first and which last?
Any piece of advice would be greatly appreciated Thank you!
With respect to Chopin Polonaises Op 53 or 44, I would suggest that you should already be able to play one of the earlier Polonaises well, such as Op 40 #1 in A, before attempting Op 44 or 53.
I have not played Rachmaninov 16/4 (and have no plans to try to learn it) so I'm hesitant to suggest a preparatory piece, but the Chopin Prelude in G, Op 28 #3 has a fast left hand figuration with simple melody in the right hand. I'm guessing that this prelude, which is by no means easy, will be less difficult than Rachmaninov 16/4, and a good milestone along the way of developing the technique for 16/4. The Chopin Etude 10/12 is also a good left hand workout.