Mark, i am in book 3:) i love the pieces in here. they are so much more fun than 1 and 2, and they sound like music. i really like the ambitious secton which includes some truly incredible music. i love this book!!!
I've been doing the series and am in book 3. I recently started working from each end, and I agree with funburger the ambitious section is especially good ... in fact because the harder section is so interesting, I'm thinking about dropping the book in favour doing only this kind of music.
I'm in book 3 as well. The first thing I noticed was that the theory pages are much more complex - I guess they figure if you're still with them this far along, you must be in it for the long haul and they throw it all at you...
I have to admit that the fact I had to special-order the book and that no store routinely stocked it was a bit flattering to the ego - they all had book one, some had book two, but none had enough call to stock book three.
I like the ambitious section as well - there's a wide range of levels in the pieces. Some seem to come easy, others...
Also, the book set-up feels different to me than the first two, less rigid maybe. Because you're on your own after this one and I get the feeling I'm being 'weaned'. My teacher has already asked what kind and style of music books (plural, she said books!) can she pick up for me next time she's at the music store - which is very encouraging. I must have made at least some progress! I don't just finish another book with the reward being to go buy the next level up, yay! Liz
Originally posted by funburger: Mark, i am in book 3:) i love the pieces in here. they are so much more fun than 1 and 2, and they sound like music. i really like the ambitious secton which includes some truly incredible music. i love this book!!!
Thats great to hear. And its nice to know people are moving into book 3. Everyone who's in book 3 should be proud of their accomplishment. I know its a lot of work...
Keep us posted on your progress. And if anyone want to post their recording its a great resource for others...
Originally posted by Lizzy1234: I'm in book 3 as well. The first thing I noticed was that the theory pages are much more complex - I guess they figure if you're still with them this far along, you must be in it for the long haul and they throw it all at you...
I have to admit that the fact I had to special-order the book and that no store routinely stocked it was a bit flattering to the ego - they all had book one, some had book two, but none had enough call to stock book three.
I like the ambitious section as well - there's a wide range of levels in the pieces. Some seem to come easy, others...
Also, the book set-up feels different to me than the first two, less rigid maybe. Because you're on your own after this one and I get the feeling I'm being 'weaned'. My teacher has already asked what kind and style of music books (plural, she said books!) can she pick up for me next time she's at the music store - which is very encouraging. I must have made at least some progress! I don't just finish another book with the reward being to go buy the next level up, yay! Liz
You should feel proud. I know I feel pretty good finishing book one. And finishing each book means your that much better...
HI everyone...I'm somewhat new to the forum and have basically been lurking for a while.
I'm about halfway through Alfred 2 and would like to go ahead and order Alfred 3 so I have it when I'm ready. I'm having trouble locating the book to purchase via the web. Can someone provide me with a web source?
In addition to Alfred 2 I still play Entertainer and Amazing Grace from Alfred 1 and am also working on Satisfied Mind, Mona Lisa, Fur Elise, etc. etc.
Originally posted by EG2: HI everyone...I'm somewhat new to the forum and have basically been lurking for a while.
I'm about halfway through Alfred 2 and would like to go ahead and order Alfred 3 so I have it when I'm ready. I'm having trouble locating the book to purchase via the web. Can someone provide me with a web source?
In addition to Alfred 2 I still play Entertainer and Amazing Grace from Alfred 1 and am also working on Satisfied Mind, Mona Lisa, Fur Elise, etc. etc.
Well, it looks like I may be heading into Book 3 on my own for a bit. The place where my teacher rents her studio space is closing at the end of July. She asked at the school where she teaches, and they said sure, she could use the school, but only for those who live in that town. So that would take care of 2 of her 20 students and I am not one of them. She is still looking for a place, of course, and we do have a few weeks left, but I may be going it solo for a bit. Glad I did decided to go ahead and order Book 3- I need some sort of organized approach or I won't get anywhere. If this does happen, I may be asking those of you already in Book 3 for LOTS of help!
Originally posted by IrishMak: Well, it looks like I may be heading into Book 3 on my own for a bit. The place where my teacher rents her studio space is closing at the end of July. She asked at the school where she teaches, and they said sure, she could use the school, but only for those who live in that town. So that would take care of 2 of her 20 students and I am not one of them. She is still looking for a place, of course, and we do have a few weeks left, but I may be going it solo for a bit. Glad I did decided to go ahead and order Book 3- I need some sort of organized approach or I won't get anywhere. If this does happen, I may be asking those of you already in Book 3 for LOTS of help!
We have a few teachers from the teachers forum who are here to help and they keep an eye on these Alfred threads. So we have you covered just in case...
I am 44 years old and have Just started playing music five years ago.
I am currently finishing this book. Its an ok book,It lends itself to those who, like me, are partially self taught. I feel this book progresses well, slow, with small steps in difficulty, Has plenty of songs, to reach this the final level of course difficulty. The pieces are enjoyable, and short enough. However, I personal attribute most of my skill to playing though Hanon in 60 ex. It was grueling. I guess the importance point I should make is that if you are like me, You will need a good technical regiment, and if you desire to play other styles of music ie, blues, hymns, lead sheet pop, jazz, whatever, you will need to train in that genre in addition to the Alfred Adult Course. The Alfred adult course mainly teaches you traditional piano playing via site reading.
I'm currently on page 26 "The Unfinished Symphony". I have been at it for weeks and still need to add the tremolos, pedal and get some bumps out of it.
Unfortunately, I do not get into this forum often enough but wanted to chime in on this thread in case anyone else is on page 26.
Its taken me only a few days to get Chopin prelude down well. I've allowed myself one weeks practice on this small piece. This comeing monday I will begin the last piece in the book. I started playing it briefly and find it fairly easy. Patterns motifs are not that difficult. I guess,this piece may take me five days to get through. At the start of my learning piano for the life of me I could not play the pieces in this book 3. I guess I can conclude this series had payed off. I would recommend this series.
I write these things in order that you may witness to the progress this series has developed in me. Which should reflex the quality of this publication set. Though to be fair the "Alfred Adult series" was not the only publication from which I studied from. I used Hanon together with little known "Henry Slaughter Gospel piano"
I have made it through. It has been about four years or more in the making. And I refused to quit or change books.
I would like to see a fouth level to this series. But I know its not going to happen.
For my next step in learning to play the piano I have chosen to proceed through "Classic to Moderns: early advanced" The green book. I hope to finish this book also. The pieces within are short not longer than four pages, something I prefer. There are just over fifty pieces within. I hope this book takes me up to a higher level in my playing. With all my ability to site read well and learn these piece in a rather short time; I still can't sit down an play the piano like a real musican.
Originally posted by dfpolitowski: For my next step in learning to play the piano I have chosen to proceed through "Classic to Moderns: early advanced" The green book. I hope to finish this book also. The pieces within are short not longer than four pages, something I prefer. There are just over fifty pieces within. I hope this book takes me up to a higher level in my playing. With all my ability to site read well and learn these piece in a rather short time; I still can't sit down an play the piano like a real musican.
Thanks for the info David. I was wondering where people would go once they completed book 3.
As for playing like a real musician, I think you are under estimating your abilities. To be able to sight read and play book 3 makes you a real musician in my book. Sticking with and completing this series is a major accomplishment and I congratulate you.
Originally posted by KetchupandJam: Hello fellow Book 3 members.
I'm currently on page 26 "The Unfinished Symphony". I have been at it for weeks and still need to add the tremolos, pedal and get some bumps out of it.
Unfortunately, I do not get into this forum often enough but wanted to chime in on this thread in case anyone else is on page 26.
K&J
Sounds like you are doing well. I'm jealous of you book 3 people...:lol: How long have you been working with the series? Any advice?
With all my ability to site read well and learn these piece in a rather short time; I still can't sit down an play the piano like a real musican.
Could you expand on that a bit? What is it about your playing that isn't where you would like? What constitutes "real musician" for you?
I ask because I find a lot of my adult students have a belief down somewhere that they have to reach a certain level of proficiency before they can "trust themselves" to add personal interpretation to the music, or change/modify things they'd prefer differently, such as tempo, dynamic changes, or the like.
For me, the real freedom of playing isn't level-based; I regularly practice the very first songs I teach my students, very simple melodies -- to play them as soulfully and beautifully and inspiringly as I can. You can do the same! You could go back to your Alfred Level One book and find your favorite pieces. They're easy now! So decide if you like them slower or faster. Maybe you want to put an arpeggio in the left hand where there's just a block chord. Maybe you like different articulation or dynamics. Maybe you want to repeat a certain section, or repeat the whole thing in a different octave.
That freedom, for me, is what feels like being a musician. I actually enjoy playing less complex pieces because of the amount of interpretation I can put into them in real time, and sometimes I play them differently from day to day.
Anyway, I'd love to hear your thoughts. You're already a real musician, by the way, just like Mark said. You were from the moment you put your hands on the keyboard!
Well, I suppose, I mean Playing Music without sheet music. If someone were to ask me to sit down and play something at the piano I could not. I would need to go home, pick a piece to play, practice it for a week, then come back to them and play in front of them.
Or would be satisfied to be like one of my many college professors who can take a piece (I lie not) and play it perfect first time seeing it. Or even like my voice teacher who in choosing a song to sing accompanies well enough to sing along with. And this upon turning to the song in choosing. She may not be without flaw but 95percent of the song is there the first time.
I'm anticipating entering into this level someday. Oh, I know those mentioned above have been playing since there child hood while I recently began at in my mid adult years.
Thanks for taking the time to post that. I think it's a really helpful discussion as folks get to this intermediate level of playing.
First: learning to play without sheet music is one of two things: memorized music or improvisation (which is nearly always based on chords). Both of which you already have the skills to begin doing; it's just that the Alfred's books aren't really going to teach you to do them!
You could begin by choosing 2 songs you really like, and learning them chunk by chunk. Don't just try to memorize notes, look at the patterns and shapes your hands are making, and notice the feeling of the keys and chords beneath your hands. Notice patterns in the songs (certain bars repeating at beginning and end, the same pattern in the left hand but on different chord notes, etc.)
Improvisation is just like talking. You have this vocabulary that you draw on to express yourself. You could start with the three major chords in C major: C, G, and F. You know those already, you know what notes are in them and how to play them in both hands. Sit at the piano, with those three chords, and start playing -- anything, even triads in both hands. Start exploring sounds.
I find many adults don't give themselves permission to do this kind of exploration at the piano, believing you have to have all the theory knowledge in place before you're qualified to improvise. But trying things out, and exploring, is how we learn to do everything else! Think of a child learning to speak.
Having a goal to play anything at sight is a really lofty goal. Not being satisfied with your playing until you reach it, however, is pretty self-defeating! At least inside my head!
It's the "if-then" thinking that bothers me, I think. If I reach this point, then I'll be satisfied. But there's no guarantee you'll get there! What if being an amazing sight reader isn't your strength at the piano? What if (God forbid) you get hit by a bus next week?
That's not to say that having goals is a bad thing. But not fully enjoying your current achievements? You're missing out on so much enjoyment! I talk to adults every day who wish they could play... well, anything. Mary Had a Little Lamb. Chopsticks. They'd love to understand written music and be in Alfred's Level 3. It seems worlds away, and unreachable to them.
The fact is, if you're playing music, you're a musician.
Those are my feelings on it, at any rate. This strikes a chord with me because I spent most of my college years with many of the feelings you describe, comparing myself to other players in all kinds of ways, and as a result a kept myself from not only enjoying what I could do - but also preventing myself from learning and experiencing everything I could have!
I don't want to see you or any other adult miss out on anything, either learning or enjoyment, by thinking only about the future. Beginners are musicians too!
Well, we cracked open Book #3 last week. I will start by saying this time, I bought the All-in-One book, just so anyone who does not have this is not scratching their heads and saying: "Where did she find THAT in this book?" LOL
I have to say, their "Super Special Song" is a bit less than super-special, at least for me. But I'm getting thru it. I pretty much have the pedal study, Calypso Rhumba, figured out. The Fandango is tripping me up- can't quite get it fast enough. More like a medium andante than allegro. And that's one of my biggest problems- I can't play stuff fast. I get to a certain speed and can't seem to increase, no matter what I do!
And- homework!!! Yikes, I haven't had homework since- well, a loooooong time ago! But since this book has the theory pages in it, too, my teacher says- Do 'em! And she's gonna check! Hope I get a gold star!!! LOL
Thanks, David! I am planning on taking it slowly, in order to get it right and learn the stuff. It took me over a year to get thru Book 2, so I am not thinking this will be a rush thru!
Irishmak, glad you are delving into book 3. there is alot of great music in it!! i kinda liked the super special song, although not overly thrilled but it wasnt a drag to get through. calypso is also kinda fun, and the fandango i absolutly love!! once you get it up it will all fall into place, just practice it slowly--of course we have all heard that a million times:) the only piece for me to have dragged was the serenade from string quartet, to me it made no sense, and still doesnt. i do like listening to it on strings but not for piano. congrats on entering book 3:)
loly, i had a digital, i sold it:) i have too many instruments in this little apt. as it is, the upright, grand and an organ:) i think the organ is going soon too though as i dont really like it, but will try the serenade on it first with strings and see if i like it:)
edited: oh, i just read you bought the kawai k-8, congrats!!! betcha your not getting much sleep now:) cant wait to see(pictures) and hear it(must have recordings)!!
funburger, I wanted to ask you how you got that many instruments in your apt but I refrained. he he he
if you want to look into a nice digital keyboard, look at the ypg 625, it's the one I have. the voices are outstanding and it has about 5 organ voices that sound so much like the real thing. you get a lot for a small package.
ooooo you evil thing, how did you know I wasn't getting any sleep? I was able to sleep last night though.
Page 18 in this book and I've hit a wall! This Jazz Sequences thing has got me stuck. I just cannot get it right! We slowed it waaaaaaay down at last week's lesson and my teacher said she doesn't want me trying to speed it up at all, but I STILL can't quite get it right. What it is showing quite clearly is how bad my hand independence still is. And this is not even a hard piece! It's dotted quarter-eighths in the right hand against straight quarters in the left. Should be easy, but it's got me quite frustrated. I think I may have to work for a while longer on this one with hands separate before I truly get it.
Are you practicing exercises or only trying to learn from this method series? Playing from the series alone "may" leave your hands weak. I did Hanon 60 exercises along with this series. Though Alfred's trained me how to play, I attribute strength and reaching power to Hanon, hands down. Strength that I believe would not have come from any other means.
I hope your taking your time throughout this searies. I heard someone recommend moving through this series quickly, Like under two years. I suggest the entire series to be learned in between three to four years. And closer to four would be better.
For the record, I'm in my fifth year of lessons - and only halfway thru the Alfred's 3 book. I, too, do Hanon along with the Alfred's, plus some theory books and I keep a solo recital or two book going at the same time. But I'm reallllly slow! Liz :rolleyes:
Oh, I do scales, chords, arpeggios and Hanon, as well as some outside the Alfred's series pieces, along with it. I'm not rushing- my teacher won't let me!! LOL Took me a bit over a year to get thru the 2nd book, and I figure it will be a good year or so in this one, too. Just one of those walls you hit now and then, I suppose.
You'll get there, then, sounds like you're doing a good mix of things.
I'm at a wall myself right now and it's terribly frustrating to keep going to lessons week after week and seemingly not making any progress, at least anything marked that really shows. I have lots of sympathy for you, but not much advice, I'm afraid, other than to keep plugging away...Liz
Look, I don't know what else to say. All I know is that I'm somehow beyond that wall. Can't tell you when I passed through it though. I practiced and still do 2 plus hours a day. So, for me hard practices is necessary. What I've noticed that many people talk about it being acceptable in putting in small amounts of time at the keyboard. Such as a half hour a day or a few days a week. I believe is will generally not bring the solid results need to play well. One hour a day to two hours a day is generally need to make any substantial progress. And this at any age. How much more older people like us. At 39 I new I would have to work like a dog to get anywhere.
I believe some teachers are afraid to ask a lot from their students. Is this cause they are afraid their students will lose heart and quit?
Lizzy1234, just a friendly tip,. . .make sure your not stuck doing the first section of Hanon. After six months of these exercise one has exhausted there usefulness. It then that one must go on to diatonic and the second two sections of Hanon exercise.
Originally posted by IrishMak: Page 18 in this book and I've hit a wall! This Jazz Sequences thing has got me stuck. I just cannot get it right! We slowed it waaaaaaay down at last week's lesson and my teacher said she doesn't want me trying to speed it up at all, but I STILL can't quite get it right. What it is showing quite clearly is how bad my hand independence still is. And this is not even a hard piece! It's dotted quarter-eighths in the right hand against straight quarters in the left. Should be easy, but it's got me quite frustrated. I think I may have to work for a while longer on this one with hands separate before I truly get it.
Guys, I just dug up my old book. And have the piece in front of me. Just looking at it now. I learned, that when a training piece is difficult sometime the piece will use staccato in one hand. This poking, makes one playing of the piece a little easier. I believe it requires less out of the players mussels and nerves.
As to the next two pieces in the book, this is where were real playing begins.
Your going to have a lot of fun with these two pieces. The key to learning these next two are to play hand separate first. Mark, if you want my advice play through the entire piece one hand first. Then the other hand by itself, afterward combine them. Its a short piece.
The following two pieces after them are very beautiful. "A very Special Day" is a great piece to sing along with, if your inclined. It slow too, which lend itself well to adding a third voice, your voice! "Grand Piano Band" is fun, but its faster, and demands much more LH RH coordination. I think i was on this piece for three weeks and never did play it fully correct before I moved to "A very Special Day"
Originally posted by Mark...: Hi, did you every get through that wall?
Mark
Mark-
Yes, I did, moslty. I'm still going back to now and again to reinforce the technique, but we've moved on in the book. This one is going slower than the last one, but that's not necessarily a bad thing.
The unfortunate part is that I am going to be travelling a good bit of the first part of October and then I have to have a bit of surgery done, so after these 2 weeks, I don't know when I will get back to regular lessons. My teacher and I are going to set a plan in these upcoming 2 lessons so that I will have some things to work on in a more structured manner.
Originally posted by Mark...: [b] Hi, did you every get through that wall?
Mark
Mark-
Yes, I did, moslty. I'm still going back to now and again to reinforce the technique, but we've moved on in the book. This one is going slower than the last one, but that's not necessarily a bad thing.
The unfortunate part is that I am going to be travelling a good bit of the first part of October and then I have to have a bit of surgery done, so after these 2 weeks, I don't know when I will get back to regular lessons. My teacher and I are going to set a plan in these upcoming 2 lessons so that I will have some things to work on in a more structured manner. [/b]
The reason I asked is that since you are ahead of me in Alfred, I like to see how people work through the program. Its nice to know that you can eventually get through the tough spots. I have a while to go before I'm in book 3.
Hope everything goes well regarding your surgery and piano layoff...
Originally posted by Mark...: The reason I asked is that since you are ahead of me in Alfred, I like to see how people work through the program. Its nice to know that you can eventually get through the tough spots. I have a while to go before I'm in book 3.
Hope everything goes well regarding your surgery and piano layoff...
Well, I think with the right attitude and some perseverence and, of course, work, it can all be gotten thru. I suspect I was just frustrated becasue on the surface, that particular piece looked easy. But nothing is really easy if you don't get it, right? And easy is subjective, espeically in this area. What I find easy, you may find impossible and vice versa. That's also one of the things I like about having a teacher- when I get stuck like that, she can usually see and/or hear the real trouble spots (which are sometimes not what I percieve them to be) and can help work thru the real problems, even if it means working on some exercises or scales or whatever outside the actual piece.
As for the layoff, I'm just hoping I don't slide back too much without my regular lessons. But that's why we are going to try to come up with a plan of action!
I came upon this topic, and am feeling newly motivated to continue with Book 3. I had set it aside because 1) I am no longer taking lessons (my teacher was encouraging me to finish), and 2) I convinced myself that moving into the Piano Handbook would be a better and more interesting way to spend my piano time. Now that I see that there is a community that I might be part of, I will take a fresh look at Book 3. Right now, I don't recall where I was in the book, and I'm having trouble locating it.
Originally posted by saw: I came upon this topic, and am feeling newly motivated to continue with Book 3. I had set it aside because 1) I am no longer taking lessons (my teacher was encouraging me to finish), and 2) I convinced myself that moving into the Piano Handbook would be a better and more interesting way to spend my piano time. Now that I see that there is a community that I might be part of, I will take a fresh look at Book 3. Right now, I don't recall where I was in the book, and I'm having trouble locating it.
More later,
Stan
Welcome to book 3 Stan...keep us posted on how you are progressing.
Hello everyone! Congratulations on reaching Book 3! It's an incredible accomplishment. I'm still working on Book 2 (very early on in Book 2) but I'm wondering if the selections and theory in Book 3 are "worth" working through the book or if it would be better simply to continue to repertoire selections. Does anyone have an opinion on this?
The book is well thought out and planned by professionals, how could you do much better? The purpous of the book is to train the student to play music with a little theory on the side. Staying with the program encourages good discipline. That is what is needed in learning to play. My thinking is "that if you trier and quit this series It will only serve to encourage you to quit something else later on if it is not to your liking. or Working out in the moment. This is one secret to which helps me keep going on "the journnee". It is a task oriented mentality. In my case, my minds satisfaction comes equally from striving to finish the task i have committed to. Not whether I learn something or not or even enjoy it. The only down side to making a plan is that you learn as you progress. In the process of learning you may realize what you have committed to is inferior to a newly discovered way, program or whatever. This is when strong temptation comes to quit what you committed to. But we are talking about the "Alfred's adult series" and the series is not too extensive to commit to. It should take the average beginning student, assuming enough practice, about three to four years? maybe. Something like that.
Oh, yes my opinion on the theory is that you leave it alone. Learn your theory elsewhere. From a theory teacher. Someone who does theory, arrangement or composition all the time.
Since I'm more than half way through book 2, today I started looking at book 3 to get an idea of whats in it.
Boy if I can get through that I will be amazed... Some of the classics in the back are just some awesome pieces.
I originally thought I could get through book 3 in a year, but know I need to expect it will take much longer. Thats ok because if I finish it, I will have accomplished more that I ever expected.
Well, I'm not much farther than last time, but I had mitigating circumstances! lol I will be resuming my lessons this Tuesday, so will, hopefully, get back into the book quickly.
As for timing, yes, I think this one will take a while to get thru well. But I also think the challenge will be worth it in the end.
i am officially done with level 3! i started level 1 in may of last year and i finished level 3 a few weeks ago. now i'm just working on whatever my teacher gives me:
turkish march chopin nocturne 20
things like that
i'm also writing music and scoring out songs, yeah.
Originally posted by the...: i am officially done with level 3! i started level 1 in may of last year and i finished level 3 a few weeks ago. now i'm just working on whatever my teacher gives me:
turkish march chopin nocturne 20
things like that
i'm also writing music and scoring out songs, yeah.
Congrats...thats a great accomplishment and at quick pace too
Congratulations! Good work! I really loved hearing that you're writing music and scoring songs. I think composition is so fun, creative, and valuable... there's nothing like hearing something in your head and being able to translate it onto the keyboard and the staff.
Mark,
Yup, Hanon will definitely get you in shape for Book 3! I think they're pretty cool, too. I like repetitive, organized things like that -- they appeal to my sense of order, I guess.
I was under the impression there was no CD available for that book. I looked, and never saw a book III for sale with a optional CD. I believe the publisher choose not to include a CD with the last book. Regardless, I found I did not need a recording. I believe a recording is helpful chiefly with complex pieces, pieces from which expression plays a major part. Few if any of the practice pieces in this series make a great demands on interpretation skills.
So, I got through book 2, and was ready to start book 3. But, I decided to go back and work through book 2 and pay close attention to the dynamic markings and get each tune up to speed. My goal is to polish tune enough that I wouldn't be shy about playing it for somebody.
There are a couple of songs in book 2 that I just don't like, so I may skip a couple of them. Book 3 is on order, but EST is moved up to April 1. I would love to find a teacher, but so far, my teacher selections have be disappointing. (There is a difference between a good musician and a good piano teacher!)
Mark, congrats, i think you will enjoy book 3 very much:)
irishmak, how are you liking book 3??
and does anyone know what happens after book 3?? do we do grow wings and can fly or something as i am really hoping something great happens when i am finished with it hehehehehe.
So far, book 3 is ok. Some pieces I certainly enjoy more than others. And I do like the extra theory stuff in the All in One book, since I do need to get up to speed on that stuff, too. Just got thru the diminished 7th chords theory stuff and am working on the Clementi Prelude. Will have to evaluate (after talking with my teacher) whether I want to tackle the Bach WTC Prelude that the book says you can after the Clementi (the Bach is in the Ambitious section at the back of the book). I will try to learn it at some point, but I am also working on some things outside the Alfred's book, so don't know how much more I want to pile on right now.
I believe, that, yes, after book 3, you do sprout wings....
Ok, so the beginning is the same. Super Special song I have to admit was less than enthusiastic for me- the title and the lyrics were kinda lame. But I enjoyed playing Calypso Rhumba. I still go back to that one now and then.
Well I'm on Fandango which is a very nice piece. I haven't been a fan of the Latin pieces but this one is a keeper...I added someone's U tube demo of it on the opening post in this thread...
Originally posted by Mark...: Well it took a while, offically started book 3 today. Still cleaning up the back end of book two...
Also the first anniversary with my teacher...
Mark, that is fantastic!
Also next week is my first anni. with my teach. I have 9 more songs left in book 2. Book 3 looks scary She has been great and I have really progressed with her. I want to get her some'n maybe a gift card to her favourite catalog....
Originally posted by the...: i am officially done with level 3! i started level 1 in may of last year and i finished level 3 a few weeks ago. now i'm just working on whatever my teacher gives me:
turkish march chopin nocturne 20
things like that
i'm also writing music and scoring out songs, yeah.
Originally posted by Mark...: [b] Well it took a while, offically started book 3 today. Still cleaning up the back end of book two...
Also the first anniversary with my teacher...
Mark, that is fantastic!
Also next week is my first anni. with my teach. I have 9 more songs left in book 2. Book 3 looks scary She has been great and I have really progressed with her. I want to get her some'n maybe a gift card to her favourite catalog....
Did you get your teach anything?...
is there a protocol to this... anyone? [/b]
Nothing for the anniversary, but a music book and a gift card for Christmas...
Originally posted by the...: [b] i am officially done with level 3! i started level 1 in may of last year and i finished level 3 a few weeks ago. now i'm just working on whatever my teacher gives me:
turkish march chopin nocturne 20
things like that
i'm also writing music and scoring out songs, yeah.
well good for you. only 1 post. um.... busy, huh [/b]
haha, i'm a lurker at heart. i do check the forum everyday, i just rarely post!
anyway, i'm working on
take five scott joplin's maple leaf rag the prelude in c minor from bach's well tempered clavier sonata pathetique (first movement) by beethoven
Have been in book 3 for about a month and find the book very enjoyable for the most part. I thought these larger pieces would slow me down but so far so good. When I hit Serenade from atring quartet I went into a panic. I thought my left hand deserterd me, butby practicing the Alberti bass I was able to over come that issue.
Book 3 pieces with comments so far:
A Super Special Sorta Song - ok, not a favorite. I call it a paying your dues type piece,,,
Calypso Rhumba - average, interesting
Fandango - Excellent, love this one. Sweet sounding...
Modern Sounds - OK, second part very nice.
Serenade - scary at first, lots of work. Very enjoyable and challenging piece.
A very Special day - written by Palmer who wrote the first piece, Average at best. I don't like this writers work.
A Classy Rag - very nice piece still working on...
Prelude in D Minor - listen to this magical sounding piece from a couple of U tube players:
A Super Special Sorta Song - I was not very fond of this one myself. But I got thru it.
Calypso Rhumba - I like this one. Still go back and play it now and again.
Fandango - This one I was not thrilled with. It was ok.
Modern Sounds - Kinda neat sounding.
Serenade - Yeah, this one was a bit tough. Then again, my Alberti bass leaves a lot to be desired!
A very Special day - I wasn't especially fond of this one but my teacher liked the way I played it.
A Classy Rag - I had a hard time getting a good idea what this was supposed to sound like, and that made it hard to figure out.
Prelude in D Minor - I really, really like this one! My teacher has me play it a bit slower than the YouTube videos, but it really is very pretty. I think this is going to be a keeper.
When we got to the Prelude, she said, "Oh yes, eventually we will be playing a lot of Clementi!" Yeah, I see it coming (from when daughter took piano- different teacher). Clementi Sonatinas are basic repertoire. And they are scary!!
And moving along:
Star Spangled Banner- Different arrangement of this one. Teacher says it's one of the most difficult in any of their books. I do not like the tremolos! Still struggling here.
Make Up Your Mind- Back and forth in Major and related minor. Not too difficult. Got thru it quickly.
Swan Lake- just barely started on this one. Slow going right now.
Hi guys - I'm closing in on the end of book 2 and would like to know: (1) what you think overall of book 3 and (2) what you plan to do after you're done with book 3.
Originally posted by JohnFrank: Hi guys - I'm closing in on the end of book 2 and would like to know: (1) what you think overall of book 3 and (2) what you plan to do after you're done with book 3.
Thanks, JF
The pieces for the most part are much better than book 2. If you have been reading my past posts I describe all the songs I've done so far.
As for after book 3 I'm not sure. I'd like to do more pop, blues, jazz, and rock stuff, but I'm going to let my teacher help me see where we go.
I have mixed feelings about book 3 - scared I guess. But then, that's how I felt about book 2 as I was ending book 1. Also I’m thinking of taking the summer off (I know its not advisable) to gallivant with the kids...
anyways... Mark I know this is weird - but, do you have a stop watch. I found that to be the only way I could build 'speed' - yes, I know I know thats what the metronome is for - but the 'nome never works for me when I am just learning a piece. that tick tick confuses me...
for ex. I am amazed I used to take :52 secs to play a :07sec measure.
maybe you could try the stop watch route...
Quote
Originally posted by Mark...: PS: I'm still cleaning up the back of book two. Trying to get Cannon under 6+ mins...
In general, I like Book 3. (I have the All In One edition, btw) Some pieces are better (IMO) than others. I'm sure some of what I like, others will not, and vice versa. But a big part of that is individual taste. If you have used the first 2 and basically enjoyed them and felt they helped you, then I don't think you will be disappointed in 3. The Ambitous section at the end of 3 is much more complex than anything at the end of 2, but that's to be expected, and hopefully you are ready for them as you get to them.
As for after that, I don't know. I don't want to concentrate completely on classical, and my teacher is pretty much classically trained. She is more than willing to look at anything I want to, tho, and we have worked on some jazz, new age, etc along the way. She does get a bit "fussy" about some of the "arrangements" of pop songs, tho. Can't say as I blame her- some of them are just bad. LOL I know she has some more Clementi up her sleeve for me. And I have a few books and sheets I've collected, so we should be good for while.
Let's see, I started book 3 in late July of '07. The furthest I am right now is page 45, of 141 pages. Tho I am still working on a couple earlier pages, also. I figure this one is going to take me over a year to get finished with.
Originally posted by IamElise: I have mixed feelings about book 3 - scared I guess. But then, that's how I felt about book 2 as I was ending book 1. Also I’m thinking of taking the summer off (I know its not advisable) to gallivant with the kids...
anyways... Mark I know this is weird - but, do you have a stop watch. I found that to be the only way I could build 'speed' - yes, I know I know thats what the metronome is for - but the 'nome never works for me when I am just learning a piece. that tick tick confuses me...
for ex. I am amazed I used to take :52 secs to play a :07sec measure.
maybe you could try the stop watch route...
Quote
Originally posted by Mark...: [b] PS: I'm still cleaning up the back of book two. Trying to get Cannon under 6+ mins...
[/b]
I use a stop watch to keep my piano log time and I use it for timing Canon. Never used it for other pieces. Funburger played Canon on U-tube in 3:33 and that gives me a goal time.
Mark, I started Book 3 about a month ago and have worked my way up to the Serenade, but I still have work to do on the Canon in Book 2. Since you seem to have mastered it I wonder if you could help me with the fingering on the last page where it says "Still Slower". My fourth finger after the triad is letting me down and I can't get it to play smoothly. Any suggestions?
Originally posted by OldFingers: Mark, I started Book 3 about a month ago and have worked my way up to the Serenade, but I still have work to do on the Canon in Book 2. Since you seem to have mastered it I wonder if you could help me with the fingering on the last page where it says "Still Slower". My fourth finger after the triad is letting me down and I can't get it to play smoothly. Any suggestions?
I haven't mastered Canon yet...
In regard to your question I use the suggested 531 fingering for the triad of ADF# but move in tight so the pinkie can hit the F# then the 4 is right over the E ready to be struck fairly easy.
If its a strength or control issue with the normally weak 4 finger you might need to do some exercises. But if you made it to book 3 I wouldn't think it would be an issue.
Hope this helps..
PS: with the Serenade make sure you practice the Alberti base a lot. It makes a world of difference...
Mark, it might be a strength issue. I don't recall having anything in book 2 that required use of the 4th finger in quite the same way. As it happens, I can only practice that section 2-3 times at a sitting as my wrist gets very tired. I'll try digging out an appropriate Hanon exercise. Do you use your arms to help you here?
The Alberti bass did not give me any problem. It seems that once I recognized the chords being used, I didn't have to read the LH and it moved along fairly easily. I am having some trouble with the 3 measures in the bottom line of page 1 though. It's a fair jump in the right hand and I don't have that going smoothly yet.
Originally posted by OldFingers: Mark, it might be a strength issue. I don't recall having anything in book 2 that required use of the 4th finger in quite the same way. As it happens, I can only practice that section 2-3 times at a sitting as my wrist gets very tired. I'll try digging out an appropriate Hanon exercise. Do you use your arms to help you here?
The Alberti bass did not give me any problem. It seems that once I recognized the chords being used, I didn't have to read the LH and it moved along fairly easily. I am having some trouble with the 3 measures in the bottom line of page 1 though. It's a fair jump in the right hand and I don't have that going smoothly yet.
Bob
That area of Canon hasn't been a problem. Do you bring your hand forward? You get more control that way.
I also need to work on the bottom of page one in Serenade.
Mark, my teacher solved my fingering problem by suggesting I use 1-2-4 on the triads. I know this is not cricket, but since I'm not preparing for the Royal Conservatory, what does it matter. Besides, at my age, I'm lucky that my fingers work at all.
Regarding Serenade, I was so focussed on getting the Alberti Bass that I was excessively heavy with my left hand. It turns out that this piece is a very nice exercise in balance, whereby the left hand is played much softer than the right. I find that difficult to do, but it makes the piece more interesting to play and it sounds much nicer.
Originally posted by OldFingers: Mark, my teacher solved my fingering problem by suggesting I use 1-2-4 on the triads. I know this is not cricket, but since I'm not preparing for the Royal Conservatory, what does it matter. Besides, at my age, I'm lucky that my fingers work at all.
Regarding Serenade, I was so focussed on getting the Alberti Bass that I was excessively heavy with my left hand. It turns out that this piece is a very nice exercise in balance, whereby the left hand is played much softer than the right. I find that difficult to do, but it makes the piece more interesting to play and it sounds much nicer.
My teacher say what ever works for you is a good thing.
I thought I meet a wall when I first started Serenade because of so much contrary left hand work, But after a while it started to come together. Haven't played it close to clean yet.
Now that I've been exposed to pieces like The Chopin Etude, Danny Boy, Canon and Serenade, I'm less inclined to want to spend my time and effort on those labelled "Just for Fun". Mark, since you and I seem to be the only remaining partcipants in this thread, I was wondering what your thoughts were with respect to the "Just for Fun" pieces.
Hey! I'm still here! Tho, I admit, not real good at posting a lot...
I've also been out of the Alfred's book for a bit again, and have gotten back into it the last few weeks.
As for the Just For Fun pieces, I haven't really found any (so far) that have caused me to want to work them to fully polished "perfection." So, while we don't skip them, they are ones that my teacher and I often agree are "good enough," and then let them go. I have to admit that the ones that get to me are often the distillations of orchestral works to a piano piece. Some (not all, of course) just don't condense well and it's very hard to hear anything in them. And I am a person who has to hear the - hmm, not sure what to call it? Melody?- in the music to be able to play it. Otherwise, it's all just random notes to me, and has no cohesion. Sometimes, if I listen to the original, it helps, but sometimes, it is so different from the piano reduction that it just isn't any better. And so I've been struggling with the Scherezade piece and the Unfinished Symphony in Alfred's 3. Scherezade is finally starting to come together, but that Symphony- eek! I have to admit that, right now, I am enjoying the supplemental pieces I am working on more than Alfred's.
Originally posted by OldFingers: Now that I've been exposed to pieces like The Chopin Etude, Danny Boy, Canon and Serenade, I'm less inclined to want to spend my time and effort on those labelled "Just for Fun". Mark, since you and I seem to be the only remaining partcipants in this thread, I was wondering what your thoughts were with respect to the "Just for Fun" pieces.
I haven't even tried the "Just for Fun" pieces. I so busy working on the regular book 3 stuff. Some are really tough...
Originally posted by IrishMak: Hey! I'm still here! Tho, I admit, not real good at posting a lot...
I've also been out of the Alfred's book for a bit again, and have gotten back into it the last few weeks.
As for the Just For Fun pieces, I haven't really found any (so far) that have caused me to want to work them to fully polished "perfection." So, while we don't skip them, they are ones that my teacher and I often agree are "good enough," and then let them go. I have to admit that the ones that get to me are often the distillations of orchestral works to a piano piece. Some (not all, of course) just don't condense well and it's very hard to hear anything in them. And I am a person who has to hear the - hmm, not sure what to call it? Melody?- in the music to be able to play it. Otherwise, it's all just random notes to me, and has no cohesion. Sometimes, if I listen to the original, it helps, but sometimes, it is so different from the piano reduction that it just isn't any better. And so I've been struggling with the Scherezade piece and the Unfinished Symphony in Alfred's 3. Scherezade is finally starting to come together, but that Symphony- eek! I have to admit that, right now, I am enjoying the supplemental pieces I am working on more than Alfred's.
I agree a piece has to have a sweet spot to my ear to fully get involved in it. Some book 3 pieces haven't done so, but many have.
I know why the Unfinished Symphony was unfininshed...
Mak, I'm sorry I forgot about you, but I'm glad my remark brought you out of the woodwork. Your comments made me feel a little guilty as I have been tempted to skip the "unofficial" pieces completely. I'm sure they must have some value, but I hate to invest a lot of time in something I don't like. At least in Book 2, the lessons were always couched in well-known pieces. I'm afraid I just don't care to learn Palmer's creations.
Do you, Mak and Mark, record your teacher playing the pieces you are working on. Perhaps I'm cheating by using my Zoom H2, but I couldn't practice without it.
Just to keep the record straight, I'm still working on Serenade trying to get the balance and timing right. I tend to speed up as I get into it. This week I've also started to work on the Prelude, skipping the Palmer pieces.
Originally posted by OldFingers: Mak, I'm sorry I forgot about you, but I'm glad my remark brought you out of the woodwork. Your comments made me feel a little guilty as I have been tempted to skip the "unofficial" pieces completely. I'm sure they must have some value, but I hate to invest a lot of time in something I don't like. At least in Book 2, the lessons were always couched in well-known pieces. I'm afraid I just don't care to learn Palmer's creations.
Do you, Mak and Mark, record your teacher playing the pieces you are working on. Perhaps I'm cheating by using my Zoom H2, but I couldn't practice without it.
Just to keep the record straight, I'm still working on Serenade trying to get the balance and timing right. I tend to speed up as I get into it. This week I've also started to work on the Prelude, skipping the Palmer pieces.
Bob
I don't record my teacher but she does play each piece. Especially one's that are very unfamiliar.
I agree with you about Palmer's pieces, those are not very interesting. I plow through them just enough to try to get some value out of them.
Prelude in D is excellent, check the video link of a gentleman playing on u-tube. Its on the opening post of this thread and a good example of what it should sound like...
I do not record my teacher playing, mainly because I have no easy way of doing so. No Zoom or anything like that.
If I am hesitant about one of Palmer's pieces in Alfred's, my teacher usually points out why it is there- even the Just For Fun pieces have some basis in the lessons that have gone before. Some do go back to much earlier things, but there is usually something. So we got thru them, but, as I said, many get tossed aside rather quickly. One thing they have done is help (a little, tiny bit) with my not being able to play something I can't "hear." Since these are originals, there is no recording I can look up (barring the occasional YouTube video) to help. And I guess that's one reason I will at least try them.
Mark- As for the Unfinished Symphony- this past week, when I was fighting those off-beats in the right hand and trying to fit the left hand dotted rhythms in there, my teacher said: "This is a hard piece because those rhythms are tricky to get right. That's probably why it's "unfinished." I replied: "Oh, so it was too hard for him, too??" LOL
Originally posted by IrishMak: I do not record my teacher playing, mainly because I have no easy way of doing so. No Zoom or anything like that.
Mark- As for the Unfinished Symphony- this past week, when I was fighting those off-beats in the right hand and trying to fit the left hand dotted rhythms in there, my teacher said: "This is a hard piece because those rhythms are tricky to get right. That's probably why it's "unfinished." I replied: "Oh, so it was too hard for him, too??" LOL
So true...lol
That piece is killing me and Steal Away looks like a bear too...
Mark, thanks for the pointer to the U-tube video. My teacher has been after me about getting my hands into the keys, almost pushing on the fallboard. Watching the video gave me a better understanding of what my teacher was getting at.
Did you try the Bach Prelude after the Prelude in D?
Mak, the great thing about the Zoom H2/H4 is that I just turn it on, point it at the piano and record. No fuss, no muss, not wasting any of my teacher's time with setup etc. I then edit the pieces using Audacity and use "The Amazing SlowDowner" to slow them down if it's too fast for me in the beginning. The combination is a nice set of tools for learning to play.
HI Oldfingers - those fingers can't be too old - you really took off in Book 2 & zoomed thru it and now I find you here deep in Book 3 - good for you - I'll be joining you one of these months, but by then you'll probably be off into bigger & better things
John Frank, well at 68, the fingers are pretty old, but thankfully, not yet too old to learn to play the piano.
I must say that what is happening to me is quite weird. I struggled for a couple of years trying to play from lead sheets, which, in retrospect, was not the right approach for me. Now that I'm into reading the notes and playing classical pieces, my fingers are responding surprisingly well. So far the only piece in Book 2 that I have not been able to play satisfactorily is the Canon as there is one measure on the last page that forces my 4th finger to do something it hasn't had to do before and the muscle is weak. But I keep working at it and it's getting better.
To be fair, with the lead sheet approach I spent a lot of time learning a very large number of chords which I used to practice by going around the circle over and over. I also played all the scales around the circle too so that I was developing some dexterity in my fingers. Although I don't exactly know why, I think this has probably been a big help in allowing me to progress as quickly as I have.
I continue to visit the Book 2 thread and notice that you are also progressing quite well. It won't be long before you are joining me, Mak and Mark. It will be great to have you along for the ride.
Well I spoke with my teacher at the end of practice and told her I felt I was falling behind and not playing some of the book 3 pieces as well as I liked and that I would like to go into a holding pattern and try to clean up everything up to where we are currently. We have been doing a piece a week for a long time and trying to get two pages down has been a struggle lately.
It's amazing when you add a piece a week how it just piles up...even with 2-3 hours of practice a day...
She thought that was a very good idea so after adding my new piece "Steal Away" we shall not move forward till I feel I have cleaned up everything. It's a great relief to take a break and concentrate on fine turning everything.
Mark - I think that's a real good idea for you - at several points I felt the same urge - ultimately I decided to do what I call "concurrent review", which means that I'm always moving forward on new pieces, but at the same time I'm reviewing (in depth ) one or two old pieces that I originally started say about 6 months before - as I move ahead with each new piece I also move ahead with an old piece or two, thus "polishing off" or "cleaning up" as I go trudging forward - of course, being retired I have the time to do this - you have 2 1/2 jobs?
Regards, JF
P.S. I may have some time this next week 1 or 2 new pieces from Book 2 for you to upload - will PM you when they're ready.
Originally posted by OldFingers: John Frank, well at 68, the fingers are pretty old, but thankfully, not yet too old to learn to play the piano.
I continue to visit the Book 2 thread and notice that you are also progressing quite well. It won't be long before you are joining me, Mak and Mark. It will be great to have you along for the ride.
Bob
I'm looking forward to it - both the challenge of new, interesting pieces and the excellent company of all three of you (and hopefully some others)
Originally posted by John Frank: Mark - I think that's a real good idea for you - at several points I felt the same urge - ultimately I decided to do what I call "concurrent review", which means that I'm always moving forward on new pieces, but at the same time I'm reviewing (in depth ) one or two old pieces that I originally started say about 6 months before - as I move ahead with each new piece I also move ahead with an old piece or two, thus "polishing off" or "cleaning up" as I go trudging forward - of course, being retired I have the time to do this - you have 2 1/2 jobs?
Regards, JF
P.S. I may have some time this next week 1 or 2 new pieces from Book 2 for you to upload - will PM you when they're ready.
The jobs do take up quite some time. Last week was a killer...Vacation time is coming.
Can I join in here? I'm currently working on the Serenade and the Classy Rag in Alfred 3. That Classy Rag thing may just be the death of me. I spent forever on it last night getting the fingering right in that second section.
Sure Fitswimmer - come on in - the water's fine (so to speak, given your name ) - I'm not working out of Book 3 yet, but hopefully will be soon, and am very interested in what those who are working there have to say about the pieces and their experiences.
Welcome. maybe one of the other "regulars" can give you a hint or tip on the fingering for Classy rag.
Originally posted by Fitswimmer: Can I join in here? I'm currently working on the Serenade and the Classy Rag in Alfred 3. That Classy Rag thing may just be the death of me. I spent forever on it last night getting the fingering right in that second section.
Join right in! And welcome.
Are you talking about the first repeat section in Classy Rag? Measure 5, I think it is? I found the right hand fingering pretty straightforward. The left is a bit jumpy. My teacher told me to try to "rock" the left hand back and forth, rather than pick it up fully and make a big move out of it. And "relax, relax"- yeah, easier said than done! Just go slowly and carefully at first.
It's the second line of the second page that got me...I'm at the office so I don't have it in front of me right now. It was the left hand though, I kept changing my notations as I found easier ways to do it!
Originally posted by Fitswimmer: Can I join in here? I'm currently working on the Serenade and the Classy Rag in Alfred 3. That Classy Rag thing may just be the death of me. I spent forever on it last night getting the fingering right in that second section.
Welcome! Yes its going to take forever for me to get the Classy Rag up to speed. And the worst part is the bottom of page two...
you're not kidding. It took me a while just to figure out how the darn thing ran.."I go where after I finish this line???" I know they only wanted to use 2 pages, but YIKES, there had to be a better way!
All those wacky "repeat, and go back to here" directions are the least of my issues with sight reading. (Hey, at least I can say I can read SOMETHING decently! LOL) I sang in a chorus for 18+ years and you ought to see what they put in some vocal music for direction, esp. in medleys, where the book is large enough without printing up all the repeats, etc. each time! Stuff that interpreted as "sing from the beginning to page 12, then go back to page 3, sing to page 7 and go to page 13 for the end" was not uncommon. You do get used to it eventually. Really. You do. <grin>
I know I'm setting a poor example here but I skipped "Classy Rag". Generally I don't like to spend my time on the non-attributed pieces unless I can see significant tutorial value. In this case it seemed to me that the diminished chords were the new item, so as penance for skipping the piece, I did the all the diminished chords going around the circle several times.
I have just about finished Serenade except for getting the accents right on the two-beat slurs. It is really enjoyable to play as the Alberti Bass moves right along. I'm also working on Special Day as I find it a good exercise in getting my fingers into the black keys. Having skipped the Classy Rag, I've taken on the Prelude in D Minor and in C major. Those two will probably take me to he end of this term.
Originally posted by OldFingers: I know I'm setting a poor example here but I skipped "Classy Rag". Generally I don't like to spend my time on the non-attributed pieces unless I can see significant tutorial value. In this case it seemed to me that the diminished chords were the new item, so as penance for skipping the piece, I did the all the diminished chords going around the circle several times.
I have just about finished Serenade except for getting the accents right on the two-beat slurs. It is really enjoyable to play as the Alberti Bass moves right along. I'm also working on Special Day as I find it a good exercise in getting my fingers into the black keys. Having skipped the Classy Rag, I've taken on the Prelude in D Minor and in C major. Those two will probably take me to he end of this term.
I'm finding it difficult to get Classy Rag up to speed. Maybe thats a learning concept in itself.
Prelude in D minor is one of my favorites. I'm getting very close to nailing it.
PS: I'm also having a great time with "Spooky Story" as lame as it sounds... Interesting piece...
Serenade- I hate Alberti bass! For some reason, my fingers just don't want to play it right. This one gets pulled out now and again, for the practice.
Speical Day- I rather liked this one and found it not too difficult. It got cleared pretty quickly.
Classy Rag- Never did get it completely up to speed, but it wasn't one that grabbed me so we let it slide.
Prelude in d- I like this one a lot, along with the rest of you. It gets played at least once a day. Someday, I may even be able to do it justice!
Star-Spangled Banner- Finally making some progress on this one. There were a few left hand moves that I just found very difficult to get smoothly, but it's starting to come along now.
Swan Lake- I liked this one, too. The repetitive bass line helped me get some good solid tempo work in.
Scheherazade- Triplets were tricky, but a lot of slow, steady practice got them reasonably decent.
Unfinished Symphony- Added the next section this week. Finally got the counting straight (I think!) and hope that helps progress.
Spooky Story- Cleared this one from the lesson list this week. It is fun to play! Love the sound way down there at the bass end of the keyboard. I'm now working on this one on my own, trying to get that "mysterious" sound consistent.
Steal Away- Just started this one, and I do think I am going to like it. Of course, I do like spirituals and I have sung this one, so it's somewhat familiar.
[b]Serenade- I hate Alberti bass! For some reason, my fingers just don't want to play it right. This one gets pulled out now and again, for the practice.
Speical Day- I rather liked this one and found it not too difficult. It got cleared pretty quickly.
Classy Rag- Never did get it completely up to speed, but it wasn't one that grabbed me so we let it slide.
Prelude in d- I like this one a lot, along with the rest of you. It gets played at least once a day. Someday, I may even be able to do it justice!
Star-Spangled Banner- Finally making some progress on this one. There were a few left hand moves that I just found very difficult to get smoothly, but it's starting to come along now.
Swan Lake- I liked this one, too. The repetitive bass line helped me get some good solid tempo work in.
Scheherazade- Triplets were tricky, but a lot of slow, steady practice got them reasonably decent.
Unfinished Symphony- Added the next section this week. Finally got the counting straight (I think!) and hope that helps progress.
Spooky Story- Cleared this one from the lesson list this week. It is fun to play! Love the sound way down there at the bass end of the keyboard. I'm now working on this one on my own, trying to get that "mysterious" sound consistent.
Steal Away- Just started this one, and I do think I am going to like it. Of course, I do like spirituals and I have sung this one, so it's somewhat familiar.
My progress report... [/b]
Wow! I'm at Steal Away too. At first I was intimidated by it, but have been working on it a lot. Very nice sound. Like it a lot also. This is where I'm going to stay in a holding pattern till I can clean up all the stuff you mentioned.
I'm still holding on the Serenade and the Rag. The Serenade is going pretty well, but I'm still struggling with that Rag. I'm also working on the Fur Elise in the Aaron book-my teacher likes to use multiple method books. It means that I get to skip some stuff in each one, which is kind of nice. I skipped Special Day in Alfred, but I will be doing the Prelude after I get the other two in better shape.
Would love to *hear* how you guys are doing with all these great sounding Book 3 pieces - anyone interested in recording and uploading their take on them to the OP here in the Book 3 thread? You are hereby strongly encouraged to do so.
If so, you are welcome to use the proceedure or "system" that Mark & I have been using to upload samples of pieces from Book 2, which is:
1. Record the piece; 2. upload it to your Box.net acct. (or other file sharing site); 3. Provide a link to it in the topic JF Uploads in the Just for the fun of it Forum, which we have been using for a number of the Book 2 uploads; 4. Mark then copies it over to the OP for the respective Alfred thread.
Originally posted by Fitswimmer: I'm still holding on the Serenade and the Rag. The Serenade is going pretty well, but I'm still struggling with that Rag. I'm also working on the Fur Elise in the Aaron book-my teacher likes to use multiple method books. It means that I get to skip some stuff in each one, which is kind of nice. I skipped Special Day in Alfred, but I will be doing the Prelude after I get the other two in better shape.
Since we are all struggling with the Rag, I'm not feeling too bad now...
Did you know the full version of Fur Elise is in the back of book 3? And skipping "Special Day" is no big deal.
JF, I uploaded an early take of Modern Sounds, but need to update it. I play it much better now.
I hope to record some book 3 stuff soon as well...
I'm kinda stuck on recording right now. Audacity does not seem to like working with my new laptop here. I can record, but as soon as I try to do anything else- play back, save, etc- it freezes up. The IT Dept. (read: hubby!) is looking into it, but a solution seems to be evading us for the moment.
Originally posted by Fitswimmer: [b] I'm still holding on the Serenade and the Rag. The Serenade is going pretty well, but I'm still struggling with that Rag. I'm also working on the Fur Elise in the Aaron book-my teacher likes to use multiple method books. It means that I get to skip some stuff in each one, which is kind of nice. I skipped Special Day in Alfred, but I will be doing the Prelude after I get the other two in better shape.
Since we are all struggling with the Rag, I'm not feeling too bad now...
Did you know the full version of Fur Elise is in the back of book 3? And skipping "Special Day" is no big deal.
JF, I uploaded an early take of Modern Sounds, but need to update it. I play it much better now.
I hope to record some book 3 stuff soon as well... [/b]
I saw that! I'm looking forward to getting to it because then I can add the rest of it to the part I already know!
I have to decide if I'm going to pony up for a Zoom or something to record my playing. I was considering getting a digital keyboard to plug into my Mac, but I don't know if that will be as effective as just getting the recorder.
Originally posted by Fitswimmer: [b] I'm still holding on the Serenade and the Rag. The Serenade is going pretty well, but I'm still struggling with that Rag. I'm also working on the Fur Elise in the Aaron book-my teacher likes to use multiple method books. It means that I get to skip some stuff in each one, which is kind of nice. I skipped Special Day in Alfred, but I will be doing the Prelude after I get the other two in better shape.
Since we are all struggling with the Rag, I'm not feeling too bad now...
Did you know the full version of Fur Elise is in the back of book 3? And skipping "Special Day" is no big deal.
JF, I uploaded an early take of Modern Sounds, but need to update it. I play it much better now.
I hope to record some book 3 stuff soon as well... [/b]
I saw that! I'm looking forward to getting to it because then I can add the rest of it to the part I already know!
I have to decide if I'm going to pony up for a Zoom or something to record my playing. I was considering getting a digital keyboard to plug into my Mac, but I don't know if that will be as effective as just getting the recorder. [/b]
Unless you have a need for a digital, the recorder should be cheaper.
OK, you have all made me feel a little guilty so I hacked my way through Classy Rag a few times, but I am still not motivated enough to work at it. Please don't drum me out of the Book 3 club.
JF, I think your suggestion that we record some of our pieces is a good one. Here we all are breezing through Book 3 and you're probably thinking we'll all full of hot air. It's worth getting us calibrated. I once threatened to record Danny Boy, and I will after my piano is tuned next week. It hasn't been tuned in almost a year as I've been messing around filling my room with acoustic panels to try to quiet it down. They do work marvels, but now the mis-tuning is killing me.
Did no one take the option of going to the Prelude in C Major? If not, why not? I'm going to spend some time on this one because I like the chords although I haven't figured them all out yet.
I've slowed down a bit on Prelude in D as I don't have a good feeling for all the finger positions, and I refuse to look at the keyboard.
Fits, definitely get a Zoom. I have the H2 and I love it. I get my teacher to play the Book 3 pieces for me which is a huge help in getting the musicality of the pieces.
I agree about the "breezing thru" comment. I never wanted or expected anyone to take my posts as meaning I am running thru book 3 at a fantastic pace. I am not. I have dropped many of the pieces before polishing them to "performance" quality. But I do think I have learned something from all of them. There are many that, even if I could record, I would not, because they just simply would not be worth listening to.
Did no one take the option of going to the Prelude in C Major? If not, why not? I'm going to spend some time on this one because I like the chords although I haven't figured them all out yet.
I have played through it. But I've worked on it years ago when my son was taking lessons. It's a very nice piece, I'm also very closes to getting prelude in D completed. I really want to record that one.
Don't feel bad about the Classy Rag. I may never get it to speed either...
Originally posted by IrishMak: I agree about the "breezing thru" comment. I never wanted or expected anyone to take my posts as meaning I am running thru book 3 at a fantastic pace. I am not. I have dropped many of the pieces before polishing them to "performance" quality. But I do think I have learned something from all of them. There are many that, even if I could record, I would not, because they just simply would not be worth listening to.
Count me as there too. In fact I recently told my teacher we need to stop at Steal Away because I'm falling behind and need time to get some pieces cleaned up. And there are a few I might just play though and never polish.
Hech, I'm still working on Canon and a few other book 2 pieces...
I must confess, I am still working on the last page of Canon. That 4th finger of mine was killing my timing until I realized I had to lift my hands. What a difference!
The "breezing" comment was a little flip and I apologize if I gave the wrong impression. On thinking about it, I realized that I'm on page 36 because I already knew the theory from my lead-sheet days and I've skipped 2-3 pieces. But I'm slowing down now because of new fingering configurations.
Mark, do you remember the speed at which you played the Prelude in C Major?
Ah, JF, you are a real optimist. You might live to regret your suggestion.
Mark, thanks for the recordings. My speed is more like the second example, except that I still make a lot of mistakes. Your left hand seems to be a lot more confident than mine is. I'm still guessing at some of the positions.
Originally posted by OldFingers: Mark, thanks for the recordings. My speed is more like the second example, except that I still make a lot of mistakes. Your left hand seems to be a lot more confident than mine is. I'm still guessing at some of the positions.
Bob
Those recording weren't actually me. Just examples. I did play something like the second one a while ago. Looking forward to tackling it again. Also I see nothing wrong with the slower speed. I like it better in fact.
Fitswimmer, I feel the same way about the Unfinished Symphony piece! It still sounds so measured and mechanical, but if I don't count very, very precisely and slowly, I get lost immediately! My teacher says the first page is "getting better," but I'm not entirely convinced!
IrishMak, I'm just starting The Unfinished Symphony. Thanks for the tip to count it out carefully.
I've finished my lessons for this year but hope to keep going in Book 3, but I probably won't get very far without my teacher.
Sometime ago John Frank asked us for some recordings and I've been trying to do Danny Boy, but I'm suffering the Red Dot fever. It's the first time I've tried to record my playing and it was a very good lesson because I realized that I was making mistakes but just sloughed them off. I'm going beyond cyberspace for awhile, but I hope to get at least one recording done before I'm gone.
Originally posted by Fitswimmer: I have conquered you, Classy Rag!! You did not beat me-although you tried. I have mastered your tricky passages and repeats!
After this pause for rejoicing...I get to start polishing the dynamics, but boy it feels good right now.
Congrats...its a tough one. I hit it everyday waiting for it to come to speed...
I'm still trying to straighten out the last couple lines of Come Back to Sorrento in Alfred's. And working a couple pieces in the Romantic Impressions first book, and one in a Jazz, Rags and Blues book. I will never, never be a blues player, I am afraid!
Originally posted by IrishMak: You're getting ahead of me again! LOL
I'm still trying to straighten out the last couple lines of Come Back to Sorrento in Alfred's. And working a couple pieces in the Romantic Impressions first book, and one in a Jazz, Rags and Blues book. I will never, never be a blues player, I am afraid!
It's not that I perfected the previous pieces. But when I get a piece close, we move to the next piece while I still clean up the older stuff. Eventually the older stuff gets finished...
But I think you will just love "An American Hymn"...
Hi everyone! I have just started in this forum and have just started Alfred's Adult book #3 and I am just loving it! There are easy pieces that are a bit rhythmic and Iam still learning to play music at a faster tempo when needed. My question to you is this: When finished with the Book 3- would it be easier" to go with classical or pop or is it at the musician/instructor's discretion? Thank you
Hi everyone! I have just started in this forum and have just started Alfred's Adult book #3 and I am just loving it! There are easy pieces that are a bit rhythmic and Iam still learning to play music at a faster tempo when needed. My question to you is this: When finished with the Book 3- would it be easier" to go with classical or pop or is it at the musician/instructor's discretion? Thank you
piano4, well my teacher started me on the john thompsons grade 3. i just started it so i cant give much information on it. seems challenging enough though:) i am still working on the chopin piece and the moonlight sonata at the end of alfreds 3 though. maybe i will get some practice in so i can pass them soon:) i am guessing when you are done with alfreds 3 you should ask your teacher what happens then?? find out what you want to do etc. and see which way you want to go.
I started this book a while ago..... I'm only on Calypso Rhumba though. I will actually be giving up this book for a while to work on my Royal Conservatory grade 4. I'm doing the exam this summer. I've just returned to lessons after having my second child.
John Thompson reminds me of the Helen Curtis series. It's not like the modern methods with chords and simple arrangements. These courses are more difficult and move quite a bit faster.
Welcome to the challenge Funburger. It's a whole new ball game.
I used JT as a kid, went through 1 & most of 2. I had three and picked up the first piece for the fun of it. (must have had just as weird a sense of fun then as I do now.)
Nobody Knows the Trouble I've Seen - WITH CROSS HAND PLAYING!
I loved that arrangement! I thought it was so much fun and I was doing it on my own. The other pieces I remember playing for myself was I'd Like to Teach the World To Sing and I had a couple of books of classical pieces by some composers I don't remember any more and I loved to play the first pieces in that set.
I didn't really practice for my lessons. I didn't really enjoy my teacher, but if I could have harnessed what I found in those few pieces - that might have made such a difference.
Unfortunately, I quit piano lessons to go to a private high school and the homework load was so heavy that I never picked it back up.
I'm looking through Book 3, and I've been playing a fair number of the pieces in there already - Bach Mussette, Schumann Melody, Clementi Sonatina 36.1 (first movement), and I just finished Bach's Prelude in C (from the little preludes).
The motto on the cover of JT's books is "Something New Every Lesson." It should be 20 things new every lesson!
Ask your teacher about the Robert D Vandall Complete Preludes. That would be a perfect set of pieces in every key for the level of JT 3.
Originally posted by funburger: piano4, well my teacher started me on the john thompsons grade 3. i just started it so i cant give much information on it. seems challenging enough though:) i am still working on the chopin piece and the moonlight sonata at the end of alfreds 3 though. maybe i will get some practice in so i can pass them soon:) i am guessing when you are done with alfreds 3 you should ask your teacher what happens then?? find out what you want to do etc. and see which way you want to go.
I've been working in 3 different series-Aaron 3, JT3 and Alfred 3. Out of the 3 of them, I would say that JT3 is the most challenging. I do love some of the pieces though-particularly Dona Nobis Pacem.
Well, I'm feeling "Super Special" this week as I finally started book 3. Like others, I'm still finishing up on Canon from book 2. I was wondering how your teachers are using the "just for fun" section...are you just going through the book consecutively or do you jump around from the "regular" pieces to the "fun" and some of the more difficult pieces in the back of the book? My teacher has never had an adult make it to book 3 (patting myself on back)and she hasn't really looked through the book, just opened it and started me on the first song, so I am curious about other teachers' methods...
Originally posted by mamawatchman: Well, I'm feeling "Super Special" this week as I finally started book 3. Like others, I'm still finishing up on Canon from book 2. I was wondering how your teachers are using the "just for fun" section...are you just going through the book consecutively or do you jump around from the "regular" pieces to the "fun" and some of the more difficult pieces in the back of the book? My teacher has never had an adult make it to book 3 (patting myself on back)and she hasn't really looked through the book, just opened it and started me on the first song, so I am curious about other teachers' methods...
Char
I've glanced at the "Just for Fun" section, but have too busy with the regular stuff. My guess is when we reach the just for fun area. We will just go right through it to the "Ambisious (sp) section"
PS: You will really like many of the pieces in book 3. There are a few "dogs" but for the most part very enjoyable...
We've been playing the Just For Fun pieces as they show up in the book, but not skipping to the Ambitious stuff yet. Holding on to that till we get thru the book, then she will let me pick what I want, or move on to something else. I know she's got Clementi sonatinas hiding up her sleeve somewhere!
Originally posted by IrishMak: We've been playing the Just For Fun pieces as they show up in the book, but not skipping to the Ambitious stuff yet. Holding on to that till we get thru the book, then she will let me pick what I want, or move on to something else. I know she's got Clementi sonatinas hiding up her sleeve somewhere!
I've already been working on OP 36 No. 1 for what seems like ages. I have to admit, I sort of feel like I'm close to getting it down (how's that for being vague?), but of course it always falls apart when I try to play it for her. You'd think that after over two years with her I would lose the jitters whenever I play!
Thank You, Funburger for your insight. I have a ways to go, particularly with this Alfred book#3. The Serenade is a bit tricky, but I'll learn it
And to reply to the others within this group, my instructor looked at the book but we haven't chosen any thing in particular. She told me that we weren't going to do all of the pieces but i know we will be doing some of the "ambitious" ones!
Originally posted by John Frank: OK guys - I'm on the next to last piece in Book 2 - so, what are the best pieces to look forward to in 3?
Regards, JF
I like so far:
Fandago Prelude in D Swan Lake Scheherazade Spooky story Steal Away Come back to Sorrento An American Hymn...outstanding btw Adagio in A Major...also outstanding Blue Rondo
I'm just beginning into book 3 and have gotten through the first piece and am now working on Serenade from String Quartet,m Op3, No5. I'll be on this for another week! There's some good works in this book!
Mark - what's so outstanding about "An American Hymn" - melody? Chordal accompaniment? Total arrangement? Can you be a little more detailed or specific? I've been playing alot of hymns over the last couple of years as a supplement to Book 2, and was just curious. Thanks & regards, JF
Originally posted by John Frank: Mark - what's so outstanding about "An American Hymn" - melody? Chordal accompaniment? Total arrangement? Can you be a little more detailed or specific? I've been playing alot of hymns over the last couple of years as a supplement to Book 2, and was just curious. Thanks & regards, JF
I guess I have to say the way it sounds. It just has a mellow moving feel to it that I just love. It also just flows well from your hands when you play it. Same as the piece after it (Adagio in A Major) thats in the same key and somewhat similar in design...
PS: I played these pieces on a Yamaha S recently and I was just floored by how they sounded...
Hello all. I am so happy to have found this forum! Here's a little about my piano history: I took lessons for a time as a child, but never made any significant progress due to lack of motivation and unwillingness to practice. I don't recall a single piece I actually played, but do remember time spent on scales and arpeggios. My teacher was adamant about not hearing nails click on the piano keys and kept scissors close by with which she would trim my nails painfully short. Needless to say, this dampened my enthusiasm. Anyway, I have now been taking lessons for what will be two years this October. I started in the Adult Piano Adventures series by Faber and really liked it. Unfortunately, there was no book three so my teacher swithced me to Alfred. I have also done a few additional pieces. This week I am finishing up on Souvenirs d'Enfance best known as performed by Richard Clayderman. I am starting the scales section in Hanon and am on An American Hymn in Alfred. I have jumped around some and not done every piece in order. I look forward to sharing my progress and keeping up with yours in this forum!
Originally posted by snowyday: Hello all. I started in the Adult Piano Adventures series by Faber and really liked it. Unfortunately, there was no book three so my teacher swithced me to Alfred. I have also done a few additional pieces. This week I am finishing up on Souvenirs d'Enfance best known as performed by Richard Clayderman. I am starting the scales section in Hanon and am on An American Hymn in Alfred. I have jumped around some and not done every piece in order. I look forward to sharing my progress and keeping up with yours in this forum!
welcome, American hymn is one of my favorites in Alfred three...
Welcome,Snowyday! I am so happy that you got back into enjoying playing the piano! I remember getting yelled at (once) and vowed I wouldn't touch a keyboard ever. But your experiences were really bad too! I am just finishing up Serenade from String Quartet, so I have a ways to go in Alfred 3. Take care!
Here's one! i've just been away from the computer since I am on one at work for 8-10 hours. Still working on Serenade and sight reading the next one, which i don't have in front of me right now!
piano4 & Mak - good to know you're still here - just got done with a major remodeling project at my house so I'm well aware of how one's practice schedule can be interrupted - had to move my piano from the downstairs "fireplace room" to my upstairs den - it's a digital and, of course, there's no difference in sound when using the headphones, but a big difference when using the built-in speakers - about to finish up Book 2 (currently working on the Canon in D melodic variations) and should be starting Book 3 soon (after some brief review of select Book 2 pieces) - loking forward to joining y'all here!
We are hoping to get it done this weekend. Actually, we have to- company coming next weekend! And it appears we are also going to be "babysitting" Daughter #1's Bearded Dragon while they go away for a few days. And his tank has to go in the room with all the "stuff" in it!
Wow! there's a lot of busyiness' keeping us away from the piano. I should be on mine for a least 15 minutes ( which is very, very low for me) but it's after 10PM and even though I'm a bit tired, that always perks me up! Besides that, i've got guests coming on Sunday, so I have to practice!!!
To both IrishMak and JohnFrank, I love your quotations! Especially the lemon one. I could use a few to throw today!!!!
Originally posted by IrishMak: And it appears we are also going to be "babysitting" Daughter #1's Bearded Dragon while they go away for a few days. And his tank has to go in the room with all the "stuff" in it!
Bearded Dragon? Tank? Can we safely assume that a Bearded Dragon is some sort of exotic tropical fish?
A "beardie" is actually a lizard. Think desert, horned toad type rather than tropical, igauna type. Like this:
I'm actually the one who has the fish tanks. 4, now- ok one has no fish in it at the moment, just plants. Nothing really exotic, tho. And the rack with the 55, 20 and 10 gallon tanks is going to have to move so we can do the floor. That's going to be a project.
Thank you for welcoming me. I have completed American Hymn and hope to finish Adagio in A Major at this week's lesson. I enjoyed working on the Clayderman piece Souvenirs d'Enfance. If interested, I can give you info re: obtaining the sheet music.
I read the comment by Mamawatchman on page 6 with amusement since I suffer from the same anxieties. Even though I am always well-practiced, I still fall apart at lessons. I think part of the problem is that I have difficulty transitioning from my digital piano at home to a grand piano.
Anyway, here are a few general questions for all--How long are your lessons? How much time do you spend practicing each day? How much memorization do you do?
snowyday - glad to hear you're moving so well thru Book 3 - keep up the good work!
I don't have "lessons" (except what I give myself since I self-teach) - I usually practice in 2 or 3 separate sessions each day (each session devoted to different music sources) totalling roughly 3-4 hours - I memorize every piece I study (the Canon in D at the end of Book 2 being the longest I've attempted to memorize so far).
Hi snowyday! My lessons are 30-45 minutes each week, except forthepast two( my instructor was recouperating from surgery). I try to practice for two to three hours each day, a bit at work and the majority at home. And the most difficult piece I have tried to memorize has been ( like John Frank), Canon in D at the end of book 2. I find that if I don't go back to a particular piece, that I have to relearn it! I am also trying to memorize "Serenade in book 3 because I am planning on playing these two pieces for a group in November. take care, Karen
My lessons are 30 minutes each week. I do my best to get in about 2 hours practice a day, some days less if things get in the way, as they are wont to do. I really don't try to actively memorize things now. I find that, after a while, I have most of the pieces I play regularly "memorized" to the point that the music is just a reference. I'm not really reading note for note anymore, but I still need it there.
Originally posted by IrishMak: I find that, after a while, I have most of the pieces I play regularly "memorized" to the point that the music is just a reference. I'm not really reading note for note anymore, but I still need it there.
Funny you mention this. I'm the same way. It's like a cross between memory playing and sight reading but can't do either by themselves.
I don't try to memorize any more. I have one piece that I can play from memory. Make that: one piece that I must play from memory. When I did memorize it (and it was not a conscious decision to do so), it was purely muscle memory. I have no idea what notes I am playing, and if I try to think about it, I can't play the piece at all. If I pull out the music, that just completely messes me up, because I now have to stop and read the notes again. It's hard to explain. So I don't even try to memorize now, because I don't want to lose the small bit of reading ability I have acquired.
Originally posted by IrishMak: I don't try to memorize any more. I have one piece that I can play from memory. Make that: one piece that I must play from memory. When I did memorize it (and it was not a conscious decision to do so), it was purely muscle memory. I have no idea what notes I am playing, and if I try to think about it, I can't play the piece at all. If I pull out the music, that just completely messes me up, because I now have to stop and read the notes again. It's hard to explain. So I don't even try to memorize now, because I don't want to lose the small bit of reading ability I have acquired.
On pieces you play often with the sheet music, do you read individual notes or use it as a guide in general? That seems to be the way I do it. Not sure if this is proper or not.
The All in one Adult book 2 has this little Irish one that is so easy to memorize. It's called the magic piper. I inadvertently memorized it almost immediately and it's a really neat tune.
I'm going to play it every other day to keep it as part of my repertoire. As a matter of fact someone has it recorded on youtube. take a listen it's so nice and very easy to memorize.
I used to not be able to memorize until my teacher had me memorize a little waltz in order to have something memorized if someone asked me to play.
It's become easier and easier by doing small parts at one time while learning to play it. If you play it alot and start to look away from the sheet music on the easy sections, pretty soon you'll learn the next section and so on and so forth.
Originally posted by Mark...: On pieces you play often with the sheet music, do you read individual notes or use it as a guide in general? That seems to be the way I do it. Not sure if this is proper or not.
I prettu much just use the music as a guide. At least, I am not consciously thinking "C-E-G" or whatever. I just look at it and "know" what to play. Which is, I guess, a kind of memorization.
I used to not be able to memorize until my teacher had me memorize a little waltz in order to have something memorized if someone asked me to play.
It's become easier and easier by doing small parts at one time while learning to play it. If you play it alot and start to look away from the sheet music on the easy sections, pretty soon you'll learn the next section and so on and so forth.
Yes, that's the key - constant repetition - if you practice a piece long enough and hard enough (especially by dividing it up into sections) sooner or later you have it mostly or totally memorized, That's how it happens with me anyway.
Regards, JF
OG - I commented in your recently initiated thread about improvement.
There are a lot of good points here. I am getting away (somewhat) from looking at the notes, trying to figure out what the individual notes are and am trying to read them as one. I am also finding out that what JF has said, constant repetition" That is so true!
I finished the Serenade from String Quartet! Now I'm moving on to "A Special Day" which is rather pretty! I may add this on to play for the senior group in November.
Mark, where is the original thread for your piano?? I think its simply beautiful. I love the way its setup in your home. When do we get a recording of it now?? congratulations on a wonderful purchase!!
Nice piano, Mark! I'm sure you will thoroughly enjoy playing it!
On the lesson side of things, we are skipping "Laredo" in the Alfred's 3 book. I tried, and can't get a thing to even like about it, nevermind to sound like any sort of music. My teacher played a few measures and said that she has never really liked it, either, so let's just take a pass on this one. No sense in playing something I don't like at all. But "Shenandoah" is beautiful and the "Jazz Ostinato" piece is going to be fun, I think, once I get that left hand part down cold.
Other than that, "Jingle Bells" is starting to pick up speed a bit, and we figured out a new left hand for "Joy to the World." The book I am using ( Jazz, Rags and Blues Christmas )has this left hand part in one section that honestly sounds like it should be in a cowboy song, not JTTW. Even my husband thinks so. And I just could not get it to sound right to my ears, so we figured out a "better" way to do it. I will have to practice some to get it down, but I think it's going to go much better now.
And I started learning "Angel" by Sarah McLachlin.
And I will be out of town for 6 days, starting next Wednesday, so I have no idea when I am going to get all this stuff practiced! LOL
Congratulations on your new piano, Mark! It is gorgeous! I must admit I am jealous.
I have been moving around quite a bit in the book. Since my last post I completed Shenandoah and Laredo. Right now I am working on Moonlight Sonata and King Williams's March. Moonlight Sonata is VERY challenging! Has anybody here attempted it? I am struggling, but determined to stick with it.
After reading through a few pages of this thread it doesn't appear that I have the same Alfred's level 3 book that you all are working from. I will be beginning in a few weeks Level 3 of Alfred's basic piano library. First song is called Goodbye Old Paint. Is anyone using this book? This is what my teacher gave me. Actually my first two books were Alfreds Chord Approach from the basic piano library series.
I've found out that there are quite a few of the Alfred's series. On the back cover of your book, should list (it looks like a flowchart), the different series. Some include recital,theory, " all in one". The one I have is Level three Adult and it has some challenging and good ones. Hope this helps!
Hey John Frank - WRONG, mine, mine mine all mine!!!!! Nov 2007, you 2008. 670 posts since February, man when do you practice? Best wishes fellow Pennsylvanian!
Originally posted by keycrazy: Hey John Frank - WRONG, mine, mine mine all mine!!!!! Nov 2007, you 2008.
I stand corected - you beat me by time, but I've given it a better workout! And I'm not changing :p (who is that avatar anyway - John Wilkes Booth, Jesse James or someone else equally evil?
Quote
670 posts since February, man when do you practice? Best wishes fellow Pennsylvanian!
Good luck with your continuing progress! I couldn't believe it either when I got into book 3, now I'm wondering if there is a 4!! Just kidding! take care!
JF, when you get into Book 3 you will see that Moonlight Sonata is on the last four pages in the "Ambitious" section. I have been slogging my why through it for about four weeks now.
Originally posted by snowyday: JF, when you get into Book 3 you will see that Moonlight Sonata is on the last four pages in the "Ambitious" section. I have been slogging my why through it for about four weeks now.
Yes, I've seen it there - will probably be 1 1/2 years (or more) before I get to it in my studies - but keep "slogging" (as you say) - you'll master it eventually - the slogging will turn to cruising thru it almost effortlessly (sounds good, huh?) - it's a piece that's worth the extra effort - keep after it!
Well, I'm polishing up "Super Special Sorta Song" or whatever it's called for the upcoming two weeks, as I won't have my lesson next week. It was assigned to me last week but it's definitely not polished enough. Also, my teacher wanted to skip "Calypso Rhumba" so we went straight to "Fandango".
Of course I'm working on Hymns and Christmas pieces too not related to Book 3.
I have an Alfred's Level 3 Christmas book from last year and stuggled with it. It was too advanced for me at the time. I'm using it again this year and having better success. I've been working on Christmas items since late August.
Off the top of my head, here are some of the pieces I've worked on from this book
Frosty the Snow Man I'll be Home for Christmas Silver Bells and I think two other pices that I can't think of right now.
The Sacred Book, Level 2 is the supplemental book I just finished with - I was using it all along as a companion to Alfred 2! (see one of my most recent posts in the Alfred 2 thread) - I've recorded 2 Hymns from it in recent Piano Bars. There is alot of great stuff in there - very nicely arranged hymns! There are also some nicely arranged Hymns in the Level 1 Sacred Book, which I also worked my way thru.
I will start work in Book 3 on Monday. I'm also working on some Christmas pieces myself - intermediate level pieces from a volume titled "The Big Book of Christmas Carols" - I may put 3 of them together into a medley and record it for the upcoming Recital (#12 on 11/15).
HI all, JF, as soon as I put up my webcam and actually learn how to connect my laptop to my clavinova, I'll be doing recital. I did read how to connect, but my piano is five years old and I stlll haven't read all of the manual(s). Anyhow, I am getting through the "Star-Spangled Banner" and my instructor has started me with just the first page of "Toccata in D Minor". I'm excited about this and I know I'll probably be pulling my hair out (but guess what, I still just LUV A CHALLENGE (smile). Wish luck me all:-)
Piano4 - which model Clavinova do you use? - mine is the CVP-301- I read the manual to mine, but it took awhile & I still don't understand fully some of the features - but it's a beautiful instrument with a surprising good sound I start Book 3 tomorrow (Monday, 10/27).
Started Book 3 today - working on "A Super-Special Sorta Song!", which is not all that super-special. It's not too bad musically but the lyrics are right out of Sesame Street (not that there's anything wrong with that):
"Light and easy, play it bright and breezy. And this super-special song will make you smile like 'Mona Leezy'."
So bad it's good (in a goofy sort of way).
Not sure at this point whether - as I did for Books 1 & 2 - I will work on all the pieces in Book 3 (if only because they're in there & I'll be able to say I did), or whether I'll just concentrate on the more musically interesting and technically challenging pieces - we'll see.
Also continuing my review of select Book 2 pieces - currently bearing down again on "Waltz in G Minor" from near the end. Good piece - deserves to be played well.
Hi JF, yes, that "super special song" is a bit dorky, but, not bad. My clavinova is CVP-700 and I have some how misplaced the blessed(!) extremely large manual!! But i do have the step-by-step picture diagram. It's in my living room and i"ll find it before the evening is over!
My instructor is looking at other pieces in book 3 and that's why she chose the Bach piece for me to learn. I have the first measure. It'll take me a bit! Thanks!
Super Special Sorta Song hasn't done much for me either. I guess that's why I didn't put in the effort the first week of working on it. So I have it until Thursday I hope.
I think my teacher will have me skipping some of the pieces in the book. We have already skipped one piece.
i found the manual! I know that Ican record on a regular 2.5 computer disc( that's how I record my practice) however, my computer only does CDs. I know there's a way!
yes, there are some good pieces in book 3. Have fun!
JF, congratulations on making it to Book 3! I am still working on Moonlight Sonata, but it is going better now. I have a working familiarity with all four pages, but LOTS of work left to do on the dynmamics.
snowyday - thanks for the congrats! And glad to hear you're making some progress on the "Moonlight" - I looked ahead and checked out the music and I'm impressed that you're doing well with this complex piece - can't imagine myself tackling this at this point - need to work my way thru Book 3 alot longer & farther - good luck - hope to hear your rendition in a Recital or Monthly Piano Bar someday soon.
I've reconnected with cyberspace and couldn't wait to check in to see how the Alfred Level Threes were doing. Congratulations to Mark for his new piano. I particularly envy his nice high ceiling. My RX-3 is still giving me problems in my low-ceiling music room, regardless of the amount of acoustic treatment I give it. I'm thinking about going digital.
It's good to see that John Frank has joined the group, as his enthusiasm is definitely contagious.
During the summer I continued to work through the Alfred book, but must admit to progressing at a much slower pace as I find it takes me much longer to extract all of the information in each piece. It was also harder not having my teacher to guide me. At the moment I'm trying to make "Steal Away" more musical. I was concentrating so hard on counting the timing that it came out being very mechanical. Now my teacher wants me to loosen up and put some expression in it. I'm also trying to get the 1/16-note timing right on "Trumpet Tune". It seems that playing the piano is timing, timing, timing,...
With respect to an earlier post, I admit to skipping the "Just for Fun" pieces, as I'm more interested in spending my time on material that requires that I learn new things.
Anyway, JF, I saw your post and wanted to welcome you to the next level. I still play the Etude from Level 2 while having Jo Stafford's "No Other Love" in my head. That was a great tip you gave me.
Originally posted by OldFingers: I've reconnected with cyberspace and couldn't wait to check in to see how the Alfred Level Threes were doing. Congratulations to Mark for his new piano. I particularly envy his nice high ceiling. My RX-3 is still giving me problems in my low-ceiling music room, regardless of the amount of acoustic treatment I give it. I'm thinking about going digital.
It's good to see that John Frank has joined the group, as his enthusiasm is definitely contagious.
During the summer I continued to work through the Alfred book, but must admit to progressing at a much slower pace as I find it takes me much longer to extract all of the information in each piece. It was also harder not having my teacher to guide me. At the moment I'm trying to make "Steal Away" more musical. I was concentrating so hard on counting the timing that it came out being very mechanical. Now my teacher wants me to loosen up and put some expression in it. I'm also trying to get the 1/16-note timing right on "Trumpet Tune". It seems that playing the piano is timing, timing, timing,...
With respect to an earlier post, I admit to skipping the "Just for Fun" pieces, as I'm more interested in spending my time on material that requires that I learn new things.
Anyway, JF, I saw your post and wanted to welcome you to the next level. I still play the Etude from Level 2 while having Jo Stafford's "No Other Love" in my head. That was a great tip you gave me.
Bob
Good to hear from you Bob. I think book 3 could be a life's work. My teacher had me skip the "Just for Fun" pieces also. She didn't care for them. As for timing, its my biggest problem. I tend to play by feel more than counting. I'm doing a lot of side work to fix that problem.
I'm playing and cleaning up many of the book 3 pieces and working on a couple in the "Ambitious Section"
Thanks for the kind words on the piano.
Keep in touch, or I'll make JohnFrank come and get you...
Originally posted by OldFingers: I've reconnected with cyberspace and couldn't wait to check in to see how the Alfred Level Threes were doing.
Oldfingers! Welcome back! I was wondering about you from time to time. Good to hear from you again!
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It's good to see that John Frank has joined the group, as his enthusiasm is definitely contagious.
Thanks - I catch it from myself every morning!
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During the summer I continued to work through the Alfred book, but must admit to progressing at a much slower pace as I find it takes me much longer to extract all of the information in each piece.
The speed of your progress is not that awfully important - it's more about your control, assuance and confidence at the keyboard whatever piece you're working on at whatever level - it's far more important to take your time and get it right - constant review helps immensely!
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Anyway, JF, I saw your post and wanted to welcome you to the next level. I still play the Etude from Level 2 while having Jo Stafford's "No Other Love" in my head. That was a great tip you gave me. Bob
Thanks again for the welcome Bob - it's great to be here (thought I would never get here!) - and thanks for reminding me of the "Etude" piece (aka "No Other Love") - beautiful piece of music, either way - just in case you're interested at all here's a thread of mine where I recorded my version (along with 2 other Book 2 pieces):
This is going verrrry slowly~ for me! But i will preserve! I have almost gottento the end of the "Star Spangled Banner", the tremelos are a bit of pain :rolleyes: and the "Toccata in D Minor" will take me until next year
I do have a question? This is on the F#Major scale. Why does the fingering begin with 2 on the right hand and 4 on the left? I have asked my instructor and she didn't know. Just wondering Thank you!
Originally posted by piano4: This is going verrrry slowly~ for me! But i will preserve! I have almost gottento the end of the "Star Spangled Banner", the tremelos are a bit of pain :rolleyes: and the "Toccata in D Minor" will take me until next year
I do have a question? This is on the F#Major scale. Why does the fingering begin with 2 on the right hand and 4 on the left? I have asked my instructor and she didn't know. Just wondering Thank you!
I'm also working on "Toccata in D Minor". Perfect for Halloween.
Not sure about the fingering question. But I think its just because it works. The top of page 2 is really difficult. But I really like this one.
Mark, I should not have watched Funburger's demo. I know I will never be able to get my "old fingers" to move that quickly. I hope mastering that piece is not a requirement for completing Level 3. Actually, I can't say I liked the sound of the piece. I'd hate to have to work so hard on a piece that I did not like. Perhaps one acquires a taste for it with practice.
Originally posted by piano4: I do have a question? This is on the F#Major scale. Why does the fingering begin with 2 on the right hand and 4 on the left? I have asked my instructor and she didn't know. Just wondering Thank you!
The scales that begin on "odd" fingers do so to avoid weird finger crosses when you are playing so many black keys. If you tried to play those scales as you would a C Major, for example, you'd end up trying to cross awkwardly in spots.
HI gang - just finished my study of the 1st Book 3 piece ("Super-Special Song") this morning - easy piece and fairly boring which I enlivened by re-arranging with different repeats and endings (but won't bore you with details) - also finished up review on "Waltz in G Minor" from Book 2, which is a real nice piece if executed properly.
Now, onto my next victims, er, a, pieces: "Calypso Rhumba" in Book 3 and a review of the "Theme from Symphony 6" in Book 2.
I'm also working on a version of Bach's famous "Minuet in G" and a Christmas Carols medley to be submitted to the upcoming "Holiday Music" thread on Dec. 1st - were you aware of this upcoming event?
Regards, JF
P.S. Mark - are you still interested in getting recorded versions of Book 3 pieces to upload to the OP just like for Book 2 - or have you heard enough out of me already?
P.S. Mark - are you still interested in getting recorded versions of Book 3 pieces to upload to the OP just like for Book 2 - or have you heard enough out of me already?
I posted a kind of general introduction elsewhere yesterday, but just wanted to let you know that I'll try to participate in this thread as much as I can. I'm slightly illegal, since I am just finishing the minor details on book 2's final 'canon in D'.
And since my piano teacher just disappeared for a 3 week Brazil hoiday (I am jealous!!) I will probably officially be starting in book 3 a few weeks from now. But to jump into the book 2 thread with just a quarter of apiece to go seemed a bit weird....
Ingrid (I'll read through the tread to get to know you all a bit better...)
IngridT - welcome to PW, the Forums and the Alfred 3 thread!
As you probably already read I just started Book 3 myself and so did Cyborg - Mark, piano4, Oldfingers, Irishmak, snowyday and a few others have been attacking and conquering the Book 3 pieces for awhile and are showing the way and offering encouragement and helpful guidance and support.
It's nice to have you with us - it sounds like you'll be an asset to our friendly, helpful group.
Well, I don't know about the "guidance," but I'm in for the encouragement and support! Welcome, Ingrid. Book 3 has some challenges, but there are some pieces that are just amazing once you get 'em.
On my front, progress has been slow lately in Book 3. Still trying to get the Jazz Ostinato a bit speedier. First page is ok sometimes; 2nd page tends to be a train wreck. And the Soldier's Joy hornpipe is slowly coming together, mostly. And then I just have a ton of Christmas stuff I'm working on- a few jazzy and different arrangements of things, and a bunch of more traditional things. It's making fitting it all in for practice time tough.
Do any of the rest of you use the All-In-One book? And, if so, do you do the theory pages? Just curious.
Yes, IrishMak, I use the All-In-One book and I do review the theory pages. Fortunately I learned most of the theory when I was pursuing a Lead Sheet approach to the piano. In my opinion, the theory pages are very important, particularly in relation to understanding the Circle of 5ths, which I found to be the key to unlocking the secrets of the piano. I know I am probably cheating, but when I start a new piece I label all the chords, as would have been done on a lead sheet, and then the I,IV,V7,I chord progressions become apparent. With the Circle of 5ths, one then realizes, that the same structure is being followed wherever you are on the circle, so there is no structural difference from one key signature to another, and all of the keys on the keyboard make sense. When I was a young student, it all looked like a big mess to me as I was never aware of any overall structure.
On the other hand, my teacher tells me that most of his students don't care about understanding the theory and just want to play pieces, so the attraction to theory might be a matter of personal taste. As an engineer, I always wanted to understand the "why" of things.
Since you are a few pages ahead of me I wonder if you have any advice for learning "In the Hall of the Mountain King". I don't particularly like the piece, but I know it must be a good exercise in learning to read the bass clef for the right hand. For some reason, I am completely discombobulated as I can't seem to get a feeling for my fingers on the keys.
Originally posted by IrishMak: Do any of the rest of you use the All-In-One book? And, if so, do you do the theory pages? Just curious.
Yes, I use the AIO series and yes, I do study all the theory pages, and have been doing so as I've worked my way thru the entire series - or I should say more precisely that I work my way thru the theory pages as a review since I've studied theory in some depth in other books over the last couple of years.
And like OldFingers I often write in the chord names as I study a piece just to keep the "harmonic context" in mind, and to put the theory into practice, so to speak I even use the theory to re-harmonize certain passages or whole sections when I don't like how the authors have done it.
Always good to hear from you guys - it's a long, lonely struggle otherwise
Originally posted by OldFingers: Since you are a few pages ahead of me I wonder if you have any advice for learning "In the Hall of the Mountain King". I don't particularly like the piece, but I know it must be a good exercise in learning to read the bass clef for the right hand. For some reason, I am completely discombobulated as I can't seem to get a feeling for my fingers on the keys.
Bob
Irishmak - sounds to me like OldFingers is asking for some guidance from you - and you said above you didn't "know about it" - but I know you do and here's your big chance to offer some
Regards (and I'm watching because I often need some too :p ), JF
Originally posted by OldFingers: Yes, IrishMak, I use the All-In-One book and I do review the theory pages. Fortunately I learned most of the theory when I was pursuing a Lead Sheet approach to the piano. In my opinion, the theory pages are very important, particularly in relation to understanding the Circle of 5ths, which I found to be the key to unlocking the secrets of the piano. I know I am probably cheating, but when I start a new piece I label all the chords, as would have been done on a lead sheet, and then the I,IV,V7,I chord progressions become apparent. With the Circle of 5ths, one then realizes, that the same structure is being followed wherever you are on the circle, so there is no structural difference from one key signature to another, and all of the keys on the keyboard make sense. When I was a young student, it all looked like a big mess to me as I was never aware of any overall structure. <snip> Since you are a few pages ahead of me I wonder if you have any advice for learning "In the Hall of the Mountain King". I don't particularly like the piece, but I know it must be a good exercise in learning to read the bass clef for the right hand. For some reason, I am completely discombobulated as I can't seem to get a feeling for my fingers on the keys.
Bob
Thanks, to you and John Frank! I wondered about the theory part, as no one ever seems to mention it. I also go thru the theory pages, and will sometimes have my teacher check them for me (if they aren't formally assigned. Some of them she just says to do when I get the chance.), since I get confused easily! LOL But I have found them valuable not only to understanding the how and why of the music itself, but it seems to help my sight reading as well. I recognize chords (and chord structures) far more easily now.
As for "Mountain King"- I had to go back and look at the piece and my lesson notes for it, but, really, what I did mostly was a lot of hands separate work on that one. I, too, find it a bit disconcerting to read the right hand in the bass clef. I know the notes, but it seems more difficult to do the mental translation to get my right hand below middle C. And slowly, slowly, as is so often the advice. I built the speed in very small increments. It does help with this one that the pattern stays largely the same, so the hands separate work helped ingrain that. After all that, it was repetiton, repetition, repetition.
It does help that I do like that piece. I do find it far more difficult to put real, productive work into something I just don't like!
IrishMak, thanks for your analysis of "Mountain King". It helps to know that I was not alone in finding it difficult to play bass clef notes with the right hand. Your point about the pattern being largely the same was very helpful. At slow speed I'm starting to get the segments OK but my transitions from segment to segment needs work, but, I now feel progress is being made. In the meantime, I've moved on to the next two pieces, which I find to be much easier.
Hey all, So I'm getting my "wishlist" together and was looking on Amazon. I don't see a book #3 theory listed? Up till now I was using #1 Lesson + #1 Theory. Followed up with #2 Lesson + #2 Theory.
Alfred's Adult All-In-One , Level 3 - it has all the theory you could want or need interspersed with the pieces - get it and get with it - we want you here with us on our journey!
Originally posted by John Frank: Alfred's Adult [b] All-In-One , Level 3 - it has all the theory you could want or need interspersed with the pieces - get it and get with it - we want you here with us on our journey!
Regards, JF [/b]
Thanks JF, I'll be sure to modify my listing so I get the all-in-one as oppose to the separate (since the other doesn't appear to exist).
Still gotta finish #2 first but the impending arrival of the new toy scheduled for Weds this week should help!!
Originally posted by John Frank: [b] Alfred's Adult [b] All-In-One , Level 3 - it has all the theory you could want or need interspersed with the pieces - get it and get with it - we want you here with us on our journey!
Regards, JF [/b]
Thanks JF, I'll be sure to modify my listing so I get the all-in-one as oppose to the separate (since the other doesn't appear to exist).
Still gotta finish #2 first but the impending arrival of the new toy scheduled for Weds this week should help!! [/b]
How many pieces do you still have to work on in Book 2?
Originally posted by John Frank: [b] Alfred's Adult [b] All-In-One , Level 3 - it has all the theory you could want or need interspersed with the pieces - get it and get with it - we want you here with us on our journey!
Regards, JF [/b]
Thanks JF, I'll be sure to modify my listing so I get the all-in-one as oppose to the separate (since the other doesn't appear to exist).
Still gotta finish #2 first but the impending arrival of the new toy scheduled for Weds this week should help!! [/b]
How many pieces do you still have to work on in Book 2? [/b]
A few, I'm only 20pages in. I was just checking on what to add to my Xmas list - I'll be here by or just after Xmas..
I hope my notes help you with "Mountain King." There have been more pieces in this book that have given me trouble, I have to admit. But my teacher says not to be discouraged by that. She says the third book really does take a bigger leap up in difficulty than the others do. And that they tend to introduce multiple new things in one piece. Too much for my poor brain to handle some days! LOL
Finishing up study of "Calypso Rhumba" (not a particularly hard or exciting piece) in Book 3 and review of the "Theme from Symphony No. 6 (nice melodic arrangement) from Book 2 today.
Moving on to "Fandango" in 3 (after theory review) and to "Fascination" review in 2.
Also, continuing work on Bach's Minuet in G (from the Anna Magdalena Notebooks) and a beautiful, but seldom heard, Christmas Carol called "See Amid The Winter's Snow" from a collection entitled "The Big Book of Christmas Carols" (really nice intermediate level arrangements).
Hi Ingrid! Another welcome to the group! I am still struggling through the "Star Spangled Banner with the tremelos, but it's coming. And guess what I finally did... Got to the first page of Toccata in D minor... just the first page mind you! Still haven't had the chance to hook up my web cam to get on a youtube site yet... maybe I will get the chance over the holiday! Work and grad course intervenes! I found a copy of Sheet Music Magazine i think dated ( Ill have to check) any how that has some real nice Christmas arrangements. I'm attempting "Oh Holy Night". So maybe I'll have together
"Fandango" is a cool piece that I enjoyed very much. YMMV
I've been assigned the next two pieces "Modern Sounds" and something to do with Alberti Bass. Sorry I don't have my book in front of me now. I'm working a couple of other Christmas pieces as well.
Originally posted by Cyborg: "Fandango" is a cool piece that I enjoyed very much. YMMV
I've been assigned the next two pieces "Modern Sounds" and something to do with Alberti Bass. Sorry I don't have my book in front of me now. I'm working a couple of other Christmas pieces as well.
The Alberti base is critical for the piece right after it. (Serenade) I'm still working on cleaning this piece. It was a major hurdle for me. Especially in the hand independence area.
Finishing up work on Fandango - relatively easy, but good piece with a solid "Spanish" feel -
I hit upon an alternate ending for it - the Book's ending is good, but I think it can be enhanced slightly with a little extension.
What you can do is (after the D.C al Fine) play thru to the end as written - then repeat the last 3 measures , and in the last 2 measures play both hands one octave lower than written (which means, in effect, the RH is played 8vb on the repeat and the LH is played where actually written, or "loco") - observe all rests as indicated.
Here is a demo - played 1st as written, then a brief silence, then played as enhanced or extended:
I have a question for you more advanced folks about how long you work on a learning piece before moving on. I listen to recorded pieces at the start of the Alfred's strings and rarely stay with one long enough to reach that level of polish. Should those recordings be viewed as the typical point to move on or are they a bit better because people liked them? I am currently on about page 50 in book 2 and want to make sure I am not hurting my learning by moving too fast.
BobH - "stay with" a piece until you are happy with it - although it's easy to say but hard to do, try not to compare your playing of a piece with how others play it. There will always be someone somewhere who can and will play a piece better than you and I.
Continue working on it until you can reasonably play it as written, that is, as the composer or arranger intended - this doesn't have to happen the first time you study a piece - work on it for awhile - maybe you'll like your results and maybe not - when you get tired of beating on it, move on to another piece for awhile, and then come back to it and work on it some more - maybe you'll get it to where you're happy with it this second time - if not, repeat the process.
You don't have to "master" a given piece at any given time - do the best you can and then move on - often when you come back to a piece after being away from it working on several other pieces and for several months you will do better on it just simply because of your increased skill level and the confidence that only developes over time with additional hard study on a number of pieces.
And don't struggle with the compulsion to play "error-free" - it just is not going to happen - try to minimize them or yes, eliminate them, but don't expect it or be too disappointed if you just can't achieve this - even the great concert pianists make mistakes all the time, but most of us don't recognize them simply because of the complexity of the music and the pianist's otherwise remarkable technical skills.
The "polish" or musicality of a piece is important, but right now concentrate on getting most of the notes right and the tempo corrrect and consistent. The rest will come with lots of time and dedicated practice.
Relax and enjoy what you can do at each level and stage of you progress.
I just listened to your versions of Fandango. I really like the deeper base ending you added. I have my lesson today and I have to ask my teacher about the Alfred series, simply because I want to be able to learn along with all of you. Perhaps she can help know which level. I'm using Faber and Faber all-in-one book two. Actually, I just want to hear her opinion at large. It would be so nice to have other people to share with.
Debbie57 - thanks for your kind comments on the Fandango endings & glad you liked the alternate.
The Alfred series has a lot of really nice pieces from many genres of music - some people here in the Forums use it together with the Faber series, which I'm not familiar with but have heard some good things about (with their own threads here in the ABF as you probably already know).
How the Faber & Alfred series compare & contrast is somewhat interesting, I guess, but more important is the totality of enjoyable pieces and instructional value found in each separately or especially when combined together (I'll have to check out Faber at the local music store).
We'd love to have you join with us here in the Alfred thread and share your experiences - whether or not you actually start using one of the Alfred books . Even if you decide to stick strictly with Faber come here often & keep us updated on your progress. We want to hear how you're doing, and help and encourage you as much as we can, and certainly want and need the same thing in return!
The Faber thread is dead as far as I know. Please advise if I'm missing something. I'll get to look at the Alfred's books this morning. The Faber book is in sections and always one of pieces is a lead sheet. It's fun and it's difficult at the same time. However I am learning to roll cords deeper in the base to create richer sound. Thank you for welcoming me here, no matter which way I go.
A follow up: I had my lesson today and had an opportunity to look at the Alfred all-in-one book 2, which is probably where I need to be since timing and rhythm are my biggest challenges. My teacher has taught out of both and is willing to teach me in any method book format I want. She did say she opts for Faber because she feels the lessons, the pieces and the lead sheet style opportunities are more contempory.
So, I'm going to do both. Not stop Faber to start Alfred's, try to work a little out of both books. I probably need to move myself to the Alfred's book two thread??? Probably I need to read all 25 pages to see what percentage of folks are using the all-in-one. I just want an opportunity to be on the same page with others to learn and hopefully someday be able to be of some help myself.
Debbie57 - thanks for the update - glad to hear your teacher is flexible - there are some really nice melodic pieces in Alfred 2 that you can enjoy a lot, and if you would like I could recommend a short list of my favorites - others here in this thread and some folks over in the 2 thread will also be more than happy to guide you to some good pieces (assuming you weren't going to work your way thru piece by piece).
The Alfred 1 thread seems to be the most active of the 3 Alfred threads, with this one (Level 3) being a distant 2nd and the Level 2 thread probably the least used (that could, of course, change at any time). If you started posting in 2 and didn't get much feedback over time then you could, of course, post about your Book 2 activity here in the 3 thread - most of the people here worked thru Book 2 and we'd be more than glad to talk to you about your experiences with the Book 2 pieces - some of us "float' back and forth anyway from time to time just to see what's going on and if someone has a question or problem.
FYI - many of the pieces in the 3 Alfred levels have been recorded by various people in the Opening Post (back on page 1) of each thread in case you wanted to hear them.
My piano teacher has been on vacation for 3 weeks, but tomorrow I am going to blow her off her feet with my version of the Canon in D, (and Gnossienne nr 5 of Stie, that I've been working on for the last month or so, and YES!!!!I'm happy!!)
After that...it's off to book 3 (and the final Gnossienne 6 I guess, I want to do them all, I am in love with Satie) so I will finally be able to really join in this thread.
Originally posted by IngridT: Okay guys! I'm on board from tomorrow on!
My piano teacher has been on vacation for 3 weeks, but tomorrow I am going to blow her off her feet with my version of the Canon in D,
Congrats, but in which bloody book is this Canon in D? I'm on the Alfred book #2 at the moment (the ones with separate theory and lesson) Then for book #3 I guess it's all-in-one only option. Still I don't see this Canon in D (unless it's in the supplements)
The canon in D (Pachelbel) is the past piece in my Alfred #2. There seem to be 2 versions of that book? I believe I've got the on that is NOT called the 'all in one' version. Maybe some of the other Alfredians can help me clarify??
Originally posted by IngridT: Okay guys! I'm on board from tomorrow on!
After that...it's off to book 3 (and the final Gnossienne 6 I guess, I want to do them all, I am in love with Satie) so I will finally be able to really join in this thread.
Looking forward to it!
Ingrid
Ingrid - looking forward to your participation here - welcome aboard!
Keep us updated on your Book 3 progress - glad you're back with us - you too TTigg!
Finishing up "Modern Sounds" in Book 3 - not too sure how "modern" the sounds of this piece really are, but there's not much there to get caught up in or excited about - moving on to "Jazz Sequences" next.
Also - finishing up review of "Loch Lomond" in Book 2 - really nice arrangement of this old "chestnut" - good left hand movements especially. Will review "Love's Greeting" next.
Okay. I did it. Book 2 is done. Canon in D was OK'd by the teacher. Must say though that my youngest daughter won.
She's just turned 7, and (just like me) has been taking piano lessons for the last 1 1/2 year. She's improvising a lot, and she liked the canon in D so much that I heard her playing the melody line herself. Just for fun we put the whole thing in C (to avoid the black keys) and made a very cute version of it. Just like the original, starting simple and then getting more and more complicated. Me playing the left hand, while she played the right hand. We were having so much fun together, and with the teacher being on holiday for a few weeks, we ended up with at least 6 or 7 'sentences' (as she called it) and even a nice ending. Most of it she invented herself, based on what she heard me playing...
Well, like I said, I guess she beat me in impressing the teacher!
Anyway, for next week I'm working on the super-special-whatever song (which is not that special nor complicated, is my feeling after playing it once), and then there's the dreaded soft/loud/left/right/staccato/legato etude (see other thread), and on top of that Gnossienne nr 5 is also in the pocket, so I am starting on nr 6All by Satie). Which is very different and much more 'modern' then the first 5.
And then I am still neglecting my popsong book! (what you guys call fake books I guess)
Oh! And Happy thanksgiving to all in the US (it's a boring working day over here...)
Ingrid - thanks for the update - your daughter sounds pretty talented - she'll be surpassing all of us soon enough (don't you just hate it when that happens ).
The Super Special Song (or Super Special Silly Song as I like to call it) isn't quite as bad as it first appears, especially if you modify how it's played somewhat - skip the 1st ending & repeat in the second section and go directly to the 2nd ending; play to the 1st double bar on the last line; then do a D.C. to the 1st section and when you get to the end of this add on the last 2 measures of the last line of the 2nd section. Got that? I know - too complicated, but it does make it sound a little better, more like a "just for fun piece" - and play it upbeat & lively. Maybe I'll record it & post it here - then again - maybe not :p
is it just you and me here, or is most of the US still busy celebrating thanksgiving?
I am really happy that lessons started again and that I have some new stuff to work on. The super-special song is coming along fine. I tried messing around a bit with the order like you suggested, and playing it in swing (do you use that term? I mean playing the 8th notes in the uneven long-short-long-short way) does help as well to make it sound a bit more lively!
is it just you and me here, or is most of the US still busy celebrating thanksgiving?
Ingrid
It sorta looks that way, doesn't it?
I don't know where everyone else is - maybe away on vacation or laying low for the Holiday or just simply lost interest, gave up and dropped out. This would be unfortunate.
Even Mark, who started these Alfred threads, and who used to post here constantly, has seemed to have disappeared, although I saw that he did submit a medley of Book 3 pieces in the latest ABF Recital.
But, I'm glad you're here too and I'm sure we can have many entertaining and instructive exchanges - although I will continue to post even if I'm the only one and have to "talk" to myself (it'll be like my own personal diary!)
It's ok to talk to yourself. It's when your head whips around and you start shouting: "What did you say?!?" that the guys in the white coats arrive! LOL
Piano has been a bit neglectd this month. I've been participating (well, to tell the truth, I went momentarily insane at the beginning of Nov.) in NaNoWriMo and it has eaten my life for the month. But I did it.
Now, gotta get back to the Jazz Ostinato, which we are still working on because both my teacher and I like it so much!, the Soldier's Joy Hornpipe, which I find rather fun to play, and Toreador Song from Carmen- those rhythms are going to be slow going for a bit, I think. Plus some Christmas stuff. I need to log some serious practice time this week!
It's ok to talk to yourself. It's when your head whips around and you start shouting: "What did you say?!?" that the guys in the white coats arrive! LOL
I haven't started doing that - yet!
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Piano has been a bit neglectd this month. I've been participating (well, to tell the truth, I went momentarily insane at the beginning of Nov.) in NaNoWriMo and it has eaten my life for the month. But I did it.
The idea is to start Nov. 1, finish by Nov. 30 and write a 50K novel in those 30 days. I've done short stuff in that past, and I wanted to see if I could do a longer thing. It was soul-eating, exhausting, time-sucking, and fun, fun, fun! lol But the piano got rather neglected, poor thing!
Tomorrow I have my weekly lesson. The super-special song was pretty easy, and I've been taking a peek at the Rhumba & Fandango, which don't look too difficult either. Could be a smooth start of book 3. I'm sure there'll be some more challenging stuff coming up soon though...
Ingrid (I need some fingering help from my teacher on Gnossienne 6 before I dive into it. It looked so easy, but oh boy, was I wrong!)
Originally posted by John Frank: [b] Mak - way to go - quite an accomplishent - I couldn't write one in 30 months[/b]
You might be surprised. Once I got going, it was easier than I thought it would be. The hard part is sticking to the commitment to work on it every day.
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- what's it about?
It's a fantasy-thriller- ritual magic, demons, Native American archeological sites, that sort of thing. Not everyone's thing, but I read mostly fantasy, so it seemed to work for me.
Pulled out the "super-easy piano" Christmas book I had last year. I can actually play through most of it without too much trouble. Now, we're talking single note left hand stuff here, but last year it was slower going. Hmmm, maybe I am learning something???
Hi JohnFrank, I'm still working on "Star Spangled Banner" and "Toccata in D minor". "Star, I manage to get to the tremelo part and somehow completely BlOW IT With Toccata, I am only on the first page!
I am also on "O Holy Night" an arrangement I found in a magazine called Sheet Music magazine.That one is going pretty well. It was an old one from my cousin.
Going slowly but still going... that's the main thing. And did I have the chance to put up the web cam, NO! I will make a strong attempt this weekend after work because I want to at least play what I am learning and get some feedback from the group!
Irishmak...wow! A novel! Can we read it somewhere????
And piano4 too..YIPPIE! Nothing wrong with John Frank (LOL) but a few more people on this thread is nice I think.
My lesson yesterday went pretty well. The super special song was not too difficult, so this week I'm gong to tackle the Calypso Rhumba & Fandango. Nice start up. I've been working on some pretty complicated things lately, its nice to work on something a bit more straightforward for a change. And I still have Gnossienne nr 6 for if I want something nasty (boy! What a score. I't a very modern piece, which requieres a lot of verey good note-reading. An awful lot of sharps and flats, and no chord logic at all. But I want to finish my gnossiennes, so I am going to tackle it!)
Are you guys all taking formal lessons by the way? And how long have you been playing the piano?
John, self taught al the way up to book 3. Impressive! Although I love playing, I really need my teacher to keep me on my toes. Without her I'm afraid I would skip all songs in the books that I don't like, and would probably miss out on a lot of technical skills...
The gnossiennes are 6 pieces by Erik Satie. I'm not a very classical person, but I used to have a high school friend that played them for us, and I still think they are beautiful, so they were on my 'dream list' of things I wanted to be able to play. This summer my teacher gave me a 'go' to start working on them. i started in June, and did the first 3 during the summer vacation, and now I am starting on the final one nr 6
I love the way this guy is playing them there s a lot of discussion on tempo with these pieces, because most of them are written without measures, and only the weirdest remarks on the interpretation...things like 'without arrogance' or 'open your head' ... No allegro's or andantes or whatever)
Ingrid
PS..oh, and it's french, so you would pronounce it like it more or less rhymes with 'yen'. Does that make sense??
No reason to be impressed. It's not much right now. Not ready for public comsumption, for sure. The rest of this month will be spent filling in gaps, and just getting the story finished. Then it goes to editing stages. After that, we'll see....
And I do have a teacher, for much the same reason you do: to keep me on track. I'd be hopeless without her- disorganized, no idea what I'm doing, lost and probaby would have given up long ago! LOL
Hopefully, for real, I will play that durng this month's recital time. I'm still working on the first page and will work on some tonight after I finish some work.
My clavinova is a CVP-700, five years old. I bought it from my piano instructor this past March. She was upgrading to a Yahama acoustic and told me about her.I didn't know it was, what it was until I walked into the piano store (where she taught until it closed two months ago), and the salesman pointed to me ( he was on the phone).
I had only practiced on the one in the store each time I would go for lessons, but never in my wildest dreams that I ever thought that I would have one
Barring any unforseen circumstances this weekend, after work, I will get the web cam up and post a picture!
Originally posted by piano4: Hi JohnFrank, I'm still working on "Star Spangled Banner" and "Toccata in D minor". "Star, I manage to get to the tremelo part and somehow completely BlOW IT With Toccata, I am only on the first page!
I am also on "O Holy Night" an arrangement I found in a magazine called Sheet Music magazine.That one is going pretty well. It was an old one from my cousin.
Going slowly but still going... that's the main thing. And did I have the chance to put up the web cam, NO! I will make a strong attempt this weekend after work because I want to at least play what I am learning and get some feedback from the group!
Thanks for asking
Wait till you get to the top of the 4th page of "Toccata in D minor".
It's stopped me in my tracks. I just can't get it down.
I love the way this guy is playing them there s a lot of discussion on tempo with these pieces, because most of them are written without measures, and only the weirdest remarks on the interpretation...things like 'without arrogance' or 'open your head' ... No allegro's or andantes or whatever)
Ingrid
Those are wonderful pieces. Made me bring back one I was having trouble with about a year ago and now it seems manageable.
I've got the Gymnopedie book here as well. There's 3 of them. After I am done with the Gnossiennes I guess I'll do those next to my Alfred's book.
It is such wonderful relaxed and soothing music to play. It may sound weird, but I really enjoy listening to myself when playing these pieces, late at night, when everybody else is sleeping. If you want to work on something like that again, I would propose Gnossienne nr 1, it is really not very complex, and easier then the Gymnopedies. I got initially a bit scared by the big number of sharps (I think, or flats?) but honestly, it's easy to play. very structured, slow speed & a lot of repetitive patterns. The left hand is basically just 3 chords.
Glad you liked it (I'll have to figure out a way to record myself if I keep on hanging around here, that's much more fun than posting someone elses efforts...)
I've got the Gymnopedie book here as well. There's 3 of them. After I am done with the Gnossiennes I guess I'll do those next to my Alfred's book.
It is such wonderful relaxed and soothing music to play. It may sound weird, but I really enjoy listening to myself when playing these pieces, late at night, when everybody else is sleeping. If you want to work on something like that again, I would propose Gnossienne nr 1, it is really not very complex, and easier then the Gymnopedies. I got initially a bit scared by the big number of sharps (I think, or flats?) but honestly, it's easy to play. very structured, slow speed & a lot of repetitive patterns. The left hand is basically just 3 chords.
Glad you liked it (I'll have to figure out a way to record myself if I keep on hanging around here, that's much more fun than posting someone elses efforts...)
Ingrid
Gnossienne nr 1 is also a favorite. I looked it up and thought it was going to be difficult. I will have to give it a try.
I love these slow mellow pieces. Thanks for sharing.
Gnossienne nr 1 is also a favorite. I looked it up and thought it was going to be difficult. I will have to give it a try.
Yeah! Mark! Do it!
My piano teacher gave me a 'go' on them when I was near the end of Alfred 2. And it worked! So assuming you're in Alfreds 3 as well right now there should be no reason to stay away from it.
I know this is an Alfred's thread, but I'd love to share my Satie-love with some people over here as well!
Ingrid
(and you know what. The Gnossiennes 1/2/3 are very much alike in how you play them. If 1 works out, it's not that difficult to attack 2 and 3 as well. The last 3 is a different story though :rolleyes:
Ingrid (tried out a quote and the graemlins for the first time. let's see if it worked!)
I should look up the Gnossienes. I have worked on the Gymnopedies, but still don't play them as well as I'd like. I found the Gymnopedies not especially difficult from a note point of view, but playing them expressively and beautifully are a whole different thing! And they are also very much alike in the way they are played, so once you get Nr. 1 figured out, 2 & 3 are that much ahead.
Satie certainly had a gift for saying so much with just a few notes. Lovely, lovely music.
Gnossienne nr 1 is also a favorite. I looked it up and thought it was going to be difficult. I will have to give it a try.
Yeah! Mark! Do it!
My piano teacher gave me a 'go' on them when I was near the end of Alfred 2. And it worked! So assuming you're in Alfreds 3 as well right now there should be no reason to stay away from it.
I know this is an Alfred's thread, but I'd love to share my Satie-love with some people over here as well!
Ingrid
(and you know what. The Gnossiennes 1/2/3 are very much alike in how you play them. If 1 works out, it's not that difficult to attack 2 and 3 as well. The last 3 is a different story though :rolleyes:
Ingrid (tried out a quote and the graemlins for the first time. let's see if it worked!)
Why don't you start a Satie study thread. just start the thread, and add those great links.
Mark, I'll think about that Satie thread. Although I love the music, I don't know if I feel knowledgable enough to 'lead' something like that. Why don't you just start of with that 1st Gnossienne, that makes already 2 of us, and once we convinced a 3rd person to join we'll call it enough 'critical mass' for a separate thread, OK??
Since we've been a bit busy celebrating Sinterklaas here last weekend (dutch tradition with lots of presents & poems) my Gnossienne 6 did not get the attention it deserved. Fortunately both the Calypso Rhumba and Fandango were pretty easy, so at least I can play some things in a decent way for my teacher tomorrow...
Originally posted by IngridT: Mark, I'll think about that Satie thread. Although I love the music, I don't know if I feel knowledgable enough to 'lead' something like that. Why don't you just start of with that 1st Gnossienne, that makes already 2 of us, and once we convinced a 3rd person to join we'll call it enough 'critical mass' for a separate thread, OK??
Ingrid
I'll be on Gymnopedie nr.1 for a while, so I'll wait till I get to 1st Gnossienne before I start anything.
And you don't need to be an expert to start the study, otherwise I would of never started the Alfred threads...lol
Hi guys - it's been a few days - been busy bearing down on several pieces:
"Jazz Sequences" in Book 3 - some tricky fingering and hand movement making it just a little difficult to get it up to speed (Allegro moderato) but almost there - will start soon on the Haydn "Serenade".
Finished review of "Love's Greeting" (Salut D'amour) in Book 2 - easy piece to play badly but just a little tough to play very well - really like this arrangement and worked it over real good to get the right "sweet touch" on this - will start review of "Danny Boy" next.
Continuing work on a 2nd version of the hymn "Abide With Me" - will eventually combine it with the 1st version I did (already down) for an extended arrangement of this lovely piece.
Just started on Mozart's Minuet, K.94 - looks to be a good piece with some interesting counter hand movements and interesting harmonies & counterpoint.
Submitted "A Christmas Medley" to the ABF Holiday Performance thread - hope you've had a chance to check it out.
Hope you are all doing well with your Book 3 studies and other pieces.
Let me belatedly welcome Ingrid to the Alfred 3 thread. One can feel her enthusiasm for the piano. I like the idea of a Satie thread, but I need to finish Alfred's first.
When I last checked in I was stumbling with the "Mountain King", but as IrishMak said, repetition, repetition, ..., and I am now able to play it. I even like it, sort of.
I was also putting a lot of time in on "Trumpet Tune" which was fun to play, but I had to work especially hard at giving the right feeling to the 1/16 notes. As my teacher said, it isn't a straight 1/16 note, but an accent that emphasizes the march-like quality of the piece.
"American Hymn" and "Adagio in A Major" were next and these were fairly straightforward, except for the fact that I continue to have difficulty getting the LH/RH balance right. I have to concentrate very hard getting my left hand to play more softly than my right. In the Adagio, I need to improve my legato playing when the pedal is released. My teacher showed me a trick whereby I hold the LH root to carry some of the chord forward without the pedal and it fools the ear.
In any case, these pieces are progressing well enough that I've added "Prelude in A Major" and "Blue Rondo". The B and C sections of the Rondo are fun to play, although I find the transitions hard, just as I did with those in the "Mountain King".
Mark, how are you enjoying your new piano. I must confess that I'm a little down on my RX-3 right now as it is too loud for my room. I put in a string blanket which makes the volume almost acceptable, but it reduced the dynamic range of the keyboard and muffles the higher overtones. I'm thinking of converting it to a digital. Horrors!
Mark, how are you enjoying your new piano. I must confess that I'm a little down on my RX-3 right now as it is too loud for my room. I put in a string blanket which makes the volume almost acceptable, but it reduced the dynamic range of the keyboard and muffles the higher overtones. I'm thinking of converting it to a digital. Horrors!
Bob
Thanks for asking! I had a problem with my volume for a couple of weeks but for some reason I got used to it or maybe I'm just playing softer.
As for the piano, I'm really enjoying it, but disappointed with some overtone issues in the octave below middle C. They have sent two techs out and they worked on it without success. In fact they say that can't hear it. But I can hear it as well as my teacher and her piano technician husband can hear it too. They are coming out again after the holidays to work on it again. I hope it can be fixed.
Glad to hear you've managed Mountain King. It is kind of a neat piece, but tricky. The Adagio is, I think, quite pretty, as well, but I tend to like those slow, melodic pieces.
Alfred's is on hold here for the next couple weeks. This is "fun time," as my teacher calls it. We are working on Christmas music right now. A couple more complex arrangements, and more of the deceptive types- the ones that sound "fancy" but are really quite easy to play. That way, if someone asks me to play "something Christmas," I have a few things I can drag out- maybe! lol
Old fingers...Thanks for the welcome! I feel at home already here. And I hope my enthousiasm is going to help keep this thread as lively as possible! Looks like you're ahead of me in book 3 (like all of you here I guess, LOL!) so technical-support-wise I'll probably rely more on you guys then the other way around.
I see that most of you are on seasonal pieces right now. Me not really, I am re-playing some stuff I played last year out of an Alfreds X mas book. Real fun, because I remember working hard on it last year, and now it's a lot easier. O holy night, Go tell it on the mountain, A real sweet song called Ukrainian Bell Carol, and some impressionistic version of a Cradle Song?? (don't remember the exact title). Any of you working out of this book? I really need to get a set up to record and post some of my own playing. Will see if I can work that out during the X mas vacation...
Slightly seasonal I am now tackling the prelude in C major of the Well Tempered Clavier (the ambitious selection of book 3). And I'll be working on Modern Sounds as well. And of course the weird Gnossienne 6. Never played anything with so little logic, so many (occasional? is that the word?) flats & sharps, and therefore such an extensive demand on my note reading skills. Teacher told me bluntly to decrease the tempo by 50 % and only work on the first 8 or so bars for the coming week. BUT I WILL TACKLE IT!! Ha! (determined voice)
Fandango & Calypso rhumba went fine by the way. Nice pieces, and easy to play.
Did one of you mention the problem of playing different volume with left/right hand? I struggle(d) with the same. Even started a separate thread about it last week, in which I received several tricks to work on it, but also a lot of comments that it's also partly a mental thing (? still wondering about that). Do any of you work on etudes? My teacher had me started on a real neat etude book (eastern european, by Teoke, with 2 dots on the o that I never seem to be able to type correctly). It takes some perseverance to work on, but they are short (like 8 bars or so, sometimes even less) that really isolate one specific technical aspect of playing. Like the volume thing, or legato/staccato, or timing rests real well, etcetera. It's sometimes a struggle to start working on them (a real piece is more fun), but by tackling e real specific 'thing' in an otherwise simple and short piece of music does really help you concentrate on just that, which I hope pays of when playing 'real' stuff!
Ingrid
PS...can you all handle my english? I am fairly fluent when speaking, but now that I am exclusively writing on music I notice that I have some gaps in music terminology...I'm sure it'll get better over time.
This is good stuff, Mark... I just found this piece in one of my books and started it out. And then bam, your post with the video so I can confirm how it sounds. Well played!
Mark, from day one my piano has had some issues in the 5th octave. I've had five different technicians in to track down the problem, but none of them can hear it. On the other hand, I've had three players in, and they hear the problem instantly. I'm convinced that the technicians have blown their ears pounding on pianos all day, so they are the last people to consult for musical problems.
IrishMak, maybe with your time out I'll catch up to you. How far have you gotten in Alfred's 3?
Ingrid, I have to tell you that when I took on the Prelude in C Major my teacher's eyes lit up. As I have mentioned earlier in this thread I label the chords throughout the piece. During my lesson my teacher described why the chords were what they were and why certain chords used the root and others did not. He also related the loudness level to the chord structure. It was really neat. He said teachers love to teach from that piece.
As the person who is having difficulty with the LH/RH balance, would you please let me know the title of your earlier thread. In pieces like the Adagio in A Major, I can get the left hand rolling along and keep it at a lower level, but if the LH and RH notes are synchronous, I have great difficulty playing them at separate levels. However, getting the balance right is one of the most important things I've learned in making my playing sound more musical.
By the way, your written English is very good. I have a feeling your playing is quite good too.
Originally posted by OldFingers: IrishMak, maybe with your time out I'll catch up to you. How far have you gotten in Alfred's 3?
I am working on "Toreador Song from Carmen" on page 94 of the All-In-One Book 3. I think this one will be around for a while. My teacher says it's not an easy one to get right, but she's also happy that I've gotten the rhythms right, even if it is at a ridiculously slow speed right now. I do still work on it here, but we've just put it on hold at lessons till after Christmas.
Originally posted by piano4: Working on Christmas music... need something to get me into the spirit:-)
piano4 - still working on "O Holy Night"? Any other Christmas pieces?
In addition to the Christmas Medley I did for the ABF Holiday Performance thread I'm also working on a delightful, but somewhat obscure, piece called "See Amid the Winter's Snow" (which is English, I think) - I may record part of it & post it here to give you'll a feel for its nifty melody.
I'm still struggling with it, but I am hope it will be one of those treshold-like things that'll suddenly work out.
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By the way, your written English is very good. I have a feeling your playing is quite good too.
And do you have telepathic powers or something? I've never been complimented on my pianoskills by somebody that hasn't heard one single note....Once I get some recording opportunity you'll have to let me know whether I lived up to your expectations!
Anyway, I'm glad that my english is apparently OK. Untill recently talking about bars made me just thirsty, and a sharp reminded me of knives. LOL! I really have to look up some of the terminology used, since I frequently read stuff that I have trouble understanding. Triads? Fake books?
We're getting really in the X mas mood here. All the kinds were are playing Jingle Bells and We wish you a Merry Christmas yesterday while decorating our (hopefully kittenproof) tree.
I'm playing my old seasonal stuff, and discovered that modern sounds is not that complicated either (though not really my cup-a-tea music-wise) The Alberti bass is fine as well, only that triller(????right word? thriller is something else, I'm pretty sure of that) in the first little piece is killing me. To be honest, I don't really get which 2 of the 3 notes should be trilling.
Anybody able to help me out there?
The prelude in C is also fun. Only I have this strong urge to sing the ave maria along with it all the time. Maybe I should wait with that untill I can play it fairly well, this way it's a bit too much at once...
Ingrid
(Ah, and it's nice to see more and more people liking Satie. Maybe we'll get that separate thread. Meanwhile I plough on with my first 8 slow bars of Gnossienne 6...)
Anyway, I'm glad that my english is apparently OK. All the kinds were are playing Jingle Bells and We wish you a Merry Christmas yesterday while decorating our (hopefully kittenproof) tree.
Ingrid - "All the kinds were are playing . . ."
Not sure that English is OK - did you want to clarify that? :p Overall though, your English is very good
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The Alberti bass is fine as well, only that triller(????right word? thriller is something else, I'm pretty sure of that) in the first little piece is killing me. To be honest, I don't really get which 2 of the 3 notes should be trilling.
Anybody able to help me out there?
Ingrid
A trill is a way to extend a single note by alternating between two neighboring notes, in most cases alternating between the given (designated) note and the note above it - this is usually indicated with a "tr" above the note to be trilled - for example, if the designated trill note is a C (and is a quarter note) you would play C-D-C-D quickly (as 4 16th notes),
Ha John. Guess my english is better then my typing skills.. KIDS. KIDS. KIDS. (yeah, I can do it right if I concentrate! LOL!!)
And of course, a trill. But this trill is mentioned on 2 16th notes and an 8th that are more or less 'connected'. and I was wondering which 2 of the 3 to trill.
PS..Wow! Thanks I looked again, and indeed, the 'tr' is right above the 8th. I'll go and try again right now!!
It's quiet over here! Where is everybody?? Probably busy with Chrismas shopping, and playing carols instead of working on you Alfred books!
Things are going pretty slow here as well. Modern sounds is OK, but for the rest. Mwah. The last schoolweek before the holiday is like a madhouse anyway (X mas dinner at school, musical, you name it) and on top of that my father has suddenly been admitted to the hospital last week and will be having rather complex open heart surgery tomorrow. And, to complete the picture, we are planning to go for a week of skiing in Switzerland leaving friday (that is, if everything works out fine with my dad, it's a bit weird to start packing our stuff, and not even being sure we can safely depart...).
Anyway, just wanted to put our thread back on page 1!
Ingrid - sorry to hear about your father - hope everything works out well for him - and hope you get to go skiing in Switzerland too - I would love to do that myself - I used to ski alot, but haven't done so for several years (getting too fat, lazy and unmotivated!) - I'd settle for skiing here in the New England area, where they usually have plenty of snow and a number of excellent resorts (maybe with pianos in the lounge area where one could show off :p ).
Among other pieces I'm currently working on Mozart's Minuet, K94 and on the Haydn Serenade in Book 3 (it's from a String Quartet, the theme of which I'm vaguely familiar with from hearing it some years ago in a live performance).
I haven't been purposely negelcting this poor little thread, but we lost power in the ice storm we had on Thursday, and just got it back tonight- almost exactly 6 days from when it went out! We had heat (propane), but no water or lights. I could practice while it was light out, but let me tell you, sitting here, staring at the dark is not a lot of fun!
I'm really just working on 4 or 5 Christmas things:
Hark the Herald Angels Sing I Saw Three Ships God Rest Ye Merry, Gentlemen from the a book of carols arranged by Martha Mier
Joy to the World Away in A Manger Jingle Bells from Christmas Jazz, Rags and Blues Bk. 1 also arr. by Martha Mier
Silent Night from a book called 100 Christmas Carols
I've been AWOL from the forums for some time. Really busy and all that. Anyway, I completed Alfred's level 2 and started Alfred's 3 several weeks ago. Currently on "A Very Special Day". So far so good.
How are the songs later on in the book? Is it a large leap in skill level, or more of an even projection?
Originally posted by piano4: "o Holy Night" is getting better.Finally got to the second page this evening and I play this for my instructor tomorrow. But I'm not worried!
I'll be on ( I promise) to play this and to visually introduce myself!! during the holidays!!
Take care all!
piano4 - looking forward to seeing and hearing you!
I've been AWOL from the forums for some time. Really busy and all that. Anyway, I completed Alfred's level 2 and started Alfred's 3 several weeks ago. Currently on "A Very Special Day". So far so good.
How are the songs later on in the book? Is it a large leap in skill level, or more of an even projection?
Michael - welcome back! AWOL = "Always Working On Listz"?
Can't answer your question about the evenness or steadyness of the technical progression thru Book 3 since you're a little farther into it than me - but several other Book 3ers here probably can.
Michael, I am half-way through Level 3, with side-trips to a couple of "ambitious" pieces, and I would say that the progression has been "linear". My left hand has become much more active than when I started and my reading ability has improved significantly.
Although not discussed in the book, I need to work hard at achieving a better left/right hand balance and I need to be able to keep better time in my head. I'm now working on Blue Rondo which is neat because it introduces an interesting rhythmic element.
Although this might not be a good thing to admit, I have skipped the "Just for Fun" pieces. It still takes me awhile to learn a new piece, which is "just not fun" unless there is a musical payoff.
Angelo - I don't believe a CD is available for Book 3 (the assumption being that by this stage one should have developed one's interpretive abilitites sufficiently to the point where one isn't really needed :p )
I had purchased the CD for Book 2 but it was dreadful and I never used it. It must have been made using Band-in-a-box or something similar as the instruments sounded like toys.
John Frank, you are making me feel guilty. I record my teacher playing the pieces in Book 3 and I find it extremely helpful for improving both my rhythm and my musicality. That dependency is probably a liability, but since I hope to be able to take lessons forever, it is of no consequence to me.
For what it's worth, my teacher had me skip "Jazz Ostinado in C# Minor". Apparently it was written to be played on the white keys and it upset him to even think about it being played in the wrong key.
Originally posted by OldFingers: I had purchased the CD for Book 2 but it was dreadful and I never used it. It must have been made using Band-in-a-box or something similar as the instruments sounded like toys.
John Frank, you are making me feel guilty. I record my teacher playing the pieces in Book 3 and I find it extremely helpful for improving both my rhythm and my musicality. That dependency is probably a liability, but since I hope to be able to take lessons forever, it is of no consequence to me.
Yes, I bought the CD for Book 2 but have hardly used it - the piano part is on the right speaker I think, and it helps somewhat to turn the accompaniment on the left speaker off.
OldFingers - Didn't mean to make anyone feel guilty - was just kidding (hence the :p ) - and I didn't think from something I read here way back that a CD was available for Book 3 - maybe they just came out with it (as Cyborg has indicated it's availability)?
I don't have a teacher so I just play the pieces either how I've heard them before or how they sound good to me (assuming I can get them to sound good at all!) You, however, are fortunate to have a good teacher who lets you record the pieces and then guides you in their proper performance and should definitely continue with this system (although he does appear to be a bit too fussy about the key of the "Jazz Ostinado" piece :p ).
Cyborg - welcome back! What are you currently working on?
Glad to be back on the forum. It's been hectic with the holiday season and I haven't had the time to read/post here.
Currently, I have a 2.5 week break in between lessons but my teacher loaded me up with 4 pieces to work on during the break. I'm currently finishing up "A Very Special Day" in book 3.
Cyborg, I don't know what this says about my musical tastes but I love playing "A Very Special Day". I've moved on, but I go back to this piece all the time. The left hand is just so much fun to play.
Originally posted by OldFingers: Cyborg, I don't know what this says about my musical tastes but I love playing "A Very Special Day". I've moved on, but I go back to this piece all the time. The left hand is just so much fun to play.
I'm actually enjoying the piece myself. Also, I agree that the Alberti bass lines are nice sounding and fun to play.
Oldfingers and Cyborg (and any other Book 3er who has been there) - how did you feel about the Haydn "Serenade" piece (from the String Quartet) - with the Alberti bass throughout this piece did you enjoy this one also - I'm currently working on it & enjoying it (even with the left hand pattern being the reverse of what I was used to so far). Were you able to bring out the RH melody in this piece well?
But now you've got me a little anxious to get to "A Very Special Day" to see what's so likable about that one!
JF, I did indeed enjoy learning to play the Serenade. However, I must be honest in admitting that the last three measures on the first page caused me great difficulty. My teacher interpreted the slurs on the pairs of notes as a "down-up" dynamic which took me quite a while to get right.
I think this was one of the first pieces that I started to become aware of the LH/RH balance and I started to lighten up on the LH while carrying the melody in the right. All in all, this was an excellent tutorial piece and very enjoyable to play.
Originally posted by OldFingers: JF, I did indeed enjoy learning to play the Serenade. However, I must be honest in admitting that the last three measures on the first page caused me great difficulty. My teacher interpreted the slurs on the pairs of notes as a "down-up" dynamic which took me quite a while to get right.
I think this was one of the first pieces that I started to become aware of the LH/RH balance and I started to lighten up on the LH while carrying the melody in the right. All in all, this was an excellent tutorial piece and very enjoyable to play.
Bob
When I reached this piece I told my teacher that I thought I met my match and that my left hand wasn't as good as I thought. I worked through it and still am trying to clean up this piece. Very challenging piece.
Originally posted by OldFingers: JF, I did indeed enjoy learning to play the Serenade. However, I must be honest in admitting that the last three measures on the first page caused me great difficulty. My teacher interpreted the slurs on the pairs of notes as a "down-up" dynamic which took me quite a while to get right.
I think this was one of the first pieces that I started to become aware of the LH/RH balance and I started to lighten up on the LH while carrying the melody in the right. All in all, this was an excellent tutorial piece and very enjoyable to play.
Bob
Bob - yes, the last 3 measures are difficult because of the "doubling" of notes in the LH (and the change of chords in the very last measure, along with a slight rhythmic change in the RH pattern) - also I didn't particularly like the large drop in the melody notes to the G in the 1st 2 of these measures, so I changed the G to the 4th line D in the 1st and the G to a 4th space E in the 2nd (sounds better, although I'm not sure Haydn would approve) - and you're right about the LH/RH balance, where the RH shoiuld be a little louder to bring out the melody.
I'm finding this piece just a little harder to memorize than most I've studied so far. Not sure why. Maybe the constantly changing LH/RH patterns.
Mark - yes, this is a challenging piece, but worth the extra effort.
HI all. Happy Holidays to you all. I haven't gotten back to book 3 but have played or attempted to :-) Serenade,I enjoyed. Was going to play for a senior citizens group back in Nov. didn't have the chance
Back again, clicked "add reply" before finishing. Anyhow, "A Very Special Day" is cute :p . I will get back to "Star Spangled Banner and Toccata" after the holidays.
Hi John Frank, it's good to hear from you too! Guess what I just did! I just hope it took! Okay, I am still working on " O Holy Night" so I decided to post on youtube my version of "Carol of the Bells".
Don't know a thing about webcams and sites like youtube but here it goes. I hope it was long enough!! Please let me know if you are able to catch it. If not,I will try again!
It's me again! I just tried to see if I could see the video and I have conflicting messages; It was successful download and the file is too small, video not available! OKay!!! Back to the drawing board. Actually, back to my piano!
piano4 - keep trying - you'll get it - anxious to see/hear you!
Over the Holiday weekend I just finished my long running review of select pieces in Book 2 by getting a fairly decent new recording of "Danny Boy" - now I will soon start reviewing select pieces in Book 3 as I move forward on new pieces (I think I will probably work on all the Book 3 pieces including the "Just for Fun" pieces). Still working on Haydn's "Serenade" probably for another couple of days.
Also putting the finishing touches on the Hymn "Abide with Me" (combining 2 different arrangements - one from "Alfred's Sacrad Book, Level 2" and one from the compilation "The Definitive Hymn Collection").
And closing in on finalizing Mozart's Minuet in C, K.94 as found in "Easiest Book of Piano Classics".
JF there is a very nice recording of Danny Boy by Keith Jarrett at You-Tube. I was amazed at how slowly he played it while making it sound so beautiful. Sorry, but I don't know how to include the pointer to the video clip.
Thank you JF! I am a bit discouraged however with your kind words and thoughts, I know "I Will Survive" ... with apologies to Gloria Gaynor or Donna Summers
I've been absent for a few weeks (Christmas holiday, skiing) but the kids are back at school, and everything is returning to 'normal' and that means some structured piano playing again, finally!
My only accomplishment during the last week (piano-wise I mean) was the famous prelude in C Major of Bachs Well Tempered Klavier (ambitious selection of Alfreds 3). I think I remember Oldfingers being pretty enthousiastic about it, well...so am I. What a beautiful piece!! I love it! I think it was a great experience learning to play it. It is a fun piece to excercise sight reading skills. It just has to go on and on and on at a more or less constant speed, so it really gets you in a certain trance-like state reading ahead and playing. And even more important, it really forces you to work on the dynamics and real emotion and musicality. If you play it in a boring flat way it just sounds like an etude or warming up exercise. But if you are able to turn it into 'real' music, it is a very exciting piece to play (and to listen to)
I am sure I will very obediently work my way through Alfreds 3, but I must say that I have the feeling I am getting more and more satisfaction out of playing 'real' pieces of music instead of the short 'very-special-song-like' stuff (see also my Satie-mania earlier in this thread).
I am next going to tackle the famous & beaaaauuuutiful Moonlight Sonata (also ambitious selection of Alfreds) and probably after that Fur Elise (which I told my teacher I thought was boring, because it is almost too famous, but she convinced me it's only the first 10 bars or so that everybody is always playing, but that tackling the whole piece wil be fun. OK. I'll go with her advice)
My only accomplishment during the last week (piano-wise I mean) was the famous prelude in C Major of Bachs Well Tempered Klavier (ambitious selection of Alfreds 3). I think I remember Oldfingers being pretty enthousiastic about it, well...so am I. What a beautiful piece!! I love it! I think it was a great experience learning to play it.
I am next going to tackle the famous & beaaaauuuutiful Moonlight Sonata (also ambitious selection of Alfreds) and probably after that Fur Elise . . .
Ingrid - glad you enjoyed the Bach piece so much - it's always really nice to hear when someone gets a lot of pleasure and satisfaction from their own playing of a great musical work - I've had the feeling myself on several occassions, although with less "ambitious" pieces.
Also, impressed that you're going to take on 2 other well-known and somewhat difficult (but probably equally enjoyable) works found at the end of Book 3. Good luck and heve fun!
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I am sure I will very obediently work my way through Alfreds 3, but I must say that I have the feeling I am getting more and more satisfaction out of playing 'real' pieces of music instead of the short 'very-special-song-like' stuff (see also my Satie-mania earlier in this thread).
Ingrid
While I can understand in a certain way and to a certain extent your rather negative feeling towards the majority of the remaining pieces in Book 3 (especially since you are working successfully on more "ambitious" pieces now, which you refer to as "real pieces of music") I must state that I disagree totally with your implication that these remaining Book 3 pieces are not "real pieces of music".
You may not have meant this, but it's how it seems to come across (at least at first impression) - and those of us who are still plowing our way thru all or most of the Book 3 pieces (piece by piece, month by month) would like to believe that all of our dedicated time and strenuous effort are actually directed toward creating real music (even if it is of a shorter, easier, less-ambitiously arranged nature such as "very special song-like stuff", as you say).
At each stage of one's journey along the long road towards pianistic excellence every piece that one attempts is "difficult and ambitious" (at your current level) and is "real music".
We have to remember that "real music" is not defined by it's length or complexity or how long it's been around or the esteem with which it's held by "experts" or even the degree of technical skill required to perform it. Real music can be and is many things to many people, including very simple pieces - even the simplest very beginning pieces in Book 1.
It doesn't seem like a very helpful idea to "put down" or belittle the majority of Book 3 pieces, especially in a thread dedicated to their discussion - this would tend to discourage such discussion by those struggling with some of these pieces, thus defeating the whole purpose of the thread.
Oh boy. I didn't mean it like that at all. You cannot imagine how excited i was bout my jingle bells in book 1! With 2 hands!!
It's just that I am loving the freedom and windows of opportunity that are apparently opening now that I am where I am piano-capability wise.
And for some weird reason I am getting indeed some additional satisfaction out of playing what I called 'real' music (please put the use of the word 'real' on the combined fact that I am a non native speaker, and on top of that dutch. We are well known for our blunt way to say things) ). What I meant with it was something composed by somebody more or less famous. Longer then one page. A 'complete' piece of music, not just a small theme from something famous reduced to 12 bars. Something I chose myself becaus I love it, not just because it's on the next page of the book to cover a certain learning aspect. Hmm. It's difficult to explain.
But all of that NEXT to Alfreds.
My piano teacher told me by the way that she had few pupils who made it all the way through Alfreds 3. Apparently it's fairly common to add more and more personal favourites or interesting choices to the repertoire once you get a bit better at playing. With the method books slowly fading away at some stage.
So I guess my going through the Alfred 3 might be a bit slower because I might be adding more pieces next to it.
And OK, You're right, this is an Alfreds thread, so I can skip a bit on the non-Alfreds stuff I am working on. No problem! (although al the stuff I mentioned in my last post IS in Alfred 3! LOL! And I remember somebody else mentioning earlier that he/she was skipping all the 'just for fun' stuff, because the ambitious part was that much more interesting, so I am not that weird I guess!)
Again, sorry,sorry. I did not have the intention al all to insult or downgrade anybody.
Originally posted by IngridT: What I meant with it was something composed by somebody more or less famous. Longer then one page. A 'complete' piece of music, not just a small theme from something famous reduced to 12 bars. Something I chose myself becaus I love it, not just because it's on the next page of the book to cover a certain learning aspect. Hmm. It's difficult to explain.
I understood what you meant and I agree up to a point - playing longer and more complex and more advanced and more enjoyable and satisfying "complete" pieces by "famous" people is the goal of many people here, including me.
But to say that such pieces are "real" music as opposed to the shorter, less demanding, less enjoyable "unreal" study pieces found in a method book, is just undefendable and unhelpful (although mastering even these can be enjoyable and satisfying)
You apparently missed my main point that criticising study pieces unfairly and unjusifiably as "unreal music" (especially here in a thread devoted to helping people deal with and master them) is going to put a serious "damper" on participation here and discourage many from sharing their problems and conquests with this Book and the study pieces found in it that they are working on/struggling with.
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My piano teacher told me by the way that she had few pupils who made it all the way through Alfreds 3. Apparently it's fairly common to add more and more personal favourites or interesting choices to the repertoire once you get a bit better at playing. With the method books slowly fading away at some stage.
I can understand how that could easily happen - I'm adding more "supplemental" pieces all the time, although (at this point) I have no intention of stopping work in Book 3 and plan to finish it out doing most of the pieces (sooner or later).
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And OK, You're right, this is an Alfreds thread, so I can skip a bit on the non-Alfreds stuff I am working on. Ingrid
I didn't say anything about not discussing non-Alfred pieces here in the Alfred 3 thread - please discuss any piece you wish, Alfred or not (I do and others too). Even criticize individual Book 3 pieces - just don't put them all down as a whole as third-rate stuff.
As someone who has been systematically working my way through the Alfred's series I agree with John's point of view. Not having had a good musical background when I started this project I am feeling a certain satisfaction in nearing completion of what has here-to-fore been referred to as a fairly comprehensive introduction to the piano. Except for the the "Just for Fun" pieces which I have skipped with the blessing of my teacher, I have learned something from all the pieces I have studied.
I remember in particular working on "Dark Eyes" in Book 2. As someone who started this project not being able to read both clefs, my focus had been on being able to play the notes. Having played it more or less error free and feeling good about it, my teacher got very serious and said what I was doing was not musical. While a bit of a blow to my ego, I realized what he was saying was actually complimentary as he was implying that I now had the skill to make it musical. As short a piece as that was, it was a "game-changing" experience. Ever since, I never leave a piece until I am able to put some feeling into it. More recently in Book 3 "Shenandoah" is used to introduce the E Major scale. This is another short piece that isn't hard to play, but does allow for a lot of expression. For me to be able to work on that aspect of playing on a short piece is an opportunity. Now my teacher and I can talk about the best way to express the piece, not whether or not I had struck all the right notes.
So Ingrid, Alfred Level 3 may seem limiting to you but for those of us relatively new to this kind of study, each and every piece is worth the time and effort needed to learn it. While I look forward to playing the pieces of interest to you, at the moment I am perfectly content to complete, what to me is a fairly comprehensive course of study.
Hi IngridT, I'm also working on Bach's Prelude in C. Its the kind of piece that really needs perfection to sound right. I have more work to do on it, but its very doable with practice.
Did you like the Prelude in D from earlier in the book? Its one of my favorites. It really makes you feel like a player.
Congrats on book 3, I still want to do Fur Eilis and the full version of Moonlight to complete Alfred 3.
Hmm. All of a sudden I have the feeling that you are thinking that I am positioning myself 'above' Alfreds' level or something like that. No! No!
I feel like a true beginner. And I am a true beginner. I wasn't able to read one single note 2 years ago. I don't feel like a real pianist yet. If I encounter a piano 'in the wild' without a music book in my bag I can hardly play a single piece. I will finish Alfreds book 3 & work on my etudes (what you call hanon I guess) to improve on all those zillion things that I struggle with.
But on top of all that I cannot deny that playing some of this Satie pieces, and now the Bach Prelude has given me the greatest musical satisfaction I experienced so far. Maybe because I am an ambitious person, and I get a kick out of working on some of those 'dream pieces'. Which (again) doesn't mean at all that I don't enjoy doing Alfreds. Its how I learned most of what I learned so far. I am having the time of my life since my first lesson. I play so many wonderful pieces. Nasty pieces. Not-my-style pieces that still taught me something. Boring pieces that turned out te be interesting after all. I celebrated so many breakthroughs (the triplets. Whaaah! What a nightmare!) It broadened my musical horizon through the variety of styles. You name it.
I am no way near to finishing book 3. It's more like I am just starting. But apparently my teacher is giving me some freedom to play around already with the ambitious selection in the back of the book, even though I am just trying to get the alberti-bass under control...
You are so right withe the prelude in C major. it has to be perfect. Once I start playing it I sometimes play it 10 times, just on and on and on. It gets you in a kind of trance. I'll look up the prelude in D as well!!
On a cheerier note, I finished "Prelude in A Major", "Blue Rondo", "Shenandoah" and "Laredo". I liked all of them. I'm now working on "Soldier's Joy" and I am starting to mess around with "Toreador Song" which looks as though it could be a deal-breaker. The triplets might be a little difficult for my "old fingers" to handle. Does anyone have some words of encouragement to keep me pressing onward?
Originally posted by OldFingers: Does anyone have some words of encouragement to keep me pressing onward?
It would seem that you really don't need any - the way you're knocking off pieces we're going to have to do something real soon to "discourage" you and slow you down a little bit or you won't be around much longer to offer us words of encouragement! In a big hurry to get to Alfred 4, are you? :p
Keep up the good work Bob and keep on keeping us up to date.
Don't get discouraged! I'm still working on page one of the Toreador Song, and at a fairly slow (tho a bit faster than when I started) tempo. Not nearly what it should be when done. It's not the triplets that are getting me. For some reason, triplets never really tripped me up. It's the danged rhythm! Keeping the left hand short but steady against the dotted rhythm in the right is a monster! Same advice as last time- slow, slow, slow! Start slowly enough that you can get the triplets right every time, and build speed gradually. As my teacher keeps saying to me: "What's your hurry?!?" LOL
And speaking of such things, I haven't had a lesson in 3 weeks! ARGH! I cancelled the first one- way too far behind on Christmas stuff! Then last week, my teacher called and said she was sick, so had to cancel. This week, she called as she was leaving her doctor- she has pneumonia! Hopefully, things will be right next week.
Till then, I am working on Toreador, have looked a bit at Rock-A My Soul (next in Alfred's and one I have enjoyed in all the Alfred's books, so I look forward to this more complex arrangement, too), opened Book 2 of Martha Mier's Romantic Impressions and started on the first piece, and following a recommendation from someone else, discovered I have a book of music by Catherine Rollins. It's her Sounds of Spain, Book 1. Admittedly easy arrangements, but lots of those rhythm things that can trip me up, so I thought these might help me nail some of that technique, plus it will be good sight reading work. Hmmmm, seems even without lessons every week, I manage to keep busy!
JF, my lessons got all messed up over the holidays so I had three or four weeks to work on my pieces. Usually it takes me about two weeks to get approval to move on. Actually I am in a bit of a hurry, as I'm trying to gain access to the course of study my teacher has for his "normal" students, i.e. kids younger than about ten. He has a rather unconventional approach as he gets young promising students who don't want to pursue classical material. In order to get on the same track as the eight-year olds, I had to learn how to read all the notes. Hopefully I'll be ready when I finish Alfred 3, probably in the spring. It will be interesting to see what happens next.
Hi Oldfingers! This forum is one of the things I look forward to for positive energy! My major struggle is not so much with the pieces I am working on, but trying to figure out things such as "Youtube"!!!..
It will take me a little while to get through Alfred 3 and I am wondering just #4 would be like?
Originally posted by piano4: It will take me a little while to get through Alfred 3 and I am wondering just #4 would be like?
Keep on hanging in there! I know I am:-)
piano4 - I was just teasing OldFingers about being in a hurry to get to Alfred 4 - as far as I know there isn't an Alfred 4 (and I'm not too awfully sure I'd want there to be! )
Saw your video in the January Piano Bar - nice work!
Oh, Oh, all this talk of being in a hurry has gotten me into a great slow-down. I've made my first pass through "Soldier's Joy" and am now working on dynamics, which is fine, but the next piece, "Toreador Song" is not yielding to my efforts. I have spent a week on the first eight measures and can barely get through it at a very slow speed, and the triplets are still ahead of me. Can anyone tell me what's going on here? Why am I finding it so hard? The next three pieces might even be more difficult. Has anyone else found this section of the book to be at a substantially more difficult level than the preceding? I need some encouragement here. JF, I think you have jinxed me.
Originally posted by OldFingers: "Toreador Song" is not yielding to my efforts. I have spent a week on the first eight measures and can barely get through it at a very slow speed, and the triplets are still ahead of me. Can anyone tell me what's going on here? Why am I finding it so hard?
JF, I think you have jinxed me.
:p You can't blame me - I'm innocent - you can tell just by looking at my avatar, can't you? Can't you? OldFingers?
As far as "Toreador" I haven't gotten that far yet, but my educated guess is that you need to slow down even more
Seriously, maybe you need to concentrate on one phrase at a time or even just one or two measures, and then slowly take on one or two measures more, etc. Isn't that the piece with the syncopated rhythm or something "off" like that? Or maybe if you just let it rest for a little while and then come back to it fresh?
I'm sure one or two other who've been there and done that will be able to help more specificaly.
JF, "innocence" is certainly not an attribute I would associate with your avatar. But you, on the other hand, well ...
The difficulty is not due to its rhythmic structure, but rather, I think, that the two hands are moving in different directions. That's why it took me several weeks to finish "Trumpet Tune". For many pieces the left hand is just strumming chord tones, but that is not the case with "Toreador". I actually have to concentrate on reading the left hand notes, rather than just recognizing the chords from which they might have come.
OK, I'll take some time off. Actually I'm traveling tomorrow and will be away from a piano for a couple of days. A rest will do me good. I'll be away from cyberspace for the next two weeks, but if I haven't mastered "Toreador" by the time of my return you might never hear from me again.
Hey, Bob, don't be so hard on yourself! I started Toreador Song before Christmas and we only added a few measures on page 2 today! My teacher says it's one of the more difficult pieces in the book, so it makes sense that it will take some time to get it right. Just take it slow and easy- I'm nowhere near up to correct speed on the thing. The triplets are really not bad. The left hand is the bugger on this one. Hang in there- we'll get it in time.
Originally posted by Mark...: Don't forget, we can always use additional recordings for any and all Alfred pieces for the opening pages. Duplicates are welcome.
Thanks!
Mark...
Mark - since you ask, here's my version of "Fandango" - it's the Book arrangement with a slightly extended (and hopefully enhanced) ending:
Finishing up "Grand Piano Band" (one of the Just For Fun pieces) - just like the 1st JFF piece "Simple Song" it's not too bad musically (you just have to ignore the somewhat corny lyrics) -
Mmoved on to "A Very Special Day" but not far enough into it to form an opinion yet - also trying to get a good recording of "Serenade" but that confounded middle section (actually only 3 measures - Oldfingers knows the ones I mean) are making it a little troublesome.
Also, still working on the Beethoven Minuet in G and the hymn "Fairest Lord Jesus" (lots of RH harmony notes making it slow going).
Hi all! I've given up on "Star Spangled Banner" for now. Will begin working on "Toccata" and my instructor wants me to continue with "O Holy Night" for one more week.
And yes, that "Serenade" middle is tricky. I had trouble with that too! I may go back on that just to see how much I remember!
Hey guys! I've just finished The Classy Rag and was just wondering what level an average Joe has when he finishes The Alfred series. Could anyone give a few examples of well known songs which you will be able to play when you're done with the Alfred? I've seen some topics about this but they weren't really answering my question.
Originally posted by Wimbwicket: Hey guys! I've just finished The Classy Rag and was just wondering what level an average Joe has when he finishes The Alfred series. Could anyone give a few examples of well known songs which you will be able to play when you're done with the Alfred? I've seen some topics about this but they weren't really answering my question.
I hope this isn't a repeat of what you have already heard.
The consensus seems to be, that when you are done with Alfred you are a late beginner/early intermediate. The pieces at the end of Alfred three in the ambitious section are in the grade 3-4 range.
As for how this works in pop or rock, it would be hard to say, but you would probably have the tools to play some very nice stuff with concentrated work.
Originally posted by Wimbwicket: [b] Hey guys! I've just finished The Classy Rag and was just wondering what level an average Joe has when he finishes The Alfred series. Could anyone give a few examples of well known songs which you will be able to play when you're done with the Alfred? I've seen some topics about this but they weren't really answering my question.
I hope this isn't a repeat of what you have already heard.
The consensus seems to be, that when you are done with Alfred you are a late beginner/early intermediate. [/b]
Drats! And I was hoping after all this time and work and energy expended that we would at least be in the "too good to be at the intermediate-intermediate level but not quite good enough to be at the advanced-intermediate level" level, which one might refer to as the advanced-intermediate-intermediate level (just to simplify things) - maybe we need an Alfred's 4 after all
piano4 - well, if you agree with me then you're obviously a very wise and perceptive person indeed
Seriously, whatever else you might rate yourself after going thru the 3 levels of Alfred I don't think the word "beginner" should even remotely apply, and should not be allowed in the discussion :p Even "early intermediate" seems a slight understatement. I like my rating system a lot better (and that's a totally unbiased opinion )
haha Nice one John . Thanks for answering my question guys. Just a quick little question.
We don't have an official rating system here in the Netherlands. So are you referring to a grade system of the US, or maybe the 'grade system' of www.sheetmusicplus.com or what grade system Mark...? And is there some sort of list of things you are able to play when you're grade 3-4? And since late beginner / intermediate are kind of relative terms i don't know what i will be able to play. I've got a teacher and i know she will give me nice pieces to play when i'm done with Alfred, i just would like to know what kind of pieces :p .
Wimbwicket - I don't know much at all about the various "grading systems" (sheetmusicplus or otherwise) and I'm really not too concerned about them, so I'll let others here who are more familiar with them respond specifically to your questions.
But, it would seem obvious even to the most casual observer that what any given person will be able to play in terms of the "graded rating" of pieces after one completes the 3 Alfred books will be highly variable and thus difficult to be precise or exact about. This is because, while there might be some "average" level of ability for those finishing Alfred, and so a certain general grade of pieces that one could possibly play (say level 3-4), this average might not be that usefull and may not apply in any number of cases for several important reasons: natural talent, differences in speed and accuracy of learning, motivation, dedication to practice schedules, actual practice techniques, outside help & encouragement or lack thereof, thoroughness with which one "went thru" the Alfred series, etc., etc.
Take that last item I mentioned: the thoroughness or completeness with which one went thru the Alfred series. There are a number of ways to do that. For example, one can go thru it slowly and steadily playing all or most of the pieces and pretty much getting good control of each piece before moving on to the next, and spending some time as one moves forward reviewing previously "mastered" pieces from earlier in the books. Using this method one could be reasonably sure of being an "average" graduate of Alfred at a certain level of technical skill and musicality and ready to take on other pieces at the same or a more demanding level with some degree of confidence.
But, others might not be so thorough or dedicated or demanding of themselves on their journey thru Alfred, skipping a lot of pieces, or not really "mastering" them and moving on to other pieces out of boredom or frustration, not reviewing too much, not actually developing all of the skills and tecniques which are gradually presented in the series, not developing the ability to sound musical in their performances (musicality), etc. So, you can see that there is "going thru Alfred" and then there is "going thru Alfred" - and there will be a lot of variation in pianistic abilities of those who do.
In conclusion, where you will be and what you wil be able to play when you "get thru Alfred" will depend mostly on you and your efforts over an extended period of time, and may be greatly different from where I will be and what I can play. But, just how important is it to know one's current "level" - it's not going to help you at all to master the next piece you take on or become a better musician able to play your pieces with any degree of "musicality".
I try to play each piece as well as I can at my current level (whatever that is) and have fun doing it. If you take this approach at each stage of your developement and with each piece you attempt to play, your skills will slowly improve and the "levels" will ultimately take care of themselves.
Someday you'll play a piece for some piano "snob" and they'll say: "Hey, you play that fairly well - you're at level x". And you'll say: "So what, ask me if I care - now listen to this piece and tell me if it sounds like I'm in control & know what I'm doing!".
You know, I feel that anyone who makes the attempt to play any type of instrument is expanding their minds! And outlook on life! :t: music person and I flatly told them to remember that they had to begin somewhere! Everyone else I've met, look at me and truly rejoice with me that I am untaking something that I truly enjoy
Now, if I do decide after I finally finish this masters program to go into a college course on music, then I'll worry! Until then, Nah!
Hi, I am new to the Forum and this is my first post. I am not sure if this is the correct thread. If not, please let me know where I should ask this kind of questions.
I am a restarter, and as many restarter must have done, I am assessing my level to decide what books to buy. I have searched Amazon's and the Alfred's series look good, but their naming and numbering really confused me.
Like even for this thread, it says it is for Alfred's Basic and All-In-One; but from the charts from the back of Alfred's books, Beginner Alfred's Basic has 6 LEVELS, whereas Beginner All-In-One Course has 5 BOOKS, and the numberings don't go together either. Book 5 of the all-in-one corresponds to roughly level 3 or Alfred's Basic.
Then there is a "Later Beginner All-In_One Adult Piano Course" which has 3 levels.
Maybe I will just end with my first question on this forum: which one are talking about here on this thread? I am asking this so that hopefully I can follow along later.
Alfred Basic Piano Course (6 levels) is meant for children. Although adults can and have use it also. Each level has several books - piano, theory, technique, performance, etc. The All-in-One is a combination so that you only need one book.
The "Later Beginner" course is meant for older kids who are just starting. It moves a little faster than the basic.
The "Alfred Basic Adult Piano Course" (3 levels)is meant for adults. It also has more than one book at each level, the most important extra book being the theory book.
The "Alfred Basic Adult All-in-One" course, which most of the people on these threads are using is a combination of the basic lesson book plus some pages from the theory book, and some pages from the finger exercise (whatever it's called) book. This book is also preferred because it has a spiral binding and stays open better on the piano.
mom3gram, thanks for clearning things up. I happen to have the "Alfred Basica Adult Piano Course - Adult All-In-One Course : Lesson - Theory - Technic" from inter-library loan. I think this must be the one we are talking about here.
From the backcover, it looks like there are 3 levels on this series. Is that all? Because I preview Level 3 from Amazon, and the songs look not too difficult for me. Even those in the "ambitious" section like Moonlight Sonata (probably edited) and "Fur Elise" don't look bad. I can't just sight read and play them immediately, but they don't look difficult to learn.
I am still planning to get the 3 books as a reference, but if there are only 3 levels in this series, what books do you think I should get for graded instructions?
Dave, I'm only on book 1. If you think you can play the ambitious section of book 3, I don't see why you would need Book 1 & 2 unless you want to review.
Dave, I'm only on book 1. If you think you can play the ambitious section of book 3, I don't see why you would need Book 1 & 2 unless you want to review.
Since I'm only on Book 1, I don't generally post in this thread, but I saw your post and had done research on all the Alfred books so I thought I would answer your question.
As to getting all 3 levels of the All-in-One book, I don't think you would need them, but maybe some of the Book 3 people would like to chime in here.
Accroding to my copy of the All In One Adult Level 3 book, the pieces in the Ambitious Section are not edited. The book says they are in their "original form."
Dave - Start with All-In-One, Level 3 - try some pieces at random throughout the book - see how it goes - check out the "Ambitious" section next - see if they're a challenge or not - you should know soon enough whether or not it's useful to you - if not, well there is no Alfred Adult 4 - feel free to compile one, if you wish :p - beyond Alfred 3 the choices are wide open and yours to make - I've seen several graded series recommended elsewhere in the Forums - here is one published by Alfred that could be used as the basis for additional organized, progressive study (along with other supplemental sources), but I'm not familiar at all with it's overall quality or utility; and there is a series edited by Keith Snell which seems to get good reviews:
Mark - since you ask, here's my version of "Fandango" - it's the Book arrangement with a slightly extended (and hopefully enhanced) ending:
Fandango
Regards, JF
Jf, I am exploring here- as I am book one, but did not want to pass on the opportunity to say I enjoyed your Fandango and look forward to getting here. Carl
Thanks all who have responded to my question about the series. It has helped me a lot in deciding where to go next.
John, I noticed you mentioned "Abide with Me" and "Fairest Lord Jesus," two of my most favorite hymns. What book are you using that has these hymns? I don't think they are in Book 3.
Mark - since you ask, here's my version of "Fandango" - it's the Book arrangement with a slightly extended (and hopefully enhanced) ending:
Fandango
Regards, JF
Jf, I am exploring here- as I am book one, but did not want to pass on the opportunity to say I enjoyed your Fandango and look forward to getting here. Carl
Carl - thanks - glad you enjoyed it - good luck with Book 1 and above all have fun
Originally posted by DaveInMichigan: John, I noticed you mentioned "Abide with Me" and "Fairest Lord Jesus," two of my most favorite hymns. What book are you using that has these hymns? I don't think they are in Book 3.
Dave - you are correct that they are not in Book 3 - the only hymn in Book 3 that I am aware of is what the authors call "An American Hymn" (which is an old favorite much more commonly known as "Shall We Gather at the River"?)
I am actually playing two different arrangements of each of the hymns you mention. The 1st version of each comes from a book which is basically a companion to the Alfred Adult series and which is called: "Alfred's Basic Adult Sacred Piano Book, Level 2". The arrangements in this are very good and are roughly equivalent in technical demand to the pieces found in Alfred 2 (in fact they are coordinated by page number). Here is a link to it at sheetmusicplus.com:
The 2nd version of each is taken from a book entitled "The Definitive Hymn Collection - 218 Multi-Denominational Hymns". The arrangements in this are a little more advanced (e.g., multiple RH harmonies), and here is a link to it:
I'm trying to combine the 2 arrangements of each into one modified, enhanced version of each. For example, playing the 1st verse with arrangement 1, the 2nd verse with arrangement 2, etc. So far it a little slow going because the "Definitive" arrangements are still a bit of a challenge for me - but not for long!
I didn't know fandango was a latin type piece so I rushed out and took my alfreds out and boy did I love it. Being latin myself I love that kind of music. It was a break to play something so simple and beautiful after having to play the tedious classical stuff I'm playing now.
I want to play some latin and Irish music for a change. I just received a shipment from sheetmusicplus and I'm going to bring it with me as a hint hint for my teacher.
In addition I saw where IrishMak, mentioned "Toreador" so I'm going to play that on the side as well probably today if I have time.
I'm reading the posts here and the discussion on what level is achieved after completing alfreds and I have to agree with early Intermediate.
I'm not a teacher nor do I feel qualified to recommend but I'm going to say this from my own experience.
Supplement your alfreds heavily with original pieces. That right there is going to help you more than any arranged pieces in the books out there.
It's fine if all you want to do is play arrangements from the time you finish your method books but if you want to play original pieces start now if you haven't already.
Not only is it going to help you progress in levels but it's going to help you technically as well with finger independence especially for the left hand, strength and all kinds of stuff for lack of a better word.
The progress you guys will make is going to be remarkable.
Muzio Clementis sonatina op 36. no 1 is a really good place to start. All three movements. It's easy but nice and it works your fingers speed, dexterity and so on and so forth.
As JF mentioned the keyboard repertoir is good. I would study from there as opposed to arrangements you'll develop more from original pieces.
JF, thanks for the link. Our library system here has both books, so I will check out the second one. The first one is a little "too easy" for me.
I currently have also "Twenty Piano Duet Transcriptions of Favorite Hymns" (also through the loan). If you have another person who can play four hands with you, this book is great. It is quite doable for someone in Alfred 3. I think I am going to do "Come, Thou Almighty King" with a teenager next month or March.
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I'm reading the posts here and the discussion on what level is achieved after completing alfreds and I have to agree with early Intermediate.
OG, I agree. I have searched Book 3, the selections (outside of the ambitious section) look so easy to me. Even "Moonlight Sonata" in the ambitious section doesn't look ambitious to me (this is by no means meant to be an arrogant statement. It is just that we have to describe our levels, which I am still assessing, with words.)
Then I started to check out the repertoire books (with Amazon preview), and I think I am probably between early intermediate and intermediate. I will also check out some fingering and exercise books.
Well, I have probably "pirated" this thread too much. I will stop now as this is supposed to be discussion on the study on Book 3. Sorry about this and thanks all! Hope to see you all in other threads. It is great to be here.
I didn't know fandango was a latin type piece so I rushed out and took my alfreds out and boy did I love it. Being latin myself I love that kind of music. It was a break to play something so simple and beautiful after having to play the tedious classical stuff I'm playing now.
I want to play some latin and Irish music for a change. I just received a shipment from sheetmusicplus and I'm going to bring it with me as a hint hint for my teacher.
I'm reading the posts here and the discussion on what level is achieved after completing alfreds and I have to agree with early Intermediate.
Supplement your alfreds heavily with original pieces.
It's fine if all you want to do is play arrangements from the time you finish your method books but if you want to play original pieces start now if you haven't already.
Not only is it going to help you progress in levels but it's going to help you technically as well with finger independence especially for the left hand, strength and all kinds of stuff for lack of a better word.
As JF mentioned the keyboard repertoir is good. I would study from there as opposed to arrangements you'll develop more from original pieces.
OG - glad you liked Fandango - yes, a fun piece to play - wish it was longer and a little more complex - if you find anything like that let me know - love those Latin pices myself.
Hi again gang - here's a progress report (because inquiring minds want to know ) - Finally got a decent recording of "Serenade" which you should be able to hear in a special thread here in the ABF in about 3 weeks or so.
Also, put the finishing touches on "The Grand Piano Band" in Book 3 and moving deeply into "A Very Special Day" - nice piece.
Additionally, finished The Beethoven Minuet in G and ready to move on to a minuet by Handel from his "Music for the Royal Fireworks" suite.
And, I'm about ready to start another hymn from "The Definitive Hymn Collection", but not sure which one yet (maybe "Be Stll My Soul".
Finishing up "A Very Special Day" and moving on to "Classy Rag" today in Book 3 - also working on the Handel's Minuet in D minor from "Easy Piano Classics" book.
Thought I'd drop by here to share my 'progress'. I'm joining John F, I just started working on ' a very special day', although the string quartet still needs a finishing touch. It's trickier than it looks to play it nicely, especially the bottom line with the non-alberti-bass. And I sometimes mess around a bit with the fingering, which doesn't help.
I'm also heavily into the etudes at the moment (Not Hanon, but similar I guess). I really like it to isolate some specific technical detail and work on it. Managed last week to play something with now and then a staccato note with the left hand, while holding a note to its full value (tenuto??) with the other one. Tricky stuff, but it really pays of.
AlsO struggling with the Moonlight Sonate, Its beautiful, but the stretches for the right hand are quite big. Well, in fact its mostly an octave, but then you have to do other stuff with some notes in between as well. And for someone who was struggling a month ago with playing the left hand softer then the right...I am now supposed to play with just my right hand some soft broken chords, AND a louder melody line (with the pink). Its a challenge. But my teacher is convinced I'll manage it so I'll keep on working on it for the next weeks, while continuing the 'normal' way through book 3 as well.
Have fun playing everyone!! And I'll try to post a bit more often, it's a bit quiet around here lately...
IngridT
PS...Oxfords Gal...I love your term 'original pieces' . A lot better then my 'real music'
Originally posted by IngridT: Oh, and Mark.....did I read somewhere else on the forum that you are now working on Gnossienne 1???? And...do you like it???
Ingrid (nr 6 abandoned for the moment. But 1,2,3,4,5 still in the reportoire...)
That's on my to do list, but I am well into Gymnopedie Nr. 1. Its a really nice piece too.
Thought I'd drop by here to share my 'progress'. I'm joining John F, I just started working on ' a very special day', although the string quartet still needs a finishing touch. It's trickier than it looks to play it nicely, especially the bottom line with the non-alberti-bass. And I sometimes mess around a bit with the fingering, which doesn't help.
. . . . .
Have fun playing everyone!! And I'll try to post a bit more often, it's a bit quiet around here lately...
IngridT
Ingrid - glad you "dropped by" - Yes, the Serenade piece is a little tricky thru those 3 measures that were discussed before, and I concentrated on that part hard enough to just be able to get thru that section when I made my recording - but now a week or so later I would probably have to practice it all over again - I think it's going to be my piece submitted to the upcoming ABF Recital on Feb. 15th - but not definitely sure yet. Are you submittting a piece?
Let me know how you like "A Very Special Day" which I'm also going to record in a day or two as soon as I get the ending down pat.
Yes, things have been a little quiet around here lately (it's all your fault :p )- OldFingers said he would be away for a couple of weeks, but I'm not sure what Mak or Cyborg or piano4 are up to lately - I guess we'll hear from them sooner or later.
Keep hammering away at "Moonlight" - you'll get it in time.
I've been up to shoveling snow and chopping ice! LOL Oh, wait, were you referring to piano???
Finishing up Toreador Song- my teacher would have let me drop it this week, but I'm not completely ready to do that yet. I'm not quite happy with the end. The rest is, if not quite good, at least decent, and I would like to get the ending up to the same level.
Rock A My Soul- having a bit of a time with the left hand dotted eighth followed by a sixteenth pattern. Instead of a nice, syncopated rhythm, it sounds like mush! So that's my assignment for this week with that one- work that left hand!
October Morning (from Romantic Impressions, Bk. 2)- just need to smooth out a couple places on the 3rd page.
Beautiful Dreams (same book)- played through it cold at my lesson. Ummm, not pretty! LOL But it will be, I think. Another 3 pager, so I don't have to work on the whole thing, thank heaven! And it's marked Allegretto, which is always a bugger for me. I just can't seem to play anything fast!
And then just trying to keep up with the stuff I'm supposed to already "know." Boy, is that an eye-opener if I haven't played one of them in a while!
I'm hanging around... work and grad class have gotten to me I've just finished my paper and it's late, so I won't be working on anything tonight.
Sorry to bring up Christmas songs, finished "O Holy Night" and, I thought I had it down to an exact science My instructor mentioned to me that she knows I know my notes: there are two places that i was relying on my ears instead of the notes. I was kind of bummed out about that but, on the other hand, just knowing that I can play this is a most enlightening experience
Now, I have "Toccata in D minor" and it's a doozy! And I'm only on the first page
I am learning piano from two months ago , a friend of mine gave me a copy of "Alfred book all in one course for piano Vol 1" in pdf , in my country is very difficult to get books from USA because the prices are high and there are not places that get them , this book is very easy for beginners like me , i am learning a lot, it's fantastic, but i would like to grateful if someone could help me in get the audio for that book, the audio examples inside this book.
Originally posted by jobs99: I am learning piano from two months ago , a friend of mine gave me a copy of "Alfred book all in one course for piano Vol 1" in pdf , in my country is very difficult to get books from USA because the prices are high and there are not places that get them , this book is very easy for beginners like me , i am learning a lot, it's fantastic, but i would like to grateful if someone could help me in get the audio for that book, the audio examples inside this book.
Thanks in advance!!! Regards! Jorge Argentina
Here are some You Tube example of many Alfred pieces:
Originally posted by John Frank: Mak - tell us a little about "Romantic Impressions" - Thanks.
Sure. There are four volumes in the series, all with original compostitions by Martha Mier. I have books 1 and 2. I've finished going thru book 1, and started book 2. The pieces are not exceptionally difficult, but very pretty, if you like the Romantic style (think Debussy or Schumann, perhaps).
From Ms. Mier's introduction to the books:
"Romantic Impressions was especially written to provide pianists with the experience of expressive playing. Playing in a lyrical, expressive and romantic style is an important aspect in the development of the intermediate pianist.
Warm, lyrical, cantabile melodies and rich harmonic structures are found in this collection, which will appeal to pianists of any age who harbor a romantic soul!
It is my wish that playing this music will bring out the romantic in you, and leave you with lasting Romantic Impressions."
The first book is labeled for Early Intermediate to Intermediate pianists, and the second for Intermediate to Late Intermediate.
I find the pieces very pretty and I do enjoy playing them.
A few you tube videos (not me!) of some of the pieces:
I'm really enjoying these books as a supplement to the Alfred's Adult book. My teacher hadn't known about Ms. Mier before I brought in the first book, but she's since gotten a few for other of her students.
I have that romantic impressions book right here. I didn't play through it completely, but It was recommended to me as a 'extra' book by our local music-book-store, and I remember my teacher telling me that she was a big fan of Martha Mier (meaning Martha Ant in dutch, funny name).
I only got part 1 here. So there's more???
Hmhm, too much music, too little time!!
Ingrid (anybody played the Alfred duet books by the way? There's 2 parts, nicely connected to the adult course 1 and 2. I played them both completely, with my teacher doing the 'B' part. Very nice pieces, also when you play them solo. I am now studying some of the background parts myself to play with my oldest son. So much fun!)
Oh and Mark....it was the Gymnopedie instead of the Gnossienne. Also very nice. I dropped Gnossienne 6 FTTB. It's difficult, but also a lot different then the other 5, much more modern. I guess I'll come back to it some time in the future. I have the Gymnopedie book as well. Maybe I'll start working on those over the summer (last summer I did de first 3 Gnossiennes as a kind of holiday-assignment. Was fun! I re-playead all 5 I 'mastered' last week a few times. I hadn't played them for a few weeks, and oh boy, I started losing them already. If I really want to keep them alive I'll have to play them at least every other week or so. A few months back I played most of them by memory.)
And John..you asked about recording. I still have to figure out a way to take care of that. I'd love to play you guys a Satie piece, or one of the Alfred pieces. Would be nive to get some honest feedback from 'peers' or constructive criticism. But apart from a mobile phone there's no recording devices in the house. You guys think I can handle it with that? or at least try out something the youtube way? (also never done that). I know there's a whole description of the process floating around the forum somewhere, but it sounded pretty complicated (or, more likely, I was not really in the mood to absorb it and remember what the easy way was to take care of it)
Ingrid
(edited to take care of roughly 21 typo's . I really sounded like officer Crabtree out of 'Allo Allo' (which you probably don't know, but he speaks a very weird version of the english language))
and re-edited to add this (warning! rather politically incorrect! Though for the average european hilarious) link to a Youtube fragment of the abovementioned series/officer... http://nl.youtube.com/watch?v=6DrAp5gzdqc&feature=related
Originally posted by John Frank: [b] Mak - tell us a little about "Romantic Impressions" - Thanks.
Sure. There are four volumes in the series, all with original compostitions by Martha Mier. I have books 1 and 2. I've finished going thru book 1, and started book 2. The pieces are not exceptionally difficult, but very pretty, if you like the Romantic style (think Debussy or Schumann, perhaps).
I'm really enjoying these books as a supplement to the Alfred's Adult book. [/b]
Mak - thanks for the info and the videos - sounds like something I'd enjoy playing, although I'm already working out of 3 books regularly so I don't know when I'd be able to fit them in
I just got the first book (there are 7) of the "Essential keyboard Repertoire" series in the mail and after scanning thru it for awhile the original pieces appear to be at a level where the book could easily be used as a supplement to Alfred 2, in addition to Alfred 3 - the series is published by Alfred - so probably the level 3 book in the series might be a good place to start if you're looking for something to work from (in addition to other material) after Alfred 3.
I think I'm going to contact Alfred to see if I can get their recommendations on an organized program of study after Alfred 3, which is especially important for those of us self-teaching (if you have a teacher, he/she may have their own ideas but you still may be interested in any recommendations from the publisher).
Originally posted by DaveInMichigan: John, thanks for sharing your music. It is so wonderful to listen to other members playing. I will do that when I get my DP or keyboard.
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I think I'm going to contact Alfred to see if I can get their recommendations on an organized program of study after Alfred 3....
If you do that and get their reply, please let us know. I am interesting in joining if there is a thread for self-type after level 3. Thanks!
Dave - thanks for the thanks - and yes, I will let you (and others here who may be interested) know what I find out from Alfred - also, while I wasn't thinking about a separate thread dedicated to sharing experiences in a program of study beyond Alfred 3 as you suggest, it does have the potential to be a very good idea (even if those participating are using different source materials) - a sort of "Beyond Alfred" thread
Book 3ers - as promised, below is a copy of an email I recieved from Alfred Publishing Co. in response to an email I sent to their Customer Support section in which I requested recommendations on organised programs of study that basically pick up where Alfred 3 leaves off.
As you will see the recommendations are mostly multi-volume series that are geared toward Classical music studies and technical exercises. According to the gentleman who took the time and made the effort to forward these recommendations there are currently no programs of study that encompass multiple genres of music such as is found throughout the Basic Alfred Adult series. You can, of course, use any number of supplemental books to augment the material shown below.
This gentleman, whose particulars are listed at the end, is not making these recommendations as an official representative of Alfred Publishing Co., but merely as a private individual who has been teaching piano and helping people with their piano studies for some time now.
Notice his contention that those who finish Alfred 3 are at the "Late-Intermediate" Level.
Here is the email (all of the books listed are available at alfred.com & other sites):
Thanks for your email and your questions. I would like to give you some recommendations as to what your options are.
Standard Classical Repertoire: ------------------------------
Students who complete Level 3 of Alfred’s Basic Adult Piano Course tend to be at the Late-Intermediate level. However, because students vary in ability as well as practice habits and exposure to supplemental literature, we usually recommend that you choose intermediate level standard repertoire. This will allow students to develop an in-depth understanding of the nuances and artistry required to perform pieces from various style periods.
The following Alfred graded repertoire collections are excellent for a Level 3 graduate who is ready to master the classics.
The Spirit Series -----------------
Ed. Nancy Bachus / perf. Daniel Glover
Eastman graduate and master teacher Nancy Bachus designed The Spirit Series for pianists to capture the spirit of the major style periods. Repertoire from both familiar and lesser-known composers is included, along with commentary about the composers' lives, related art images and social changes in the era. Each book includes an artistic CD recording of the repertoire by noted pianist, Daniel Glover.
The Baroque Spirit
Book 1 & CD (Early Intermediate/Intermediate)...........$10.95 item #16718
Book 2 & CD (Intermediate/Early Advanced)...............$10.95 item #16719
The Classical Spirit
Book 1 & CD (Early Intermediate/Intermediate) ..........$10.95 item #16720
Book 2 & CD (Intermediate/Early Advanced)...............$10.95 item #16721
The Romantic Spirit
Book 1 & CD (Early Intermediate/Intermediate)...........$10.95 item #4638
Book 2 & CD (Intermediate/Early Advanced)...............$10.95 item #4639
Beyond the Romantic Spirit
Book 1 & CD (Early Intermediate/Late Intermediate)......$10.95 item #21388
Book 2 & CD (Intermediate/Early Advanced)...............$10.95 item #22428
Burgmüller, Czerny & Hanon:
Piano Studies Selected for Technique and Musicality
By Johann Burgmüller, Carl Czerny, and Charles-Louis Hanon
Ed. Ingrid Jacobson Clarfield
Westminster Choir College piano professor Ingrid Jacobson Clarfield has selected etudes and exercises that emphasize
technique and musicality. Volumes 2 and 3 also include works by Heller.
Chair of the Piano Pedagogy Department at the University of Oklahoma, Dr. Jane Magrath has graded this series sequentially for aspiring pianists. Alfred began publishing Masterwork Classics in 1988, and the series continues to be Alfred’s top-selling repertoire series. Each book contains an excellent model performance CD by Kim O’Reilly.
Level 5 Book & CD (Intermediate)........................$9.95 item #414
Level 6 Book & CD (Late Intermediate)...................$9.95 item #416
Level 7 Book & CD (Intermediate/Late Intermediate).....$10.95 item #16740
Level 8 Book & CD (Late Intermediate/Early Advanced)...$10.95 item #16741
Level 9 Book & CD (Late Intermediate/Early Advanced)...$11.95 item #17213
Level 10 Book & CD (Late Intermediate/Advanced)........$11.95 item #17577
With my own students, I try to evaluate their interests and goals when figuring out where to go next. The Classics are a great school master, and there are contemporary music educators with excellent materials as well. Or, you may want to branch off into pop or jazz styles.
I could give you more exact recommendations based on your personal musical tastes and what you would like to ultimately achieve in your studies. You are welcome to write back and I’ll be happy to give you more help.
I hope this information is helpful.
Sincerely,
David Ellsworth Alfred Keyboard Customer Support Alfred Publishing Company, Inc. P.O. Box 10003, Van Nuys, CA 91410-0003 (818) 892-2452 | (818) 830-6261 fax keyboard@alfred.com | alfred.com/piano PremierPianoCourse.com MusicforLittleMozarts.com GroupPiano.com
Wow, what a nice reply from the gentleman, and thanks for posting it here, John.
I had been doing a lot of searching too. The technical studies turn out to be about the same as suggested. I am already doing Hanon. I will most likely add an etude book for the Etudes, and select one from the Repertoire book.
By the way, I think any Book3er can do Hanon now. It is just finger exercise and without much reading, so I think the sooner the better. Even if you do it slowly, after 1 month or two, you will notice an amazing improvement. All you need is persistence. Just it at your most comfortable and accurate speed a few times daily.
And Hanon can be downloaded free as the copyright has expired.
I have the first volume and have looked through the others. My teacher has commented that he uses the first few books in the series, but also commented that after about book 3 or 4 the series loses direction and they were just publishing more books to have more books to sell.
I would say that volume 1 is about comparable to Keith Snell level 1 & 2. I think they have some of the same pieces. I would have to look at it in more detail to see if it also contains pieces from Keith Snell level 3.
Btw, I am also checking "Twenty-five easy and progressive studies for the pianoforte, op 100" by Burgmüller. I have requested it through inter-library loan. When I get it, I will report about it here.
I have the first volume and have looked through the others. My teacher has commented that he uses the first few books in the series, but also commented that after about book 3 or 4 the series loses direction and they were just publishing more books to have more books to sell.
I would say that volume 1 is about comparable to Keith Snell level 1 & 2. I think they have some of the same pieces. I would have to look at it in more detail to see if it also contains pieces from Keith Snell level 3.
Rich
Rich - Yes, that's the "Essential Keyboard Repertoire" book I have - Vol.1 - it appears to be a very nicely formatted and useful compilation with a number of interesting pieces that could easily be used by late-beginners onward.
In a followup email about this series the Alfred guy above stated that it's a decent series but that it won't take you as far into an advanced repertoire as the other two series that he recommended.
Your teacher could very well be correct in the contention that it tends to lose direction in later volumes, one of which is devoted to Sonatinas and another one to works requiring an octave or less in reach (which may not necessarily be a bad thing).
It seems to me we discussed the EKR series in comparison to the Keith Snell series not too long ago in another thread and I'm trying to remember what your reason(s) were for rating the Snell series just a little better in overall quality - maybe you can remind me (was it this lack of direction?).
I like the Keith Snell series better because it is more consistent in terms of the difficulty of pieces in each level. There are so many other series out there that gives you a clear indication of the progression. Alfred's EKR strikes me as requiring a teacher to help with the ordering of pieces and when to move on to another level. I think the editing is better in alfed's series. You usually get more help with ornamentation in alfred's as well. As far as the pieces go, anywhere from 1/3 to 1/2 of the same pieces seem to be the same in the two series. A plus for Keith Snell is that I think it has more 20th century composers.
JF, thanks for the information for studies beyond Alfred 3. It was nice of the gentleman to refer to us as "late-intermediate", but, personally, I doubt it. Whenever I hear my teacher play I realize I am just scratching the surface. But that's OK.
While I was away I finished up "Soldier's Joy" and "Toreador Song". Mak, don't you love that F9/C chord in the third to last measure. I must confess, in order to get the succession of triplets and the last seven measures, I played it while listening to my teacher's version at about 85% speed. It got so I didn't have to think about what was happening as magically the fingers just did what they were supposed to do. Listening is such a powerful tool.
It's now on to "Rock-a My Soul", on which I am making good progress. But I must have played the 7th measure a thousand times to get it right. Mak, I have cheated here as well, as my teacher's recording makes the "swing feel" very easy to follow. I'm pretty sure I wouldn't have gotten it had I not heard him play it. I've also started "Prelude in Eb Major" which is giving me fits as I'm trying to establish a methodology for counting the last line. I find it very hard to switch from "one-and-two-and" to "one-two-three-four-five-six". Fortunately, the next piece, "Variations on a Sea Chanty" is fairly straightforward.
I know my cheating ways would not be acceptable at the Conservatory, but I'm running out of time, so for me, it's anything that works.
Originally posted by DaveInMichigan: Keith Snell series doesn't have preview on Amazon, so I can't tell the level or decide which one to buy/check out.
How many level does the series have? From a quick search I have seen up to level 10.
There are 11 levels (preparatory through 10). Three books in each level for classical music - one for etudes, one for baroque & classical period, and one for romantic & 20th century, plus you can find some jazz, duet, new age, etc books that are correlated to the same levels. (The index for some of the later books are listed on the back of the series, not on the website. I also don't think they have books for these at every level.) You can also buy CD's for each level.
Level wise: several of the pieces in the challenge section are in Level 5 of the Keith Snell series. If you want more preparation to be ready for the challenge section, I would suggest working through level 4 of Keith Snell's series and then the challenge section / level 5 at the same time.
Keith Snell also has a one volume per level series Essential Piano Repertoire of the 17th, 18th, & 19th Centuries. This comes with CD. It does not have as much of the 20th century music, but might be a good approach for some.
Just thought I'd add - I see a lot of synergy between people posting in the Alfred's threads and I think it would be great to be able to keep that going past book three.
Originally posted by DragonPianoPlayer: There are 11 levels (preparatory through 10). Three books in each level for classical music - one for etudes, one for baroque & classical period, and one for romantic & 20th century,
You can also buy CD's for each level.
Keith Snell also has a one volume per level series Essential Piano Repertoire of the 17th, 18th, & 19th Centuries. This comes with CD. It does not have as much of the 20th century music, but might be a good approach for some.
Rich
Rich - after reading your description above and visiting the website you linked to it looks like the "Piano Repertoire" series edited by Keith Snell has 11 levels, and each level consists of 3 books (1. Classical/Baroque, 2. Romantic/Modern & 3. Etudes) for a total of 33 books if one worked thru the entire series - is this correct? This sounds like a pretty through piano education (if perhaps somewhat expensive :p ).
So, just to briefly summarize, here are the recommended organized, multi-volume, multi-level, intermediate to advanced series that can be used both concurrently with and long beyond the Basic Alfred Adult series:
From Alfred: ------------
1. Essential Keyboard Repertoire - 7 volumes
2. The Spirit Series - 8 volumes
3. Masterwork Classics - 10 volumes
From Kjos Publish.: -------------------
4. Piano Repertoire - 33 Volumes at 11 levels (Keith Snell edited)
5. Essential Piano Repertoire - ? volumes (1/level) - edited by K.S.
**********************************************
Any other series that anyone would care to mention?
**********************************************
OldFingers - welcome back! Good to hear from you again. Thanks for the update on your efforts to master those tough Book 3 pieces. I'm with you on doing whatever it takes to get the job done
Originally posted by DragonPianoPlayer: Level wise: several of the pieces in the challenge section are in Level 5 of the Keith Snell series. If you want more preparation to be ready for the challenge section, I would suggest working through level 4 of Keith Snell's series and then the challenge section / level 5 at the same time.
These look interesting thanks! I'd love to try some of the Baroque/Classical but I'm only on the end of Alfreds book 1. Have you any idea where the Snell books preparatory level would fit in with Alfreds?
Celebration Series Perspectives (11 levels) used for RCM examinations. Frederick Harris Music Company.
The Developing Artist Series (5 levels literature & 4 levels of Sonatinas + Piano Literature for a Dark and Stormy Night who can resist that title.)
Succeeding with the Masters (3 levels, 7 books - On your way to succeeding with the masters, followed by a Baroque vol 1 & 2, Classical vol 1 & 2, and Romantic vol 1 & 2) Note that these books only contain the big composers, all are about intermediate level. They do have a page or so of practice suggestions with each piece.
Succeeding with the Masters: The Festival Collection (7 levels)
Originally posted by DragonPianoPlayer: [b]Level wise: several of the pieces in the challenge section are in Level 5 of the Keith Snell series. If you want more preparation to be ready for the challenge section, I would suggest working through level 4 of Keith Snell's series and then the challenge section / level 5 at the same time.
These look interesting thanks! I'd love to try some of the Baroque/Classical but I'm only on the end of Alfreds book 1. Have you any idea where the Snell books preparatory level would fit in with Alfreds? [/b]
The Preparatory pieces look more like the ones in the first half or so of Alfred's 1. Maybe try level 1?
Originally posted by DragonPianoPlayer: The Developing Artist Series (5 levels literature & 4 levels of Sonatinas + Piano Literature for a Dark and Stormy Night who can resist that title.)
Rich
On a dark and stormy night you might have to read that piano literature with a flashlight - and I would certainly not want to turn on my digital piano to play anything (probably pull the plug instead!).
Rich - Thanks for the additional listing of graded series - they could be worthwhile - but, can one have too many choices? It gets confusing after awhile (not to mention costly)
Regards, JF
P.S. I might post our summarized listing as a new topic for anyone interested (Alfred user or not) in the ABF.
Listening isn't cheating- it's one more learning tool. I used a variation on what you did. I don't have a portable recorder to tape my teacher's playing, but I do have notation software on my laptop. So I just plugged in the tricky parts and listened to them, over and over. Then took the laptop in to the piano, and played along with it, ever so slowly at first till I got it. It is definitely so much easier if I know how it's supposed to sound.
An my assignment for this week with Rock-A My Soul is to do exactly what you did- get that left hand part in muscle memory, so that I don't have to think about it, and just do it. I'm tripping up on it every time, because it's not automatic enough.
I have not gotten into the Prelude yet, but counting has never been too much of an issue for me. I think it's because I sang for so long, that switiching counting modes is not all that confusing. Of course, the real trick is to do that, hit all the right notes on the right beats, and make it all sound like music, too!
Mak, thank you for sharing your practice style. It is very effective indeed. FYI I use a Zoom H2 for recording, Audacity for cutting and normalizing, and "The Amazing Slow Downer" for time-scaling.
I would like to ask a favour. When you get to the Prelude and the two measures that shift time to 1/6 notes, would you let me know how you deal with it. Perhaps, because of your previous experience, it will be straightforward for you, but if you have to think about it, I'd appreciate knowing what you are thinking.
I don't mean to throw a wet blanket but I submit this for consideration. Yes the gentleman was very kind to send that information to you. This is in all likelihood not an issue but I feel compelled to ask if you asked for and received permission from the gentleman to post his letter and name on these public forums? If not, I think it would be totally appropriate to ask for permission or at the very least edit out his name and other personal and professional information from the post.
Originally posted by PhysicsTeacher: This is in all likelihood not an issue but I feel compelled to ask if you asked for and received permission from the gentleman to post his letter and name on these public forums?
I agree, very good information by the way.
PhysicsTeacher - good point, but rest assured that permission was asked and granted - his only stipulation was that I emphasize that he was NOT offering his recommendations as an OFFICIAL representative of Alfred Publishing Co., Inc., which I did specify near the beginning of that post that contained the copy of his email.
Originally posted by OldFingers: I would like to ask a favour. When you get to the Prelude and the two measures that shift time to 1/6 notes, would you let me know how you deal with it. Perhaps, because of your previous experience, it will be straightforward for you, but if you have to think about it, I'd appreciate knowing what you are thinking.
Bob
Bob-
Do you mean the 2 measures of triplets in the last system? I just got the book and looked at the piece. I have not tried playing it yet, but as the time signature really does not change there, it's just two triplets in 2/4, rather than straight eighths or quarters. I think, just looking at the music, that if I have difficulty in that section, I would set the metronome to a slow 2/4, and then work at getting the triplets (counting "trip-a-let for each of the 2 beats) into the beats. And ramp up the speed as the muscle memory develops. But that's just from a look at the music and not playing it. When we get to that one, my teacher may have a suggestion for working thru those measures, as well.
Originally posted by IrishMak: Do you mean the 2 measures of triplets in the last system? I just got the book and looked at the piece. I have not tried playing it yet, but as the time signature really does not change there, it's just two triplets in 2/4, rather than straight eighths or quarters. I think, just looking at the music, that if I have difficulty in that section, I would set the metronome to a slow 2/4, and then work at getting the triplets (counting "trip-a-let for each of the 2 beats) into the beats. And ramp up the speed as the muscle memory develops. But that's just from a look at the music and not playing it. When we get to that one, my teacher may have a suggestion for working thru those measures, as well.
Mak, you have it exactly right. Using the metronome and counting "one-and-two-and, trip-a-let trip-a-let, trip-a-let trip-a-let, one-and-two-and" it works. If I then do it playing one note or chord in the RH or LH, that works too. But then when I try to alternate so that "trip-a-let, trip-a-let" = "RH-LH-RH LH-RH-LH" I get messed up. I need to really concentrate on where the beat falls. I'm probably thinking about this too much.
BTW, I think it's terrific that you can hear the music from a singer's point of view. I'd love to be able to sing along with some of the pieces we are playing but my voice has a range of about five notes.
JF, thanks to you for my first successful "quote".
Yes, definitely, in a case like those triplets in the Prelude, it is a matter of coordination between the hands. Once you have the notes figured out, it can be just as difficult to get the hands to work together in the right sequence. But, like so much else in learning a new piece, the key (I believe) is slow, steady practice.
As for the singing, I hear pretty much everything I play "sung" in my head. Most of the time, I'm singing the count, but it's still sung. I don't know if it helps or hurts, but it's hard to turn it off!
Originally posted by IrishMak: As for the singing, I hear pretty much everything I play "sung" in my head. Most of the time, I'm singing the count, but it's still sung. I don't know if it helps or hurts, but it's hard to turn it off!
Mak, I'm not a musician, but I know enough to know that the ability to hear the music in your head before you play it, is a gift. Have you ever thought about playing jazz piano?
Thank you for reminding me to slow down. It seems that I need to be reminded of that lesson almost weekly.
Originally posted by OldFingers: Mak, I'm not a musician, but I know enough to know that the ability to hear the music in your head before you play it, is a gift. Have you ever thought about playing jazz piano?
Thank you for reminding me to slow down. It seems that I need to be reminded of that lesson almost weekly.
Bob
You and me both, Bob! You have no idea how many times my teacher says: "Slow down! Speed is easy to add. Learn to play it right first!" I think I should tape a sign that reads "S--L--O--W" across the front of my piano! LOL
As for the jazz stuff, I love jazz! But those tricksy rhythms are the killers for me. Sure, I hear 'em, but can I play 'em? Umm, no. But I have a book of jazz and blues stuff that I pick at occasionally. And I love to work on those old standards, too.
I'm putting the fiishing touches on "A Classy Rag" (nice ragtime piece with no major challenges), and looking ahead I see the that the next piece in line is Clementi's "Prelude in D Minor", which from just glancing at the structure of the music doesn't appear to be a very difficult work.
However I notice that the time signature is indicated as a C with a vertical line thru it (as in the old "cents" symbol), which is common time cut in half (aka "cut time") or 2/2 time instead of 4/4 time. This means, of course that there is two beats per measure with a half note getting one beat. This also implies that quarter notes are treated as eighth notes and that eighth notes (of which there are many in the piece) are handled as sixteenth notes.
This all brings up two questions:
(1) there is no explanation here about "cut time" (nor is there a definition in the glossary) for those who may not be familiar with it - was this introduced previously in the first 2 Alfred books somewhere (I can't recall that it was)? Or is this a concept that the authors supposed that the student's teacher would explain (and demonstrate) at this point? It would seem that a brief intro to (or review of) the idea would have been nice at this point.
(2) when you worked on this piece did you play it in "cut time" adjusting the note values as appropriate, or did you simply "think" of the time signature as 4/4 time (ignoring cut time note values) and play it with the more accustomed note values in 4/4 time (which it would be easy enough to do) and perhaps speeding up the tempo to compensate)? You might have done this inadvertently if you hadn't noticed the cut time signature when you originally played it
Regards, JF
P.S. Edit to add that this may have been a misprint, but doubtful; the next piece in Book 3 in cut time is Sailor's Hornpipe on pg.90.
The way I was taught to deal with cut time is to think of it as an indication of emphasis and speed. So you want a definite "two" feel to the music, with the emphasis on the first beat in the measure: Strong Weak | Strong Weak. And, in clasical music particularly, it indicates that the piece is meant to flow fairly quickly. But that's just what I was taught, and could be well off base.
As for that Prelude, the cut time indication is generally held to, and that piece is played rather quickly. I like it slower, but then I'm not going to be playing it at Carnegie Hall or anything! LOL
The way I was taught to deal with cut time is to think of it as an indication of emphasis and speed. So you want a definite "two" feel to the music, with the emphasis on the first beat in the measure: [b]Strong Weak | Strong Weak. And, in clasical music particularly, it indicates that the piece is meant to flow fairly quickly. But that's just what I was taught, and could be well off base.
[/b]
Mak - yes, that's exactly how I understood it - I've also noticed that a lot of marches are in cut time, and we all know how they clip along!
JF and Mak, thanks for the lesson on cut-time. I am embarrassed to admit that when I worked on the Prelude I didn't even notice and my teacher didn't make an issue out of it. Perhaps it's because I simply tried to emulate his playing, which temporally was just as IrishMak explained it. His comment to me was to get a "rolling" feeling. I think I know what he means by this but I can't explain it.
JF, it's no wonder you don't need a teacher. Thanks again for your lesson "copying".
I agree it is for the feel and rhythm (measure wise and also phrase wise).
Sometimes you have to sing it out to get the feel (it also free yourself to express the music without worrying about your fingers and wrong notes, etc.)
It is the same with 6/8 versus a fast 3/4. Mathematically you can make the two the same in speed, but the feels are (should be) different.
I know Frank is familiar with classic hymns (sorry to others, I cannot think of a popular song as an example as I don't sing much popular songs), so take "Praise Him Praise Him" for example. It is 6/8. If you sing in 6/8, the feel (and slight and not overdone emphasis) should be:
One - two - One - two - PRAISE Him, PRAISE Him, JEsus our blessed reDEEMer
Whereas if we do it in 3/4, even after bringing up the speed so that it is the same as the 6/8 version, the emphasis would be more or less like
One two three One two three PRAISE--HIM--, PRAISE--HIM--, JEsus our BLESsed reDEEMER
I don't know if I successfully communicated it. Well, I tried.
Your counting shows that you understand the difference between 6/8 and 3/4.
Most 6/8 pieces are closer to 2/4 than to 3/4, and that is the meter you are describing. The pulses in 6/8 are on 1 and 4: Strong weak, Strong weak. One reason a composer would use 6/8 is to make it easier to notate as eighth notes rather than to use eighth note triplets in 2/4.
If you are looking for another time signature that is closer to 3/4 in feel, it would be 9/8. The pulses are Strong weak weak in both of these.
A key to help you understand how the composer wants the pulse to feel in these signatures is to notice how the eighth notes are beamed. If they are beamed in groups of 3, that indicates that 6/8 should feel like 2/4.
I'm starting to work on the middle section of the "Prelude in D Minor" (I usually break a piece into study-sections based roughly on phrases, work on each separately for awhile and then put it all together) and when I came to the 15th & 16th measures (the 3rd & 4th measures of line 2 on the 2nd page) I came to a screeching halt and had to study the music for a little to figure out what was going on.
My final determination was that the 2 sets of 8th notes in measure 15 shown on the bass staff are to be played by the right hand because (1) the fingering as indicated is really twisted and torturous for the left hand and (2) there is no music indicated at all on the treble staff.
Now I know in the past when one hand played notes on the "opposite" staff there was usually some indication such as RH or LH as a guide, so they either forgot it here or figured by this stage you should be able to figure it out. But it did give me pause - did you find this to be the case with you when you played this piece?
Yes, those are played with the right hand. The same figure occurs again on page 3. It really didn't give me any trouble, because when we got to those measures, my teacher said, "Use your right hand to play those."
In my case I had had my teacher play it for me and I saw that he had used his right hand, so I can't take any credit for having figured it out. JF, it's no wonder you don't need a teacher.
After having dealt with Prelude in C Minor at my lesson today, I talked my teacher into letting me skip forward to the Moonlight Sonata. I'll probably regret it, but I am anxious to try something serious, and I think I have most of the tools, but we'll see.
Originally posted by OldFingers: In my case I had had my teacher play it for me and I saw that he had used his right hand, so I can't take any credit for having figured it out. JF, it's no wonder you don't need a teacher.
Well, that remains to be seen in the long run. I've allowed for the possibility that as I move into more difficult repertoire some day (perhaps sooner than I would wish) I may be forced to give some serious consideration to engaging a teacher, if only on an occassional basis, to help with more complicated techniques and the finer points of artistic interpretation (especially with Classical works) - and learning the best ways to accompany singers and other instrumentalists, which I would like to be able to do in a very professional manner some day.
Quote
After having dealt with Prelude in C Minor at my lesson today, I talked my teacher into letting me skip forward to the Moonlight Sonata. I'll probably regret it, but I am anxious to try something serious, and I think I have most of the tools, but we'll see.
Oldfingers...hmmm...the moonlight sonata. I am still working on the 1st 1 1/2 page. I love it, and my teacher said 'the sound was there' (which I took as a compliment), but the big (octave and 9th) right hand stretches combined with the fact that you actually have to play some stuff with the fingers in between...I have the feeling I lack some necessary relaxation somewhere. I feel tension in my hands that shouldn't be there. So I am trying to take care of that issue before going further. The volume stuff is pretty tricky as well. Have to play a loud melody with your right little finger, while playing a soft 'background tune' with the other fingers OF THE SAME HAND! Whaaah!
Oh, and John, I looked at your right hand/left hand passage (then at least I'm prepared when i get there myself). Just looking at it I guess I would have drawn the right conclusion because of that very low D that is dangling at the bottom side of the bass cleff. It's just impossible to play that lefthanded together with the other notes....but you're right usually they make some kind of remark to highlight the 'other hand' thing. We are probably supposed to become good at stuff like this without additional guidance once we got this far.
I am working on the classy rag this week. Special Day is over and done!!
Yes, I think they assume you don't need any guidance anymore. I don't have Book3 (or any book), but they have probably mentioned it before. If you look at Moonlight Sonata, there are plenty of places like this.
As for playing Moonlight Sonata, as Ingrid say, if you are familiar with the things that she mentioned, then I think it is ok, otherwise it might be a little frustrating. But there is always different views on this. Some says that whatever technique you need to learn, you will learn it when you learn the piece. Others say that it is better to learn the technique first (on smaller pieces, e.g.) before you get to the bigger piece.
That sounding out the main melody while playing the "accompaniment" in soft tone needs some time and practice. If you have played piano before and are a restarter, I think it is ok. If you only study from Alfred series, then I would recommend wait till later. Not that I think you cannot do it, but it will be a little frustrating.
When I restarted, I found that my theory, chords, harmony, listening, sight reading etc have improved a lot over the years, so reading Moonlight Sonata is easy for me, so I am doing it. Years ago just the reading of it would have given me headache or caused me to stop.
But it is in Book 3, so of course you can if you want to.
Originally posted by John Frank: Page 3? There's only 2 pages alloted for this piece in my All-In-One book. The figure is played again, but after the D.S. al Fine on this same page.
Umm, yeah, sorry. I was looking at the piece from my copy that I used my notation software to print out for my "keepers" notebook. I spread it to 3 pages to make it easier to read on the smaller, 8x10 printed sheets. My bad, for not realizing...
Originally posted by IngridT: Oldfingers...hmmm...the moonlight sonata. I am still working on the 1st 1 1/2 page. I love it, and my teacher said 'the sound was there' (which I took as a compliment), but the big (octave and 9th) right hand stretches combined with the fact that you actually have to play some stuff with the fingers in between...I have the feeling I lack some necessary relaxation somewhere. I feel tension in my hands that shouldn't be there. So I am trying to take care of that issue before going further. The volume stuff is pretty tricky as well. Have to play a loud melody with your right little finger, while playing a soft 'background tune' with the other fingers OF THE SAME HAND! Whaaah!
Thanks for pointing out the pitfalls, which I am sure to fall into, but I think I'll try it for a couple of days. It's just that I have reached page 106 with the Ab exercises in front of me and I'm not inspired by the music I see in that section. Nor do I see anything in the remainder of the book that will help me with the sonata. So I really don't have any excuses.
I'm working on the first page and must admit to having difficulty figuring out the chords. Any suggestions?
I'm working on the first page and must admit to having difficulty figuring out the chords. Any suggestions?
It is mainly in C# minor (though it is hard to say that the whole is in C# minor because he cleverly changed from one part to another), but as a minor key, you would expect those familiar minor chords.
If you think C (Am rather) key, then you would expect Am, E7, Dm, those kind of keys, and basically you see the same thing except it is in C# minor key. The first measure is C#m inverted, of course.
But there are places where the tune changes to major tune, so you have E, A or A7, B7, Bm. etc.
Then there are place where there is progression. He changes one note at a time and beautiful leads to the next section, like E (inverted), Em (inverted), G7, etc.
If it is difficult to see it at first, just listen to it and feel it first, and close your eyes and don't think about the notes but the feel. They are familiar chords actually, just transposed to C#minor key, and they are often inverted too, so they don't look very familiar.
Originally posted by DaveInMichigan: It is mainly in C# minor (though it is hard to say that the whole is in C# minor because he cleverly changed from one part to another), but as a minor key, you would expect those familiar minor chords.
I am ashamed to admit it, but I looked at the four sharps and was thinking Emajor even though the first chord was clearly C#-. Thanks for getting me off on the right footing. Please stand by as more questions will be forthcoming. You obviously know this piece very well indeed.
Originally posted by DaveInMichigan: If you think C (Am rather) key, then you would expect Am, E7, Dm, those kind of keys, and basically you see the same thing except it is in C# minor key.
Dave, I'm going to press my luck a try for a free piano lesson tonight.
In Cmajor, the chords are Cmaj, Dmin7, Emin7, Fmaj, G7, Amin, Bmin7 flat 5. What are the chords associated with the relative minor Amin? Alfred's 3 discusses only the three triads Amin, Dmin, E7. How can I figure out the others given the three minor scales?
Originally posted by IngridT: Oh, and John, I looked at your right hand/left hand passage (then at least I'm prepared when i get there myself). Just looking at it I guess I would have drawn the right conclusion because of that very low D that is dangling at the bottom side of the bass cleff. It's just impossible to play that lefthanded together with the other notes....but you're right usually they make some kind of remark to highlight the 'other hand' thing. We are probably supposed to become good at stuff like this without additional guidance once we got this far.
I am working on the classy rag this week. Special Day is over and done!!
Ingrid
Yes, I noticed that large stretch between the low D and the other notes (a 10th or 11th) and there's no way for me to do that
I'm trying my best to finish off "Classy Rag" - I can play all the sections fine and at tempo, but when I try to put it all together there's always some dumb mistake - except that the mistake pops up at a different place each time - maybe it's the overall length, which is 52 measures with repeats and playing the intro as a Coda - but I'll keep beating on it until I get a good recording.
What are the chords associated with the relative minor Amin?
Hi Bob, while I like to read about theoretical stuffs, I didn't go through music school formally, so my answers might be incomplete (or can be heredetic too).
In general, any chord can go with any chord, but there are certain chords and progressions that are pleasing (and what is pleasing is subjective and cultural too).
But given something like Moonlight Sonata which many find so pleasing, you can pretty much tell that the chords are not strange or eccentric.
I don't know all the chords commonly associated with minor keys, especially since there are natural minor, harmonic minor, and melodic minor (and Beethoven is playing with those in Moonlight Sonata).
But if play these chords going up: Am E7 Am Dm E7
and these chords going down: Am G F E E7
They should sound familiar (and harmonious, nothing strange or odd). You can also invert them and play them and in any kind of broken style.
Then if you transpose those to C# minor (or E key signature) and play those, and invert those and play them (as full chord and broken), they will sound familiar too, and you will find them in Moonlight.
Maybe if you try the above as a suggested exercise until you are familiar with the sound, then when you approach Moonlight, you will feel easier (and it is a joy too when you can say, "ah, I know what Beethoven is doing here."
Dave, what do you mean by "going up" and "going down".
What I mean is not just playing the chord in root position (although you can too), but play it in some ascending order, for example (the following are notes, not chord)
C E A (for Am key), then D (E) G# B (for E7) E A C (for Am again but note the inversion) F A D (for Dm) G# B E (for E or E7)
so instead of playing just the chord, you are actually using the chords to make melody too.
Then break the chord in any way you want but do the progression. We are not talking about serious composition here, but just enjoy them, like
For Am, play A C E C E C A E A E C E C, etc. (don't even have to think, just play any way on the notes of Am), then move to E7 and do the same, the move to Am....
And you will be an instant mini-Beethoven. (ok, my strange sense of humor. I am a newbie here, so I hope I am offending anyone especially those doing serious composition. I am just joking).
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Thanks for your generosity in sharing your knowledge with me.
Just remember that I am not a musician, music major and teacher or anything. I am just a restarter but I never really stopped in the past, and I like reading, including some theoretical stuffs. I am sharing what I know, but they can be wrong or not fully accurate in strict musical terms.
But I am a little concerned that I might be talking too much in an Alfred Book 3 thread though. It might be a little distracting/bothering to some. I don't know if we should move this to a separate thread.... but if no one objects, I don't mind doing it here either.
Originally posted by DaveInMichigan: But I am a little concerned that I might be talking too much in an Alfred Book 3 thread though. It might be a little distracting/bothering to some. I don't know if we should move this to a separate thread.... but if no one objects, I don't mind doing it here either.
Dave - I, for one, have absolutely no objections - in fact I strongly encourage you to continue to participate here, including offfering us your ideas about music theory in general, and the application of it to specific pieces we're working on.
At this stage of our developement we probably should be discussing some music theory now and then.
I've worked my way thru both "The Complete Idiot's Guide to Music Theory" and "The Complete Idiot's Guide to Arranging and Orchestration" so I know a little about these things now (I'm a certified "Complete Idiot" ) and might just jump into your discussions once in awhile.
Regards, JF
Edited to add that inspite of their titles the two books I mentioned above are, in fact, nicely written and, as introductions to their respective subjects, very informative.
But I am a little concerned that I might be talking too much in an Alfred Book 3 thread though. It might be a little distracting/bothering to some. I don't know if we should move this to a separate thread.... but if no one objects, I don't mind doing it here either.
Hey Dave (InMichigan)! The moonlight sonata is part of Alfred's book 3, so don't worry!!
And Oldfingers... also about the monlight sonata:
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Thanks for pointing out the pitfalls, which I am sure to fall into, but I think I'll try it for a couple of days
I didn't mean to discourage you! I am glad you are picking it up, and looking forward to share our progress! (or lack of it, I haven't played it at all the last few days. i am re-polishing my Satie pieces, which I had been neglecting for a few weeks, and I was not glad to find out that that had a significant impact on the quality of my playing. GRRR! Keeping up some limited type of 'repertoire' is not easy. At least not for me.)
I see no problem keeping the Moonlight conversation here, in fact after Fur Elise its on my to do list. I did a watered down version two years ago and look forward to the full version.
Mark...
PS: IngridT, I was toying with a Satie piece at the music store while I was waiting for my lesson and one of the other piano teachers asked me what was the name of the piece and how must she liked it. I only played like 4 measure too...
Originally posted by DaveInMichigan: .. so instead of playing just the chord, you are actually using the chords to make melody too.
Dave, I get it, you are just inverting the chords such that you can have a chromatic progression on top to make a simple melody.
When you look at "moonlight sonata" from this point of view, the melody is unbelievably simple, but the chords underneath the melody and the way they are played make it so beautiful.
I've managed to play through the first page very very slowly, but I can handle the 9th so I don't think there is going to be a deal-breaker. But getting all four pages to speed with some musicality will be something else.
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Originally posted by DaveInMichigan: But I am a little concerned that I might be talking too much in an Alfred Book 3 thread though. It might be a little distracting/bothering to some. I don't know if we should move this to a separate thread.... but if no one objects, I don't mind doing it here either.
I got you into this discussion as a result of my work in Alfred's Book 3. When I got to the last section of new theory for the Ab major scale, I couldn't generate any enthusiasm for the pieces in that section and none of them had anything to do with the sonata, so I jumped forward. So not to worry, it's my fault. Besides, with Ingrid, JF, Mark and me on board, we have a quorum.
Thanks again for your help. I have some more questions but I'd ask then at another time.
Mak is probably with us on theory discussions, and so would be piano4 and Cyborg . . .haven't heard much from those latter two lately though . . .
Currently trying to (1) put the finishing touches on Handel's Minuet No. 1 from the Royal Fireworks Suite and (2) still get a decent recording of "A Classy Rag" while continuing to plow thru the Clementi Prelude piece.
Also started my "concurrent review" process of selected Book 3 pieces & currently hammering "Super, Special, Silly, Stupid, Sucky Song" (or whatever it's called) into submission!
Regards, JF
Historical footnote: Clementi was considered the most highly skilled and technically dymanic pianist of his time - he was a contemporary of Mozart and they once met in a head-to-head competition where it was generally agreed that Clementi came out slightly on top from the standpoint of "dazzling the audience", although it was conceded by most that Mozart was a little smoother, polished, more accurate and with much better improvisational skills (from the book "The Great Pianists" by Harold Schoenberg).
Oh, yeah, I am definitely in favor of the theory discussions. It does help to know how a piece is put together, and it certainly can make it easier to see the framework underneath all the embellishments. I may not always comment, but I read with much interest.
Having worked through Alfred's Level 3 I'm supposed to know the circle of fifths. We'll see. The piece is C# minor so we would expect to see the chords C#-, F#- and G#7. The first measure starts with C#-, which goes to C#-7/B, which I guess is OK but then I see the third measure as an A or A7 which is a huge key change (to me) to Dmajor. But instead of going to D, it goes to D7 which is another key change to Gmajor. But instead of going to G, it goes to G#7 , which resolves to C#-, so we are back in C#-. Wow, that's a lot of action for five measures.
Hi all! My instructor is pushing me on "Toccata" and for me the fingering in that is I've taken a look at "Moonlight Sonata' and decided LATER :-). Happy Playing and take care!
Hi, OF, sorry I didn't see your post before. I saw Ingrid's post and I thought that was the latest post.
On other forums that I subscribed to, whenever there is a new post on a thread, there is a special symbol that I can click, and it will show the threading starting from the new post. I can't seem to find similar thing on this forum. Is there such a thing here?
It is nice that you are stuyding the circle of fifth, but chord progression doesn't always follow that. That are many different progressions. Some are more common for particular period or styles (like jazz, blues), but as in any arts form, the composer/creator can make deliberate, sometimes sudden or strange changes that make the artworks interesting.
I have meant to put some simple scores here, but I haven't downloaded the free lilypond notation software yet. But assuming we are familiar with the notation of 1=do, 2=re, 3=mi etc. please try this in C key (and the reason I am doing this is because when we are beginning, it is easier for us to see/feel things in C key, but the purpose of this is to show that in Moonlight Sonata, it is something similar but just in another key)
left hand playing chord: Am - - - | C(bass G) - - - | F - Bb(base D) - | E7 Am(bass E) E7 - | Am
Play each 3 notes as triplets, and play the last note of each triplet as a higher note, so for the first measure, it is E A high C instead of E A C.
Now the analysis part (and different people will come up with a slightly different analysis, like if you analyse a piece of artwork, some will say the artist is using complementary scheme so he wants some blue here, others might say, oh he is not doing complementary scheme here, he just throws in some different hue for contrast, so analysises(?) might be different, and that is ok)....
You notice that the first two measures are basically Am chord on the right hand side. The chord that I put for left hand, however, goes from Am to C. In this case I don't the purpose is to change chord, the purpose is to stay in Am but the bass walks down to F. C chord has the 13 part, so it works well with the Am, just the bass walking down from A to G and then to F.
The change from F to Bb is an interesting one that you asked. It is hard to explain, but it makes nice tone going from F to Bb (a perfect 4th). Then it goes to E7.
We note at least 2 things Beethoven is doing: first, when going to one chord to another, he keeps the changes in notes to the minimal (so it doesn't sound abrupt). Second, the chords are familiar and familiar chords for minor keys.
In additional to the above, he also use inversion to bring out the bass, so the bass go (downward) A G F D E E A. You should just play the bass progression a few times until you completely feel the muscicality and beauty of it.
And singing it out helps a lot too in bringing out the feeling part. Like I hold out my hands and sing it out as if I am the best opera singer with a great bass tone: la- sol- fa- re- mi- mi- la.
So my analysis (again, different people will have different one) is for the first 5 measures, the right hand is just broken chords and function more like accompaniment, whereas the bass carry the melody and it does that beautifully.
I hope you will try the above. Of course you can do it in C# minor, but try to see the analysis first in C key. Maybe everyone is different, but when I was younger/newer, I was able to see things clearer in C key as that is the key we started with.
Then appreciate the same thing in C#m.
Hope this is a little useful to anyone interested.
PS: I should add that although I put 4 chords for measure 5, Moonlight Sonata doesn't have it that way. It is useful to see what is going on with the chords, however, even though in Moonlight Sonata, only the bass is used.
Well, I mentioned before that I was going to check out Burgmuller's 25 Progressive Pieces, Opus 100 through interlibrary loan. I have it now. It looks pretty good. Easy (Alfred Book3 people can certainly do it).
But the nice thing is that you can see that he is handling different techniques (like for thirds, for legato, for fingering, etc.) in each short piece. I think for some that do not like too strict or formal finger exercises like Hanon, this is a good book to consider in additional to any repertoire book that you might want to work with.
Here is one paragraph from the back end:
"His Opus 100, originally entitled 25 Etudes faciles et progressives, composees et doigtees expressement pour l-etendue des petites mains is his most famous work. It well deserves an important place in the teaching literature for young pianists because of the many characteristic technical problems that are dealt with in a variety of pleasing selections. Through this medium the student is exposed to the problems of phrasing, dynamics and other elements of musical expression."
Dave, this might seem strange to you but I would rather think in the key in which the piece was written. Otherwise I have to transpose your analysis from Am to C#- and that doesn't come easily to me. Is there any chance you would redo your analysis in C#-?
OF, just start with the first two measures and you will see what I mean exactly. Really.
It is completely applicable in any key.
As it is for analysis only, you don't have to play it perfectly. Just press the keys to make the sound, and slowly press the Am and C keys, which I am sure you are familiar with.
And then the analysis part is exactly the same if I write for C#m or for Am. But please do two measures. There is a secret hidden there, so please try it. And after you do 2 measures, you might be lured into finishing the next 3 which is pretty simple in C key too.
Then I can give you the chords in C#m if need help on that, but they analysis is the same.
Time for a small update. Moonlight is kind of brewing in the background right now. I have the feeling something needs to settle in my mind (or in my hands) before I'll move on with it. I like the theory discussion though. And I'll keep on playing around with it. I secretly wish I could cover a nine, but I know that's not an excuse (my teacher can't stretch mOre then an octave & she's doing pretty well!). Like I saDs, the bit I am playing so far sounds pretty much OK for a start, but it doesn't 'feel' completely right yet.
Also I have the idea it's time for a few more straightforward pieces out of the 'normal' part of the Alfred's book. Very special day is done, and I am now working on the classy rag. Nice piece! But a lot of 'jumpy' movements.
I'm also playing a lot of Satie again. Like I said, I really want to keep those Gnossiennes in repertoire, but that only works when you keep on playing them! (at least for me). I feel such a real beginner when I don't have a few pieces to just play (even without a score) when I run into a piano somewhere (or when somebody asks for a tune in my home). After 2 years of playing I think that's something I should be able to handle.
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originally posted by Mark...
PS: IngridT, I was toying with a Satie piece at the music store while I was waiting for my lesson and one of the other piano teachers asked me what was the name of the piece and how must she liked it. I only played like 4 measure too...
How nice that you made such a good impression with your Satie Mark! Was it the gymnopedie? How is it coming along?? I'm just wondering...is he a well known composer in the US?? Here in Europe most people that are into pianoplaying know him, or at least recognize his most 'famous' pieces. Funny differences between Europe & the US maybe? (by the way, my pianoteacher never heard of this new age composer David Nevue that is so popular here on the forum. Is he an american??)
Did some of you guys participate in the recital by the way? I scrolled through real quickly (no time to listen yet) and I saw John, and I think Mark. I'll check it out tomorrow. I really want to try out some recording stuff as well. It's weird posting here all the time and not being able to actually share some sound. Do you guys have some real recording equipment? The only thing we have in the house so far that is able to record is a mobile phone. Is probably not the ideal quality...
Ingrid
PS....Oh! I forgot...just yesterday I noticed that all of a sudden I obtained such a nice member rating!! Whoever it was.....thanks!!!!!!!
Ingrid - I submitted the "Serenade" piece to the Recital - and yes, Mark does have a piece there too, but nobody else that I noticed. You should listen to all the pieces and then post comments in the General Discussion thread.
I found out in doing some research on the history of the String Quartet that it's taken from that it wasn't composed by Haydn after all, but by a Benedictine monk named Roman Hoffstetter (I detail this a little in my remarks in the Recital writeup) - Book 3 still gives credit to Haydn.
I record through an analog-to-digital converter called Presonus which then goes direct to a program on my computer called Cubase (various versions available) and convert the file to an mp3 using the built-in conversion program in Windows. This is not the typical procedure, nor the easiest. For tips on how to best record see the section about it in the thread "Important Topics on The Adult Beginners Forum" always near the top of the thread list.
Hope you're having mostly fun playing and learning - I know I am! I'm working on 3 separate pieces in Book 3 plus 2 other pieces now, and still trying to get a good recording of them all.
Moonlight is kind of brewing in the background right now. I have the feeling something needs to settle in my mind (or in my hands) before I'll move on with it.
Hi Ingrid, I think that is a good decision. Don't push yourself too far beyond what you can comfortably do now because that will lead to frustration.
I don't know your background, but for people who just completed Book3 without other prior background, I would actually not recommend doing Moonlight Sonata.
If someone really likes to play it though, my recommendation would be to play a few short pieces that have triplets to get the feel, then play a few pieces that is in minor key (doesn't even have to be C#m, just minor keys so we can be familiar with the tune/feel), then perhaps a few short and easy pieces in C#m. After that, it will be easier to approach Moonlight.
For some that might take a couple of months, others longer, but then when you do Moonlight, it takes shorter time to learn, so you are not really losing anything. My approach in learning and teaching (not teaching piano, however) is in general this way. Other teachers might disagree though.
I am currently in Book One of the All in One Course, and I've just finished that tune called "Good People" on p.117. Here are my questions to you more advanced Book 3 folks:
Are you capable of going back to pieces in Books 1 and 2 and now sight read them and play them smoothly? Like the piece "Good People?" Or will it take you a day or so to be refamiliarize yourself with them?
My concern is that although I am up to p.119 @ this point, it would take me some getting refamiliarized with previously learned pieces if I wanted to play them again.
Is that normal and to be expected?
Thanks again, and congratulations to all who are in the land of Book 3 or beyond.
Don't look for me in the recital. I'm not there! LOL
As for updates, I'm on my own for a couple weeks. My teacher is getting married this week and is not teaching this week or next. If I can keep myself on track with practice, I may be able to make some progress with the pieces I'm working on. Either that, or the procrastinator in me will put off the "work" part and just do "fun" stuff!
I have become completely obsessed with the "Moonlight Sonata". Last week I prepared the first two pages and my teacher was quite pleased with my progress. He encouraged me to move onto the next two pages which I have now done, albeit very poorly. But I now have marked out all the chords for the entire piece and find they are all doable. Although my fingers are indeed "old" they manage to reach the ninths without pain and I must say it is a thrill to play them in this piece.
Dave, I must apologize for being a poor student of theory but I am too lazy to transpose your Am version of the Sonata. I'm perfectly happy working in C#-, so if you'd like to do your analysis in that key I'd be happy to study it. One question I have, however, is with your identification of chords in the left and right hands. For the most part, aren't the notes in the LH elements of the same chord in the RH?
Like Mak, I'm not in the recital either. I can't seem to overcome the fear of the red dot.
Actually I tried to surprised because I thought most people were more familiar with Am key, so I used the familiar chords, but actually what I typed above is Moonlight Sonata in Am key.
The chords, if transposed to C#m minor would be:
left hand playing chord: C#m - - - | E(bass B) - - - | A - D (base A) - | G#7 C#m(bass G#) G#7 - | C#m
But if you have written the chord out in C#m keys, you have done the same thing. I was going to point out that the chords are familar chords, and the right hand is just playing the broken chords. I think you got that already by your own analysis.
Hi all - Just about to wrap up the Prelude in D minor and noticed the note at the end about now trying the Bach Prelude at the beginning of the Ambitious Section - looks like a lot of 16th notes all run together - those of you who tried this piece at this point, did you feel that you were ready for it, and how did you make out with it?
Also, I see that the next Book 3 piece in line is the "Star Spangled Banner" - where did I hear that before? I can't think of a song that's been "butchered" more often than this one (sometimes on purpose) - I was never that crazy about this as our National Anthem and always thought that "America, the Beautiful" was much better (and a whole lot easier to sing) - maybe we need to get a movement going to change that
Originally posted by John Frank: - those of you who tried this piece at this point, did you feel that you were ready for it, and how did you make out with it?
John, I went "Prelude in C Major" as directed and found that the "Prelude in D Minor" was good preparation for playing the piece. As we have discussed before, I worked out the chords first and found that to be a great help in learning to play it. Apparently teachers like to use this piece to show how chord sequences relate to the sound of the piece. It's pretty neat. I played it a little slower than my teacher, but he was very satisfied with my version. You can do it!
Bob - thanks for the info & encouragement! I usually work out the chords to every piece and write them on the music too.
piano4 - when I said that the "Star Spangled banner' was butchered I was referring to all the strained & off-key and mangled vocal versions I've heard over the years before various sporting events, etc. (including many singers forgetting the words) From what I understand the melody (which jumps all over the place is an old English drinking song - and I sometimes think that you have to be about half "tanked' to hit some of the notes!
The Star-Spangled Banner is one of the most difficult pieces for anyone to sing. It's an octave and a half in range, starts in the lower register and moves really fast into the high end. That top note, on "the land of the free," is a high F. Not a lot of singers can sing that kind of range easily. And the mistake a lot of them make is starting too high. Then you're sunk when you have to try for that top note. I definitely prefer playing it on the piano!
Hey! We fell back all the way to page 2 of the forum. I don't like that!!
Oldfingers...still obsessed by the moonlight sonata?? It's so much fun to work on a piece that really 'grabs' you! I'm still giving it a rest, but I may be back soon!
John...I was as obsessed by the prelude in C major as Oldfingersd is by the moonlight. I loved it! And am still playing it. I found it fairly straightforward once I got the 'feeling' of how it's built up. But the real challenge is to make it sound the way it should. Kind of flowing and smooth, but still with a kind of well contained 'excitement' in there that avoids the pitfall of it sounding very boring. It's easy to play it as a 'warming up exercise'. Very metronome tempo, same volume throughout. But is't a real challenge to make it sound good. And a fun one as well. Since just playing the notes is not that difficult one can really work on the dynamics etc to turn it into (oh boy, there I go again, sorry!) a 'real piece of music'.
I'm doing things the other way around by the way. I'm now starting on the Clementi prelude in D that was supposed to be the preparation for this one. We'll see in the coming days how that's going to work.
Classy Rag is as good as done. Nice piece. But I struggle with the same problem as you, John. Its so jumpy, there's a mistake happening somewhere, everytime I play it. or I get so concentrated on my hands that I'm messing up the order of all the repeat sections that are in there. GRRR!
An then on to that star spangled banner I guess. Isn't that a kind of US national anthem? Kind of Obama inaugeration stuff? It's sometimes a bit of a disadvantage for a european, to use US books. It would be fun for a change to play a dutch or european 'classic', however overplayed they might be, instead of those US evergreens (or maybe it's an advantage after all. For me the star spangled banner may sound a lot 'fresher' then to the average american. But these anthem-like songs aren't really my type of music anyway...)
Ingrid
PS...John. Did I read somewhere else that you practice 3-5 hrs/day???!!! Every day??!!
Originally posted by IngridT: Oldfingers...still obsessed by the moonlight sonata??
Ingrid: Yes! It's quite weird actually. Many years ago when I was enamored with golf, I'd hit golf balls again and again, every once in a while catching one on the sweet spot, which would entice me to hit more. Well it's a similar thing with the Moonlight Sonata. I'll play a section over and over and every once in a while I'll get it right and it feels great, and I'll play it again and again.
I've been at it for two weeks and can "play" it through. Now I'm trying to smooth out the rough spots and think about the musicality. At my lesson today we talked about the chord progressions, as I understand you are doing with the Prelude in C Major, so that I can see (hear) where the music is going. I can't say I understand it fully, but I get the idea, sort of.
When I started Alfred's Level 2 a little over a year ago, I would not have dreamed that I could learn to play the Moonlight Sonata. I am very grateful for the Alfred series, and my teacher, of course, who supplemented the lessons perfectly.
Originally posted by IngridT: PS...John. Did I read somewhere else that you practice 3-5 hrs/day???!!! Every day??!!
Wow!!!
Where do you find the time???
Ingrid - yes, you did read that somewhere else, and yes, I typically do practice 3-5 hours per day on most (but not every) days - I do this in 3 separate sessions: morning, afternoon and early evening, working on different pieces in each one. Doesn't everybody have that much time?
Regards, JF
P.S. be aware of (or beware of) the "cut time" time signature on the Prelude in D Minor as was discussed above.
Given that this thread has almost disappeared from the ABF I might be talking to myself, but I thought I'd give an update on my work on Moonlight Sonata. Having now made it all the way through with only a couple of rough spots remaining, I am now confronted with the problem of high-lighting the melody notes. A few months ago the problem was how to play the left hand more quietly than the right, but now it is how to play the right thumb more softly than the right pinky. Any suggestions?
You're not talking to yourself! I'm still here! Somehow I lost my login-password for pianoworld during the changeover to the new format. For some weird reason I never had to log-in in the old version, so I never used the password, and had to retrieve it through pianoworld. But did it! Even re-established my old avatar, and upgraded the format to something that is pleasing to the eye!
Seems that I wasn't the only one that disappeared during the black out period! Where's all the rest? Especially John, who always keeps us on page 1 with at least an every-other-day update! (I would manage that if I did 5 hrs exercise a day! That would allow for a lot of regular updates! Ha!)
Anyway, I got the classy rag in the pocket, and am almost done with the clementi prelude. No more spectacular stuff, I'm having 3 birthdays in the family in 2 weeks time, so am a bit busy with other things.
On a broader musical note...I am currently also working with the kids on a primitive type of school 'orchestra'. We got all the instrument playing kids together, and divided them into smaller groups, and are now preparing some pieces to play at a real performance thing planned for may or june. It's fun! We've got pianos (of course!),violins, flutes, sax, jembes, guitars, and you name it. Really nice to work with those kids. Fortunately my piano teacher is helping out a bit with the repertoire, and transposing/adapting some stuff were necessary.
And Oldfingers...on the moonlight sonata...
Getting that melody to stand out out was for me the most complicated part of the piece (and probably one of the reasons I put it on hold for a while)
Are you able to play al the octaves an ninths (and the stuff in between) with 'relaxed' hands?? While keeping them 'on the keys'?
For me it helped a lot to kind of release your other fingers from the keys when playing the pinky-melody (I had to do that anyway, bacause my hands certainly don't make the ninth, en got all stressed when playing the octaves-and-stuff-in-between).
But this approach gives you (at least that's how I felt it) more strength in the pinky to make that melody louder.
Disadvantage is of course that you 'lose' your fingersetting for the next few notes (since there's a lot of repetitive broken-chords.
Good luck!!
Ingrid
oh, and PS, Oldfingers!
Originally Posted by OldFingers
A few months ago the problem was how to play the left hand more quietly than the right, but now it is how to play the right thumb more softly than the right pinky. Any suggestions?
At least we're making progress!! (eehm. YOU are making progress!) it's a never-ending journey though, I guess!
I'm here, tho there has been really no progress to report. I haven't had a lesson in 3 weeks, so I'm pretty much cruising along where I was. Did I mention (I'm too lazy to go look!) that we cleared Toreador Song? Rock-A My Soul is still giving me problems with rhythm in s few spots, but it's slowly, slowly coming along. We picked up the Heller Prelude in E flat, and it took me a few tries to get the feel of it, but I think I'm doing ok on the first part, at least. And still working on the first 2 pieces in Meir's Romantic Impressions Book 1. I think we will call the first one "done" next week.
I have not ventured (as yet) into the Ambitious section of the Alfred's book. Those pieces look too scary!
Hello all you book three'ers of whom I am so envious. I am nearing the end of book one, about to start on book two and was wondering if I could get some quick feedback on how long people have taken to get through book two. I know it's influenced by lots of variables, but among those of you who primarily just studied the Alfred's All in one book two, how long did it take you to complete it?
Well, it took me about a year, but that was with some supplemental items in there, as well. And I didn't push super hard to finish it in a hurry, either.
And I can't compare to how long it took compared to Book 1, since I didn't use that one.
I finished book 1 & 2 in about 1 1/2 year. Book 1 was a lot faster then book 2 by the way. I guess book 1 took 4-5 months, and book 2 about a year. but during book 2 I did quite a lot of stuff 'on the side'. I played from what you guys call fake books (still do that by the way, it's good for learning chords, and fun to play popular music, or childrens tunes). I also do weekly etudes (what you call hanon I think), and I had a large 'special projects' over the last summer, which was learning all 6 Gnossiennes by Satie.
No real idea how slow slow or fast I am. But I'm having fun, and that's the most important! (for the record, I'm 43 and never played an instrument before)
I am nearing the end of book one, about to start on book two and was wondering if I could get some quick feedback on how long people have taken to get through book two. I hear it's much more difficult than book one.
It took me about 3 years combined to get thru Books 1 & 2 - not sure exactly how long on each, but sure that Book 2 took longer than Book 1 - also working on numerous other pieces from other sources simultaneously - and yes, Book 2 is more difficult than Book 1 (as you would expect and as you should hope), but the approach is gradual so that if you're persistent and consistent you shouldn't have too much trouble.
Finished off the "Prelude in D Minor" with a fairly good recording, but not quite up to the ideal tempo - currently working on the "Star Spangled Banner" and finding it not very challenging (even the tremolo part is easier than I thought it would be) - I have changed their recommended fingering in about 7 or 8 places to make it (I believe) easier, and I'm finding myself doing this much more frequently now in most of the Book 3 pieces - also working on a neat little Minuet in A minor by Johann Kreiger (a contemporary of Bach, I think) from the 1st volume of Alfred's Essential Keyboard Repertoire - in addition, working on the hymn "It Is Well With My Soul" which has a very beutiful melody.
Regards, JF
P.S. Yes, I'm still around - just been very busy lately - will try to check in a little more frequently - anyone heard from our "founder" Mark? - he seems to be MIA since some of us newbies showed up here.
... but among those of you who primarily just studied the Alfred's All in one book two, how long did it take you to complete it?
Before I started Alfred, my lessons were focussed on playing from a fake book so I had learned the scales, many chords, inversions and voicings. A year and a half ago I decided to learn to read all the notes and started with Alfred's level 2. It took me about six months to complete. Last spring I started on Alfred's level 3 which I am about to finish. It was more difficult than level 2, but with more effort nothing was insurmountable and many of the pieces were quite rewarding. Unlike others in this thread I worked exclusively on the pieces in Alfred as I wanted to complete the series as quickly as possible. It's amazing that I am now very comfortable reading all the notes. Here-to-fore, I never thought I could have done it. Three cheers for Alfred.
I'm here too! I haven't been on computer keyboard except to do grad papers! I am still progressing on Toccata... I'm starting the third page:-). Also, I've started Hanon and this may sound strange but I didn't realize I could play the first one at the tempo of 65!!! My instructor mentioned that I should put that on youtube:-) I'll think about that. Good luck on Moonlight Sonata, and Meir and all other fine works. Take care everyone!
Will finish up "The Star Spangled Banner" this week in Book 3.
Also just finished work on a neat little Minuet (in the lovely key of A Minor) by the German Johann Kreiger (a contemporary of Bach & Handel). I have a good recording of this which might just show up in a Monthly Piano Bar or the next ABF Recital
Still working on the hymn "This is My Father's World", a great video of which can be found here in this thread in the ABF (the 9th post):
JF, glad to hear of your progress. I continue to work on the Moonlight Sonata and probably will for the rest of my life. I can play all of the parts OK, but not all OK at one time, if you know what I mean. I'm also a little confused about the proper way to play the ninths. There is a U-tube video of Kempf playing the sonata in which all of the dissonance has been eliminated, which means laying off of the RH thumb. For some reason I can't bring myself to do this, even though I know it sounds better.
My final piece of work in Book 3 is Fur Elise which is also proving to be a challenge. The first two sections are OK, but when I hit the third section I have to slow down to a crawl.
My teacher suggested I try some Satie next. We'll see.
So far so good! I'm on the third page of Toccata and on Hanon #2. I'm getting some of the Communion songs from last year so I can get ready (somewhat) for this year's group practices.
Even though this is taking me a bit more time ( and it's worth it) I'm enjoying Bach! Haven't forgotten any of my pop songs....I'll get to those a little later.
JF, glad to hear of your progress. I continue to work on the Moonlight Sonata and probably will for the rest of my life. I can play all of the parts OK, but not all OK at one time, if you know what I mean.
Yes, I know very well what you mean - I've had the same problem putting it all together on several pieces - I think the ability to do that depends a lot on the particular piece in question, but also is a skill that will slowly come to us with much more practice over much more time - this is especially true where you work on a piece real hard for awhile, then let it go as you move on to more demanding pieces, and then come back to that piece to review it and finally nail it down - I've had this happen a number of times thru the Alfred series.
I finally turned back and took a good look at the "Moonlight" and it consists of a continuous series of triplets! And the clef sign changes several times on the upper staff! The left hand looks like it is playing mostly octaves. Glad you're working on it and not me - although I will eventually - could be a very difficult piece to memorize because the RH triplet pattern is never broken and it would be easy to get confused or lose one's place. I think for now I'll stay out of the "Ambitious Section" - the rest of Book 3 is certainly ambitious enough for me at this stage!
Originally Posted by OldFingers
My teacher suggested I try some Satie next. We'll see.
The Minuet I'm working on is in the "Essential Keyboard Repertoire" series (Vol.1) which was one of the advanced series that the guy from Alfred recommended some time back in a previous post, although I think he talked about starting with Book 2 or 3 after Alfred 3. The format is very nice, the pieces are enjoyable and the books all come with a CD of the recorded pieces - this could be one of several places for you to go eventually (with the approval of your teacher).
Had a lesson (finally!) on Tuesday. Due to a few things that came up for both my teacher and I (including her getting married!), I hadn't seen her for 3 weeks. It was one of "those" lessons:
The 2 Martha Mier pieces are coming along pretty well. The first is just about done. I have to work on smoothing a series of chord progrssions in the right hand, but that was about the only tripping point there. The second needs some overall smoothing, and getting the eighth notes to fit in the 3/4 time signature more correctly.
Alfred's- Variations on a Sea Chanty (it's the "What Do You Do With a Drunken Sailor" one) is just fun to play! I like it. Need to work on speed on that one.
Rock-A My Soul. *sigh* This one has become the bane of my existence right now!! The second page is just not coming together. Here's how the lesson went:
Her: Play that one measure for me. Me: *plays* Her: Again Me: *plays* Her: Play the right hand. Me: *plays* Her: Play the left hand. Me: *plays* Her: Again Me: *plays* Her: Now let's get those dotted notes right. Me: *plays* Her: Again. Again. Again. It ended with her saying that one measure is what she wants me to work on this week. Get it right. If it starts to fall apart, work hands separately again. IF I get it worked out, then go on to the next measure.
At least I now have something concrete to concentrate on, and I know a bit more solidly where the problem is. I was floundering a bit with it. Hopefully, I can get it worked out this week.
I had a 2 week break in my lessons as well. teacher went skiiing, and we had a school holiday. I haven't been practicing a lot (shame on me) but have been happily playing a lot of old favourites. So the prelude in D is still a 'work in progress' which I hope to complete by next weeks lesson. It's nice to hear some of the fun and/or struggles you are having with some of the pieces I'll be tackling shortly. I'm especially looking forward to Rock-a-my-soul! (I'm sure you'll get it under control Irish Mak! I had a similar experience to yours with a few bars in the classy rag. brbrbr. Luckily my teacher was OK with my moderate performance this week, so we can forget about it. Hahaha!)
On the side I've been working on Gymnopedie nr 1. I tried it last summer, when I started on my Satie-mania, but decided then to do the Gnossiennes first. It was very encouraging to notice that what I found rather scary and complicated then, was a lot easier now. Ha! Progress! (Satie really made me a lot better in sight reading notes that are way out of the normal lines, those unnerving A's or B's that dangle way below the bass clef. Or having to play one note out of 4 or 5 in the bass clef with the right hand (together with some other treble clef notes). Stuff like that)
And Oldfingers...you are going to do some Satie as well?? Did you hint at it or was it your teachers idea? If you need advice, or tips or favourites or whatever ....just ask!
Ingrid
(glad to see 'we' are back by the way. I was a bit afraid our thread was going to disappear completely!)
Congratulations on making it to book 3!! I'd love to hear you play.
Those adult books move soooooooooooooo much faster then then childrens 1a, 1b, 1 ,2.......etc series.... By the end of book one it is already at an intermediete level!!!
I am working through the Suzuki piano School book series..There are seven volumes....You should try them. They are great! The pieces in them are excellent!
You can get them on Amazon. Make sure you get the CDs too...It is cheaper to buy the books with the CDs together.
Rock-A My Soul. *sigh* This one has become the bane of my existence right now!! The second page is just not coming together. Here's how the lesson went:
Her: Play that one measure for me. Me: *plays* Her: Again Me: *plays* Her: Play the right hand. Me: *plays* Her: Play the left hand. Me: *plays* Her: Again Me: *plays* Her: Now let's get those dotted notes right. Me: *plays* Her: Again. Again. Again.
Sounds slightly amusing (at least from this distance) but I guess it wasn't while you were going thru it - must be a heck of a measure! Which one is it so I can check it out (and mark it with a warning for when I get there
Originally Posted by IrishMak
It ended with her saying that one measure is what she wants me to work on this week. Get it right. If it starts to fall apart, work hands separately again. IF I get it worked out, then go on to the next measure.
Just the next measure? At this pace it's going to take you awhile ...
It actually was kind of amusing. As well as kind of frustrating. And yes, my teacher says we'll be working on this one for a bit.
It's page 97, first measure in the second system. And, really, other than the held B-flat, it's just putting together the parts from the first page. But, as usual, my hands just don't want to cooperate with each other and I mess up the "swinging" feel of the dotted rhythms. It ends up sounding like straight 8's, which it is definitely not.
As for adding just one measure, I have the feeling that, since the pattern repeats, once I figure that out (if I ever do!), the others will fall into place quicker.
P.S. Ingrid - when you played the "Star Spangled Banner" did you play the "tremolo" effect in the LH in the middle section?
I'm still on clementi's prelude in D! So the star spangled banner is coming soon. Anything specific on that tremolo you want to warn me about??
And Irish Mak,
Quote
As for adding just one measure, I have the feeling that, since the pattern repeats, once I figure that out (if I ever do!), the others will fall into place quicker.
I am sure that approach will work! Just go for it!
Well, in case if anyone was wondering I'm still around. It's been busy for me since the first of the year.
I finished up "Classy Rag" this week and have been assigned "Prelude in D minor" It took me over a month to complete "Classy Rag" and it wasn't up to snuff IMHO. I think my teacher thought I was at the point that I wouldn't get anything else out of the piece.
Of course, I'm still swamped with all of the other supplemental pieces assigned. Plus, I have my official recital piece assigned and I'm working on memorizing and dynamics.
Well, in case if anyone was wondering I'm still around. It's been busy for me since the first of the year.
Cyborg - I have been wondering about you and what you've been working on - glad to hear from you again.
Originally Posted by Cyborg
I finished up "Classy Rag" this week and have been assigned "Prelude in D minor" It took me over a month to complete "Classy Rag" and it wasn't up to snuff IMHO. I think my teacher thought I was at the point that I wouldn't get anything else out of the piece.
I spent a little extra time on "Classy Rag" myself and was fairly happy with how I was playing it - but after repeated attempts I gave up (temporarily) trying to get a decent recording of it - however, when I eventually go back and review it (as I do most of the "good" pieces) I'll try my luck at recording it again - usually I play a piece even better after review so I might have better luck with the recording. My advice to you (not that you asked ) is to let it go for awhile and then go back and work on it again - if you have time in your busy schedule.
And Oldfingers...you are going to do some Satie as well?? Did you hint at it or was it your teachers idea? If you need advice, or tips or favourites or whatever ....just ask!
It was my teacher's idea, but after listening to a Satie LP I've decided to pass. It's beyond my capabilities.
I continue to work on Fur Elise which is bugging me because I find that I need to look at the keyboard while playing the first two sections. I'd rather not memorize those sections as my memory has become quite poor, so I'm in a bit of a bind
Meanwhile I have started working on Lee Evan's "Easy Jazz Arrangements", except that they are not so easy. But they a good examples of how to make an arrangement from a lead sheet which I was not very good at doing myself. The chords are very "jazzy" sounding so I may have found my niche for awhile.
But seriously: what have you listened to? It must have been something different then the Gnossiennes or Gymnopedies. If you are able to handle the moonlight sonata you shoud be able to play Gnossienne #1 fluently within 1 or 2 weeks! Really!! Just don't be afraid. Come on, I handled the first 5 Gnossiennes after just 1 1/2 yr of playing, without any prior experience in either playing nor reading music. Listening & dancing, that was it. And although I know I'm probably not a below-average-pupil (for my age...) I'm no genius either.
P.S. Ingrid - when you played the "Star Spangled Banner" did you play the "tremolo" effect in the LH in the middle section?
I'm still on clementi's prelude in D! So the star spangled banner is coming soon. Anything specific on that tremolo you want to warn me about??
Ingrid
Ingrid - well, this was the first time the tremolo technique was introduced and the book explains it (alternating rapidly with the LH between the two notes that make up the octave) and then goes on to say that instead of using this technique that one could simply play the octave notes simultaneously and hold them - I practiced the tremolo effect and found it easier to do than I first thought it would be (and it does provide a rather dramatic backdrop to the melody in the RH) - I was just wondering if you had used it and found it just as easy, but since you didn't start this piece yet...
Oldfingers.... LP???? (how old are you?? LOL!) Ingrid
Ingrid, I'm so old (almost 70) that I predate LPs, 45s and 78s. In fact when I was a kid we owned a wind-up Victrola with disks that were about 1/4" thick. They sounded terrible as I recall, no bass at all.
Originally Posted by IngridT
But seriously: what have you listened to? It must have been something different then the Gnossiennes or Gymnopedies. If you are able to handle the moonlight sonata you shoud be able to play Gnossienne #1 fluently within 1 or 2 weeks! Really!! Just don't be afraid. Come on, I handled the first 5 Gnossiennes after just 1 1/2 yr of playing, without any prior experience in either playing nor reading music. Listening & dancing, that was it. And although I know I'm probably not a below-average-pupil (for my age...) I'm no genius either.
Enough peptalk???
You are a tough task-master. It's a good thing you are not my teacher. My "LP", "Piano Music of Erik Satie, Volume 1" starts with "Trois Gymnopedies" and ends with "Trois Nocturnes". The Gymnopedies and Gnossiennes are quite lovely and I think are accessible to me. If I could restrict my study of Satie to those pieces I'd definitely be interested. Thanks for the motivation.
My tip: start with Gnossienne #1. it's easier then Gymnopedie 1, in spite of the at least 4 flats. With your tendency to look for the chords ( I do that as well!) you'll find out within 10 minutes that there's basically just 3 of them. That's all!!
And once you've got the hang of it (playing a single note & then the related chord with the left hand, and some single-note-melody stuff with the right hand) the nrs 2 and 3 will be easier. Nr 4 is a different story (and 5 and 6 as well) but my guess is that by that time you are so hooked that you want them ALL! And the speed of at least the 1st 3 is so slow (in fact the slower the nicer for most of them) that I am sure your 'old fingers' can handle them!
And.. I was just joking about the LP's! I'm 'only' 43, but we still have a load of them on the attic! (but no 78 ones, i must admit)
And John...thanks for the explanation on the tremolo of star spangled banner. I guess I'll be working on it next week (lesson tomorrow). Is it a nice piece to work on for a non-american? It sounds a bit bombastic for me, but we'll see....
And John...thanks for the explanation on the tremolo of star spangled banner. i gusee i'll be working on it next week (lesson tomorrow). Is it a nice piece to work on for a non-american? It sounds a bit bombastic for me, but we'll see....
Ingrid (gymnopedie 1 in the pocket this week!).
Ingrid - it's a tough song to sing (as we discussed above) but this particular piano arrangement is relatively enjoyable - the 1st section is fairly easy (it duplicates itself), then the short tremolo transition section isn't too bad once you get the tremolo technique under control, but then the last section is a little more difficult with some fingering changes tjhat are just a little tricky - the piece is not really "bombastic" ( although the lyrics do speak about "bombs bursting in air ...") but rather is dramatic and dynamic, as most national anthems are - it's a solid arrangement which seems "fresh', even after I've heard this piece a thousand times in a thousand ways over the years - apparently playing it yourself makes a big difference.
Just finished the piece "Make Up Your Mind?" in Book 3 - well, when I first started it I coundn't "make up my mind' whether it was worth studying or not - not much of a challenge - sounds a little better if one plays it slightly uptempo and alternate soft and loud measures throughout just to jazz it up somewhat. Now onto the "Swan Lake" piece which I know very well having heard it for years as an orchestral piece - looking forward to getting into it.
Also working on a new Minuet from the "Essential Keyboard Repertoire" book - this one in G minor by Christian Petzold, which originally was included in the Anna Magdalena Bach Notebook - Petzold was the actual composer of the famous Minuet in G that is usually attributed to J.S. Bach - really nice piece!
And still working on the hymn "This is My Father's World" which is really a lovely piece but the arrangement is fairly tough with a lot of triple-note RH work throughout - forcing myself to try to get a grip on pieces like these which are slightly over my head just to "push the envelope" a little.
JF, I'm glad to hear that someone is making progress. I think you will enjoy "Swan Lake". It is definitely worth the effort, as is the next one, "Scheherazade".
At the moment I have hit a bump in the road with "Fur Elise". In general I try not to look at the keyboard, but with this piece I sometimes am not exactly sure of my hand position so it's a leap of faith when I put my fingers down. My teacher encourages me to look just a little bit to get my point of reference. But when I peak and take my eyes off the music I lose my place.
Then in the third section the speed picks up dramatically, and I can't think that fast. Finally, there is an arpeggio near the end that I also can't play at speed. So it's slow going. To add to the frustration, I've been away from "Moonlight Sonata" for a couple of days, and it shows when I try to play it. It seems that I have to keep everything going at once.
On the plus side, the Lee Evan's arrangement of "Early Autumn" is starting to come along. I have to get back into the mode of 9th, 11th and 13th chords which are a lot harder to read than the chords in the Alfred books. My practice sessions are getting longer.
OldFingers - thought you just might be interested in listening to this version of Fur Elise - this version with string accompaniment came pre-recorded on my Yamaha digital piano (Clavinova) as a sample of the instrument's capabilities - I'm not really sure if this was actually played by a living, breathing human being or was recorded using midi programming techniques, but check it out:
Jf, I hope it was originally played by a living, breathing human being, as otherwise it would be too discouraging to know that a piece of software could learn to do it without effort. Your machine did a nice job, though. Now how can I get my old fingers to move fast enough to handle the third section?
I'm going beyond cyberspace for a month so I expect you to hold the fort.
hahaha Oldfingers....if any 'beaming up' is needed you'll have to send us a telepathic message. but whatever you're going to do and where...Have a good time! I'll start asking you again about Satie after your return! Resistance is futile!
On subject..Prelude in D is done. It was OK but the Prelude in C major is in my opinion more beautiful, and nicer to play & keep in repertoire.
Now on to the famous star spangled banner (with tremolo!)
Gymnopedie 1 also done. Just some minor details to work on. I guess I'll start on nr 2 next!
Ingrid
(and JF. 'Make up yor mind' in book 3? Guess you have the all-in-one version, because i don't see it in my book!)
On subject..Prelude in D is done. It was OK but the Prelude in C major is in my opinion more beautiful, and nicer to play & keep in repertoire.
Now on to the famous star spangled banner (with tremolo!)
Gymnopedie 1 also done. Just some minor details to work on. I guess I'll start on nr 2 next!
Ingrid
(and JF. 'Make up yor mind' in book 3? Guess you have the all-in-one version, because i don't see it in my book!)
Ingrid - thanks for the comparison of the two preludes - I'm looking forward to the one in C by Bach in the ambitious section but it will be quite a while before I get to it (assuming I keep playing all the pieces in order).
And, yes, I am using the AIO version of Book 3 - I was assuming that all the pieces were the same in both, and that the AIO just had more theory. I guess not.
Regards, JF
P.S. Do you know what happened to Mark? - I haven't seen him anywhere in any of the Forums for awhile.
John, I honestly don't think the Alfreds 3 book was meant to be played from front to back in order. At least not the 'for fun' and 'ambitious' parts. It even mentions explicitly after the prelude in D to use it as a 'warming up' for the well tempered clavier one! Use the experience you gained learning that one to play the Bach as well!
To be honest, I thought the Bach was not only more beautiful but also easier to play then the Clementi. And the style of the 2 pieces is so similar (pedal wise, structure wise) that it would be a pity to waste your fresch learnings & to wait half a year before you go for it. Just play around with it for a week or so! And don't be intimidated just because it's in the ambitious part. And if you need guidance...there's loads of versions on youtube to listen to (and I need to arrage some recording machinery!). and I'll be there to help as well for what it's worth.
Main guidance by the way from my teacher on the Bach (and the Clementi)..focus on the LEFT hand. That's where the power of the piece is, that's what carries it. The right hand is more of a frivolous ornamental type of thing that makes it more beautiful.. It's easy to think of the right hand as the melody, and the left hand as a kind of 'bass', but that's not the right approach.
Ingrid
PS..and no, I haven't seen Mark either. It is a bit quiet over here isn't it?? I'm haveing a pretty good time though, but I wouldn't mind a few extra 'members'. How's the book 2 gang doing? Any people getting closer to the canon in D that will join us shortly??
Rock-A My Soul- is done. Not perfect, but it is time to move on.
Variations on a Sea Chanty- also done, tho I think this will be one I go back and play now and again, "just because." Maybe as a warm-up piece.
October Morning (Romantic Impressions book)- We're calling this one done, as well. Finally got the chord jumps on the last page reasonably smooth so the flow of the piece doesn't halt completely at that spot.
Still working on:
Dreams Bright and Beautiful (Romantic Impressions book)- Having a hard time keeping the 3 feel of this one. Keeps slipping into 4 and then the 8th notes end up as quarter notes. Just working it slowly, measure by measure, and counting.
New stuff added:
Prelude in C minor by Morovsky: Lots of crossed hands work in this one! I don't know about some of these little prelude things. I know they were supposed to be exercises and all that, but (other than the Clementi), they just haven't appealed to me. Of course, this one is a minor key, so it has that odd, minor sound as well. It's short and not overly complex. It "should" go ok.
Dry Bones: Whooo boy! This one's gonna be interesting! For one, it's long- a bit over 3 pages. And drags you thru the major triads in all positions in all the following keys: A-flat Major, A Major, B-flat Major, B Major and C Major. I think I'm going to be spending some time reviewing triads, just to get them back into my head. Otherwise, the reading on this one is going to be a bear- so many accidentals!
I'm still plugging along with Bach. Finally on page 4! Now with a little breathing space away from grad class, I can concentrate more on that and on Hanon.
Mak & piano4 - thanks for the updates - nice to know that you're still plugging away & making progress.
Mak - the Prelude in C minor sounds interesting - I really like pieces in minor keys and this sounds like it could be fun to play - I'll get to that later.
Ingrid - nice try and you're very persuasive - I'm tempted, but I think it will have to wait to get into the Bach Prelude - my practice schedule is full right now with working out of 3 books, all of them fairly challenging. But thanks for the encouragement.
Hey!! We almost made it all the way down to page 3!! Yikes!
Well, a quick pre-easter updat from me then.
I hardly dare to say it out loud here, but I was allowed by my teacher to skip the star spangled banner. It's the 1st song in all 3 Alfred books I skipped (or let's say dropped before being able to play in a more or less satisfactory way). But I really,really,really didn't like it. (sorry again, for all you americans) I told her I'd rather learn the dutch national anthem instead, but she looked me in the eye and told me to go and work on the swan lake for next week/ Ahhhh.... a lot better. I did mess around a bit with the famous JF-tremolo, which was the most fun part of the piece, so thanks for the tip John!!
Ingrid- Don't worry about it. I can understand dropping SSB. you certainly would not have the "attachment" to the thing like we do here in the US. We've all run into things we are not fond of.
As for me, we worked on the right hand in the Morovsky Prelude. Specifically, not moving the right hand as much as I had been doing. The left hand is jumping across the right all thru this one, and I guess I was so intent on that, I didn't pay attention to the right hand. I was re-positioning it with every chord and that just isn't necessary. So, basically, relearning fingering for that one.
Dry Bones- it's long and, yikes!, the accidentals! But the pattern is starting to make sense, so we'll see if that doesn't make it a bit easier.
In the Mier book, Dreams Bright and Beautiful is coming along much bettter. Just one section that needs smoothing out and this one will be done. Moving on to the first few lines of the next piece, Nocturne. I think this one is going to be pretty, and it's slow- Andante! Yay! LOL But lots of dotted rhythms that will be a bit tricky till I get them down.
Ingrid, Please don't feel bad about passing over that piece:-). I tried it, couldn't get the feel of it and figured I'll come back to it!
I'm still plugging along with Bach's "Toccata". Got page four and am tying up "loose ends" with pages 1-3. When I do get this piece done perfectly, I will put this on Youtube. I know, I know, nothing's perfect, but I figure that for me to play this piece that I have heard others play, I want that perfection :-)
Started with Hanon and I'm up to 4. And I'm working on some communion music for my kids... need to relearn two of them. Other than that, enjoying a bit of break from grad courses.
Ingrid - the "Star Spangled Banner" piece is a good one from a technical standpoint (good hand movements & dynamics, especially in the 2nd half) and hopefully you'll have a change of heart about it someday - if not, there are lots of other good pieces in Book 3 to present a challenge.
Mak - too bad you don't record - I'd like to hear some of the pieces you talk about, especially the non-Alfred ones.
I'm putting the finishing touches on "Scheherazade" in Book 3 - delightful piece overall, although it tends to "wander" a little in the 2nd half - it would have been better to have a repeat of the opening theme somewhere here, but I guess it's more faithful to the original orchestral suite this way - not too much of a technical challenge as a whole 9even the triplets at the end were relatively easy).
Before this I finished up the "Swan Lake" piece which is a lovely work (from the ballet suite) - I enhanced the ending a little where the melody goes into the LH by repeating the theme in measure 4 additionally, thus extending it. Good, solid piece!
In looking ahead I see there are only 6 more pieces left in Section 1 of Book 3, which is a review of old keys (from Book 2), and then Section 2 starts with a new key (A Major, 3 sharps), which for me won't be a problem since one of the hymns I'm now playing as a supplemental piece is in E major (4 sharps).
I've also started a new Minuet in the "Essential Keyboard Repertoire" book I'm using - this one by Wilhelm Freidaman Bach.
New member of the club here. As I'm self teaching now I was after a method book to follow to fill in some gaps, particularly on the theoretical side and my copy of Level 3 arrived this morning.
It looks good and I've been noodling around with a few pieces. The Clementi Prelude in D caught my eye - I like that piece a lot.
Unfortunately, when we remodeled the dining room a few months ago, the Kawai dp got taken down and is sitting, unplugged and forlorn, in an unused room upstairs. There just isn't anywhere, at the moment to set up the recording area again. And trying to record the M&H just never worked out well. Once we get things settled a bit more here (and that means yet more remodeling!), I want to get the dp up and running again. I just don't know when that will be!
Hello Gerry and welcome! There aren't too many of us here in the Book 3 thread but we're enthusiastic and try to be encouraging and helpful.
You're right about the Clementi piece - it really is a good one - I worked on it and really enjoyed it and uploaded a recording of it to this thread a few pages (or more) back.
Stay in touch here and keep us up to date on what you're working on.
Finished up work on the "Scheherazade" piece (nice arrangement overall) and got a good recording of the "Swan Lake" theme - started working on the next piece which is the theme from Scubert's "Unfinished Symphony", which starts off interestingly with the melody in the LH and then switches to the RH after about 9 measures - looks to be a good, solid piece.
Also reviewing the "Serenade" from the String Quartet with the Alberti bass - needs a litttle polishing.
And why are all the threads so horribly mixed up? I had to use the search function to find us back!!
Anyway, back to page 1 now, I hope!
We had a school vacation over here, so 2 weeks without lessons, but I got Swan Lake done, and am close to finishing the scheherazade part. Nice pieces, both!!. Scheherazade lookde pretty difficult, but once I got into it it wasn't that hard. Lovely melody!! (didn't know it)
Hi guys - I'm still working on the "Theme from the Unfinished Symphony" by Schubert - good, solid piece - melody starts off in LH and then switches to RH (I really like the effect when the melody switches hands/registers like this in pieces) - also some great booming chord sequences at the end which jump around the keyboard nicely (to be played with or without the "tremolo" technique Ingrid!)
Got a fairly good recording of "Swan Lake" which can currently be heard in the May Piano Bar.
Also working on the hymn "He Leadeth Me" (beautiful melody) and a minuet by Wilhelm Friedamen Bach from the "Essential Keyboard Repertoire" book.
Ingrid - glad you like the "Scheherazade" piece - I enjoyed that one a lot too (it's part of a much larger orchestral suite).
Mark - good to know you're still with us and still plugging away - was worried you had "dropped out" for awhile there.
Mark...how's the Satie going?? Weren't you working on Gymnopedie 1?? Did that one as well over the last month, beautiful piece!
John..I listened to your Swan Lake in the May bar. Interesting to hear somebody elses performance. Just curious...your version sounds really very different from mine.(I should get recording facilities!!! Grr!) Just wondering where that comes from. Your left hand (the continuous repeated chord) has a kind of 'beat' in it that I don't play that way. There's a little accent/break every measure. Like 1-2-3-4-and-1-2-3-4. When I play it it's much more continuous (at least, that's the feeling I have when playing it) Like if you would play only the left hand without the melody as a listener you wouldn't have a clue where the '1' '2' '3' or '4' was when you hadn't been counting from the first sound onwards
Is that something you did on purpose?? ( I know you are creative often in how you deal with a piece!)
Thanks John, I've been around keeping an eye on the threads but after the last recital I wasn't happy with my progress and decided to post less and practice more.
Ingrid, I am still working on Gymnopedie 1 and its very close to being finished. I'm working many pieces and it takes me a while to finish them. Its really helped my overall playing because of the hand shifting. Its also a great piece to listen to while you play. Its a keeper...
John..I listened to your Swan Lake in the May bar. Interesting to hear somebody elses performance. Just curious...your version sounds really very different from mine.
Is that a good thing or a bad thing?
Originally Posted by IngridT
Just wondering where that comes from.
I have no idea - I was as surprised as you when I first heard it - I didn't notice it while actually recording - but it is there , as you say, but not everywhere, just starting into the second section (theme) - I wasn't sure if I liked it at first, but then I decided I did because I told myself that this "crowding" or "pushing" of the rhythm is a mark of "increasing Technical expertise" (or so I'd like to think)
Originally Posted by IngridT
Your left hand (the continuous repeated chord) has a kind of 'beat' in it that I don't play that way. There's a little accent/break every measure. Like 1-2-3-4-and-1-2-3-4. When I play it it's much more continuous (at least, that's the feeling I have when playing it)
You play it correctly - I think that what happened with me was that I was really "caught up" in the music and was in a hurry to get to the "good part" - the crecendo of the melody in the RH and the switch to the melody in the LH - I don't know how else to explain it, but I think I like it - I consider it "performer's license".
Originally Posted by IngridT
Is that something you did on purpose?? ( I know you are creative often in how you deal with a piece!)
Ingrid
As I said - no, at least not consciously - but who knows what goes on in the deep recesses of our minds I did get a little creative by entending the ending though - hope you liked that part!
It's time to reconnect to cyberspace and report my lack of progress on Alfred Level 3. It's interesting that the last piece I chose to work on, Fur Elise, is giving me the most difficulty. Unless I slow everything down, the 32nd notes in the third section continue to give me problems. I would hate to admit that my old fingers are letting me down.
As I mentioned earlier I am also working on the Lee Evan's arrangements of the American Songbook. I'm pretty happy with Early Autumn and have started working on That's All. Some of the chords are really complicated and I need my teacher to help me figure them out.
Ingrid, I haven't decided what to do about the Satie yet. Would you say that the pieces you suggested are at Level 3 in difficulty. Although not part of my original goal, I have rather enjoyed playing classical pieces.
OldFingers - welcome back! Glad you found your way here from "beyond cyberspace" - sorry to hear you're still having a few "technical difficulties" with Fur Elise, but I have confidence that you'll work them out - also, interesting that you're working on some of the great American Songbook classics, which is one of my ultimate goals too.
I also noticed that somewhere along the line you've changed career objectives from being a cocktail lounge pianist to being a retirement home lounge pianist The atmosphere might be a little quieter there and you actually may get a few people paying attention and listening!
I am still working on Gymnopedie 1 and its very close to being finished. I'm working many pieces and it takes me a while to finish them. Its really helped my overall playing because of the hand shifting. Its also a great piece to listen to while you play. Its a keeper...
Glad you like it!! And I completely share your experience of enjoying listening to yourself playing when it's Satie. You'll notice that when you will start working on a Gnossienne (at least the 1st 3) or another Gymnopedie that you'll probably pick it up a lot faster. They are much alike in the way they are built. the left hand moving back & forth and the right hand playing those beautiful melodies!!
John....Thanks for sharing your Swan lake experiences. So when you recorded the piece and listened to it it actually sounded different then what you thought it would sound like??? Intriguing! Maybe mine sounds way different too then what I think it sounds like. And...yes, I liked your ending!! (you always have to do something to a piece of music, don't you??)
And Oldfingers...Welcome back!! Hope your Elise-troubles will disappear with more work..usually they do!! Or a short break...that sometimes helps as well!!
On Satie...I would say that the 1st 3 Gnossiennes, and the Gymnopedies are easier to play then Fur Elise or the Moonlight Sonata. And they are SLOW...which you might like. In my experience they are all pieces that need time though to 'grow'. They are like good wine, they get better and better over time. The notes are fairly simple, but to make them sound beautiful requires a lot of emotional attachment to the music, or something like that. They are lovely pieces to hang on to for a long time, and to watch their development. And like Mark said (and I share that)...they are really nice to listen to when you are playing. If I want to enjoy myself playing piano I play Satie!! So I would say go for it! (and start with Gnossienne 1, in spite of the huge nr of flats it's pretty easy. And with your focus on chords the left hand shouldn't give you any trouble at all. Then after that nr 3, and then 2 , a bit more challenging rythmwise with a lot of triplet-like stuff)
Ingrid
PS...oh, and Oldfingers...even though it's classical, I think Satie would be well received in either a cocktail lounge or a retirement home lounge...so that shouldn't stop you!!
John.... ...yes, I liked your ending!! (you always have to do something to a piece of music, don't you??)
Ingrid
Yes! Always! It's a compulsion! My Alfred books are filled with notes, revisions, additions, re-arrangements and other possibilities. There's so much more that can be done with these basically simple arrangements.
I've even thought about making copies of my notes and sending them off to Alfred so that the compilers of our methods can get some tips and hints on how to improve these books - pretty arrogant and presumptuous, huh?
HA!! John. I suddenly remember that you were pretty outspoken a while ago when I said (a bit too bluntly, I admit) that hardly any Alfred's piece was as satisfying to play as a (excusez le mot) 'real piece of music'
And now you admit yourself that the average Alfreds piece could do with a little improvement here or there....hahahahaha!!
I like that!!
Ingrid
edited to add :
PS: John....just to make sure...this post was not meant very seriously....
HA!! John. I suddenly remember that you were pretty outspoken a while ago when I said (a bit too bluntly, I admit) that hardly any Alfred's piece was as satisfying to play as a (excusez le mot) 'real piece of music'
And now you admit yourself that the average Alfreds piece could do with a little improvement here or there....hahahahaha!!
I like that!!
Ingrid
Well, don't laugh too hard - you may wish you hadn't - I will admit to three things: (1) that most of the pieces in all 3 books of Alfred are just fine as they stand in Alfred's; (2) as such, they are all "real pieces of music" at each given level; and (3) I personally like to enhance some of them which I consider an "improvement", but that doesn't negate or cancel out (1) and (2) above, which remain true no matter what I personally do with them.
But, just because I do enhance or improve certain pieces doesn't mean that they aren't real music, nor does it mean that they aren't already a challenge, which most of them are. In addition, when I do get to the point where I'm playing those advanced and complex pieces I'm sure I'll do the same with many of them.
Your contention a little while back was that they (the Alfred pieces) were mostly not "real music" compared with the more advanced or complex or demanding pieces that you were/are working on, which was erroneous - they are very real, but just not as advanced or complex or demanding as the "real" pieces you were working on. It's that simple.
All things considered you might have been better off not "beating this dead horse" again and should have "quit while you were behind"
I've been working on other non Alfred 3 pieces for awhile now. Finally, with my recital piece ending tonight, my teacher finally assigned me "Star Spangled Banner". My initial observation is that this version is easier than the one my teacher gave me to work on last year which I think took 2-3 months. It's nice to be back in this book.
Am I mistaken or did you adapt your post after I added my PS??
If I offended you in any way..sorry! It wasn't meant that way. Let's put it on cultural difference, or lack of subtlety when writing in a non-native tongue, but I promise you I won't come back to it again, and be more careful when going off topic. Promise!
Only remark that I do need to make though is that you misunderstood me regarding difficulty or complexity of the non Alfred pieces I've been working on. A lot of my recent Alfred's pieces (Classy Rag, or even the Scheherazade) were in my opinion technically more difficult to master then eg Gnossiennes 1-2-3 or even The Well Tempered Klavier in the ambitious section (which I thought was easier then the Clementi prelude). It's just that these pieces seem to be more 'keepers' then the average Alfred's piece. And maybe (for me personally!)it's because of just the fact that I keep on playing those pieces that they seem to develop more over time, and that I get more 'attached' to them in a way.
Sorry, that got again longer then I wanted. Topic closed OK??
I'm here too! Still plugging away on "Toccata" but I am on the last page!!!! For me between grad course, which this time around seems to have more to read and post ( this time almost every night) and work issues ( grateful to have), I manage to get in at the most 30-45 minutes and if there is nothing going on for me on the weekends, 2hours. take care, everyone!
Cyborg - good to hear from you again - glad to know you're still at it - have fun with SSB, it's a fairly good arrangement overall.
piano4 - nice to hear from you again too - "toccata" seems to be a fairly long-term project for you - glad you're making progress and sorry you don't have more time to devote to your piano studies right now - I admire your tenacity!
Ingrid - no problem - I agree that most of the Alfred 3 pieces are challenging - it usually takes me two or three weeks (and sometimes longer) to get a good handle on many of them - same as when I was trudging thru Book 2 - I wasn't sure if you were mostly serious or not, but I wanted to make clear the point that while I sometimes "play" with a piece in terms of extending it or enhancing it that I still consider them difficult enough as presented and that my so-called improvements don't mean tha I think they are not "real music" - there is a big difference between improving a piece because you simply can (because you have "ideas") and improving it because you feel it's lacking in musical substance. But, everything is ok and cool!
I finished up my initial study of the "Theme from the Unfinished Symphony" by Schubert this morning - surprisingly good piece! I vaguely recall someone else saying awhile back that they didn't get much out of this piece, but I think it has a lot going for it - not the least of which is the fun of hammering out that great series of chords at the end! I even got a fairly decent recording that only has a half dozen or so mistakes, none of which is too serious - I may try to record it again.
Now, it's on to "Spooky Story" (played an octave lower than written) which is I notice the 16th piece in Book 3, with 23 regular and 6 "ambitious" pieces to go.
Also continuing study in 2 other sources simultaneously.
I am not fully satisfied yet with my scheherazade, so it's still on the list for next weeks lessons. It needs more dynamics, and I've been messing around with the fingering, which doesn't help.
I am also doing some duets with my 12 yr old, which is really fun!! But it does take time from working on my own stuff....
Any of you participating in the upcoming recital????
I probably asked before, but what do you guys use to record yourself? With a DP it's probably fairly easy, but with an acoustic???
I am not fully satisfied yet with my scheherazade, so it's still on the list for next weeks lessons. It needs more dynamics, and I've been messing around with the fingering, which doesn't help.
I am also doing some duets with my 12 yr old, which is really fun!! But it does take time from working on my own stuff....
Any of you participating in the upcoming recital????
I probably asked before, but what do you guys use to record yourself? With a DP it's probably fairly easy, but with an acoustic???
Ingrid
I use the Zoom 2 to record my piano and then transfer it to my computer. In fact my recital piece is from the ambitious section of Alfred 3...
I am not fully satisfied yet with my scheherazade, so it's still on the list for next weeks lessons. It needs more dynamics, and I've been messing around with the fingering, which doesn't help. Ingrid
Except for finishing up Fur Elise, I've pretty much finished with Alfred Level 3 and have moved on to learning some old standards from the Lee Evan's books. However, seeing that John Frank and Ingrid were working on "Scheherazade", I wanted to pass along a critical lesson I received from my teacher on playing legato. Until this piece, my legato playing focused on tying my single right-hand notes together smoothly. In "Scheherazade" I learned that I should do it with multiple notes. For what it's worth here's the trick. In the last measure on the first page, measure 13, the left hand plays a B and D# using fingers 1 & 2. While moving on to the A and C using fingers 1 and 3, one holds the B with the 2nd finger. Voila, it makes the left hand nice and smooth. When I went back to play "A Very Special Day", I could see that the trick could be applied several times in the right hand, and it improved that piece significantly. Now I use it all the time.
Ingrid, for what it's worth, the indicated fingering works pretty well, although I had to write the 3 -> 4 -> 5 fingering for measures 10 and 11 explicitly to remind me what to use there. My teacher did not suggest any changes and he is usually very good at making things easier for me when it is appropriate.
I use the Zoom H2 to record my teacher. It's simple to use and makes pretty good recordings. After transferring the file to the computer I use Audacity to normalize and clean up the file and then use the Amazing Slow Downer so that I can play along with my teacher at a much slower tempo. For me, the Slow Downer is terrific tool for learning to play "musically".
Mark, I noticed that you were selling your "new" piano. Why? I'm curious as I'm thinking of trading my Tier II 6'1" acoustic grand for the new Yamaha digital Avant Grand. I'm getting so I can't bear the "harsh", "loud" sound of my acoustic. I'd love to have a volume control.
I also noticed that somewhere along the line you've changed career objectives from being a cocktail lounge pianist to being a retirement home lounge pianist The atmosphere might be a little quieter there and you actually may get a few people paying attention and listening!
JF, it occurred to me that retirement home entertainment is an emerging market and the residents make up uncritical audience. It should be a perfect fit. The question is, do I get to entertain before or after I myself become a resident.
I also noticed that somewhere along the line you've changed career objectives from being a cocktail lounge pianist to being a retirement home lounge pianist The atmosphere might be a little quieter there and you actually may get a few people paying attention and listening!
JF, it occurred to me that retirement home entertainment is an emerging market and the residents make up uncritical audience. It should be a perfect fit. The question is, do I get to entertain before or after I myself become a resident.
Wouldn't it be a kick if by some remote chance we ended up in the same home and took turns entertaining the folks (you don't by chance sing , do you?)
Regards, JF
P.S. glad to hear you're done with your studies in Book 3, although I hope you'll continue to check in here with us frequently!
Ooooh...John!! Recital piece from the ambitious section!! You make me curious!!!!!! I scrolled through the whole recital thread, but I guess you want to keep it a secret???????
And recording with a zoom 2. Hmm. The only recording device we have in the house is a mobile phone. Guess I'll need to invest in something a bit more appropriate some time...
And Oldfingers... Ha! That trick with 'holding the B' is EXACTLY the tip I got from my teacher last tuesday! Funny!! It was the section where I was messing around with the fingering. Just sloppiness I'm afraid! It's getting better now.
My legato is otherwise pretty much OK, but i do notice I get sloppy when playing with pedal. But my teacher let me listen to herself playing, and it's true, even when playing something with sustain pedal you still hear the difference when playing 'good' legato vs 'sloppy'. So I'll watch myself a bit more carefully on that aspect! Have you really finished book 3?? WOW! Congratulations! (but don't leave! If you start up an 'after alfreds book 3' thread you'll be pretty lonely! And...eeh...(hardly dares to ask) How's the decision process on the Satie going????
Had a nice morning by the way playing piano with a mother I know from school. She played as a kid, but has neglected it lately. We messed around with some easy duets, and shared some (old time) favourites. It's fun to play together with someone else!!
Ooooh...John!! Recital piece from the ambitious section!! You make me curious!!!!!! I scrolled through the whole recital thread, but I guess you want to keep it a secret???????
Ingrid
Ingrid, I believe that's Mark that has the recital piece from the ambitious section - it's the Bach Prelude.
Mark, I noticed that you were selling your "new" piano. Why? I'm curious as I'm thinking of trading my Tier II 6'1" acoustic grand for the new Yamaha digital Avant Grand. I'm getting so I can't bear the "harsh", "loud" sound of my acoustic. I'd love to have a volume control.
Bob
My Estonia L190 has some major problems that I hope the dealer finally fixes. But the dealer's service has been extremely slow with very poor communications. So wish me luck.
The piano has been such a disappointment that I really don't want it anymore.
Anyone buying a L190 please thoroughly check them out.
Mark...it's probably more appropriate to post feedback in the recital thread, but I had to sneak in and listen to your Bach, and I have to say: Very well done!!!
Ingrid
(just out of curiosity...how long have you been playing? You take lessons? Interested in feedback to make it sound even more impressive? I had some extensive discussions on my own playing of this piece with my teacher. I play it by no means perfect myself, but I'd love to exchange some ideas on how you worked on this one, and what aspects you were more/less happy with. Hmm. I don't want to make this sound like I want to criticize your playing. Like I said, it was pretty good. But still....discussion is always fun. I know there was all this sensitivity about critical discussion wanted or not..anyway..hope it comes across what I mean!)
edited to add: Oops, I read in your submission that you do plan to work on it further, and that you DO like technical feedback. Should I post it in the recital thread?? I feel a bit weird doing that since I listened to your piece just because you are a book-3-colleague, and because I've been playing the piece myself, and I wasn't really planning on commenting on all 60-something pieces. Just let me know what you like, or what's more appropriate. I don't want to dis-obey any forum rules/etiquette.....
Mark...it's probably more appropriate to post feedback in the recital thread, but I had to sneak in and listen to your Bach, and I have to say: Very well done!!!
Ingrid
(just out of curiosity...how long have you been playing? You take lessons? Interested in feedback to make it sound even more impressive? I had some extensive discussions on my own playing of this piece with my teacher. I play it by no means perfect myself, but I'd love to exchange some ideas on how you worked on this one, and what aspects you were more/less happy with. Hmm. I don't want to make this sound like I want to criticize your playing. Like I said, it was pretty good. But still....discussion is always fun. I know there was all this sensitivity about critical discussion wanted or not..anyway..hope it comes across what I mean!)
edited to add: Oops, I read in your submission that you do plan to work on it further, and that you DO like technical feedback. Should I post it in the recital thread?? I feel a bit weird doing that since I listened to your piece just because you are a book-3-colleague, and because I've been playing the piece myself, and I wasn't really planning on commenting on all 60-something pieces. Just let me know what you like, or what's more appropriate. I don't want to dis-obey any forum rules/etiquette.....
I do take lessons and as you can tell have problems with timing which I have been working to fix. Since its a Alfred three piece it really can be discussed here if you like...
Hi all, I'm still plugging along. I can't believe that I am taking this long for learning this Bach piece, on side of the coin, on the other side, however, i am glad that I am taking this long (considering that my instructor told me that it took her 6 months to learn "Toccata" to play on the organ!
Mark, I am looking forward to hearing your Bach piece! I'll get to one of these months recitals evenually! take care all!
Really nice work on the Bach Prelude Mark - you're playing better than ever - keep up the good work - Ingrid was right about how nice a piece it is - now I'm looking forward more than ever to getting to it and into it.
Really nice work on the Bach Prelude Mark - you're playing better than ever - keep up the good work - Ingrid was right about how nice a piece it is - now I'm looking forward more than ever to getting to it and into it.
Regards, JF
Thanks JF, I was playing pretty tight with the Red Dot going. Its a piece that needs much more attention to get a better flow. Every once in a while you can get lost in it and it sounds much better. Its a keeper for anyone's repertory. You will really like it, especially if you liked Prelude in D minor.
sorry, I was away for the weekend. hence my late reply. Glad you posted your recording here as well. Like I said, I think you did real well, but do you agree with me that this is a piece where indeed 'flow' is of the utmost importance? I don't know any other piece of music where it is so crucial to keep the tempo very very constant. If I try to do so too consciously, though, I seem to lose some 'musicality'. The 'art' of the whole thing is (in my beginners opinion) to keep the tempo and the 'flow' without making it sound like a hanon exercise. (your's did not sound like an exercise at all by the way) My feeling (and my teacher confirmed this) is that playing with the 'volume' is half of the trick. A lot of the emotion of the piece comes from the changes in loudness, the real soft 'intermezzo's, and of course the long crescendo starting on the bottom of page 2. On that part, I think you can improve a bit if you want. The climax of the piece, somwhere halfway page 3 can be a lot louder then you played it. And also in other spots I am sure it would sound even better with more volume-dynamics...
Did I mention to you before that my teacher asked me to focus on the left hand in this piece?? Like thinking that the left hand kind of is the melody of the piece, with the right hand just adding some detail to that?? That's also where the soft/loud differences should come from. From the left!
Again. I think you did a great job, and it's so nice to read your comments/experience with the piece, they are so similar to mine!!! (including the 'getting lost in it, or getting caught in the flow completely, especially when the recording device is not running of course...hahaha!
Giving feedback is easier then incorporating these kind of things in ones own playing. I'm also pretty good at pinpointing the critical 'to work on' area's in my own playing. But theory and practice are 2 different things....
Glad the comments were received well though. As an above-average-blunt dutch person I sometimes feel I have to be extra careful around here.
But I'll keep on talking about this piece with you. I love it. and just played it this afternoon again. It does get better and better over time (just like Satie! and probably everything else you keep on playing. But this one is truly beautiful.) With the added advantage that it's a nice one to play for any accidental audience. It's not so overplayed as fur elise, but familiar enough to sound interesting to most people and difficult enough to sound impressive! I haven' t heard anybody that disliked it so far.
Andd..eeeh..have you tried singing the Ave Maria while playing?? That's beautiful as well. Hmmm. Being male you should probably find yourself a female singer you can play with....(which I shouls do as well I guess, I'm not really a soprano type singer)
Nice job, Mark! I love this J.S. Bach piece, and based on the Bach pieces I have heard, other than some of the simpler pieces in the Notebook for Anna Magdalena Bach, it may be only one that I will ever one day be capable of playing!
I'm not currently working out of Alfred Book 3, but I believe this will be the next Bach piece my teacher and I will tackle, provided I can get my current Bach piece up to a decent standard of playing.
Andd..eeeh..have you tried singing the Ave Maria while playing?? Ingrid
Oh my goodness, I can't even talk and play simultaneously! I just don't have the coordination! Well, I am getting better though. When I first started learning how to play the piano, I sometimes found it difficult to breathe and play at the same time! No, I'm not exaggerating; I would have to make a conscious effort to take a breath, as I would often hold my breath through "difficult" passages.
molto agitato (does that translate as "much agitated"? ) - welcome to the Alfred 3 thread - pleaswe feel free to drop by any time to post your progrss and thoughts.
Thank-you for the welcome, John Frank. Yes, molto agitato is essentially "much agitated." Composers sometimes use the term as a tempo/mood marking. But I picked it for my user name because its how I sometimes feel when I'm practicing the piano! Fortunately, I haven't yet thrown my metronome through a window, but I have had the occasional urge to do so
Thank-you for the welcome, John Frank. Yes, molto agitato is essentially "much agitated." Composers sometimes use the term as a tempo/mood marking. But I picked it for my user name because its how I sometimes feel when I'm practicing the piano! Fortunately, I haven't yet thrown my metronome through a window, but I have had the occasional urge to do so
I, on the other hand, like to think of myself as "andante cantible", slow and song-like, which suits my style to a tee!
Update: finished "Spooky Story" in less than a week - easy and fun piece - at least it seemed easy after wading thru "Swan Lake", "Scheherazade" and "The Theme from the Unfinished Symphony" back to back to back..
Currently working on the next piece which is the spiritual "Steal Away", which technically doesn't seem like it will present any problems or real challenges, but which is rather strange or unusual in that within the course of it's 28 measure length contains the following: 3 distinct sections, 3 tempo changes, 11 volume changes, 8 fermatas (fermati?) or pauses of variable length, numerous pedal points and even a treble clef indication on the bass staff near the end! I have this piece in another book (of hymns) and it has only the separate sections, so I guess our authors' idea was to try to make a relatively easy piece a little more difficult was all the "extra musical stuff" they devised and threw in.
I'm really looking forward to the next piece which is the great old Italian love song "Come Back to Sorrento", which is a show piece with a beautiful melody!
Molto Agitato....nice to see a new face here in the book 3 thread!! Welcome!And keep on hanging around if you like it!!
John...I'm catching up on you!! It's the unfinished Sympathy this week, and Spooky Story. I won't finish them both in 1 week for sure, but the symphony looked rather intimidating so something relatively straightforward to work on simultaneously sounded like a good plan.
Although I must say that the rather complex looking and sounding syncopated rhythm started to work out pretty well after just one fairly short practicing session yesterday, so we'll see how it will go further. It's a piece where you REALLY have to count in the beginning to get it right. I'm pretty good with rhythm things, but this one I had to look twice before I got it. And I get to do the JF-Tremolo's!! (after skipping the star spangled banner...yes!! They return in this piece!!)
On the Scheherazade by the way... (John or whoever)..what tempo did you play it?? I finished it, but it annoyed me that the last long triplet part sounded a bit 'bare'...no pedal allowed, and the left hand chord is basically completely gone before you finally hit the final notes. My teacher recommended playing the chord very loud to make it last as long as possible, and speeding up the whole thing in general to make the last bit also faster. But to be honest...I dislike the tempo any higher then a fairly slow andante. I can play it, but it doesn't make the piece sound nicer in my opinion....
... On the Scheherazade by the way... (John or whoever)..what tempo did you play it?? I finished it, but it annoyed me that the last long triplet part sounded a bit 'bare'...no pedal allowed, and the left hand chord is basically completely gone before you finally hit the final notes. My teacher recommended playing the chord very loud to make it last as long as possible, and speeding up the whole thing in general to make the last bit also faster. But to be honest...I dislike the tempo any higher then a fairly slow andante. I can play it, but it doesn't make the piece sound nicer in my opinion....
Ingrid
Ingrid - Sorry about the delay - I was away for the long holiday weekend - I played "Scheherazade" fairly slowly (more Adagio than Andante) and played the last measures "rit. & dim.", both slowing down and decreasing in volume over the last 3 measures even though the sheet music doesn't call for it (another one of my free-lance interpretations) - it sounded better to me that way, a more "finalized" ending - as far as that LH chord which is "supposed" to carry thru to the end, it doesn't and playing it loudly and then speeding up the whole passage is just simply not acceptable, ruining the ending's purpose and effect - instead do what I did - forget the tie and play the chord again softly at the beginning of each of the 1st two measures inthe last line - good luck with the "unfinished Symphony".
Ha John! I knew I could count on you for a different tweak to a piece!! Thanks, I'll try it your way!! ( I tried holding the pedal throughout the last few bars, but that sounded very unharmonic.
I am going to continue next week with spooky story & the unfinished. Only 2 more lessons, and then it's summer break for at least 10 weeks. Last year I tackled a whole bunch of Gnossiennes over the summer period, I'll have to dicsuss with my teacher what would be a nice 'project' for this summer!
Anybody any suggestions??
Did I mention that I'm also involved in a school orchestra kind of thing?? We're preparing a bunch of kids (aged 6-12) for a nice performance in june. One of the parents involved is a real crack (playing a whole bunch of instrumenst, making his own arrangements and stuff like that) and we're now also going to work on a little piece with the parents. It will be 'hallelujah' by Leonard Cohen.
It will be the first time for me to play in front of a 'real' audience (well, mostly the parents of the kids involved, but still.....), together with a whole bunch of other instruments. Guitar, flute, drum, clarinet, violin. I think it will be a lot of fun to do!!
Ingrid (still waiting for my bit of music, I hope it won't be too complex......)
While quickly scanning the book 2 thread, I saw that there's at least one, and maybe more people joining us shortly...YEAH!!
So let me be the first to give Ttigg a warm welcome here!! And put us back on page one of the forum, we were disappearing again.
Going is slow here. We had a week vacation & next week is the last lesson before the summer vacation. I'll finish the unfinished & spooky story (no piano for a week so no progress), and work on my school-orchestra stuff this week.
For the summer I am thinking of attacking one or 2 Yann Tiersen pieces, from the Amelie movie. Anybody here played any of that? We have at least a 2 month break, so I like to work on something a bit bigger then a whole bunch of Alfreds pieces, and it's beautiful music to listen to. My teacher suggested it, so Iguess she thinks I'll be able to handle it. I'll pick up Alfreds again when lessons start in august/september. Maybe II'll take another look at the Moonlight Sonata as well.
While quickly scanning the book 2 thread, I saw that there's at least one, and maybe more people joining us shortly...YEAH!!
So let me be the first to give Ttigg a warm welcome here!! And put us back on page one of the forum, we were disappearing again.
Thanks for the kind welcome (although I'm not here yet). Will be getting my "sign off" this week then a 1wk break so I can look @ Forest again. Then I'll be over here saying "hi" and looking at what #3 has in store..
So what's the general level/timing like for #3? 1yr+ I would estimate depending on the actual content. I know I did #1 in like 3.5mths but 2 took longer (with some breaks in-between for recitals etc) so my estimate is 1yr for #3 (we'll see)
Looking forward to making more friends and more videos.. So who on #3 is in SoCal?
... For the summer I am thinking of attacking one or 2 Yann Tiersen pieces, from the Amelie movie. Anybody here played any of that?
Ingrid
Ingrid - good choice for the special summer selection - Tiersen's stuff is good and he's fairly popular here at PW - 1 or 2 of his pieces always show up in each Recital - you might want to listen to some of them.
I'm putting the finishing touches on the spiritual piece "Steal Away", a very interesting arrangement as I mentioned before in a recent post above - I'm sure you won't be surprised that I've devised my own unique way to play it (putting in a D.S. al Fine where one didn't exist before!)
TTigg welcome from me also - we're really anxious to get you and some of the other Book 2ers over here to share and help.
It's nice to see that TTigg has added some new life to Alfred 3. I check in from time to time to see what happens when a few more people finish Book 3. I think I might have found my niche with the Lee Evan's arrangements. I really love playing from the American Songbook, and after finishing Aflred's, I find that I can actually play the stuff with some musicality. One of these days, if I can ever overcome Red Dot Fever, I'll post one or two of my new pieces. So Ingrid, it's unlikely I will be playing any Satie in the immediate future. Maybe I'll go back to it if I ever tire of these jazzy arrangements I'm playing.
For the record, I still am unable to play Fur Elise properly, at least the third section anyway. My teacher dragged out the metronome today to slow me down. I'm going to stick with it until I get it, so I'm not finished with Alfred 3 yet.
BTW, TTigg, I'm losing track of time, but I think I spent about six months on Level 2 and about a year on Level 3. The effort was well worth it.
OldFingers - good to hear from you as always - glad you enjoy playing the great standards so much - I love them too and will probably head largely in that direction when I finish Alfred, although I really do enjoy playing some classical pieces (currently working my way thru a series of shorter, lighter pieces in the "Essential Keyboard Repertoire" book).
I hope you'll check in here often to kep us updated on your progress on whatever you're working on (including "Fur Elise") and please do share with us some recordings in the future - would love to hear them!
I'm not sure but I think I spent about a year on Book 1 and about a year and a half on Book 2, and will spend at least that much if not more on Book 3 (given the "ambitious section").
Mark - it's not the quantity of time you spend in Alfred 3 but the quality of your efforts in whatever time you do ultimately spend there . . . there is no time limit.
Well, here's my preliminary take on "Steal Away", which as I discussed above is full of musical "stuff", perhaps more so than just about anything I've run across yet: sections, tempo and dynamic changes, multiple fermati, etc.
I added to the assortment by inseting a D.S. al Fine at the fermata in the 3rd to last measure, which jumps back to the "segno sign" at the beginning of the 9th measure and then continues to the Fine (which is the actual, original end of the piece). It still needs a little polishing here and there but it's roughly presentable:
I haven't played the song yet, and I don't know the tune at all, but to me it sounds as if there's something real strange going on with the timing/beat/rythm. From the 1st bar onwards. I will listen to it again tonight with my Alfreds book 3 in front of me. I'm really curious to compare the notes with what I am hearing....
Ha! If you're trying to tap your foot along with a constant beat, forget it - there isn't one - it's a "freelance" piece, in effect - you're right that there is something strange going on with the timing and rhythm - I warned you about that twice above - with all the fermati (pauses) and chordal "rolls" (where the timing is optional and variable) plus the tempo changes this is a piece that one plays pretty much "as one wishes", and one cannot expect to march in perfect synch to it.
The only place where I messed up a little on timing was at the very end (where the 3rd tempo change is called for) - I was playing from memory and forgot what the next to last chord was! I need to practice that a little more and re-record it.
I put the book next to it, and (honest feedback here) for my taste you are a bit too flexible with the timing. And I don't mean the tempo changes or the fermata's but basically the rythm within a certain phrase or even bar.
Just to mention a few things I noticed from the first bit of the song...the two 8th notes at the end of bar 1 and 2 are supposed to be on the count of 'four-and' (you play left a looong one-and-two-and-three-and, and then the 2 short 8ths on 'four-and'..correct?)
Your 8ths are played earlier then written, starting already somewhere on the count of 'three and'. Especially in bar 2 you can hear it very well if you count along. They also have a kind of uneven swing feeling, of which I wonder if you did it on purpose. To me it sounds a bit un-spiritual-like
Also your rest in bar 4 was a lot shorter then notated (1/4).
I don't mean to sound too straightforward, but because of the things mentioned above , and without having the notes in front of me I felt a bit disoriented rythm wise listening to the start of the piece. And if the tempo then really starts changing, and the fermata's are showing up I really had trouble hanging in there, since I didn't have a real 'base rythm' fixed in my mind from which the changes then happen.
With the notes in front of me I did understand, and there were absolutely long stretches where the timing was perfectly in synch, but for me the start was really confusing. Again, maybe you did a lot of this on purpose, as artistic freedom, but I hope you don't mind hearing how it's perceived by a listener not familiar with the song....
John, having the benefit of my teacher's recording, Ingrid's interpretation more closely resembles that of my teacher. In particular there are no swinging 8th notes, they are played right on the beat. Also, the trills are meant to be played a little faster I think, not being arpeggio-like. Finally, perhaps it is your digital piano, but successive notes seem to be too distinct, not having enough legato.
Once I overcome Red Dot Fever, I'll give you the opportunity to return the favour.
I put the book next to it, and (honest feedback here) for my taste you are a bit too flexible with the timing.
Ultimately a matter of opinion or personal taste - if I heard you play I might say that you're too rigid or inflexible
Originally Posted by IngridT
Just to mention a few things I noticed from the first bit of the song...the two 8th notes at the end of bar 1 and 2 are supposed to be on the count of 'four-and' ... Your 8ths are played earlier then written, starting already somewhere on the count of 'three and'. Especially in bar 2 you can hear it very well if you count along.
Sorry, I don't hear that - they aren't played as smoothly as I'd like but I don't see anything wrong with their timing - maybe you were just counting too fast - I played this piece very slowly, slower than the Adagio Moderato called for, at about 70 bpm or so.
Originally Posted by IngridT
They also have a kind of uneven swing feeling, of which I wonder if you did it on purpose. To me it sounds a bit un-spiritual-like
Again, I don't hear (and I didn't intend) a "swing" feel - actually the entire piece sounds very "unspiritual-like", due mostly to all the added extra musical accoutrements that the authors arbitrarily threw in for technical training purposes
Originally Posted by IngridT
Also your rest in bar 4 was a lot shorter then notated (1/4).
That one's OK, but I short-changed another one later on in the repeated section.
Originally Posted by IngridT
With the notes in front of me I did understand, and there were absolutely long stretches where the timing was perfectly in synch, but for me the start was really confusing.
Ingrid (curiously awaiting your reaction!)
So, you admit that the timing was in synch for long stretches, thus inadvertently admitting that you just might have liked at least a small part of my performance - or wouldn't you go that far?
John, having the benefit of my teacher's recording, Ingrid's interpretation more closely resembles that of my teacher. In particular there are no swinging 8th notes, they are played right on the beat. Also, the trills are meant to be played a little faster I think, not being arpeggio-like. Finally, perhaps it is your digital piano, but successive notes seem to be too distinct, not having enough legato.
Once I overcome Red Dot Fever, I'll give you the opportunity to return the favour.
Oldfingers - again I didn't intend to play any swinging 8th notes - when I do you'll know it But, if they do swing all the better - after all it is a spiritual! Also, there are no trills indicated to be played in this piece - there are, however 4 rolls which are the LH/RH chords connected with a wavey line which are meant to be played arpeggio-like, holding all the notes thru it's execution, and with a speed at the performer's discretion (which I determined to be fairly slowly in the spirit of the music). Finally the are no legato indications at any place in the music - phrase marks over the RH, but no legato marks, and phrase marks are not, as you know, legato indications - so, if they're not there I don't play them
Now, let me say this - since the long standing procedure here at PW (especially in the Recitals) is to first mention what you like about a performer's playing of a piece and then, second, to offer suggestions and constructive criticism, and since both of you went directly to the second part, may I thus safely assume that neither of you found anything at all to like in my performance?
John, I'm sorry, I think I have upset you. That was not my intention. Here-to-fore I have not make comments about a person's performance, but I just thought that I could support Ingrid's attempt to provide feedback based on my teacher's interpretation of the piece. However, you are quite right, you can play it however you like.
I was unaware that there was a protocol for commenting on a posted performance. Given that I an now aware of it, let me congratulate you for having played the piece through, having conquered Red Dot Fever. You are miles ahead of me on that score.
Just like Oldfingers, I didn't mean to be rude, or upset you. And I wasn't aware of any criticism-protocols here at PW.
You asked for suggestions, so (maybe naive) I thought I'd give some. It was really meant to help.
If I had a recording device here you could hear that I am by no means an advanced player. It happens to me often that I've been playing a new piece for a week or more, and am getting used to the 'sound' of it, and then my teacher highlights that at spot A B or C I am playing something quite different then is notated. Huh?? It sometimes really takes a while to admit that 'my' playing, which really sounded OK to me is wrong, in a sense that it's not wat it's supposed to be.
I am glad to have a teacher that puts me back on track regularly. You don't. I assumed (maybe incorrectly) that your request for suggestions meant you wanted to hear where you could do better.
I did hesitate to post my message, because I know I am the blunt type, and am easily overdoing things. The reason I decided to 'just do it' is because I've heard recordings from you before, and usually you are quite OK rythm wise. This 'confused-what's the beat' thing I experienced listening, I never had before in any song I heard you play. That's why I thought you maybe had one of those 'accidentally played it differently and got used to the sound' things going on that I do experience myself now and then as well, and hence the thought that you might benefit by one of those teacher-like 'wake up calls'.
John, I'm sorry, I think I have upset you. That was not my intention.
Bob - I wasn't upset by your post at all (hence all the grins, etc. in my reply to reassure you of this). My explanation about the standard way typically used here to review someone's performance was intended to educate both you and Ingrid about this, and only since neither one of you submits recordings or usually reviews Recital pieces (not that I've ever noticed anyway). I wasn't trying to "scold" you or indirectly "beg" for compliments.
I was somewhat mystified, however, by (1) your very basic explanation of how, or how not, to play "swinging" 8th notes when I hadn't played any to begin with; and (2) your explanation about how a trill should be played when the music doesn't call for any trills (rolls are not trills - trills are indicated by a horizontal curvey line above a single note and not by a vertical curvey line across both staves in front of chords in both hands usually, and a trll is a rapid alternation of a note with the note immediately above it). You didn't address these two things in your reply.
You were correct about the legato aspect - I went back and looked at the sheet music again and there is a legato indication right at the very beginning of the piece (written out in a word) which I somehow missed... I usually look for the tie-like curvey line connecting notes of different pitch to designate legato playing.
I find it amusing and somewhat tell-tale that the best you can say about my performance is that I completed the piece and that I conquered the red-dot fever. I'm not sure if this is your true assessment or just a negative reaction to you being ofended by my "lecturing" you about performance review protocol here at PW, or both. Now, I'm sorry if I offended you, but the protocol is what it is. again, I wasn't trying to scold you but merely inform you.
Just like Oldfingers, I didn't mean to be rude, or upset you. And I wasn't aware of any criticism-protocols here at PW.
Ingrid - see my explanation about this in my post above in reply to OldFingers. I wasn't upset or offended at all and didn't consider you rude at all.
Originally Posted by IngridT
You asked for suggestions, so (maybe naive) I thought I'd give some. It was really meant to help.
Yes, I did and I'm sure you did - you weren't naive - are you implying that I was being dishonest in my request for suggestions? Why else would you possibly think that you were being naive?
Originally Posted by IngridT
If I had a recording device here you could hear that I am by no means an advanced player. It happens to me often that I've been playing a new piece for a week or more, and am getting used to the 'sound' of it, and then my teacher highlights that at spot A B or C I am playing something quite different then is notated. Huh?? It sometimes really takes a while to admit that 'my' playing, which really sounded OK to me is wrong, in a sense that it's not wat it's supposed to be.
I'm sorry to hear that that's what sometimes happens to you, and you're apparently still saying that that's what happened to me - that I'm playing something wrong but just won't admit it. But, that's not the case here. My contention is that I disagree with you about your interpretation of this (your criticism and suggestions) it's not a matter of being in denial, but a matter of simply disagreeing with you - please see again my detailed point-by-point explanation in my previous reply to you above.
Originally Posted by IngridT
I am glad to have a teacher that puts me back on track regularly. You don't. I assumed (maybe incorrectly) that your request for suggestions meant you wanted to hear where you could do better.
Again, I did want suggestions about problem areas and how I could play it better, but the ones you offered were not helpful at all (actually incorrect) and I simply don't agree with you - again see my explanation in my previous post replying to you - but why are you saying that maybe you assumed "incorrectly" that I wanted suggestions? Again, you are implying that you are suspicious that I was dishonest in my original request for them.
Originally Posted by IngridT
I did hesitate to post my message, because I know I am the blunt type, and am easily overdoing things. The reason I decided to 'just do it' is because I've heard recordings from you before, and usually you are quite OK rythm wise. This 'confused-what's the beat' thing I experienced listening, I never had before in any song I heard you play. That's why I thought you maybe had one of those 'accidentally played it differently and got used to the sound' things going on that I do experience myself now and then as well, and hence the thought that you might benefit by one of those teacher-like 'wake up calls'.
Ingrid
Once again I must repeat that I simply disagree with your interpretations and suggestions and that no "teacher-like wake up calls" were warranted or necessary. You apparently either didn't really read my previous reply to you or you don't believe anything I said there (apparently any more than you believe that I was honest in my request for suggestions - which is unfortunate).
I know I've been out of touch for a bit (just not a good few weeks, but that's not relevant). I've been playing and yes, I owe an update. It's coming....
For now, I'm going to weigh in on Steal Away, as I really love the piece and still play it fairly often.
John- It's obvious you put a lot of work and thought into your playing. You play better than I do, that's for sure! But I have to agree with Ingrid and Bob on this one. I, too, am not fond of your interpretation of this one. Not that I would say you are playing it "wrong," as that is a purely relative term, but in my opinion, you have maybe missed the intent of the piece. Yes, there are ornaments and details added to this arrangement for the purpose of review in the book (it is a review piece), but the song remains. It is a spiritual, yes, but not in the same vein as, say, Dry Bones or Rock-A My Soul. When I learned this one, my teacher said this is a slow, quiet piece with a lot of depth and flow. More like a lullaby than a work song. The entire piece should be very legato and connected, including the 8th notes and the rolls. To my ears, you are shorting the legato in too many places, especially the 8th notes. Not really swinging them, but edging a bit toward staccato. This is definitely one where some rubato can work quite well, but not at the expense of the flow and soothing sound of the entire piece.
But, as I say, that is just how I interpret it, and how I have always sung it. YMMV and all that.
Mak - it's entirely possible I did miss the intent of this piece, especially since I've never heard it sung or played - I was strickly going by the music as arranged, with all the added extra "stuff" thrown in - notewise it's a fairly easy piece, but all the changes in tempo and dynamics and pauses were the real challenges with this piece, which I actually took on with quite a relish! I'm not really that good at some of these extras so I looked forward to attacking this piece and improving some of them.
And, yes, it is a "slow, quiet piece with a lot of depth and flow" (as you say) - partly. But it is also loud with lots of hesitation and little flow also - partly. This is called for in the markings. And this all adds to the challenge.
As far as the legato goes I simply blew that by missing the designation (as I mentioned above), but my legato playing isn't too polished so I don't think it would have made a difference in my performance.
I'm sorry you didn't care for my interpretation, but if I really did miss the intent of the piece, well I'll just have to work on it some more and see if I can improve it. Thanks for your comments. Too bad I can't hear someone else's version (especially a teacher0 to get a better idea of the intent and how it should sound.
Let us know what you're working on these days - it really has been too long since we heard from you.
This is definitely one where some rubato can work quite well, but not at the expense of the flow and soothing sound of the entire piece.
It's good that you have brought up the issue of "rubato" as it is not discussed in the Alfred Series, but it can profitably be applied to many of the pieces. My teacher brought it to my attention when I was learning the Chopin Etude in Book 2. As he expressed it, "rubato" allows a piece to "breath". I like using it where I can because it allows me to bring my own feeling to the piece as there are no strict rules for its application.
Do you find, that as a singer, you are more aware of temporal phrasing that encourages you to play less "metronomically", (if that is a word)? Sadly my vocal cords span a range of about five notes, after which I have to sing falsetto, which is even worse. I'd love to be able to sing along with some of the songs I am now playing. Lucky you!
Yes, definitely. Phrasing is key in singing. I am always listening (after I get a handle on the basic notes, rhythm and an idea of how the piece is supposed to sound!) for where and how a piece may lift and fall, ebb and flow- how it breathes, if you will. Much easier for me with things that have words, as the words, of course, give you a good start on phrasing. Melodic pieces are often easy to "phrase" as well, since they also have a natural flow to them. Some are harder to get a handle on, but, then again, in my limited experience, the ones that don't present a natural lift and fall element to my ear right away are usually not candidates for much in the way of rubato anyway. And some pieces need a light touch on the bending of the written tempo, and some can take a lot without sounding "off."
When I was learning to play the Chopin Etude in Alfred's Book 2, I had my teacher's recording as an indication of how to apply rubato. Then John Frank pointed out to me that a "modern" version of the piece was recorded as "No Other Love". I downloaded a Jo Stafford recording and listened to her phrasing, which, with the words, brought another dimension to the piece and especially to the application of rubato. The temporal phrasing, with the lyrics, was lovely, and now when I play I have that sound and lyrics in my head which improves the musicality tremendously.
It must be great fun for you to sing and play.
I'll be away from cyberspace for a month. Hopefully when I return I will have solved my problems with the 1/32nd notes in Fur Elise and I will have "officially" completed Book 3.
When I was learning to play the Chopin Etude in Alfred's Book 2, I had my teacher's recording as an indication of how to apply rubato. Then John Frank pointed out to me that a "modern" version of the piece was recorded as "No Other Love". I downloaded a Jo Stafford recording and listened to her phrasing, which, with the words, brought another dimension to the piece and especially to the application of rubato. The temporal phrasing, with the lyrics, was lovely, and now when I play I have that sound and lyrics in my head which improves the musicality tremendously.
I used the same song (adapted in the early 1950s for Jo by her husband, band leader Paul Weston, which became a real big pop hit) to guide me in my own pratice/performance of the Book 2 arrangement of 10/3 - in it's phrasing especially it was very close to versions of Chopin's original which I've seen/heard on YouTube (in adition to being a great song well sung by Jo).
I think as some of us may work our way thru the Great American Songbook eventually that we'll find the same use of a great vocalist's interpretation of many of the best songs as an excellent guide to their performance as an instrumental piano piece.
Looking forward to continuing the journey making new friends and catching up with old one :thumbup: Looks like I'm going to be here for at least a year for sure..
So up this week will be the "just for fun" song, catch you in a bit...
TTigg - welcome! - nice to have you with us - there's much in Book 3 to like (and to challenge) - keep us updated on what you're working on and how you're doing - I'm currently working on "Come Back to Sorrento", which is near the end of the first (or Review) section - I'm also working out of two other sources simultaneously: "Essential Keyboard Repertoire" (early intermediate Classical pieces also from Alfred) and "The Definitive Hymn Collection" (intermediate arrangements published by Hal Leonard).
“Is this the place where the Book 3 crowd hangs out? I just finished with book 2 last night and will be starting book 3 tonight. Hey, isn't that TTigg sitting over there?â€
Thanks JF, looking forward to it. Teacher and I did scan the back of the book to see "what's in store" and OH MY!!
Originally Posted by Undone
Undone pokes his head through the doorway.
“Is this the place where the Book 3 crowd hangs out? I just finished with book 2 last night and will be starting book 3 tonight. Hey, isn't that TTigg sitting over there?â€
Undone
It is indeed mate, glad to have you here, timing was impeccable
Pianolessons just stopped here for a long summer break, so you'll have a good 10 weeks to catch up on me! I'll be mostly working on non-alfred's things, just like last summer. When there's no lessons for a while it's a good time to work on something different, or relatively 'big', at least I found out that for me that's a fun thing to do. Last year I worked on some Satie pieces, this summer it will be Yann Tiersen (don't know if you read through the thread, so maybe I'm telling you nothing new.)
Anyway, I'm looking forward to hear how you guys are going to attack book 3, and I'll be glad to offer support, ideas, a listening ear or whatever....Have fun with the super-special-song!
Ingrid (currently stuck on an unfinished 'unfinished symphony)
Hi to our new member! I have had a time between work and grad course ( which has two more weeks to go). I did play through "Toccata" for my instructor and with only 5 places, she was quite pleased. And so am I. I going to work on those five places and have it ready for perfection:-). My instructor is having surgery so we won't be meeting for a month, but that's okay... I have enough to keep busy. I'm starting on "Moonlight Sonata" and some easier pop tunes such as "Lean on Me" and Hanon. Take care everyone!
Just to keep this thread from sinking too far down the list – My first week in Book 3 is going well. I’m working on both “A Super-Special Sorta Song†(who comes up with these titles?) and “Calypso Rhumba†while going over the theory section that follows. I have both pieces close to being finished but Super-Special is a good one for hitting wrong notes due to “momentary lapses in concentrationâ€, so it may take a bit longer.
Just to keep this thread from sinking too far down the list – My first week in Book 3 is going well. I’m working on both “A Super-Special Sorta Song†(who comes up with these titles?) and “Calypso Rhumba†while going over the theory section that follows. I have both pieces close to being finished but Super-Special is a good one for hitting wrong notes due to “momentary lapses in concentrationâ€, so it may take a bit longer.
Undone
Right there with you bud Wait, there's theory for this week too? I'm only working on the 1st for this week trying to ensure I get it down so I can move on to the next.... It's going to be good to have a sud o study partner for #3 SC
TTigg – you may have a jump on the theory part. I remember you writing that you were reviewing the circle of fifths at the end of your “Not-All-In-One†Book 2. Well, the All-In-One version did’nt have that at the end, but it’s here in Book 3, right after the Calypso Rhumba.
TTigg – you may have a jump on the theory part. I remember you writing that you were reviewing the circle of fifths at the end of your “Not-All-In-One†Book 2. Well, the All-In-One version did’nt have that at the end, but it’s here in Book 3, right after the Calypso Rhumba.
Undone
Gotcha, Well for this week (lesson is today) I'm hoping to get my pass on "special sorta song". Then for next week I will work on Calypso Rhumba and the "review of the circle of 5ths".
You're right the first one can be going great and then a quick lapse of concentration (I guess same with any piece) and it turns quickly. So how's Calypso going? I'm hoping easy'sh since we're just getting started with #3..
Yep, I think “Special Sorta Song†is definitely the more difficult of the two. Calypso seemed a little strange the first couple of times through, but quickly started to make sense and has fallen into place nicely.
Yep, I think “Special Sorta Song†is definitely the more difficult of the two. Calypso seemed a little strange the first couple of times through, but quickly started to make sense and has fallen into place nicely.
Undone
Good to know since I did indeed get a "pass" from teach for "Special Sorta Song". Now this week I'm going to be working on Calypso and the first 2 pages of theory..
TTigg & Undone - here's a brief list of what I consider the more interesting and enjoyable pieces in the early part of Book 3:
"Fandango" - not hard at all and a lot of fun to play (I have a recording of this in the June Piano bar).
"Serenade (from String Quartet)" - a little challenging to consistently bring out the melody; tricky left hand pattern change in the middle section.
"A Very Special Day" - good solid piece; nice LH arppeggio workout throughout; interesting tempo change at finishing measures.
"A Classy Rag" - good ragtime piece; lots of hand movements; easy piece to play badly and tough piece to play consistently well; I'm still tring to get a satisfactory recording of this one (something different always goes wrong each time!).
"Prelude in D Minor" - good study piece for arpeggios and hand movements.
"The Star-Spangled Banner" - not everyone here has liked playing this , but I think it's a good arrangement; new technique introduced: the tremolo!
"Swan Lake" - very nice arrangement of a beautiful melody (I recorded this and it can be found in the May Piano Bar (I think?).
"Scheherazade" - another unique arrangement; lovely melody; totally satisfying study piece; you will like this one!
"Come back to Sorrento" - my current piece - absolutely beautiful Italian love song; excellent arrangement; challenging hand movements around the keyboard; wonderful piece!
I've got a question for my seniors. I see that Book 3 has Fur Elise as one of the pieces at the end. Is it the original and complete version or is it a simplified arrangement?
I've got a question for my seniors. I see that Book 3 has Fur Elise as one of the pieces at the end. Is it the original and complete version or is it a simplified arrangement?
I'll let you know when I get to the end JK I don't know if it's the real proper version but it's 4 1/2 pages long if that helps... - SC
I've got a question for my seniors. I see that Book 3 has Fur Elise as one of the pieces at the end. Is it the original and complete version or is it a simplified arrangement?
Oh wow! Playing the whole of Fur Elise is one of my goals in piano. I'm so glad I can learn to play it with the Alfred Series. Now I've got to work so I can reach Book 3 faster!
Update: finished up study of "Come Back to Sorrento" today - a recording of this can be found at the top of the July Piano Bar thread.
Beginning study of "Magic Carpet Ride" piece - looks to be fairly easy - can't see it taking more than a week (or less), then onto the "Mountain King" piece.
Also continuing studies out of the "Essential Keyboard Repertoire" book with a piece by Robert Schuman named simply "Melody".
Well my update this week is that I'm almost done with Fandango (love it!) and will for sure add this to my daily routine. I may also try to pick up the books separate as I believe they are available now (wasn't before) we'll see..
I’ve made it through Fandango and Modern Sounds and am now working on Jazz Sequences. This book started off somewhat like Book 2 for me. I was able to move through the first few pieces quite rapidly (two at a time) and started thinking “Hey, I must be getting pretty good at this stuffâ€. Then I got to Jazz Sequences which is a little trickier and I started looking at Serenade. Well Serenade certainly put me back in my place! That one is going to take some work. I think I’ll concentrate solely on Jazz Sequences until I’m finished with that and can then put my full attention toward Serenade.
Undone - good plan - I found "Jazz Sequences" a little tricky also, and didn't really get a good handle on it until I went back and reviewed it 4 months later - the same thing was true with "Serenade", which I spent extra time initially working on (it sort of "demands" it) and which I recorded and submitted to one of the recent ABF Recitals, but which I wasn't completely happy with until I went back some time later and reviewed it - not an easy piece to play well.
As you would expect I almost always play pieces better after letting them rest awhile and then reviwing them - which is why I continually do it for most of the pieces.
Hi all! I have completely finished Toccata" I will post this on line when my "temporary roommate" leaves in nine days! Actually, it's been good. But it will be better when she leaves:-) I am working on "Moonlight Sonata" and my instructor wants me to start on "Fur Elise", both of these just the first page.
Oh the question about "Fur Elise", my instructor thought that it was the original but that there should be a few more pages. Just a thought... I'll find out definitely later this week!
Thanks JF – I worked on “Jazz Sequences†by itself since the 1st of the month (after having started it earlier in combination with Modern Sounds) and just managed to “put it to bed†last night. Now it’s on to Serenade. I really like this piece and know it will take some time to do it justice.
Piano4 – Looking forward to hearing your recording of Toccata!
I’m still plugging away at Serenade from Strings. I’m having a tuff time getting the section at the bottom of page one down, but I’m really enjoying working on this piece. My practice sessions have been encroached on a bit this week, and I may not get any in over the weekend: I’ll be walking down the aisle on Sunday. This time it’s as father of the bride.
I'm back for a while, but must report that I have been a little bad, not having practiced a lot while I was away. After spending the day, felling and limbing trees, then cutting and splitting logs, I'm not inclined to sit at my piano. Therefore I officially remain a member of the Book 3 club as I have been unable to produce a satisfactory version of Fur Elise; the 1/32nd notes continue to give me problems. Piano4, I hope your teacher is correct, as I wouldn't want a version that was any more difficult than the one in Book 3 as it is pushing the limits of my ability.
John Frank, if on your visit to Acadia you are interested in doing "touristy" things, you might be interested in a visit to Rockland where the Farnsworth has a fine Wyeth collection. It gives a nice feeling for the Maine coast. To get to my camp I take the ferry from Rockland to an island in the Penobscot Bay that is the lobster capital of the world, although right now the lobstermen are quite unhappy as the catch and the price are down dramatically. I first visited Acadia 40 years ago and camped on the shore of a river just over the bridge. When I got up in the morning I was startled to find that there was no water in the river and the boats were just sitting on mud. The locals must have had a good laugh when they told me the tide was out. I had to confess I did not realize that the tidal flow was so dramatic that an entire river would drain and fill twice a day. Have a nice trip. I think you will enjoy it. Maine is like no other place. (Sorry everyone for the OT, but JT touched a nerve)
Also - keep hammering away at "Serenade" - you'll get it down - that middle section was (is) tough.
OldFingers - welcome back - good to hear from you again - my wife & I are looking forward to the Maine trip - the more I look into it and plan it the more excited I get! I'm not sure if the 8-10 days we've set aside will be enough - from what I can see one could easily spend 4-5 days in each of the regions (Southern Beaches, Midcoast & Acadia)- there seems to be so much to see & do - Is that island Vinylhaven?
John Frank, you have done your research well. Yes, my camp is on Vinalhaven, not to be confused with North Haven which is nearby. The beautiful people summer on North Haven, but the real people live on Vinalhaven, if you know what I mean. You have picked a good time to visit Mid-coast Maine as the traffic is quite reasonable. Usually Route 1 is so busy it can take all of the fun out of a visit, but not this summer.
Now that I'm back I'm practicing again and struggling to work through the 1/32nd notes in Fur Elise. It's so bad that I've had to get out the metronome to keep my pace. It seems that as I anticipate the 1/32nd notes, I speed everything up.
John Frank, you have done your research well. Yes, my camp is on Vinalhaven, not to be confused with North Haven which is nearby. The beautiful people summer on North Haven, but the real people live on Vinalhaven, if you know what I mean.
Well, I guess I'll just have to visit North Haven instead of Vinalhaven since I'm definitely one of the "beautiful people"...
Actually, Rockland is on our definite itinerary list and Vinalhaven is on our "possible" itinerary list (time permitting), to see the lobster fleet in action, check out the abandoned granite quarries and visit the Historical Museum. The AAA Tour Book says it was incorporated in 1789 (about the time when good, old George was becoming our 1st President) and describes it as the "home of one of the most productive lobster-fishing fleets in the world". We might be checking out other islands during our trip including Monhegan, Isle au Haut, and the Cranberries off Acadia.
Hello, Book 3 Folk! Yes, I'm still around, just not posting much since there hasn't been much progress. It's been a rough month and a half or so for me.
Anyway, I've gotten thru the Bach Prelude in C, and we put it aside last week, after discussing it and agreeing that, while it is far from perfect, I have pretty much done what I can at my present level. We will pick it up again in a year or so, and see what happens. Kind of stuck on the Trumpet Tune- cannot seem to get it up to speed! Played thru the beginning of the Toccata in Dm, but just the intro. Speed will be an issue here, as well, I think. Not much progress in the Meir book, either.
Kind of stuck on the Trumpet Tune- cannot seem to get it up to speed! Played thru the beginning of the Toccata in Dm, but just the intro. Speed will be an issue here, as well, I think.
Mak, I have been waiting for someone to take on Trumpet Tune. It took me several weeks to get it right, particularly the tricky rhythm to get the "martial" feeling to it. For me it was the hardest piece in Book 3. I found that if I sat up really straight, assumed a military-like posture, and flexed my arms in a military-like way, it put me in a mood to play "military-like". I demonstrated this to my teacher, sort of jokingly, but he agreed that it is important to assume the correct frame of mind for playing particular types of music.
I must confess that I didn't like Toccota as a piece of music and couldn't see working at it for weeks and not having a desirable product at the end, so I refused to learn it. My teacher's attitude is not to work at a piece of music if I didn't like it. I guess that's one of the benefits of being a very senior citizen.
Yeah, getting the right "feel" to Trumpet Tune is tough. Maybe I will try your military posture idea!
I like Toccata- always have. I hope to get it going well enough that when I get the Kawai set up again, I can pull up the organ voice and scare the neighbors! LOL
My teacher is much like yours. If I really, really don't like a piece, she does not insist I learn it anyway. Even with the pieces in Alfred's that are there to teach you a particular thing, she feels there are so many other pieces that will teach you the same thing, it's easy enough to find something I will enjoy. If I don't like it, I won't devote a lot of practice time to it, and if I don't do that, well...
Yep, still alive. I feel a bit guilty having been absent for weeks, so here's a quick sign of life before I disappear for a 2 weeks summer holiday to Switzerland and France....
I am in the middle of a long piano-summer-break, and to be honest I haven't been moving forward a lot. Alfreds has'nt been open, except to replay some old favourites (prelude in C!!) and Satie is still there. The only new thing I've been working on is my Yann Tiersen summer-project. After playing around a bit in the book I settled on the Valse d'Amelie as a first piece to work on, and I LOVE it!! It's beautifull, and it has a nice way of increased difficulty throughout the piece. Starting with a fairly simple melody in the right hand with left hand chords, then these up-and-down moving waves with the left hand with right something fairly simple, then some octave like things to add some 'depth' and then in the end combining the difficult left and right hand things together..difficult, but in a primitive way I did manage to play it through all the way to the end , which really made me feel proud of myself. Ha!!...love it!!
Even funnier is that althought it is a waltz (3/4 beat) there is an 'intro' and a 'closing sentence' that are written in 2/4. And the weird thing is that it doesn't clash, and even that the 2/4 piece sounds waltz-like. Very strange.
anyway, for those interested here's a youtube link to a version that sounds quite ok to me... (no way there yet though. hahaha!I'll spend the rest of the summer getting it smoother and faster))
Good luck to all of you...if the new arrivals keep the speed up a bit you'll have passed me by the time I'll restart lessons in september.......(but we'll see, i remember the for me the first few pieces in book 3 seemed to be mastered fairly easy, but somewhere things did change a bit......)
Ingrid
PS...oh, and I love that idea of sitting up straight when playing something military like. You do have to get in the right mood for a piece of music. I cannot play satie when I am all stressed. It does work the other way around too though. When my adrenaline level is way up playing a soothing piece of music can actually calm me down very quickly! (you guys don't get agressive by playing to much Toccata i hope?? LOL. It's not my favourite piece either buy the way. My teacher played it for me, but I think I'll pass.
Been a little "absent" from this current topic for a couple of weeks. Lots of "crap" going on at work so we'll see where that all ends up..
Currently working on finishing up Jazz Sequences and will then move onto the Serenade from String Quartet. Also have to put in some serious time with "Falling Slowly" which is another side project (study group thread)
I'm also going to get hold of the #3 theory & lesson separately. Originally when I ordered from Amazon they were only available in the "all-in-one" but I've seen them at my local Music store so I'm going to get them, I much prefer having the 2 books separate following on from #2 and #1..
Woah, and now I see it's online Recital time coming up in a month (arrrrggh) lol
Things have been a little hectic around here as well. We’ve had our two year old grandson staying with us this past week and he’s been sleeping / napping in the same room as my piano. So my practice time has been based more around his schedule then mine. I still managed to put the final wraps on Serenade and have moved on to “The Grand Piano Bandâ€.
Hi all! I'm back and working on Fur Elise! Oh boy! And I thought "Toccata was hard! I will concentrate very hard to get that on so that you can hear this, Undone! I played this for some guests last night and completely forgot part of it!!!! AUGHHH
Anyhow, I have a question about "Fur Elise" On the page three in the Alfred's Book 3, on the last measure ( no I haven't gotten there just yet) but does anyone know why it is shown to play the series of sixteenth notes in the 3,2,3, pattern? Is there a technique reason for that? My instructor said that I could try that since it is written that way but that I can use other fingers. Just curious! Thank you all! take care
does anyone know why it is shown to play the series of sixteenth notes in the 3,2,3, pattern? Is there a technique reason for that?
When I was first learning to play Fur Elise my teacher said I could use the 3,2,3 fingering to help me to get the count right as it's easier to keep track of three packets of 3,2 than six of 3. But as I became more familiar with the piece and the sound of it was better established in my head, he encouraged me to use 3,3,3,....
Okay, I am going to have to get more familiar with the count over all as I continue to practice. The first hard part is getting to me. The beginning I can do but the change in tempo at that point throws me off. Thank you so much OldFingers for your help! I'll eventually get this:-)
I wonder how you are doing with the third section with the 1/32nd notes. While I can play the first two sections fairly well, I can't keep the same pace and get the third section right. My teacher has slowed me down to 1/16 = 144 and I have to use the metronome to get through it, but if I try to speed it up, or turn off the metronome I'm done. I need a confidence builder here.
Finishing up "In the Hall of the Mountain King" and a review of "A Very Special Day" - this is about the half way point of the regular pieces in Book 3 - now moving on to Section 2 (new keys) with the piece "An American Hymn" (aka "Shall We Gather by the River") today.
Hi all! I'm back and working on Fur Elise! Oh boy! And I thought "Toccata was hard! I will concentrate very hard to get that on so that you can hear this, Undone! I played this for some guests last night and completely forgot part of it!!!! AUGHHH
Anyhow, I have a question about "Fur Elise" On the page three in the Alfred's Book 3, on the last measure ( no I haven't gotten there just yet) but does anyone know why it is shown to play the series of sixteenth notes in the 3,2,3, pattern? Is there a technique reason for that? My instructor said that I could try that since it is written that way but that I can use other fingers. Just curious! Thank you all! take care
When I was trying to learn this piece many years ago, I was working from sheet music "The Pianist's Repertoire" by G. Schirmer. It has the fingering as 3,2,1,3,2,1. The 3,2,3 just seems odd to me.
Hey JF – I’m working on “A Very Special Day†myself right now. There sure is a lot going on simultaneously in this piece.
Undone
Undone - yes, there certainly is, which is a good thing - I like pieces like this - I've been reviewing selected pieces as I've moved forward in Book 3, and this was one I really wanted to concentrate on and "get down" - usually, I play a piece better on the review, but this one is giving me a little trouble for some strange reason, mostly in the ending, slowed down section, where something always seems to go wrong - maybe I've been trying to play it too "perfectly", which just isn't going to happen -
I think I may need to give it a rest and move on to a review of "A Classy Rag", which was even more challenging the first time thru. Good luck with "Day" - I'm sure you'll end up playing it very well, as usual.
I just started working on Book #3 this week - so I thought I'd step in and see what was going on in this thread. I'm surprised I beat Waltz here - as I know he's one song ahead of me in #3.
I noticed there aren't as many of the songs from book #3 recorded based on the list in the listing on the first post of this thread). I admit I didn't read back through all 20+ pages of the topic - will I find more recordings buried if I do look? If we wanted to submit a recording to be posted there, is that possible? (ha - I'm getting waaaaay ahead of myself).
I look forward to working through book #3 with you all!
Nancy - welcome! I don't believe there have been too many pieces posted within the 20+ pages of the Book 3 thread - however, you are encouraged to do so at any time - and if you want a song posted back on page one as a sample then Mark will have to copy it there after you post it here (since the Opening Post was his) - just tell him when you post it here (in the body of the thread) that you would like it posted back there also (or PM him).
I just started working on Book #3 this week - so I thought I'd step in and see what was going on in this thread. I'm surprised I beat Waltz here - as I know he's one song ahead of me in #3. -Nancy
Welcome Nancy!! Waltz is "lurking" I believe since he's finished (a very nice rendition) of Cannon in D.. Glad to have you, Waltz and Undone hanging around here. I mean I'm glad to see / interact with all previous Alfridites but you guys were the closest with me in #2
I've had a hellish 3-4wks since I begun #3. Not really because of the content more of what was going on with work. For approx 3wks I was unsure if I was going to have a job come Aug 1st
Found out Friday I've made it through this round of "re-structuring" so now I can get back into the full swing of my practicing and movements. (phew)
1st up will be finishing up of the Serenade from String Quartet which I will do this week (spent 2kws on this one in terms of lesson time). Then moving onto the Piano big band and finishing up on some theory.
Also gotta get my recital piece polished up and recorded (both reg and possibly video too) but time is ticking on that clock!
Also gotta get my recital piece polished up and recorded (both reg and possibly video too) but time is ticking on that clock!
Glad to hear your job is safe for now... That's always unnerving. My husband is currently contracting and I dread him having to find something new when his current one is up.
As for the recital - I just checked the dates and I have a crazy idea I want to play the Dan Coats version of Canon in D (but it's still an 'easy' version) for it. I didn't get a clean recording of the Alfred version yet; but why should that stop me? :P We'll see if I can get it cleaned up enough in time.. now that the heat has dissipated it's much more pleasant to sit at the piano and practice.
Glad to hear your job is safe for now... That's always unnerving. My husband is currently contracting and I dread him having to find something new when his current one is up.
As for the recital - I just checked the dates and I have a crazy idea I want to play the Dan Coats version of Canon in D (but it's still an 'easy' version) for it. I didn't get a clean recording of the Alfred version yet; but why should that stop me? :P We'll see if I can get it cleaned up enough in time.. now that the heat has dissipated it's much more pleasant to sit at the piano and practice.
Sounds like a great plan Nancy, will be looking forward to it
Oldfingers, I'm sorry I'm getting back late in replying to you. I FINALLY got the second page ( the first hard part of "Fur Elise") and that nearly drove me to drink (Smile).My instructor is pushing me to get the tempo of those 1/32 notes.. to not slow down and I may just have that drink :-) But I will get this eventually!
Oh, "A Very Special Day" I thought was kind of pretty.Matter of fact, I played that for some guests. I was surprised I remembered it!!!
CarlMC, yes, my instructor thought that the fingering was a bit different and she didn't know why it was written in that matter.But she told me I could try it if I wanted to and if it didn't work then to use 3, 2, 1. I'll get that as soon as I narrow down page two!
Hi Nancy, glad to see" you in Book 3! It's pretty fun, I think!
Thank you all for all of your advice! I always learn a lot!
In honor of our newest Book 3 cohort Nancy and our soon to be newest cohort Waltz, I humbly submit my “its time to move on already†recording of A Very Special Day:
Oh, "A Very Special Day" I thought was kind of pretty.Matter of fact, I played that for some guests. I was surprised I remembered it!!!
Karen
Karen - I haven't played it for any guests yet, but it is a good, solid study piece, and I finally did get a good recording of it.
Right now I'm putting the finishing touches on "An American Hymn", which dates back to the middle of the 1800s and is more often called "Shall We Gather at the River" (after the opening line) - Book 3's arrangement is to be played softly and slowly, but the versions I've heard of this great, old hymn are always more uptempo and livlier, so it's interesting to play it and hear it softened and slowed down - and it does have a lovely melody - what did you think of this arrangement?
In honor of our newest Book 3 cohort Nancy and our soon to be newest cohort Waltz, I humbly submit my “its time to move on already†recording of A Very Special Day:
In honor of our newest Book 3 cohort Nancy and our soon to be newest cohort Waltz, I humbly submit my “its time to move on already†recording of A Very Special Day:
Very nicely done! It's a very pretty song. Is this one fairly near the beginning? I've tried to not look ahead too much so far
It's the 8th piece if you count the "Just for Fun" pieces (and you probably should) - these "Fun" pieces leave a lot to be desired in terms of the lyrics, but musically they can be interesting study pieces, especially if you enhance them by using intros, repeats, etc. where none currently exist in the music just to make them a little more challenging.
I guess I'm the newest member of the Book 3 thread . My name is Waltz and I just finished Book 2 and I'm now completely on Book 3. I'm rejoining my friends Ttigg and Undone from the Book 2 thread, and am excited to meet all other people on the Book 3 thread. I also have met John Frank from his help on the other thread.
I tend to post a lot, and will try to bump this thread at least once per day. I also have a penchant for making horrible videos of myself playing Alfred's pieces, and then forcing them into threads:
Anyway, I recorded Canon in D twice, the second time being my recital piece. I had the second, final version, "locked" on youtube, but I went ahead and unlocked it, so if anyone wants to see it ahead of time, they can. I guess it was kind of silly to keep it "secret" until then.
I'm excited to be here now, and look forward to meeting those I don't know.
Oh, and Ttigg, this is the first time I've actually looked at the Book 3 thread, I was keeping it a surprise lol.
Thanks Mark... Are you currently on Book 3 or have you already finish it?
I haven't had time to read much of this thread yet. I only skimmed the posts on the last page. I have a lot of catching up to do, and I plan on reading this entire thread, from page 1, in the next few days. Thanks again for the welcome
In honor of our newest Book 3 cohort Nancy and our soon to be newest cohort Waltz, I humbly submit my “its time to move on already†recording of A Very Special Day:
Thanks JF – this was another one (of the many) Alfred pieces where I started out thinking “Okay, this isn’t going to be anything ‘special’†and then wound up really liking it and wanted to keep working on it. After getting the above recording I had to convince myself that “That’s good enough for now, time to move on to the next piece†which just so happens to be “A Classy Rag†– another challenging number (at least I’m finding it challenging at this point).
I'm still in the back working the ambitious stuff as well as my favorite Prelude in D. I've moved to some intermediate books but still in book 3 too...
I'm working on Fandango now, which I really like. Nothing of yet has been too challenging, but I'm sure that's going to change soon. I still have lots of catching up to do with this thread.
Anyway, I recorded Canon in D twice, the second time being my recital piece. I had
I just had a chance to watch this - and you did wonderfully! I think you slowed it down in this second version just enough. Nice job and great recital piece. I spent 40 mins this morning working on my Canon in D (The Coates version); but don't know if it'll be recital ready by next week.
Just curious - what did you use to record the video and sound for you tube? i have a camera that can take video; but I don't know how the sound quality would come out.
I use the camcorder's audio for the sound, I don't have an external mic or anything like that. My camera is a sony, and it's fairly new, and when I bought it, it was "in the middle" as far as quality is concerned. So obviously the sound/video isn't the best, plus I generally compress the files to between 15-25 mb, so they'll upload nicely.
nancy w - just a little note to let you know that I answered two questions you asked in separate posts above (since you haven't responded to either answer I'm assuming you missed them and I wanted to draw your attention to them).
I did see your messages. I read the new posts by watching the thread and it emails me the new posts when there's an update, but don't always get a chance to reply.
Thanks to everyone for the warm welcome - I'll have to get to work on my Super Special song which is the first one in the book.
Waltz – nice job on your first two book 3 pieces. I look forward to being able to listen to your recordings of the pieces I’m beginning to work on.
Waltz – nice job on your first two book 3 pieces. I look forward to being able to listen to your recordings of the pieces I’m beginning to work on.
Undone
Thanks Undone! Haha, by what I've read on the first ten pages of the thread, I'll probably be slowing down "big time" soon. On which piece/page are you working?
Waltz – nice job on your first two book 3 pieces. I look forward to being able to listen to your recordings of the pieces I’m beginning to work on.
Undone
Thanks Undone! Haha, by what I've read on the first ten pages of the thread, I'll probably be slowing down "big time" soon. On which piece/page are you working?
Well to jump in and steal Undone's thunder (never of course) I'm hitting "A Very Special Day" this week. It's a very nice piece (unlike it's previous ones) and I'm prob going to be here for a good 2-3wks..
Well, since you asked PS, here's my version of "An American Hymn", which is in the new key of A Major and is the first piece in Section 2 of Book 3.
This piece is much more commonly called "Shall We Gather at the River" (after the first line of the first verse) and was written way back in 1864 by Robert Lowry.
The Book's arrangement is nice, but I've enhanced it a bit by adding (1) and "intro" based on the last phrase (a very common technique) and (2) insertng a D.S. al Fine at the end of measure 16, which jumps back to the start of the chorus at measure 9.
These same techniques can be used often to spice up many of the study pieces found in any number of methods and songbooks.
Waltz – nice job on your first two book 3 pieces. I look forward to being able to listen to your recordings of the pieces I’m beginning to work on.
Undone
Thanks Undone! Haha, by what I've read on the first ten pages of the thread, I'll probably be slowing down "big time" soon. On which piece/page are you working?
Waltz – I’m currently working on A Classy Rag. This is another one that is going to take some time to get through.
Very nicely played JF. It’s great to get a glimpse of where we’re headed. This piece certainly does have a lot going on behind the melody.
Undone
Undone - thanks for the kind words, which mean a lot coming from one who is such a good player himself - behind the melody is an on-going series of arpeggiated chords, with some variations, which provide a very nice base for the RH melody, which contains numerous double notes to help make that melody stand out.
Speaking of "A Classy Rag" I'm reviewing that piece at the momemt when I get a chance - I really liked this piece the first time thru and got a fairly good recording of it, which I'm going to try to improve. This piece is as much fun as the Joplin piece "Solace" way back in Book 2. I would recommend observing the repeat sign after the D.S. al Fine and also playing the intro 8va as a Coda at the very end (as the Book suggests). I don't think you'll have too much trouble with it, especially since you already have some experience playing Ragtime music if I remember correctly about the piece you submitted to a recent Recital.
Speaking of which, are you submitting one for this upcoming Recital? I have a nice little Baroque-style Minuet from the "Essential Keyboard Repertoire" book I'm also currently working out of already uploaded.
Bravo mate, nicely done. I can see I'm going to get behind very quickly (already am with videos needed to be done).. Hmmm gotta light a fire and get moving
Bravo mate, nicely done. I can see I'm going to get behind very quickly (already am with videos needed to be done).. Hmmm gotta light a fire and get moving
Thanks man ! I'm looking forward to your videos, but don't feel rushed, I am lucky that I have some free time at lunch some days to do them, they do take a while to make.
Fandango is the only piece I've liked so far in Book 3. I'm preparing to put the finishing touches on "Modern Sounds" but I don't like it very much. The first two I didn't like either.
Very nicely played JF. It’s great to get a glimpse of where we’re headed. This piece certainly does have a lot going on behind the melody.
Undone
Undone - thanks for the kind words, which mean a lot coming from one who is such a good player himself - behind the melody is an on-going series of arpeggiated chords, with some variations, which provide a very nice base for the RH melody, which contains numerous double notes to help make that melody stand out.
Speaking of "A Classy Rag" I'm reviewing that piece at the momemt when I get a chance - I really liked this piece the first time thru and got a fairly good recording of it, which I'm going to try to improve. This piece is as much fun as the Joplin piece "Solace" way back in Book 2. I would recommend observing the repeat sign after the D.S. al Fine and also playing the intro 8va as a Coda at the very end (as the Book suggests). I don't think you'll have too much trouble with it, especially since you already have some experience playing Ragtime music if I remember correctly about the piece you submitted to a recent Recital.
Speaking of which, are you submitting one for this upcoming Recital? I have a nice little Baroque-style Minuet from the "Essential Keyboard Repertoire" book I'm also currently working out of already uploaded.
Regards, JF
No, I didn’t have anything ready for this recital. Now that my regular Alfred’s pieces are demanding more time and attention, I’m finding it difficult to have a recital piece ready each quarter. Twice a year is easier, but I’d still like to get something in each recital.
As for “A Classy Ragâ€, I definitely agree with you that the added Coda makes for a much nicer ending. It’s starting to come together for me, but that last line has yet to be tamed.
Waltz – another fine job on Fandango. I liked this piece too. (Something sounds a little different about the timing in the first few measures to me, but I don’t have my music with me and so can’t say more.) Don’t worry about the early book 3 selections; you’ll be getting “into the thick of things†soon.
Here's a heads-up for all of you newcomers to the Book 3 thread - you don't have to wait until you work your way completely thru all the "regular" pieces in Book 3 to tackle those in the "Ambitious Section" at the back - take them on whenever you feel you're ready for them - in fact, that's what the authors had in mind since they recommend that you do exactly that - for example, at the end of the Clementi "Prelude in D Minor" on pages 36-37 there is a note encouraging you to try the Bach "Prelude in C Major" on pages 122-123. There are several other such references scattered throughout Book 3.
Several of the people who have worked thru Book 3 and who have contributed to this thread have done so, and you'll see their commentary on these advanced pieces in previous pages. I personally have chosen not to do this (yet) mainly because the regular pieces are challenging enough right now, and also because I'm concurrently working out of two other sources on an on-going basis, and really have no more time (or energy) to devote to pieces in the "Ambitious Section.
But, if you're up for it (and ready for it) good luck and have fun!
Waltz - nice job (as usual) on "Fandango" - very smooth - keep up the good work - you're coming along very nicely - I'm impressed with how well and how fast you learn these new pieces!
I think I have a version of this excellent piece somewhere back on a previous page here if you wanted to hear an alternate take (with an enhanced ending).
I loved your performance of it! I especially like the poco ritardandos at 8va changes. That added an extra layer of depth to the piece.
waltz - thanks much - yes, the rits were effective - and so was the fact that in the 8va sections I played both hands up an octave (instead of just the RH as the Book specifies), which added another dimension - try it - also, the added extra ending is basically just a repeat of the last two measures or so, but lowered an octave (and played "Beethovenesque" as someone said in a review).
I met with my new piano teacher today and she was amazing! I start my "official" lessons next week.
Today was the first day I've ever spent practice time site reading, and I am now going to try throw in 10 minutes per day of practicing it.
She showed me some techniques today with playing in general that I can tell are already making a difference. It is baffling how easy it is to miss out on certain basic aspects of playing.
I hope that now my playing becomes much more refined and less crude.
I'm on "Jazz Sequences". Not my favorite, but after it I think there is a nice classical piece I'll enjoy. I'll try to record Modern Sounds soon.
This thread should not be on page 5. I'm on Haydn's Serenade. I like it
PS: I thought "Modern Sounds" was the worse piece of any of the three Alfred's books. It was just terrible. Anyone else feel this way? I liked Jazz sequences once I got the hand of it...
This thread should not be on page 5. I'm on Haydn's Serenade. I like it
PS: I thought "Modern Sounds" was the worse piece of any of the three Alfred's books. It was just terrible. Anyone else feel this way? I liked Jazz sequences once I got the hand of it...
Well (for me) it was the other way around I mean come on, "Jazz Sequences" wasn't very, well, Jazzy! Thus far I'm beginning to like the stuff in #3. The String Serenede's nice and I do like "Very Special Day", now I'm moving onto the Classy Rag...
I agree about Jazz Sequences not being really like jazz. A "sequence" is synonymous with a "phrase" right? I just enjoyed trying to play this one smoothly, making each sequence soft and light.
I agree about Jazz Sequences not being really like jazz. A "sequence" is synonymous with a "phrase" right? I just enjoyed trying to play this one smoothly, making each sequence soft and light.
I wouldn't go so far as to say I "enjoyed it" but I did prefer playing it to the Jazz Sequences one. Oddly enough that's listed as a "just for fun" in the back of #3 (separate version)
Congratulations to all you Book 3 recital participants!
I just finished “A Classy Rag†last night. This one took me much longer then I initially expected, but was a very enjoyable piece.
Undone
Undone - did you get a recording of it? Would love to hear it!
JF
P.S. You're right - it is a very enjoyable piece - I'm still reviewing it, but not yet ready to record it - if I get a good one (which seems sort of iffy at the moment) it may appear in an upcoming Piano Bar???.
I looked at " A Classy Rag" a couple of nights ago. I'm trying to figure out whether I want to go to "Lean on Me" or one of the others in book 3. Still trying to learn "Fur Elise". Finally got to the third page and I went back to "Toccata" to record it and forgot parts of it!! Aggrevating! I'll get back to it!
I've begun a new job... back in the classroom, so I still have time to learn pieces of pieces (smile).
piano4 - maybe you need a little break from "Fur Elise" - "A Classy Rag" is just the ticket - a really fun piece - another outstanding piece in Book 3 (my favorite so far) is "Come Back to Sorento", which is an excellent arrangement of the great old classic Italian love song.
I had a little extra time this evening, so I went ahead and transferred my recording of “A Classy Rag†to BoxNet. This take contains a few fat fingered mistakes and, as always, is far from perfect, but after having worked on this selection for several weeks, this is the point at which I decided it was time to move on. Hope you enjoy it:
I had a little extra time this evening, so I went ahead and transferred my recording of “A Classy Rag†to BoxNet. This take contains a few fat fingered mistakes and, as always, is far from perfect, but after having worked on this selection for several weeks, this is the point at which I decided it was time to move on. Hope you enjoy it:
I had a little extra time this evening, so I went ahead and transferred my recording of “A Classy Rag†to BoxNet. This take contains a few fat fingered mistakes and, as always, is far from perfect, but after having worked on this selection for several weeks, this is the point at which I decided it was time to move on. Hope you enjoy it:
Undone - yes, I did enjoy! Very much. Excellent performance. Good, steady "ragtime" tempo throughout - very polished playing with no "fat-fingering" that I noticed - you seem to have a real good feel for this style of music - I wouldn't be surprised at all if you're tearing up some complete and original Joplin soon!
What are your thoughts on this excerpt from pianofundamentals? :
Essentially 100% of technique development is accomplished by practicing hands separately (HS). Do not try to develop finger/hand technique hands together (HT) as that is much more difficult, time consuming, and dangerous, as explained in detail later.
Choose two short passages, one each for the right hand (RH) and the left hand (LH). Practice the RH until it begins to tire, then switch to the LH. Switch every 5 to 15 seconds, before either the resting hand cools and becomes sluggish, or the working hand becomes tired.
I think I get the flow of each hand better when doing them separately; but my teacher usually has me play hands together even the first time; at least as far as alfred book #2 went. I asked her about it - and she said for harder stuff we'd probably do more hands separate; but so far not really.
I usually come home and do hands separate for a little while and then together but only until I might find a problem area and then work on hands separate for a small bit. I'm not sure I'd agree it was dangerous - what does he have to say 'later' about it being dangerous?
On a side note - I'm really enjoying listening to everyone's uploads; just not much time to post these days.
Thanks for the comments on “A Classy Ragâ€. JF – I do enjoy playing Ragtime and I’d love to eventually work my way up to being able to handle some stride piano and boogie woogie. There’s also a lot of great stuff from the silent picture era that would be fun to learn too.
On a family vacation to Disney World a couple of years ago, I spent several hours sitting and listening to the piano player they had at the end of “Main Street USAâ€. He was phenomenal (he’d also been playing piano for over forty years). I thought at the time “what a great job, too bad I didn’t stick with the piano from the age of fourâ€.
My teacher usually has be play HT when we cold read a new piece, for the sight reading benefit. If it's got tricky bits, she will have me work them HS for a while to get them under my fingers better, and then put them together. I usually find it's helpful to only have to think about one hand at a time with the more difficult parts. Easier to get it hammered into my brain. Easier stuff (what's that? LOL) is HT all the way.
Do you actually learn each piece, in its entirety, for each hand? Or perhaps only practice HS for difficult sections.
The book emphasized "memorizing" the entire piece separately for each hand. I have not been doing that; sounds a bit extreme. What are everyone's thoughts on this?
I find myself running through the whole piece each hand separately a few times; esp if there are 'tricky' chord changes on the left hand that I want to make sure and get the feel for. I don't fully memorize the whole thing that way before putting hands together. Then I start playing hands together and only go back to hands separate if it's proving to be difficult.
I do much the same as Nancy. It's what my teacher recommends. HS for difficult, tricky passages, the HT on those sections till I get them. And also work with a few measures before and after to get the transitions, as well. Now, granted, sometimes, if there's a lot of tricky bits, it does mean that almost the whole piece is worked on HS, but she does want me to try to get HT asap.
I usually try to work HT as much as possible only going to HS when I’m having too hard a time doing HT. But then I had never heard of the benefits of working HS that you read about in pianofundamentals. If the piece has a very distinctive left hand pattern that goes along despite what the right hand is doing, then I may try to get the left hand (separate) down before adding the right hand to it. Once again, this is just what I find myself doing, and not what I have reason to believe is the best or even correct way to practice.
I usually try to work HT as much as possible only going to HS when I’m having too hard a time doing HT. But then I had never heard of the benefits of working HS that you read about in pianofundamentals. If the piece has a very distinctive left hand pattern that goes along despite what the right hand is doing, then I may try to get the left hand (separate) down before adding the right hand to it. Once again, this is just what I find myself doing, and not what I have reason to believe is the best or even correct way to practice.
Undone
This is more or less the same way I practice/learn piano pieces. That's why the pianofundamentals reading shocked me.
I know it isn't perfect, and I had played it in better control while not recording, but that is all I could do while recording today. Thanks for watching/commenting
I know it isn't perfect, and I had played it in better control while not recording, but that is all I could do while recording today. Thanks for watching/commenting
I'm on the grand piano whatever now (another "Palmer" piece). Pianonoobalexman's videos end on the piece I just submitted, so I have no reference for my current A3 piece. If anyone has a recording, I'd love to hear it.
BTW, pianonoobalexman slurred all of the RH eighth notes in Serenade. I did not do this; I only slurred the ones indicated, and played the others disconnected. This is one of the main reasons why it took me a while to learn this Haydn piece. It's more complicated being concerned with slur vs. disconnect while going through an ostensibly, but not acutally, redundant piece. This dynamic reduces the repetitiveness, and I certainly believe it to be indicated by the score.
BTW:
I WOULD LIKE TO CALL FOR A GENERAL SUBMISSION OF ALFRED'S BOOK 3 PIECES. IF YOU HAVE THEM, PLEASE POST THEM HERE. That way Mark... can post them on the main page. We're all on the same team here, so let's help each other! I also will continue to record pieces and post them here; for better or worse
Waltz - very nice indeed - good light touch - excellent tempo consistency - you are moving right along in your piano studies at a very rapid clip, with skill and growing mastery - best of all your enthusiasm is always there, which is very refreshing to see!
And don't forget to post any recordings you may have sitting around (if you'd like); we need them!
With Grand Piano Band (which is fun to play, even if it is a "Palmer Piece" lol), playing the eighth notes disconnected versus later playing them staccato is a little tricky. They sound similar, just the staccato is a more extreme version. Does anyone agree/disagree etc?
Waltz - I'm working on getting a recording of "A Classy Rag" (which will be a little different but certainly not better than Undone's very excellent version), but so far I'm not completely happy with it - if I get one I'll probably submit it to the Sept. Piano Bar (and here I guess). My take on "Come Back to Sorrento" is in the July Piano Bar (or was it June?), and my version of "Swan Lake" was in an earlier Bar this year (maybe April or May?). My version of "Serenade" was submitted to a Recital, earlier this year I think, if you want to track it down. I'll try to submit other ones here if I get any good ones (always in doubt).
I guess (since you asked) I should simply uplaod them all to one post here soon and let Mark do his thing. Maybe I'll get on that...
Waltz – Great job on Serenade! I also noticed the lack of submissions for Book # 3. At first I thought of this as a hardship – nothing to listen to to get a feel for an unfamiliar selection. But then I began to think of it as another good learning experience – trying to get things right based on the printed music alone. I also liked the idea that I would not be influenced to make my playing sound just like someone else’s recording (possibly including the same mistakes).
Now of course this is no reason not to collect recordings for as many selections as possible; everyone can decide for themselves whether and when to listen to them. I’m just relaying the sort of thought process I went through when I found “Hey, I don’t have any recordings of this piece to listen to!â€
Thanks JF and Undone for the compliments and the suggestions. I still would like to compile Alfred's 3 recordings. I don't use them until I think I have the basic rhythm and sound of a piece. Then I definitely like to check to ensure my playing both sounds correct and has no erroneous notes.
Did anyone else struggle with playing "disconnected" vs. playing staccato in the same piece?
Waltz (and whomever else may be interested) - below is what I have recorded from Book 3 so far (mostly just the pieces I really liked).
Please be advised (as you may already know) that I take a lot of "liberties" with the pieces as arranged in Book 3, re-arranging them, adding intros and repeating endings or supplying alternate endings, inserting D.S. al Fines where none exist, repeating sections when none were called for originally, varying the tempo in parts, etc. - in essence, doing just about anything and everything to enhance and enliven and extend a piece to make it more interesting and/or difficult.
So, be forwarned - while my performance of a piece carries the spirit of it, it hardly ever is a good sample of the piece exactly as arranged in the Book, and can serve only as a broad, general guide - assuming you like it enough to use it as such!).
Thanks Waltz - in the interest of cleaning up loose ends, here's another piece from Book 2 that was submitted to a Recital, but never found it's way into the Book 2 thread - so, Mark (if you're still around) come and get it if you wish:
John where does this piece go on the list, its not in my book. Also is this played as written or did you ad lib? I don't want to put the ad lib ones on the main page in case someone wants to hear examples as written.
edit: John I just checked and this piece Hava Nagila in in the book one thread...
John where does this piece go on the list, its not in my book. Also is this played as written or did you ad lib? I don't want to put the ad lib ones on the main page in case someone wants to hear examples as written.
edit: John I just checked and this piece Hava Nagila in in the book one thread...
Mark
Mark - Hava Nagila is in the AIO Book 2 on page 70 - I would have no idea why it's in the Book 1 thread, unless I uploaded it there at someone's request or to illustrate a point (?). But even so, it should also be on page 1 of the Book 2 thread - if you decide to use it at all.
I played Hava Nagila pretty much according to the Book arrangement, except on the repeat I only played measures 11-41 once instead of twice, thus merely shortening the piece.
However, if you're not going to include it because of any adjustments or enhancements (or "ad-libs", as you call them) that I made, then you might have to eliminate some of the other pieces already uploaded to page 1 of the Book 2 thread since they contain various "ad-libs", a fact that I believe I made clear all along - and additionally you may not want to upload some of those I just posted immediately above to the Book 3 thread for the same reason.
The choice is your's. But whatever you decide, I'll probably continue to upload selected pieces from Book 3 in the body of the 3 thread (if I manage to get a good recording) - and explain in detail how it varies from the Book's arrangement.
Hava Nagila is in the book 2 thread as well as the pieces you previously told me about from the "just for fun" forum.
Since you stopped putting your pieces there and notifying me I thought you were not interested in posting your stuff on the opening posts. Which is fine.
I do like to keep the pieces as original as possible to prevent confusion to those using them as learning examples.
If there are any pieces from any Alfred book you want posted on the opening page, post it here and drop me a PM. Some stuff gets lost in the conversation and I don't always read through every post of every thread.
Anyone in Book 3 working on method books or other pieces outside of Book 3? If so, what?
Hope everyone is doing all right,
Outside of #3? OUTSIDE OF #3? you live there till you're done (lol) j/kidding.. I'm using (when I remember) the Hannon exercises. This week I've been a little side tracked (since the musical news of my Great Great Grandfather) but I have just about finished up the "ragtime" Classy Rag..
Anyone in Book 3 working on method books or other pieces outside of Book 3? If so, what?
Hope everyone is doing all right,
My teacher has me in Intermediate repertoire 2 by Bastien. I'm almost done with it. It has some really nice classical pieces. This are generally 1 and 2 page short and sweet pieces. She also just started me on:
Piano Literature volume 3 for Intermediate grades which has major project classical works. This one will take a LONG time to finish. Just about completed the first piece called ballade by Friedrich Burgmiller. It a weird but really fun piece to play. Here is a good example of a guy playing it. Notice his wrists...
Just about completed the first piece called ballade by Friedrich Burgmiller. It a weird but really fun piece to play. Here is a good example of a guy playing it. Notice his wrists...
That's a fun piece, Mark. Although, I remember it being somewhat frustrating to: 1) project the left-handed melody above the right-handed chordal accompaniment (since it's usually the opposite); 2) getting the left hand and right hand to line up exactly; and 3) if you really want to make it hard, bring out the top notes in the right hand chords.
And I was never able to get it very fast, either! Maybe I should work on it again.
Anyone in Book 3 working on method books or other pieces outside of Book 3? If so, what?
Waltz - I am working out of Volume 1 of Alfred's "Essential Keyboard Repertoire" series on an on-going basis - this contains 100 early intermediate selections in their original form, although some of the pieces are easy enough to be considered "late beginner" - this is the book that contains Johann Krieger's "Minuet in A Minor" that I did for the latest ABF Recital (and any number of other delightful little pieces) - if you're interested in Classical music studies at all you might want to use this volume for starters.
I'm also working on David Lanz's gorgeous New Age piece called "Leaves on the Seine" from a New Age Sampler from Narada Music, which contains some works by other outstanding composers such as Wayne Gratz and Michael Jones.
In addition I have the sheet music for Dan Coates' arrangement of Jay Unger's hauntingly beautiful masterpiece "Ashokan Farewell", the theme from the PBS series "The Civil War", but haven't yet gotten into it (no time or energy!).
I also work on a hymn or two occassionally in "The Definitive Hymn Collection" from Hal Leonard (you don't have to be very religious at all to enjoy playing some of these lovely old classic hymns - some of the best music ever written).
Thanks for asking - Regards, JF
Here's the sheetmusicplus website for the EKR series (some of the descriptions are for Books and some for accompanying CDs).
Just about completed the first piece called ballade by Friedrich Burgmiller. It a weird but really fun piece to play. Here is a good example of a guy playing it. Notice his wrists...
That's a fun piece, Mark. Although, I remember it being somewhat frustrating to: 1) project the left-handed melody above the right-handed chordal accompaniment (since it's usually the opposite); 2) getting the left hand and right hand to line up exactly; and 3) if you really want to make it hard, bring out the top notes in the right hand chords.
And I was never able to get it very fast, either! Maybe I should work on it again.
I can do the left hand at moderate speed, but the left hand independence issues act up at full speed. I'm really having fun with this one.
Thanks for the replies. It's nice to know what other piano studies are keeping my A3 friends busy. JF, that's really great you use such variety of sources for your piano studies (something I will soon try to do). Mark, I really liked that piece by Burgmiller; are the player's wrists injured or do those braces somehow improve his playing? Ttigg: my teacher started me on some Hanon recently; I may actually order the book from Amazon. Which are you using?
As a disclaimer: I have never actually heard this pieces played, with the exception of my playing and interpretation obviously. So, it may or may not be as others have played it etc. PLEASE let me know if you think it's all right. Thanks,
Thanks for the replies. Mark, I really liked that piece by Burgmiller; are the player's wrists injured or do those braces somehow improve his playing?
He's says on his u tube site that he has some tendon problems, but doesn't say it's from playing. The way he plays it seems that the wrists are not bothering him...
Waltz – I think you did a great job with “The Grand Piano Bandâ€. Is it different than the way I played it? Sure, but just in the emphasis placed on some of the tempo and/or dynamic changes. Which I think is a great thing! The one concern I had about some of your earlier recordings was that you had the notes down pat, but seemed to play some of the pieces straight through without a whole lot of feeling. Now, based on a number of your recent recordings, I see that your working on brining that aspect of play into much greater focus and I applaud your efforts.
Once again I write as though I knew what I was talking about, yet don’t wish to leave anyone with that impression. I just know what sounds good to my ear (and this is literally true as I am stone deaf in the other). I’m simply amazed at how quickly you’ve been able move through the selections in Alfred’s and equally amazed at how, whenever I think there may be an area in your advancement that could use a little more attention, you’re right on top of it without my anyone ever having stated such.
I’m now onto “The Star-Spangled Banner†(a different sort of challenge) and Bach’s “Prelude in C Major†(because I had so much fun with “Prelude in Dm†that I couldn’t give up the theme).
Waltz – I think you did a great job with “The Grand Piano Bandâ€. Is it different than the way I played it? Sure, but just in the emphasis placed on some of the tempo and/or dynamic changes. Which I think is a great thing! The one concern I had about some of your earlier recordings was that you had the notes down pat, but seemed to play some of the pieces straight through without a whole lot of feeling. Now, based on a number of your recent recordings, I see that your working on brining that aspect of play into much greater focus and I applaud your efforts.
Once again I write as though I knew what I was talking about, yet don’t wish to leave anyone with that impression. I just know what sounds good to my ear (and this is literally true as I am stone deaf in the other). I’m simply amazed at how quickly you’ve been able move through the selections in Alfred’s and equally amazed at how, whenever I think there may be an area in your advancement that could use a little more attention, you’re right on top of it without my anyone ever having stated such.
Keep up the good work.
Undone
Thank you Undone. Your opinion and thoughts certainly mean a lot to me, being both encouraging and helpful to my playing and learning. I know you are not a piano instructor, but what you have to say is very valuable to me regardless. I am now working on Very Special Day. I held off on listening to your recording earlier, to keep the sound of the piece a surprise, but I will now give it a listen. I think it's a very pretty song, even if it is by Palmer
In honor of our newest Book 3 cohort Nancy and our soon to be newest cohort Waltz, I humbly submit my “its time to move on already†recording of A Very Special Day:
My goodness that was played with feeling! There was certainly the feeling of climax along with intervals of calm. The RH/LH balance was also done beautifully. I have some work to do! Great job (even if I'm late to say it).
I had my piano lesson today. I played the piece for my teacher and she stopped me before I had finished the first bar. "Do you know what mistake you made?" I mumble something incoherent, not knowing, and she pointed out that I played F natural instead of F#. I think it sounds all right either way, but the piece certainly is in G Major and I am ashamed of myself for making such an oversight. On second thought, I think I will rerecord the corrected version and post it here; hopefully tomorrow
But don't worry you guys, I have not skipped the Classy Rag. I am still hard at work on Special Day.
However, my teacher assigned me two somewhat difficult classical pieces for me to work on this week. One is a Bach Musette and the other is Clementi's Sonatina Op.36 No.1 first movement.
I would have just edited the above post but pianoworld doesn't allow you to do that for some reason. I also felt it was a bad idea to leave an incorrect playing of it for others to view...
Waltz - nice job on Beethoven's Ecossaise in G! I could really go for a couple of shorter selections myself right about now (not that there aren't plenty of challenges in shorter pieces - it's just that fortitude isn't usually one of them)
Waltz - nice job on Beethoven's Ecossaise in G! I could really go for a couple of shorter selections myself right about now (not that there aren't plenty of challenges in shorter pieces - it's just that fortitude isn't usually one of them)
Undone
Thanks Undone . Are you working on the Bach Prelude?
My teacher told me that there was a Bach Prelude she wanted me to learn by Christmas. Ironically it was actually the same one in the Challenge Section of A3. Just glancing at the score it didn't look too over the top in difficulty. Of course looks can deceive. What do you think? How is it going?
Waltz - Yes, the Bach Prelude I'm working on is the one in the "Challenge Section" of A3. At the bottom of Clemente’s Prelude it suggests trying the Bach prelude after finishing Clemente's (they both follow the same pattern).
I'd say that this one is similar in difficulty to Canon in D - easy to get started with tuff to complete with all of the feeling it deserves.
Waltz - Yes, the Bach Prelude I'm working on is the one in the "Challenge Section" of A3. At the bottom of Clemente’s Prelude it suggests trying the Bach prelude after finishing Clemente's (they both follow the same pattern).
I'd say that this one is similar in difficulty to Canon in D - easy to get started with tuff to complete with all of the feeling it deserves.
Undone
Its a great piece that gets better and better the more you play it.
and Prelude in D minor which preps you for the Bach piece is my favorite piece from A3...
Hi all, Thanks for the advice and well wishes, JF! I have taken a break due to preparing for students on Tuesday and I sat back at the piano and felt comfortable with the piece! I am doing some other sight reading while I have the opportunity. My instructor had knee surgery so I'm "on my own" for a few weeks.
I will post this in the A3 and A2 threads... I need some advice/wisdom on how to execute this RH + LH "hand jump" that occurs over and over in Musette in D:
The LH jumps up the keyboard at the same time the RH jumps down. This isn't so hard, the hands are converging.
Next the RH and LH must return to where they were, which means they jump in opposite directions at the same time. This is done with absolutely no break or anything, it must be done instantly to keep the rhythm. But no matter how much I practice I have very low accuracy and around one half of the time I will miss either the LH or the RH's note. The only other thing I can do is break the rhythm and move my hands slowly, but more accurately, to the correct notes.
It's frustrating because I can basically play the entire piece, but no matter how much I practice this "contrary + simultaneous" hand jumping, I just remain horribly inaccurate.
I will post this in the A3 and A2 threads... I need some advice/wisdom on how to execute this RH + LH "hand jump" that occurs over and over in Musette in D:
The LH jumps up the keyboard at the same time the RH jumps down. This isn't so hard, the hands are converging.
Next the RH and LH must return to where they were, which means they jump in opposite directions at the same time. This is done with absolutely no break or anything, it must be done instantly to keep the rhythm. But no matter how much I practice I have very low accuracy and around one half of the time I will miss either the LH or the RH's note. The only other thing I can do is break the rhythm and move my hands slowly, but more accurately, to the correct notes.
It's frustrating because I can basically play the entire piece, but no matter how much I practice this "contrary + simultaneous" hand jumping, I just remain horribly inaccurate.
Any advice is appreciated.
Waltz – I wish I could tell you of some “trick†to help with this situation, but I can’t (I sure would like to know if someone else has something). I had the same sort of trouble when working on the jumps in “A Bag of Rags†and the only way I got them under some semblance of control was with a whole lot of slow practice (many months in this case).
I will post this in the A3 and A2 threads... I need some advice/wisdom on how to execute this RH + LH "hand jump" that occurs over and over in Musette in D:
The LH jumps up the keyboard at the same time the RH jumps down. This isn't so hard, the hands are converging.
Next the RH and LH must return to where they were, which means they jump in opposite directions at the same time. This is done with absolutely no break or anything, it must be done instantly to keep the rhythm. But no matter how much I practice I have very low accuracy and around one half of the time I will miss either the LH or the RH's note. The only other thing I can do is break the rhythm and move my hands slowly, but more accurately, to the correct notes.
It's frustrating because I can basically play the entire piece, but no matter how much I practice this "contrary + simultaneous" hand jumping, I just remain horribly inaccurate.
Any advice is appreciated.
Waltz – I wish I could tell you of some “trick†to help with this situation, but I can’t (I sure would like to know if someone else has something). I had the same sort of trouble when working on the jumps in “A Bag of Rags†and the only way I got them under some semblance of control was with a whole lot of slow practice (many months in this case).
Undone
I think you're right. It just takes both repetition and concentration. I'm making some slow improvement. Thanks for your response Undone
To all Book 3ers - here's a summarized version of a rather extensive discussion that took place in this thread ealier this year about the possibilities of where a diligent student might go next after finishing Book 3, especially if that student were leaning in the direction of concentrating wholly or partly in the Classical music genre. These suggestions were supplied by an editor/piano teacher at Alfred in response to an email from me.
The Essential Keyboard Repertoire Series (Vol. 1 currently being used by me):
I had a little extra time this evening, so I went ahead and transferred my recording of “A Classy Rag†to BoxNet. This take contains a few fat fingered mistakes and, as always, is far from perfect, but after having worked on this selection for several weeks, this is the point at which I decided it was time to move on. Hope you enjoy it:
Thanks for reposting that JF. I was reading this thread back when that was originally discussed and had meant to “keep a mental note†of its existence for later reference. My “mental notes†aren’t what they used to be, so having it summarized and reposted is very helpful.
Thanks Waltz and TTigg, I enjoyed working on that piece. Speaking of tempo, I just recently finished with “The Star-Spangled Banner†and had a good lesson in the importance of practicing things slowly. This selection took some time for me get anywhere near being able to play through without egregious errors. All the while I was playing at a very slow and stately tempo (as this piece is sometimes played). When I finally got through it and had a semi-decent recording I decided it would sound better at a quicker tempo. I had never tried to speed it up before, and was very pleased and surprised at how easily I was able to do so after having “mastered†the piece at a slower tempo. In the past I would often start to build to the desired speed as the piece was progressing. This experience would seem to indicate that doing so is counter productive.
Thanks for the "tip". I'm supposed to be working on that this week (along with the second Prelude but I've let my other side projects get the better of me this week (irk)
Thanks Waltz and TTigg, I enjoyed working on that piece. Speaking of tempo, I just recently finished with “The Star-Spangled Banner†and had a good lesson in the importance of practicing things slowly. This selection took some time for me get anywhere near being able to play through without egregious errors. All the while I was playing at a very slow and stately tempo (as this piece is sometimes played). When I finally got through it and had a semi-decent recording I decided it would sound better at a quicker tempo. I had never tried to speed it up before, and was very pleased and surprised at how easily I was able to do so after having “mastered†the piece at a slower tempo. In the past I would often start to build to the desired speed as the piece was progressing. This experience would seem to indicate that doing so is counter productive.
Undone
Thanks for the advice . I actually am putting it to use in learning A Classy Rag. My tempo is probably around 1/2 of yours, and I really don't think I could, as of yet, practice it much faster. It's a tricky piece, and learning it at a slower pace well, and then increasing speed is probably the way to go.
I would like to listen to JF's version, but I can't seem to find it...
I've been away from this thread for a while. I've been reading and listening, just not posting! Sorry.
You all are doing great! Making progress and the recordings are all lovely.
Me? We've cleared Fur Elise from lesson time, tho I still work on it. I'm the odd one- I actually enjoy playing it! And Toccata is just about finished as well. The last page is not quite as speedy as it should be, but at this point, I think it's beating a dead horse, so that may be set aside for a bit. The Chopin Prelude is starting to come together, and I've begun looking at the first page of the Moonlight.
All that said, I have some busy weeks coming up between now and mid-October (chili season is winding down and I STILL haven't qualified for Worlds in 2 of the three categories! Better get cooking, literally!!), so progress to the end of book 3 may stall a bit.
I have been desperately trying to find the sheet music to a piece of music. It is from the film "Silent Hill" and it is called "Alessa's Harmony". It's a short and haunting little piece:
I just can't find the sheet music; it's like it doesn't exist. Also, how difficult would you put this piece? Something comparable to an A3 piece or harder?
Good to hear from you again Mak. I’ve been resisting the urge to look ahead at what’s to come in Book 3 (I have enough to deal with in the present), but from your post I see that there are a lot of great works in the later sections of this book.
Good luck with what’s left of this year’s chili season, and knock ‘em dead in Charleston!
I have been desperately trying to find the sheet music to a piece of music. It is from the film "Silent Hill" and it is called "Alessa's Harmony". It's a short and haunting little piece:
I just can't find the sheet music; it's like it doesn't exist. Also, how difficult would you put this piece? Something comparable to an A3 piece or harder?
Waltz – After a brief search I’d say that you are not alone in looking for sheet music from Silent Hill. You may have better luck finding a MIDI file and then using a “MIDI to Sheet Music†converter (there are some free ones out there).
I have not heard of a MIDI to sheet music converter, but it sounds very promising (and neat).
I actually found what the "deal was" for this piece. The movie "Silent Hill" soundtrack lists it as Alessa's Harmony
However, it was originally featured on the game (albeit slightly modified) and was called the Promise / Reprise. I was able to find the sheet music for it (although it's kind of sloppy.)
Great job Waltz! I’m lousy with names, both of people and classical music, but I recognized this piece as soon as you started playing it in the recording. Sometimes you will hear this piece being played very fast. I guess that to do so you have to have those jumps down in “muscle memoryâ€.
Great job Waltz! I’m lousy with names, both of people and classical music, but I recognized this piece as soon as you started playing it in the recording. Sometimes you will hear this piece being played very fast. I guess that to do so you have to have those jumps down in “muscle memoryâ€.
Undone
Thank Undone !
You're right, the indicated tempo is Allegro. But I cannot do that yet (at least with any reasonable accuracy).
Thanks for reposting that JF. I was reading this thread back when that was originally discussed and had meant to “keep a mental note†of its existence for later reference. My “mental notes†aren’t what they used to be, so having it summarized and reposted is very helpful.
Undone
Undone - You're welcome - I thought it might be helpful & useful.
Sorry it took me so long to respond - my wife and I were on vacation for most of the last two weeks in big, beautiful Maine, slowly driving along the coast from one harbor town to another, and ending in the resort of Bar Harbor on Mt. Desert Island (along with Acadia National Park) - an amazingly gorgeous trip!
Didn't touch a piano once on the trip and strangely didn't miss it - I used to worry about being away from it, but I've learned during previous vacations that you don't lose much at all in terms of skill and technique (such as they are) and that after a day or two of "getting the rust off" you are pretty much back to where you were.
Waltz - real good job on "Classy" & thanks for you kind comments on my version in the September Piano Bar.
JF
Edited to add that I'll be picking up where I left off - in the middle of "Blue Rondo", a somewhat interesting piece...
JF, I was in Maine for about three weeks as well, didn't practice, but suffered greatly for it when I got back. After about a week back, I'm finally getting into it again. My mental and muscle memories are just not what they used to be. But the funny thing is, today my teacher and I started working some stride piano into the ballads I'm playing and I found that the stride piano I had learned as a teenager was still in the system. The mind is amazing.
JF, I'm glad you enjoyed your trip to Maine. It is a beautiful place and the people are so real and so friendly. It's nice to have you back.
JF, I'm glad you enjoyed your trip to Maine. It is a beautiful place and the people are so real and so friendly. It's nice to have you back.
Bob
Bob - good to hear from you again, and hopefully we'll have the pleasure of your company more often in the future!
Just to go a little bit more OT, Maine is a beautiful place and the people are great - we started our driving trip at Kittery at the southern end and ended it at Bar Harbor a couple of hundred miles to the north, but actually went about 3 times as far because we drove down all the peninsulas that jut out into the ocean along the coast, visting Ogunquit, Kennebunkport, Cape Elizabeth, Portland, Freeport, Brunswick, Bath, Boothbay Harbor, Pemaquid Point, Port Clyde, Stonington, Rockland, Camden, Belfast, Searsport, Castine and Ellsworth (among others) - it's awesome country! But there's much more to it - the regions to the east, north and the mountain/lake region to the west (which we'll see on our next trip up that way from PA).
Anyone got a recording of Star Spangled Banner? Not growing up in the US means this one is for sure kicking my ass
Thanks SC
Oh, say can you see by the dawn's early light What so proudly we hailed at the twilight's last gleaming?
Oh Lord! Is that really a piece we have to learn in A3? I tried a google search but I couldn't find an Alfred's version of it. Here is a random piano version on youtube:
That helps a little. I was born & raised in Oxford England. I moved here in 2000 with my wife (who's American) after our wedding in an old coach house..
I had a good lesson, I've got the basics of it down now, just need to polish it up so I'll be on it for another week. Then it'll be back to the Prelude in C
I'm all right I guess. My teacher has me doing a lot of pieces and other things, so I'm kind of diluted. For example, I haven't exactly finished with the first movement of Clementi's Sonatina 36/1 and she already has me working on the second movement. In Alfred's, ironically, I'm working on Clementi's Prelude in D (which is pretty). I am also doing a Bach Minuet, and this really simplistic, but kind of annoying, Haydn piece. I'm having fun though, so things are fine. I had no idea you were from England! I had once considered doing my post graduate medical training there, but the process is very convoluted and involved. I still have an interest in moving there for some period of time, some day (perhaps never, but I can always hope). California is very, very far from England, I'm sure that's been tough, being so far away. Yet, I have always felt it to be brave and admirable to take on changes with a sense of adventure and possibility.
Glad to see you're keeping busy. I also wonder what's happened to PianoAlex, we've overtaken him now (videos that is). Yeah moving here was great and it's fun but I do sometimes (often) very much miss part of England.
I could think of nothing better to do (for example) on Sunday then spend some time with family & friends at the local carvery eating a big Sunday type lunch. then just chill on the lawn (grass) of the establishment until it was time to head back to the village
I have been really impressed with some of the pieces here from Book Three. I really underestimated the Alfred Books after buying Book 1. However, since its my birthday on Wednesday I asked my wonderful wife to buy me Books Two and Three. Can't wait to get into 'A Classy Rag' and 'Shenandoah'.
There is a lot of good stuff in the back part of #2 and some great stuff in #3. #1 was more of just an introduction, basics and some good ground level theory etc.. Glad you're enjoying them mate
I have been really impressed with some of the pieces here from Book Three. I really underestimated the Alfred Books after buying Book 1. However, since its my birthday on Wednesday I asked my wonderful wife to buy me Books Two and Three. Can't wait to get into 'A Classy Rag' and 'Shenandoah'.
Welcome. I think the first few pieces aren't so great, but they're kind of easy as well. Fandango is nice. But, starting with Haydn's Serenade, things are really taken up a notch in both piece qaulity and challenge. Be sure to post your thoughts and progress here, as well as recordings if you wish
Undone - welcome back! How did you like Vermont? My wife & I toured there a couple of years ago and really liked it a lot.
What are you currently working on?
I just finished "Blue Rondo" (a somewhat interesting piece) and just started "Shenandoah" (the beautiful, old folk tune).
I've just decided that I'm not going to work my way thru Book 3 piece by piece (as I did with 1 & 2) - instead I'm only going to do the more interesting & challenging pieces (including several in the "Ambitious Section") - this is primarily because I'm working in several other sources and the pieces in these are for the most part more musically demanding and satisfying - this was my ultimate goal anyway, but I'll just be moving there sooner than planned - the "extra" stuff I'm working on includes Classical, New Age and standards from the Great American Songbook, and it's incresingly pulling me in that direction (not to mention requiring more practice time).
But I'll still be here for some time to come - so fear not (unless that's what you were afraid of ).
Vermont was exactly what we were looking for in the way of a vacation spot just now: peaceful, quite, and serene. The foliage was changing but about a week or two away from peak.
Now that I’m back, I’m close to finishing up with Bach’s Prelude in C Major (still need to make copies of the music so I can avoid the page turn), and “Swan Lakeâ€. Two great pieces.
JF - It seems a lot of people are slowly (or not so slowly) drawn to other sources once they hit book three, and it’s certainly true that “there’s just so much practice time in the dayâ€. I wish you well on your move to “all Nevue all the timeâ€.
JF - It seems a lot of people are slowly (or not so slowly) drawn to other sources once they hit book three, and it’s certainly true that “there’s just so much practice time in the dayâ€. I wish you well on your move to “all Nevue all the timeâ€.
Undone
My next Nevue piece will be my first Nevue piece! I actually enjoy far too many types of music (and composers) to ever be bogged-down with any "all fill-in-the-blank all the time" schedule of pieces (Nevue or otherwise)
Glad to hear you like "Swan Lake" too - one of my favorites in Book 3 so far. I looked ahead in 3 and tentatively could see maybe 6 or 7 more pieces in the regular section I might want to work on yet - and maybe 2 or 3 in the Ambitious Section.
I finally gave myself the pass on Prelude in D Minor today. I liked the piece very much, being classical and somewhat dark, but I also had certain frustrations with it:
You are doing very similar motions with both the LH and the RH throughout the entire piece but playing different chords with slightly different intervals. This makes it very difficult to have proper "muscle memory", at least for me. The score is difficult in giving the player "quick reminders", because it looks nearly the same throughout (albeit with different chords etc.). Well, then, our old pal sight reading may have use! But, the piece circumvents that by having the RH playing many of the chords deep in the lower ledger lines, with which I am unfamiliar.
I feel the piece wasn't that difficult but for these reasons it took quit a while for me to really "pass" it and it added quite a bit of frustration.
Now that I’m back, I’m close to finishing up with Bach’s Prelude in C Major (still need to make copies of the music so I can avoid the page turn), and “Swan Lakeâ€. Two great pieces.
Undone
Undone, congrats on finishing Bach's Prelude! That piece, according to the ABF graded pieces list, and some sources online is rated as a very, very challenging piece to play. Unless I am horribly mistaken, these sources are indicating it to be nearly as difficult as some of Chopin's etudes. Unless I am misreading this? The piece does look challening, but I'm sort of suprised it is listed among the most difficult, so I am thinking I am not understanding something with the listing/ratings. This may seem tedious, but I am curious.
Waltz, thanks for the congrats, but me thinks you may be looking at something else. This is Bach’s Prelude in C from “The Well-Tempered Clavier†(BWV 846) and is only listed as a “Grade 2†piece in the “Graded Pieces†list that I have. I’d say it’s a little more difficult then “Prelude in D Minorâ€. Still, it’s a wonderful piece and I enjoy playing it.
Waltz, thanks for the congrats, but me thinks you may be looking at something else. This is Bach’s Prelude in C from “The Well-Tempered Clavier†(BWV 846) and is only listed as a “Grade 2†piece in the “Graded Pieces†list that I have. I’d say it’s a little more difficult then “Prelude in D Minorâ€. Still, it’s a wonderful piece and I enjoy playing it.
Undone
Good to hear from you buddy It seems that many of us "#3'rs" are spinning off in different directions, I think its great! I've finished up Star Spangled Banner (love the oh say does our flag part) and am now moving onto Prelude in C Major
I will eventually (soon'sh) get cracking on my Great Great Grandfathers stuff. Been very busy with the "side project" which is going to launch next weekend! After that hopefully things will settle down a little and I can focus on some good practice and "brush up" of my repertoire.
I can see that this one's going to a 2wk'r for sure, maybe 3. Although the patterns are very repetitive so that may help me (memory wise)
Got it now! I was looking at some other Bach Prelude in C, not the WTC suffix one. Hmm, I think it should be listed as more difficult than a 2! Maybe a 3. It looks much more difficult than the Bach pieces from Anna's Notebook...
TTigg,
Glad to hear an update from you. I am not motivated to learn the Star Spangled Banner, it sort of reminds me of Pomp and Circumstance from Book 2. I hope the Prelude works out for you, I'm sure it will. The "side project" sounds mysterious... Will it be on youtube ?
Glad to hear an update from you. I am not motivated to learn the Star Spangled Banner, it sort of reminds me of Pomp and Circumstance from Book 2. I hope the Prelude works out for you, I'm sure it will. The "side project" sounds mysterious... Will it be on youtube ?
Nope but I will have a website up very soon Baby steps since there is so much work to do (inventory wise) - SC
Glad to hear an update from you. I am not motivated to learn the Star Spangled Banner, it sort of reminds me of Pomp and Circumstance from Book 2. I hope the Prelude works out for you, I'm sure it will. The "side project" sounds mysterious... Will it be on youtube ?
Nope but I will have a website up very soon Baby steps since there is so much work to do (inventory wise) - SC
I've always wondered how to actually build a website from the ground up; I've heard it's not easy. What type of website will it be? Is it piano related?
I've always wondered how to actually build a website from the ground up; I've heard it's not easy. What type of website will it be? Is it piano related?
Well we're using the basic "template" from GoDaddy (for now). Not Piano related but I will have (and currently a few) Piano related products SC
TTigg – Good to hear from you as well. I’m glad you enjoyed Star Spangled Banner. It took some doing for me to get into this piece but once I did I enjoyed playing it too.
Waltz – if you weren’t working with a teacher I’d say you should “take your medicine†i.e. go ahead and give Star Spangled Banner a try. It employs some techniques that are worth learning.
PS: TTigg – I look forward to seeing / hearing more on your Great Great Grand-composer’s stuff.
PS: TTigg – I look forward to seeing / hearing more on your Great Great Grand-composer’s stuff.
Undone
Man indeed, me too! I've got so much to do and so little time. Thus far I've managed to uncover some 200 recordings, not all the sheets for them. Seems he was quite popular in his day!
Played like a true pianist! Now that's what I call music!
Totally agreed. Although I'm sitting on the fence as to how the piece sounds towards the middle & end. As the music that is, not your playing LOVE the beginning! and you've played it so bloody well, good job! SC
Not perfect, probably could have had a faster tempo. Took a while to record because I would make random errors over and over after I had played half the piece.
Not perfect, probably could have had a faster tempo. Took a while to record because I would make random errors over and over after I had played half the piece.
Not perfect, probably could have had a faster tempo. Took a while to record because I would make random errors over and over after I had played half the piece.
Not perfect, probably could have had a faster tempo. Took a while to record because I would make random errors over and over after I had played half the piece.
nicely done! I just started page one of this this past week
Undone - excellent rendition of the Bach Prelude - very well done! - nice continuing emphasise of the RH with subdued (but always present and heard) LH - yes, a real keeper (and maybe a good ABF Recital piece?) - I wasn't planning on trying this one out (since Bach's stuff generally doesn't have enough melody to keep me happy), but having heard your lovely version I'm now seriously reconsidering.
Not perfect, probably could have had a faster tempo. Took a while to record because I would make random errors over and over after I had played half the piece.
Waltz - whatever issues you were having with the Prelude in D seemed to have been solved - nice playing - well done - yes, maybe a little more uptempo, or maybe just a little more dynamics here & there, but good job.
Thanks for the comments on Prelude in C everyone. I’m still trying to put a wrap on Swan Lake and have just started looking at Scheherazade. Scheherazade is definitely going to be a challenge!
Well, I'm off to WV today! Gee, a whole week without a piano! Can't wait to hear what the (already pretty shaky!) first two pages of the Moonlight sound like when I get back!! I have also started on "This Is Halloween" from Tim Burton's Nightmare Before Christmas. Fun! In A minor so it has that nice spooky, Halloween-y sound!
Let’s get this thread back on page one! I’m still plugging away at Scheherazade. I think this may be the toughest piece “to get started with†that I’ve encountered so far. I have it pretty well under control now, but I’m still having trouble playing through the entire piece without issue.
I'm finishing up my week on Prelude in C Major - agree with Undone, very much a keeper. Now I just gotta get a recording done (sigh) along with all the other stuff I'm missing. Need to polish it up to get to Undone's level, very nice indeed
I'm finishing up my week on Prelude in C Major - agree with Undone, very much a keeper. Now I just gotta get a recording done (sigh) along with all the other stuff I'm missing. Need to polish it up to get to Undone's level, very nice indeed
Waltz, Nancy, what's everyone else up to?
SC
I've been hammering away at non Alfred stuff. We've totally set aside book 3 and am working on my repertoire pieces.
Lately I'm working with the metronome on Hornpipe in B flat. It's the trickiest timing ever! I'm at 80 and need to be at 92 or 94 to play it the correct speed. I can play it all the way through correctly about 89% of the time at 80. I'm also working on Clementi's Sonotina in C major Op 36, I. That one is super easy compared to the Hornpipe one! At some point I'll record them; I have to be able to play them for my exam in may.
There's a recital for my piano school coming up in December too; not sure if my daughter (who turns 8 tomorrow) will want to play a duet or something on her own. If she plays on her own I'm not sure I'll be playing anything or not
I'm with Nancy in that I've been mostly working on non Alfred's stuff. Star Spangled Banner has come along nicely, but I'm lacking the motivation to put in the time to "finish" it.
I finished up the first movement of Clementi's 36/1 and put it on youtube. I've actually "passed" the second movement last week, but haven't recorded it yet. I'm currently hard at work on the third.
I also finished and recorded Bach's (or whoever's) Minuet in G Major on my youtube channel. I'm currently at work on Bach's Minuet in D Minor (which is as beautiful as the G Major one).
I've also been doing Hanon, sight reading, and technical exercises. My teacher has assigned me two other pieces I have yet to start...
I'm putting the finishing touches on "Jazz Ostinato in C# Minor" this week (which uses a constantly repeating figure in the bass - hence the term "ostinato") and was just wondering if anyone else here (especially, but not limlited to, those who have already worked on this piece) found it unusual that a study that uses jazz like passages and has a tempo indication of "moderate blues" is in the rather strange key of C# minor - aren't pieces like this typically found in the flatted keys such as B-flat or E-flat or even F?
Glad to see everyone is keeping busy, even if it’s not in Alfred Land. Now you’ve got me thinking that maybe I should get one of the Clementi books and have a go at some more of his pieces. I hear “they’re good for youâ€.
After a very extended summer break I decided to jump back in here, if that's ok with you all! Don't know if I need to re-introduce myself for the newest members her (I disappeared shortly after you joined in, purely accidentally...it had nothing to do with any of you..LOL!)
Anyway...just for the sake of completeness...I'm 44, from the Netherlands, and have been playing for 2 1/2 yrs right now. No prior musical experience. Weekly lessons with a very nice teacher. I've been hanging around here for about a year I guess, but took a few months break over the summer, and now, oops...it's suddenly october already!!
Alfred-wise I am currently working on 'Come back to Sorrento' which seems nice, and not terribly complicated. Next to Alfred's I have a passion for Satie (worked on the 1st 5 gnossiennes last year, and am still playing them all!). This summer I worked on Yann Tiersen, which I like a lot as well. I completed the famous Comptine d'une autre ete, as well as the beautiful Valse d'Amelie. Still finetuning it and trying to get the speed up a bit more, but I am rather happy wtih the way it sounds so far!
I am going to read back a bit to find out what everybody has been up to..at a first glance it seems that more and more of the book-3-ers are broadening the horizons to other stuff then just Alfreds..great! I saw that there has another thread been started as well for Afred-graduates? Is that were the non-Alfreds-experiences are going to be shared? Or are we supposed to hang around here untill we're all done with book 3?
I'm glad to be back! I'll go and read and listen in some more detail to what's been posted recently (I heard a beautifull recording of Bach's prelude In C, by Undone? great job! I love that piece..it's a keeper for me as well!)
I saw that there has another thread been started as well for Afred-graduates? Is that were the non-Alfreds-experiences are going to be shared? Or are we supposed to hang around here untill we're all done with book 3?
Welcome back! That thread is just so we can track who's "Graduated" from the different books..
Originally Posted by IngridT
I'm glad to be back! I'll go and read and listen in some more detail to what's been posted recently (I heard a beautifull recording of Bach's prelude In C, by Undone? great job! I love that piece..it's a keeper for me as well!)
Ingrid
Agreed, beautiful recording. I'm going to have to get mine down now since I was given a "pass" by my teacher on that piece this week.. - SC
I'm Waltz, I'm 23 and I live on the east coast in the US. I started book 3 in August (I think). I just gave myself the pass today on "Star-Spangled Banner" and started the next piece (don't remember the name).
I finally recorded myself playing movement 2 of Clementi's 36/1:
Hi Ingrid, welcome back to the Book 3 thread and thank you for the kind complement on my recording of Bach’s Prelude in C Major.
The “Alfred’s graduates†thread is a little something Mark started; a place to list the ABF members who have finished one or more of the Alfred books. Let him know which books you’ve finished (in that thread) and he’ll add your name to the lists. He’s also looking into getting an icon creates that people can add to their signature if they so desire (like the MOYD or recital icons).
Waltz, I enjoyed listening to your recording of Clementi’s 36/1. Very nicely played! I’m not all that familiar with Clementi (other than the pieces in Alfred’s). Is his Opus 36 a good starting place for someone at our experience level?
I managed to put Scheherazade to bed (hopefully not for one thousand and one nights) and have started on Schubert’s Unfinished Symphony. Another challenging selection, and this time there’s no chance of “finishing†it.
I managed to put Scheherazade to bed (hopefully not for one thousand and one nights) and have started on Schubert’s Unfinished Symphony. Another challenging selection, and this time there’s no chance of “finishing†it.
Waltz, I enjoyed listening to your recording of Clementi’s 36/1. Very nicely played! I’m not all that familiar with Clementi (other than the pieces in Alfred’s). Is his Opus 36 a good starting place for someone at our experience level?
Undone
Thanks Undone! Yes, 36/1 is the easier of op. 36/37/38, the Sonatinas, and is a joy to learn and play. You definitely could master it. There are three movements in the keys of C maj, F maj, and C maj. All three movements are very different from each other. Here is the first movement I submitted in the Sept. Piano Bar in case you care to see
I managed to put Scheherazade to bed (hopefully not for one thousand and one nights) and have started on Schubert’s Unfinished Symphony. Another challenging selection, and this time there’s no chance of “finishing†it.
Undone
Cool
Are you working on any non Alfred pieces now? Also, what did you think of the Make Up Your Mind! piece? Seriously, we all know A min is the relative of C maj by now... Do we really need a silly piece to have to learn to "reinforce" that haha. It's actually kind of fun to play, but it isn't very rewarding.
Waltz – Thanks for the info on Clementi. I think I like the first movement even better then the second, and you played it very well. Recently I’ve been sticking to just Alfred pieces. The last few have been enough of a challenge for me and I needed all the practice time I could get one them. As far as “Make Up Your Mindâ€; yes, it was a silly little piece, kind of fun to play, but nothing of much consequence. It is nice to have such pieces scattered throughout though, just to give one a little break now and then between some of the more challenging selections.
Waltz, I liked your Clementi a lot too! Nice, 'clean' playing!!
I guess I have the 'other' version of book 3 then some of you. (it's the not all-in-one I work from). I don't have any song in there that's called 'Make up your mind', but reading the comments so far I am not missing anything really important or special...
And Undone...hmm..the unfinished symphony. Not the easiest piece of the book as I recall. It was the last piece that I worked on for the summer break, and I seem to remember we left it still slightly unfinished, and picked up spooky story in september. hahaha! That one, and the next one (Steal Away) as well as Come back to Sorrento, which I am currently working on seem top be slightly easier then the previous pieces (at least, that was my impression, it may be different for you)
The going is pretty slow here in book 3, with all the extra things I am working on as well, but I don't mind. I guess, being fairly close, I'll finish at least the tutorial part of book 3 sometime, and pick from the 'for fun' and 'ambitious' part only the pieces I like. I'm doing at last a few (short) etudes a week currently, and there's more interesting stuff in my Yann Tiersen book that I'd love to start working on.
John..wow! You are really moving fast through the book! I guess you are, and will be the leader of the pack for the time being!
Ttigg...your recording of the prelude in C is still coming?? I'm looking forward to it..i've heard quite some people play this piece so far (both live, and here at the forum) and it is so nice to listen to and learn from all the different versions!
(still no recording device here. But my teacher has promised to record me playing whatever, if I really want to. That means you'll get a real one-time-recording (no 25 takes during a lesson I guess). You want to vote? One of my personal favourites...Satie? or Yann Tiersen? or something more 'standard' out of book 3? Somehow I feel that I do need to post at least one or 2 recordings to share in order to really participate here!)
Thanks so much for watching and giving feedback on the Clementi Sonatina! It means a lot
I feel like I'm falling far behind you all with respect to Alfred's 3
Waltz - don't worry about where you are in Book 3 with respect to any of us (or all of us) - it's not a race - take your time with each piece & enjoy the journey.
John.. ... I guess you are, and will be the leader of the pack for the time being!
Ingrid
Where did that come from? Sorry to disappoint or disillusion you but I'm not the leader of this "pack" or any other - that's not the way I look at things here, and I don't think anyone else does either. I'm just doing what I can to get thru the Book 3 pieces and trying to encourage others to do the same.
Ttigg...your recording of the prelude in C is still coming?? I'm looking forward to it..i've heard quite some people play this piece so far (both live, and here at the forum) and it is so nice to listen to and learn from all the different versions! Ingrid
Thanks, I will make a promise to get it done before or on Thursday. I may even try to record it upstairs on the digital since I'm kind of "digging it" with the piano+strings.. - SC
Sorry to disappoint or disillusion you but I'm not the leader of this "pack" or any other - that's not the way I look at things here, and I don't think anyone else does either. I'm just doing what I can to get thru the Book 3 pieces and trying to encourage others to do the same.
Apologies. I just meant to compliment you on the fact that you seem to be moving through book 3 rather smoothly.
And Undone...hmm..the unfinished symphony. Not the easiest piece of the book as I recall. It was the last piece that I worked on for the summer break, and I seem to remember we left it still slightly unfinished, and picked up spooky story in september. hahaha! That one, and the next one (Steal Away) as well as Come back to Sorrento, which I am currently working on seem top be slightly easier then the previous pieces (at least, that was my impression, it may be different for you)
Ingrid
Ingrid – I would have to agree. I think Unfinished Symphony may be the most difficult piece yet. Then again, I thought this about Scheherazade when I first started working on it, and it was difficult, but I didn’t wind up spending as much time on it as I have some of the other pieces.
Ingrid and Undone, my candidate for "the most difficult piece" is "Trumpet Tune" which requires a very distinct rhythmic style that makes the piece sound "martial" as if we were all marching into battle, happily, which is a bit strange. Also, there are sections where the right hand is going in one direction (up or down) and the left hand is going in the other (down or up). It took me several weeks to get it and I never would have gotten the feeling of it had I not had my teacher's Zoom H2 recording to work from.
Well I had to change my sig to fit in my box.net link (lost my Sienfeld quote for now) Anyhow, managed to get a 95% perfect take with the upstairs practice digital (Piano+Strings). Over the weekend I will get a better take with both Piano Solo, that being the real one downstairs and another take of the Piano+Strings
TTigg, well done. You set an ambitious pace for yourself and kept everything in time.
If you want to get a little more out of this piece, write down the chords and you'll see the chord sequences that go with a key signature. For example it starts I,ii,V7, I in the key of C, then ii/V, V7/V, I/V in the key of G, etc. My teacher used this analysis to explain the sets of measures that go together in a phrase and to add dynamics to contiguous measures. It was neat stuff.
Ttig...very well done! I don't know a lot of pieces that can sound well at various speeds, but this is certainly one of them. I, for myself like to play it relatively fast because it makes one feel so 'good' at the piano. But playing it slowly allows for so much extra drama or feeling to be added. I like it both ways, just depending on my mood. But again...I thought your version sounded great! Very smooth and dynamic as well.
By the way, old fingers chord-approach is fun. I play from fake books as well, and it's nice to be able to recognize all the (inverted) chord sequences in classical pieces. Makes the playing a lot easier sometimes (hey, even in some of the alfred pieces the chords symbols are sometimes given..did you notice? It almost feels like cheating, using them, but I do whenever I can!)
And Old Fingers..haven't looked at the trumpet tune yet. Happily marching to war?? Hmm. Sounds intriguing, though probably not reallyt my type of music. It's in the ambitious section isn't it?? I'll look at it!
Well I had to change my sig to fit in my box.net link (lost my Sienfeld quote for now) Anyhow, managed to get a 100% perfect take with the upstairs practice digital (Piano+Strings). Over the weekend I will get a better take with both Piano Solo, that being the real one downstairs and another take of the Piano+Strings
I'm still trying to decide "my" happy pace for this piece, can be played at so many different tempos..
Thanks all.. - SC
Fixed
Great, great job! I really can't imagine hearing a better performance. You and Undone both played this well into the professional level, with both feeling and dexterity. I certainly couldn't play like that. That was excellent TTigg: now keep them coming
Thank you (takes his bow) your excellent recording was my inspiration to get mine done, yep this piece is a keeper for sure.. - SC
Originally Posted by OldFingers
TTigg, well done. You set an ambitious pace for yourself and kept everything in time.
If you want to get a little more out of this piece, write down the chords and you'll see the chord sequences that go with a key signature. For example it starts I,ii,V7, I in the key of C, then ii/V, V7/V, I/V in the key of G, etc. My teacher used this analysis to explain the sets of measures that go together in a phrase and to add dynamics to contiguous measures. It was neat stuff.
Thanks OldFingers. I must confess my teacher prefers is slower but she did at least agree it sounded great (with a smirkey smile) I’ll have to take a look @ the music again to see this chord stuff you’re talking about. I like the idea of breaking it down (along with other songs) so thanks for the suggestion/tip - SC
Originally Posted by IngridT
Ttig...very well done! I don't know a lot of pieces that can sound well at various speeds, but this is certainly one of them. I, for myself like to play it relatively fast because it makes one feel so 'good' at the piano. But playing it slowly allows for so much extra drama or feeling to be added. I like it both ways, just depending on my mood. But again...I thought your version sounded great! Very smooth and dynamic as well. Ingrid
Thanks Ingrid I do so very much enjoy this place and even though I may be going through a “bad patch†with regards to not enough pieces memorized (for my own goals) and lots of time being taken away by work, it’s always great to come back to my roots for some encouragement from such a great bunch! - SC
Originally Posted by Waltz
Originally Posted by TTigg
Well I had to change my sig to fit in my box.net link (lost my Sienfeld quote for now) Anyhow, managed to get a 100% perfect take with the upstairs practice digital (Piano+Strings). Over the weekend I will get a better take with both Piano Solo, that being the real one downstairs and another take of the Piano+Strings
I'm still trying to decide "my" happy pace for this piece, can be played at so many different tempos..
Thanks all.. - SC
Fixed
Great, great job! I really can't imagine hearing a better performance. You and Undone both played this well into the professional level, with both feeling and dexterity. I certainly couldn't play like that. That was excellent TTigg: now keep them coming
You’re funny and very kind. Yes I was “chuffed†right up till the messed up note [not going to say where] since obviously nobody else thought it was that bad..I’m pretty sure you could play like that Waltz. We’ve both come so far since the good old days of book 1. Opening it up, getting used to the mountains of theory and not much playing. Now here we are in #3 where there is almost no theory and mountains of songs to play! Also your new teacher has you going off in different directions which is, in itself, is a sign of your continued improvement and build of talent - SC
TTigg - excellent playing on the Bach Prelude - between your version and Undone's I'm now convinced that I want to tackle this throughly enjoyable and surprisingly melodic work myself before I close out Book 3 -it's just a matter of time - thanks to both of you for your fine performances, and for the inspiration
TTigg - excellent playing on the Bach Prelude - between your version and Undone's I'm now convinced that I want to tackle this throughly enjoyable and surprisingly melodic work myself before I close out Book 3 -it's just a matter of time - thanks to both of you for your fine performances, and for the inspiration
JF
Thanks and we're glad to be of service. I'm for sure going to keep this in and play with some more settings in my head (mainly tempo) but I have to admit, I was pleasantly surprised at how much I like it. When I first looked at it though, ooh, was not good - SC
Finished up "Shenandoah" recently, a modified version of which can be heard in this month's (Oct.) Piano Bar. Also to be heard there is my accelerated, mistake-ridden version of Clementi's "Prelude in D minor".
Currently putting the finishng touches on the Jazz Ostinato piece (in the rather strange key of C# minor) and just startrd "Soldier's Joy (Hornpipe)".
A hornpipe is, according to Wikipedia:
The term hornpipe refers to any of several dance forms played and danced in Britain and elsewhere from the late 17th century until the present day. It is said that hornpipe as a dance began around the 16th century on English sailing vessels. Movements were those familiar to sailors of that time: "looking out to sea" with the right hand to the forehead, then the left, lurching as in heavy weather, and giving the occasional rhythmic tug to their breeches both fore and aft.
I think versions of this piece are, and have been, long time staples of many Celtic music soloists and bands, often performed on the "fiddle".
By the way, old fingers chord-approach is fun. I play from fake books as well, and it's nice to be able to recognize all the (inverted) chord sequences in classical pieces. Makes the playing a lot easier sometimes (hey, even in some of the alfred pieces the chords symbols are sometimes given..did you notice? It almost feels like cheating, using them, but I do whenever I can!)
Ingrid, although I know what you mean about "cheating", I don't understand why it should be so. I know the Royal Conservatory would frown on the practice, but if it makes it easier to play and it brings greater understanding to the music, why shouldn't all music, classical and otherwise, have the chord notation. When I've had this discussion with my teacher, I'm told that advanced players do know all the chords and inversions and can recognize them without the lead-sheet notation. But why shouldn't the rest of us get a break?
Bob, you're right! You know, in dutch we don't call fake books 'fake books'. we call them 'pop song books'. Or 'chord approach books' Or 'melody line books'. I heard the term 'fake books' for the first time here at the forum. And maybe it's just because I am a non-native english speaker, but the word 'fake' has for me a quite negative sound to it. Indeed, like you're cheating. But you are absolutely right (and I even said so myself): Knowing chords helps a lot. And playing from 'fake books' has helped me a lot in both understanding chords, and playing them easily. The fingerings of all the basic chords and inversions become kind of 'automatic'. You don't have to think about it, you just play them.
Yep. I'm a fan of the 'double' approach, playing both 'chord stuff' and classical. And promise, I won't call it cheating again!
Thought I'd throw in an update. I have finished up both Minuet in D Minor, Bach and the 3rd Movement from Clementi's Sonatina 36/1. I recorded and submitted the D Minor Minuet to the Oct. Piano bar, but have not yet recorded the final movement from the Sonatina. My teacher assigned me Clowns by Kabalevsky this past week. I thought it would have taken me a long time, but I actually gave myself the pass on it today. Mark... I remember your submission of this piece a few months ago, so I was somewhat familiar with the piece.
I have progressed faster than I thought with these pieces and I thus think I will be starting the C Major Prelude very soon
... I have progressed faster than I thought with these pieces ...
Waltz - a famous (or to some, infamous) radio talk show host always claims that he is "having more fun than a human being should be allowed to have" - well, you may be progressing "faster than a human being should be allowed to progress"!
I'm very impressed with not only your amazing rate of progress, but also with the quality of it And, as I've said before, your readily apparent enthusiasm and pleasure in playing are the best part - so keep up the good work!
Thanks JF , that means a lot. I think all of us in this thread are doing really great and moving along nicely.
I started the C Major Prelude yesterday. So far, the first two pages seem, to me, much easier than the Clementi D Minor Prelude... mainly because the chord changes are easier to read and perform. Are the last two pages more difficult? It is certainly a pretty piece of music.
I started the C Major Prelude yesterday. So far, the first two pages seem, to me, much easier than the Clementi D Minor Prelude
I would say that from a 'playing the notes as they are written' point of view the Bach is definitively easier then the Clementi. I was surprised that Clementi was in the tutorial part of the book, and Bach in the ambitious section. And the last part is not that much more complicated then the first (apart from managing the volume in that extremely long crescendo)
But for me, playing the Bach prelude in a beautiful way was (and still is) quite a bit more challenging and interesting to work on then perfecting the Clementi D prelude. (I should add that I am not objective. I liked the Bach one a lot more then Clementi, so I am sure that makes quite a difference)
I’ll second what Ingrid wrote. I noticed that I was able to “read through†Bach’s prelude relatively quickly, but it took me much longer to play it well. Scheherazade on the other hand took longer to “read through†but once there, I was able to finish it up in less time.
Thought I'd throw in an update. I have finished up both Minuet in D Minor, Bach and the 3rd Movement from Clementi's Sonatina 36/1. I recorded and submitted the D Minor Minuet to the Oct. Piano bar, but have not yet recorded the final movement from the Sonatina. My teacher assigned me Clowns by Kabalevsky this past week. I thought it would have taken me a long time, but I actually gave myself the pass on it today. Mark... I remember your submission of this piece a few months ago, so I was somewhat familiar with the piece.
I have progressed faster than I thought with these pieces and I thus think I will be starting the C Major Prelude very soon
Not that I belong here, as I have my hands full with Book 2 as it is. But I thought I'd mention that, about 6 weeks ago, I asked my teacher to assign me an introductory classical piece... "Something that students generally start with." She gave me the Clementi Sonatina 36/1 (all movements, starting with the first). I admit, I have had a great deal of difficulty with it, but will have it sufficiently polished (to my standards, such as they are) in time for the upcoming ABF recital.
My observation, then, is, "Really? This is a Book 3 piece? What am I doing playing it?"
No need for a response there, but wow, I'm surprised. There is a lot of fun left for me in Book 2, and some of it falls into the category of "Wow, I find it hard to believe I'll be playing that in the next six months or so." To say nothing of what I expect to find in Book 3 (I don't have it yet).
I don't think that by definition every book 3 piece is a lot more difficult then a book 2 piece. Depends also on yourself, some types of music are for some people easier to play then others. And if for once in a while you want to tackle something that's a bit more advanced then usual..why not? The Alfred's books are designed I guess to teach you a whole bunch of aspects of piano playing in a certain order..., keys, chords, legato/staccato, varying loudness types of playing etc in a certain order. Every piece has it's specific bit of 'learning'. And shuffling that around a bit doesn't really matter. And (my experience) it's also fun sometimes to step away from the books and learn to play something that you or your teacher reaaly picked out as interesting for YOU!
Have fun with Clementi...and we'll see you around here in a while!
Ingrid
PS: (added after reading John's note underneath) The above is of course still more or less valid, even if it's a different Clementi piece you are learning then the one that is in book 3! I only remembered that it was 'in D', and not whether it had a specific number. Or even that it was a Prelude instead of a Sonatina...LOL!
...I thought I'd mention that, about 6 weeks ago, I asked my teacher to assign me an introductory classical piece... "Something that students generally start with." She gave me the Clementi Sonatina 36/1 (all movements, starting with the first).
My observation, then, is, "Really? This is a Book 3 piece? What am I doing playing it?"
AWTPP - the Clementi Sonatina Op 36 is not a Book 3 piece - it is not found in any of the Alfred editions - it is, however, often assigned as a supplementary work for students in any number of organized, instructor-directed programs of study, including those currently in Alfred 3, which is the case here (and not infrequently for those still in Book 2).
And just a short update from me. Had my weekly lesson yesterday, and 'Come back to Sorrento' is done. Nice piece, I may keep it in repertoire, it's one of those well known tunes that's nice to play if any potential audience wants to hear something familiar, that's not too classical.
I flipped to the next page of my book, which is the Peer Gynt, but my teacher asked whether I'd not rather work on another Yann Tiersen piece first. She played me a couple of the pieces in my book, which I didn't know, and I decided to take on 'Le Moulin' Beautiful music! (copy of a youtube link, if you want to hear what it sounds like...http://www.youtube.com/watch?v=1_ISqRLM25A)
Went ahead and recorded both today since I may not have time later in the week. I am more happy with these recordings than the Bach Minuet in D Minor, which I felt I played poorly after hearing myself in third person.
As always, your watching/commenting means very much to me, thanks,
Waltz - Great job on both of those. I would imagine it took a lot more work to complete Clementi’s third movement, but I must say I particularly liked “Clownsâ€. It sort of reminded me of “Calypso Carnivalâ€, but in a more advanced form.
I think I'm going to be taking a break from #3 till the new year. I've got (lots) of books of movie music which is one of my favorite types (and one of my main draws to the piano) so I'm going to pick out 10 or so pieces and teacher and I will concentrate on those for the next 2mths..
Then I'll pick back up with #3 in Jan and will move on and probably alternate each week with some Movie/TV/Narada and Alfred.
TTigg, I think it's cool you're moving out of Alfred's for a while. There really is an immense amount of music "out there", and it's satisfying to actually pick and choose the ones we want to learn. I'm really curious which you'll be learning from the movie books, keep us updated, (and post recordings )
Yeah yeah I know I'm really behind on the recordings side. That's something that's been bugging me for a bit. So it's time to "take charge" of my time and get "cracking" - SC
How long you got? I watch a lot of action movies but my original interest in Piano came form the "soundtracks" and "instrumental, or solo as I now know it's called" pieces.
It's funny to find music from one movie, then go look up the composer and find out yep, he's done several of the pieces I've loved in other movies. I am going to be hitting some of the "Twilight" pieces first since my daughter is "well into them" and her 16th is coming up in Jan
After that it'll be a mixture of stuff like....
- Arthur's Theme - Forest Gump - Feather Theme (yes I'm going to re-visit it) - Once (Falling Slowly) - Music & Lyrics (Way back into Love) - Against all Odds (Against all Odds) - The Notebook (main theme) - Corpse Bride (Victors Piano Solo) - Harry Potter (various) - Lord of the Rings (various)
Then there's the TV stuff
- Cheers - Hill Street Blues - Friends
+ all the other good stuff inc some classical. I'm going to focus on movies/TV from now till Jan. Then head back into Alfred and do at least one Movie/TV each week (every other week) on the side.
Victor's Piano Solo!!! I am quasi-learning that right now. I think it is above my skill level, but I'm fooling around with it. Danny Elfman is a very interesting composer. I don't know much about Twilight, but I hear "Bella's" whatever (song/theme?) is all the rage right now
I've been playing around the last little bit with "This Is Halloween" from Nightmare Before Christmas, which is also an Elfman song. It's interesting, because when I got the sheet music and it was 8 pages, I figured it would be like most songs and have a lot of repeats. Not so much! Each verse is just slightly differeent. Elfman does write some pretty neat stuff, tho.
Otherwise, I am still slogging, er, working thru Moonlight Sonata in Alfred's 3. It's been very slow going. At my lesson this week, we turned over to page 3, but page 2 still needs a lot of work! And page 1 is far from perfect! I think I am going to really immerse myself in it for a while, study it more, listen to recordings, all that, to see if I can't get a better handle on it. After that, who knows?
Hi All, I have managed to finally get through all of "Fur Elise". i will be playing it for my instructor tomorrow. Hopefully, I can play it for all here if I don't get too bogged down with work this weekend! It's a good feeling:-)
Hi All, I have managed to finally get through all of "Fur Elise". i will be playing it for my instructor tomorrow. Hopefully, I can play it for all here if I don't get too bogged down with work this weekend! It's a good feeling:-)
How did you do with page 2? It took me forever to get the feeling for that section, and it was hit or miss every time I tried it. Eventually I decided that the law of diminishing returns was setting in, so I moved on.
I just kept on working a measure at a time and oh yes, this has been an absolute bear! But, (smile) I would get to the third line measure where it is mp and from the B flat and 32nd note combination was giving me fits! The rhythm I could get in my left hand but was completely off in my right. I just had to isolate the part, hands separate until I got it. The next measure, the fingering is AHHH! But I did the same thing.
My problem ( one of them) is trying not to blur the pedal. I don't always catch it but my instructor does. How do you handle that when you are playing?
I'm an extreme optimist(smile). I have to get through a piece of music for the sheer fun of it! I am going to try my best!! to record this tomorrow after I come back from my instructor's home. Then I'll move on to Chopin(?) "Prelude in A Major". Have you played that yet? I had started "Moonlight Sonata" but that was changed.
I'm going to go play a bit before I get some sleep. This has been the only time this week I've had the opportunity!
Congrats Piano4, finishing Fur Elise is a milestone for many players of piano. It's long as heck too lol; do you flip the pages, memorize, or have all the pages strung out in front of you?
Undone has unfinished the Unfinished Symphony. In other words, I put a wrap on it last night. I’m debating whether to use it for my recital piece or not. I probably will since I don’t really have anything else to submit at this point. It’s a tuff one to find a recording of so I’ll post it here (for continuity) either after the recital goes live or should I decide not to use it for the recital.
Undone has unfinished the Unfinished Symphony. In other words, I put a wrap on it last night. I’m debating whether to use it for my recital piece or not. I probably will since I don’t really have anything else to submit at this point. It’s a tuff one to find a recording of so I’ll post it here (for continuity) either after the recital goes live or should I decide not to use it for the recital.
Undone
Congrats . I can't wait to hear it, since I'm not familiar with the piece. Was it a piano transcription?
I've nearly finished Prelude in C Major. I'm also working on a bunch of Schumman stuff, which I really like as well.
Yes, the “Theme from Unfinished Symphony†in Alfred’s is a piano transcription of a small portion of the whole. It’s interesting in the way the transcriber attempts to get the full orchestra sound in places. The full piece sounds incredibly complex in parts. I found a copy of a “piano reduction†for the Schubert’s Symphony No. 8 that weighs in at thirty pages.
I "lose steam" early on and the pace slows down a bit.
Perfect!!
The only suggestion I might make is turning up your volume on the recording itself to perhaps eliminate hearing the keys thump. I'm guessing you can always "turn down" the outputted sound afterwards?
Nicely done indeed, yeah I know I'm seriously behind on my videos (hides)
Waltz – Apart from the slow down in temp that you yourself already mentioned, your recording of Prelude in C sounds great.
Undone
Hey, thanks Undone! Yea, for the recording I tried to play it a little faster than with which I felt comfortable. Normally I would play it at the slightly "slower" tempo, but that's only because my limited skill, well, "limits" my ability to play at fast tempos.
Thanks TTigg Pianostreet rates this piece as 3/8 difficulty. But the ABF lists it as a 1/10. Just glancing at the score it looks very easy, but I thought it was kind of hard to play. The hands are "all over" each other and maintaining legato requires some tricky fingering.
Very nicely played Waltz. I don’t think those “difficulty level lists†are all that accurate, especially in the lower levels. There good for separating out the “very difficult†from the “more approachable†pieces, but there seems to be a lot of leeway when it comes to where the bulk of the pieces fall.
Thanks Undone And I completely agree with you regarding those lists. I think the piano street list is more accurate regarding the beginning-intermediate pieces, but that's only my opinion
Finished up "Soldier's Joy" (which can be heard in the Nov. Piano Bar) and started the familiar "Toreador Song" from the opera "Carmen" - interesting piece with some tricky fingerings - could be fun in the long run.
Got a really good new recording of my Recital piece "Leaves on the Seine" (a New Age piece by David Lanz) and will upload it soon - my place will drop from 36 to the upper 40s or lower 50s - still haven't seen Undone's "Unfinished" listed yet ????
Wow, and another prelude in C! Sounded nice Waltz! Although indeed the pedal noise was adding a bit of an unwanted extra rhythm element. It's really interesting to hear all the different versions of the piece!
I definitvely like the prelude at the slightly lower speed very much waltz. If it's played real fast it may sound very virtuoso, but it might also sound rushed or sloppy, depending on one's mastery of the piece, or technical capabilities.
Played a bit slower I think it's easier to put real feeling in this piece!
Ingrid (currently working on 'sur le fil' by yann tiersen.)
Finished up "Soldier's Joy" (which can be heard in the Nov. Piano Bar) and started the familiar "Toreador Song" from the opera "Carmen" - interesting piece with some tricky fingerings - could be fun in the long run.
Got a really good new recording of my Recital piece "Leaves on the Seine" (a New Age piece by David Lanz) and will upload it soon - my place will drop from 36 to the upper 40s or lower 50s - still haven't seen Undone's "Unfinished" listed yet ????
JF
Well I’m in now. I had a hard time deciding whether or not to submit this piece; it’s not exactly what I’d call “up to recital standardsâ€, but I finally gave in and figured “even a not-so-great recording is better than none at allâ€. We’ll see.
In any event, I really liked your recording of "Soldier's Joy" JF!
Thanks so much for the kind and thoughtful words I appreciate it very much.
Undone - Glad to hear you made it in!
JF - Nope, this time I didn't have anything I thought worthy of submitting. But I do look forward to hearing ALL of the performances of you guys! The recital opens tomorrow I think. Time sure does fly by.
An update: I officially began learning Fur Elise today! It's going to take quite a while to learn this masterwork. At my instructor's suggestion I am learning the "middle" part first. Anyone else interested in learning this piece now as well? TTigg, JF, Undone?
An update: I officially began learning Fur Elise today! It's going to take quite a while to learn this masterwork. At my instructor's suggestion I am learning the "middle" part first. Anyone else interested in learning this piece now as well? TTigg, JF, Undone?
Tisk tisk isn't that the end of the book piece? I'm off Alfred till Jan so I can concentrate on my "Movie tunes" - SC
An update: I officially began learning Fur Elise today! It's going to take quite a while to learn this masterwork. At my instructor's suggestion I am learning the "middle" part first. Anyone else interested in learning this piece now as well? TTigg, JF, Undone?
I'm very interested and it's on my piano bucket list and I'm very tempted, but...
1st, I have other pieces (Alfred & non-Alfred) that are higher priority and...
2nd, You learn pieces so incredibly (and disgustingly ) fast that I'd still be slugging and stumbling my way thru it while you had mastered it and had moved on to 3 or 4 other pieces...
Seriously, I think that would be great but I just can't at this time - but thanks for the offer! And good luck!
I’m afraid it’s bad timing for me too Waltz. I have a “family matter†going on right now that is making it hard for me to get my regular practice in (though I am) let alone respond to all the fantastic entries in this latest recital. But then what would the holidays be without “not enough timeâ€.
All right haha, not great timing I guess. JF, thanks for the compliments, you're too much . I don't think I'll be blazing through this one. I think I'm going to actually put this one off for a bit too, and focus on finishing what I currently have started, so when I do really begin on F.E. I can do it completely. Maybe late next week. Hope everything works out for you Undone!
Hi everyone, seems that I have finally made it to book 3. Book 2 version of Cannon in D is pretty easy if you follow the hint before that song you see it is all part of the same patterns. I make a mistake still every now and then but it seems to be one of the easier songs in the book which came as a surprise to me. You can pretty much memorize it in a few hours once you found all the patterns.
Waltz - another fine recording. You seem to be making a tour of all the great composers recently. Have you had any surprises along they way (as in finding that you really enjoy playing the work of one when you didn't expect it)?
Thanks TTigg and Undone! My teacher has me using a "seven centuries of keyboard music" book and it is exactly as you said, a tour of the great composers. So far I've played Bach, Schumann,and Beethoven. I think they've all be very nice. I'm hoping my teacher will approve of me beginning Fur Elise this week.
Fur Elise is really not too bad, once you get into it. The first section repeats twice in the piece,so you get a lot of practice on that! And I found it not too bad to get a handle on. Then it's just the B and C sections that need the attention. They are a little tricky, but doable with a little attention. My playing of it is far from perfect, but I enjoy it. We have moved off it at lessons, but I still play it at home, just to keep it fresh.
Now, the Moonlight Sonata- that's a whole 'nother thing!! That thing is driving me crazy! I think we are going to set it aside for a bit, and work on some Christmas stuff, then pick it up again after the holidays. A break may be just what is needed there.
I took a look at "Jazz Sequences" on Piano noobs Youtube and he says there is a slight timing mistake? There is a comment where someone says that this doesn't sound like Jazz and I tend to agree with that. Is there any way for these Jazz Sequences to sound more Jazzy ?
A Special Thanks to all my Book 3 buddies who had very nice things to say about my Recital piece - I really appreciated you listening and commenting. And I very much enjoyed listening to all of your pieces - excellent job, dudes!
I'll probably (hopefully) finish up the "Toreador Song" piece in Book 3 this coming week (it's one of those "more difficult than it looks" pieces) and then move on to the Steven Hiller "Prelude" next. Beyond that I can see maybe 3 or 4 other pieces in the regular section before taking on a couple of the "Ambitious" pieces. I have too many other works in other sources screaming out for my attention these days to spend a whole lot more time in Book 3.
Hi All, thank you for all the "Congrats". I have been sick this entire week with a cold and didn't even touch the piano!!!. But I was determined to learn a difficult piece and still had two errors on it last week. Waltz, I have memorized parts of it and still have to turn the page for the ending. I feel good about this accomplishment! And yes, I will play it for everyone, that's a promise! I hope everyone has had a wonderful Thanksgiving. Peace,
I have used a metronome when practicing Bach and Ragtime (where keeping a constant tempo is important). It helps in finding the areas I tend to either speed up or slow down. Practicing these areas with the metronome then helps to train myself to keep a constant beat once I stop using the metronome.
Thanks for the replies. I wish I would have begun using a metronome from the start. Over the last month I've tried to train myself to using one, but it's really not easy to move from strict counting to counting and using one of those devices...
Here is the second movement of Beethoven's Sonatina in G Major:
Thanks for the replies. I wish I would have begun using a metronome from the start. Over the last month I've tried to train myself to using one, but it's really not easy to move from strict counting to counting and using one of those devices...
Here is the second movement of Beethoven's Sonatina in G Major:
Only had a few minutes to record so it's not the best but it's all right I think.
Now strictly focusing on Fur Elise; God help me lol.
Very nicely done mate As for me I'm "knew deep" in Forest, or should that be wrist deep? Anyhow, this is my current "Nemisis" and I will be learning this until it's done - SC
Thanks for the replies. I wish I would have begun using a metronome from the start. Over the last month I've tried to train myself to using one, but it's really not easy to move from strict counting to counting and using one of those devices...
I freak out when my teacher turns on the metronome. Esp when I'm still working on the song and not very confident with it. Any ability I have to play it well goes straight out the window. I highly recommend using a metronome right away - even on simple songs a few times at least to get used to the idea.
Waltz - forget the metronome - it's far too restrictive - consider this: as you progress in your studies over time you'll gradually learn to keep a steady beat to your own inner "rhythmic counter' - and so what if you occassionally speed up or slow down a little - it adds "character" to your playing - and in the future many of the pieces you'll play will have built-in tempo changes, or you'll develope your own style where you'll just naturally incorporate tempo changes into your playing, whether called for or not in the notation, as part of your advanced artistic interpretation skills.
you'll develope your own style where you'll just naturally incorporate tempo changes into your playing, whether called for or not in the notation, as part of your advanced artistic interpretation skills.
This is what I said! My instructor grimaces at even the slightest tempo changes.
To Nancy,
I agree. Basically I've just been doing SCALES with it, and I still have trouble lol.
I like JF's idea of trusting intuition and throwing the darn thing out of the window!
Nope, Forest Gump "Feather" Theme by Alan Silvestri. I actually tried to play this last Christmas off the back of doing my Wayne Gratz 5.30s piece. Needless to say it was a little "too challenging". It's kind of my "mental gotta get past it" and of course, another "Movie tune" I love.
However I'm getting it broken down, lots of 10ths and massive stretching and moving hands about. It will be a real challenge to get it to sound smooth but that's the fun part - SC
As far as “going your own way†when it comes to things like tempo, I’ve always believed that, like so many things in other art forms, it’s okay to “break the rules†but only once you know and can follow “the rules†and then make a conscious decision not to. I’ve seen far too many people produce work of a lesser quality and then fall back on the “I did it my way†defense when it was really a case of “I wasn’t able to do it the right wayâ€. Of course this doesn’t apply to anyone here.
Some pieces are meant to be played fluidly (sometimes marked expressivo) while others are not. If a piece was written to be played with a clock like precision and you choose not to play it that way fine, but do it because you tried it as written and decided your way sounds better (just be prepared to have other’s say “your playing it wrong†when it comes to the well known work of the great composers).
Metronome. Ah, yes, the device we all love to hate! It's frustrating and can be difficult to adjust to if you haven't used it from the start. Yes, it's hard to make the switch from counting internally to paying attention to the click, click, click, click, but the question I have is: If it is painfully difficult, maybe that means your internal metronome isn't as precise as you thought? I know that is often my problem. I truly think I am counting perfectly, but turn on the unforgiving beast and ouch! That said, I do agree that the metronome should not be any more of a crutch than anything else. Use it to get the beat going well inside, then turn it off. Or to straigthen out a tricky rhythm and get it right. And certainly there are many (if not most) pieces that are better played with a little relaxation of strict tempo. But you have to know what the strict form is first. Too many players or even singers (myself definitely included!) ignore that and end up sounding sloppy. It's certainly a love-hate relationship and there are many days I'd like to run the thing under the car wheels!
Cool TTigg. 10ths would be pushing it for me, but I know you'll handle it well. Can't wait to hear it; maybe next recital?
Yep that's the plan. I mean it's not going to take me that long to learn it and I'll be going back to #3 in Jan. I would hope to have it "polished off" in time for the Feb one - SC
Prelude in D Minor.. pg 36 and 37. Whole note next to 8th note what is the deal with that? and on the last measure on pg 37 the notes seem to "hang down" into the LH area. Seems to give me no choice but to play with the RH.. Why did they choose to write it like this? It seems that it is middle C # why wouldn't they just write it on the top. Can someone explain, thanks.
Whole note next to eighth note - this is an example of "two-part writing", or a doulble part to be played together by the LH in this case (more often than not you'll see this in the RH part) - play the whole/eighth note combo at the same time with the same finger and hold this for the entire measure while playing the "upper" LH notes with other LH fingers as indicated - a compositional technique that adds depth and harmony to the part.
Last measure - yes, play all of the eighth notes RH - it's simply easier to notate them on the lower staff than to use a series of ledger lines under the upper staff - but sometimes you will see a passage like this written with the ledger lines, as long as the notes don't go too far down.
On the metronome: I'm not a big fan either, but it is good to at least be able to stick to it when necessary. I agree with Undone & Mak...artistic freedom only comes into the picture once you know how to play something perfectly 'as written'
My favourite use of the metronome is to keep me from speeding up too soon when learning something new. I set myself a speed limit by regularly checking my playing against a pre-set metronome tempo. Works pretty well. Once I got something under control at a fairly low speed I use the metronome again to speed it up little by little to the desired tempo. (and then I am mostly using it to 'set' the right tempo, and turn it off during playing)
Ingrid (working on X mas songs right now, still no Alfreds pieces)
On the metronome: I'm not a big fan either, but it is good to at least be able to stick to it when necessary. I agree with Undone & Mak...artistic freedom only comes into the picture once you know how to play something perfectly 'as written'
Ingrid
If you can "hit the ground running", why must you learn to crawl and then walk first?
Nobody plays anything "perfectly as written". But, why must you play a piece as written before you can attempt, or are "allowed" to play it the "non-written" way? Tell that to a jazz pianist. Tell that to one of the Great Composers (good luck finding a way).
Even the great composers never played their own works the same way twice - there was lots of variations and improvisations, including with tempo - maybe especially with tempo.
Their notation was only a general guide intended to serve as a framework to which the performer was expected to "flesh out' the heart & soul of the piece.
Unless a piece is marked with a specific MM indication it's anyone's guess at what the exact tempo of a given piece should be, and it will be played at different tempi by different performers, or by the same pianist at different times.
And if the tempo of a piece can vary from performance to performance, then why can't the tempo vary somewhat within any given performance, at the performer's discretion?
Who's to say which performance is the right one or the wrong one? If you want to play the "Moonlight Sonata" as an uptempo jazz piece knock yourself out!
Maybe 'perfectly' was a bit strong. But in my opinion it's dangerous to start doing 'interesting things' to songs if you are not able to play them in the 'basic' way. You run the risk of confusing 'artistic freedom' with 'lack of basic technique'
And playing constant tempo is more difficult then one thinks. I guess that's why so many people hate the metronome. I know from myself, for example that I have a tendency to speed up the easy parts of a song, while slowing down on the more complex bits. Of course I can sell that to myself as interesting rubato, or creative playing, but it's not bad to play with the metronome on to find out such things. I honestly don't notice without (although I do hear it when I listen to my kids learning new pieces, they do exactly the same, isn't that funny!)
And being able to play strict tempo is a good thing to be able to do, since some pieces require it to sound well..
Of course I mess around with pieces, play them too fast, too slow, exaggerate, whatever. But keeping in mind that I want to develop a certain level of technical skills on which all that 'playing around' is based. Like my teacher tells me that you have to be able to play a 'swing' piece evenly, or a fast piece very slow. Not being able to do that means that something is lacking in the basis. So that's why I try to do those kind of metronome and other exercises and 'checks' on a regular basis.
Ingrid (keeping in mind of course that its a hobby, not a profession. But in a slightly weird way I do like the annoying exercises as well. At least, as long as I see progress)
On the metronome: I'm not a big fan either, but it is good to at least be able to stick to it when necessary. I agree with Undone & Mak...artistic freedom only comes into the picture once you know how to play something perfectly 'as written'
Ingrid
If you can "hit the ground running", why must you learn to crawl and then walk first?
Nobody plays anything "perfectly as written". But, why must you play a piece as written before you can attempt, or are "allowed" to play it the "non-written" way? Tell that to a jazz pianist. Tell that to one of the Great Composers (good luck finding a way).
Even the great composers never played their own works the same way twice - there was lots of variations and improvisations, including with tempo - maybe especially with tempo. ... snip ...
I think the main difference here is that I want to be able to first play it as it was most likely intended, to get a feel for how that sounds while I'm playing, before I decide where I might want to change. I believe in the long run this will give me more control over my piano playing. Instead of just winging it - and hoping what I'm playing sounds good to myself and others, I follow the 'rules' first, then toss the rules out (sometimes).
Since I'm learning as an adult I still feel I struggle with the "musicality" of playing the piano; and always cringe at my first couple of attempts at any song when I'm hunting out the right keys and tempo and dynamics are all off - it doesn't sound like a song at all. Once I practice a song to the point that I can hear what should come next and I can speed up/slow down a song at will, then I feel I've mastered it to see what changes I might want to make.
One of the drawbacks to the work I did in the Alfred's books was that very rarely did I spend enough time with a song to get it to that point. Usually it was a week on the song, get it good enough and move on. I feel like that had a place in my learning and I'm glad I did it, but with the songs I'm working on now - I'm spending a lot more time and getting much more mastery over how I play them.
I take piano lessons at a community college. In the beginning of class my teacher would play a song and then tells us to play it. When we are ready, we show the teacher. That is the only time we get individual attention from the teacher. My teacher doesn't really emphasize the theory aspect in the Alfred's series. Also, we don't play every single piece in the book; we only play a song or two in each section in the book where we learn new things. He doesn't expect us to perfect the piece and I feel as if the teacher allows some of my bad habits to persist. I'd hate to think that my teacher is bad. But is this part of the experience of playing piano, the self-teaching aspect to it?
I'm playing a piece that has 6 notes in a single beat. It appears to me as through it is a "double triplet" and has a small "6" written above the notes. I generally counted a triplet as "trip-a-let".
Whole note next to eighth note - this is an example of "two-part writing", or a doulble part to be played together by the LH in this case (more often than not you'll see this in the RH part) - play the whole/eighth note combo at the same time with the same finger and hold this for the entire measure while playing the "upper" LH notes with other LH fingers as indicated - a compositional technique that adds depth and harmony to the part.
Last measure - yes, play all of the eighth notes RH - it's simply easier to notate them on the lower staff than to use a series of ledger lines under the upper staff - but sometimes you will see a passage like this written with the ledger lines, as long as the notes don't go too far down.
JF
Thanks for the reply. So without the ledger lines I am looking at middle C ? Because I noticed when they put ledger lines I am actually going down into the LH territory with the right hand.
But in my opinion it's dangerous to start doing 'interesting things' to songs if you are not able to play them in the 'basic' way. You run the risk of confusing 'artistic freedom' with 'lack of basic technique'
And playing constant tempo is more difficult then one thinks. I guess that's why so many people hate the metronome. I know from myself, for example that I have a tendency to speed up the easy parts of a song, while slowing down on the more complex bits. Of course I can sell that to myself as interesting rubato, or creative playing, but it's not bad to play with the metronome on to find out such things. I honestly don't notice without
I think everyone does this (I certainly do, and that is one of the places I find the metronome most valuable), and it can be a hard habit to unlearn if you don't train yourself from the start.
Quote
And being able to play strict tempo is a good thing to be able to do, since some pieces require it to sound well.
And it is invaluable if you ever have the opportuinty to play with someone else. You have to be able to keep a strict tempo with the other musician(s). Of course there is a place for playing with the tempo and "feel" of a piece, but there is also a place for tools like the metronome in making one a better musician.
[quote=bobjr Thanks for the reply. So without the ledger lines I am looking at middle C ? Because I noticed when they put ledger lines I am actually going down into the LH territory with the right hand. [/quote]
Yes, it is middle C#, and the right hand does play in the bass clef in several places in that Prelude. It's not uncommon, really. The notion of "right hand territory" and "left hand territory" can be kind of fluid with piano, since there is so much territory you can cover. There are pieces where both hands are primarily playing in the treble or both in the bass. It more depends on how the piece is written.
And playing constant tempo is more difficult then one thinks. I guess that's why so many people hate the metronome. I know from myself, for example that I have a tendency to speed up the easy parts of a song, while slowing down on the more complex bits.
Ingrid, I feel like a little bit of a "lurker" (if that's a word) as I'm no longer working on Alfred's 3 but do follow the discussion from time to time. In this case I was interested in the exchange regarding the use of the metronome as I had just had my hands slapped (not really) by my teacher for getting out of time. I was trying to play a very "swingy" piece, "I'm Beginning to See the Light", that had a lot of notes occurring on the swinging "ands". I thought I was doing a great job, but after I had played it my teacher circled three large areas where I had completely blown the timing, even though it had sounded great to me. At this he brought out the dreaded metronome, slowed everything down, and had me count "one and-two and-three, ..." through the whole piece. On doing this, I found it very hard to actually play the notes where they were supposed to be played, which was essential to giving the piece the correct feeling. Try playing the notes of a scale on the swinging "ands", or try playing isolated notes on "ands". Anyway, after having done that for a week, he then told me to set the counting aside and strive for the feeling that the timing was trying to convey. Tricky stuff!
My teacher told me that he exposes his young students to the metronome very early so they can establish a steady count in their heads. I envy them, as I find that very difficult to achieve. Once I turn off the metronome, if I get the piece right it's because of so many repetitions, not because I have the imaginary counter clicking away in my head. I think this is one area where I suffer the most from not having had good instruction early in my life.
It is probably obvious to everyone who has worked with the metronome that you really have to know the piece well before you can work with it. Otherwise you stumble, slow down, lose the time, and become very very frustrated.
I hope you Alfred's threes don't mind me "lurking" about.
I hope you Alfred's threes don't mind me "lurking" about.
Bob
Not at all OldFingers, please continue to do so.
One other thought on the whole metronome issue; IrishMak mentioned “it is invaluable if you ever have the opportunity to play with someone elseâ€, now that I think about it, that’s probably why I have a strong inclination to stick to the music “as writtenâ€. In my youth I was in numerous bands, orchestras, and other musical ensembles (with other instruments, not the piano). Just imagine everyone trying to express their own interpretation of a piece in such a group!
Just imagine everyone trying to express their own interpretation of a piece in such a group!
Undone
A prospect or tendency usually frowned upon rather ominously by the leader/conductor
However, this does happen - in a certain way to a certain extent - in long standing jazz combos, for example, where the individual veteran members pretty much "go off on their own" simultaneously while holding approximately to the set tempo of the moment, which thru years of experience they automatically "sense" without having to think about it at all.
The individual interpretation aspects I was referring to were in relation to an individual pianist (or other instrumental soloist) with a few years and some experience "under the belt".
I admit that I was "pushing the envelope" a little to stress a particular and important point here about interpretation. But while the need for a metronome may be necessary for some (but certainly not all) students to ultimately instill an automatic timing sense that one can use and rely on - and I concede that it is - at a certain point (say by the time a student reaches Alfred 3) the need for such a "training device' should have disappeared for most such students (and the rhythmic difficulty of a given piece should not make a difference here).
- at a certain point (say by the time a student reaches Alfred 3) the need for such a "training device' should have disappeared for most such students
Ah, John, you certainly know how to hurt a guy. I've finished Alfred 3 and I still have need for a "training device". I don't know if I would have developed a "mental metronome" had I had better instruction when I was very young, but trying to develop it at this time in my life is very, very difficult. To my mind you are indeed fortunate to have cultivated that ability. Did you work at it, or it did it just come naturally to you by playing many pieces?
... To my mind you are indeed fortunate to have cultivated that ability. Did you work at it, or it did it just come naturally to you by playing many pieces?
Yes
OldFingers - I got to thinking about what I had written later (I was actually out on the golf course) and just had this hunch that I might hear from one or more of you guys raising a polite objection... I guess you wouldn't buy it if I said that I had really meant to say Alfred 4 ...
I guess you wouldn't buy it if I said that I had really meant to say Alfred 4 ...
John, I'll give you the benefit of the doubt, but it doesn't matter anyway as I'm ready for Alfred 4 and I still don't have the mental metronome. I'll plod along anyway.
Piano one day, golf the next. You've taken on tough hobbies. What did you shoot?
John, I'll give you the benefit of the doubt, but it doesn't matter anyway as I'm ready for Alfred 4 and I still don't have the mental metronome. I'll plod along anyway.
Regards, Bob
Bob - actualy, I was trying to "give you the benefit of the doubt" - sometimes we find it difficult to give ourselves enough credit for our skills and abilities and accomplishments, especially where and when they are hard-earned and well-deserved - somehow I think at this point in your piano studies you've developed a higher and more refined internal sense of rhythm and timing, a "mental metronome" as you say, than you're willing to acknowledge for yourself - and something tells me that you're doing much more than just "plodding along".
JF
Edited to add that I shot 102 - my best effort to date in my budding alternative fantasy career.
John, I think to a certain extent you are right, in that there has been some development of an "internal sense of rhythm and timing" that has developed as I worked through the pieces in Alfred's 3. But like everything else, golf and piano especially, taking things to the next level, as they say, reveals weaknesses in the fundamentals. In my case, trying to learn the "jazzy" rhythms in the Lee Evans' books is pushing me to the edge of my ability. I find it very hard to play a note on an isolated swinging "and". One of the things I really like about my teacher is that he doesn't let me away with anything, rhythm and timing especially. That's when he pulls out the metronome and we slow down and count carefully. I dare say, that as long as I take lessons, there will always be a need for the metronome.
I was once in the grip of the gods of golf having gotten down to a five handicap, but I couldn't play at that level consistently and I gave it up in frustration. Now I go out and kick the ball around and it is much better. Be happy with your 102.
BTW, I had listened to your recording in the recent ABF recital and was very impressed with the musicality in your playing, which is not something I had heard in your earlier work. I think you probably know me well enough to know that I'm not trying to be nice, I really was impressed.
Hey Gang, I finally got around to uploading some of my Alfred Book 3 pieces to BoxNet. So just to show that I haven’t been goofing off recently, here they are:
One of the things I really like about my teacher is that he doesn't let me away with anything, rhythm and timing especially. That's when he pulls out the metronome and we slow down and count carefully. I dare say, that as long as I take lessons, there will always be a need for the metronome.
I respect your opinion about this - whatever works best for you - something tells me that if I had a teacher I'd be using the built-in metronome on my digital too (in order to avoid knuckle raps for taking too many interpretive liberties).
Originally Posted by OldFingers
I was once in the grip of the gods of golf having gotten down to a five handicap, but I couldn't play at that level consistently and I gave it up in frustration. Now I go out and kick the ball around and it is much better. Be happy with your 102.
Well, I've been warned not to take the game too seriously because as one very experienced player told me "she (golf) is a highly fickle mistress" - but I'm not happy at all with 102 and think that with lots of practice and some more experience I can do better, although I can't imagine myself ever as a 5 handicapper.
Originally Posted by OldFingers
BTW, I had listened to your recording in the recent ABF recital and was very impressed with the musicality in your playing, which is not something I had heard in your earlier work. I think you probably know me well enough to know that I'm not trying to be nice, I really was impressed.
Bob
Thanks for your kind remarks - I feel with this piece that I may have moved up a notch on the "piano player" ladder and that I'm finally starting to play some pieces the way I "hear" them in my mind - but there's still a long way to go and much work to do!
John, I don't want to be-labor the point, but you might find my recent experience amusing. I've been working on the Lee Evans arrangement of "Manhattan" which has a couple of tricky measures with swinging "ands" which I keep messing up. As I discussed this with my teacher today, he tried several approaches to try to solve the problem, but when all else failed, out came the metronome.
Hey Gang, I finally got around to uploading some of my Alfred Book 3 pieces to BoxNet. So just to show that I haven’t been goofing off recently, here they are:
Great job on them all Undone (not that my approval really means much). I especially liked "Swan Lake". I had begun that one, but quit it when I moved on to Fur Elise. I think you played it really well; made it beautiful. I especially liked the second part (which I never began learning), it was expressed very well.
I, and I am sure many others, are and will be thankful you submitted these pieces as nice examples of how to play these A3 pieces: Thanks !
Thanks Waltz, I'm looking forward to hearing someone who can do a decent job with the ending to Scheherazade. At first I wasn't going to even post this one but then I thought my version may give someone else courage to post their better one.
Undone - nice renditions of all, as we've come to expect from your excellent playing - my only reservation might be about the tempi of "Swan Lake" and especially "Sorrento", both of which are usually played (sung) somewhat slower, and with just a tad more emphasis on the melody (which is, of course, easier to do at the slower tempo). But if you like them at the tempi you played them at, then go for it and good job! It's pretty much personal taste in this regard anyway.
Hey, I am learning this Mozart minuet in F (k.4). I had asked earlier about the "double triplets" but now have other trouble... I've been using a metronome for timing but feel there isn't a way I'll be able to get near the indicated tempo of 120 bpm due to these trills.
The trill is basically this:
playing g-f-g-f-g-f in a SINGLE beat, and at 120 bpm, this would be roughly 1/2 a sec. Alternating notes like that and that quickly is hard for me. Any advice for improving technique?
I can do it well at 80 or so bpm, but it changes the overall sound and feel to the piece.
Undone - nice renditions of all, as we've come to expect from your excellent playing - my only reservation might be about the tempi of "Swan Lake" and especially "Sorrento", both of which are usually played (sung) somewhat slower, and with just a tad more emphasis on the melody (which is, of course, easier to do at the slower tempo). But if you like them at the tempi you played them at, then go for it and good job! It's pretty much personal taste in this regard anyway.
JF
Thanks JF. I know my version of “Sorrento†was much faster than this is typically played. I had this vision of a couple dancing to it whenever I played and their performance was much better at the quicker temp, so I guess I just sort of liked it that way. In Swan Lake, on the other hand, I had no intention of speeding it up.
I have noticed a tendency lately to play things faster than intended once I pretty much have them down. It’s sort of an “I know this part, let’s get on to the next†thing happening. I’ve been working on forcing myself to slow down more than I think is needed on one of the pieces I’m working on now for just that reason.
Hey, I am learning this Mozart minuet in F (k.4). I had asked earlier about the "double triplets" but now have other trouble... I've been using a metronome for timing but feel there isn't a way I'll be able to get near the indicated tempo of 120 bpm due to these trills.
The trill is basically this:
playing g-f-g-f-g-f in a SINGLE beat, and at 120 bpm, this would be roughly 1/2 a sec. Alternating notes like that and that quickly is hard for me. Any advice for improving technique?
I can do it well at 80 or so bpm, but it changes the overall sound and feel to the piece.
Watz – I’ve been having the same sort of problem with trills in some of the pieces I’ve been working on. I think a lot depends on the responsiveness of the keyboard, but even more comes from simple repetitive practice. In one section I can play the trill just fine and at tempo if I “just play the trillâ€, but when playing the fingering leading up to it, I always wind up in trouble. Another thing that can make a big difference is the fingering used on the trill. 2-3 and 1-3 are easier for me than say 3-4. One last suggestion, which is worth every cent your paying for it, is to play the piece, or at least this section, at the speed at which you can comfortably perform the trill and then slowly work at increasing it. Don’t play at a faster tempo and then slow down for the trill.
Thanks for you advice and reply Undone. I will do as you suggested, playing the piece at a slower pace, it's just the way it goes for this piece...
Some good news though is that I have given myself a "provisional" pass on Fur Elise. I can play the piece note perfect, but there is still much work to be done with expression and dynamics. I will probably take a break from it soon, for a while, then come back to it fresh!
Thanks JF. I know my version of “Sorrento†was much faster than this is typically played. I had this vision of a couple dancing to it whenever I played and their performance was much better at the quicker temp, so I guess I just sort of liked it that way.
Undone
I can picture that - and it's a lovely picture. In my somewhat slower version the dance has ended and the couple has strolled outside on the deck under the stars to embrace each other in a different way and to take in the wonder of the romantic moment.
Undone thank you for those recordings. I been on Scheherazade for the last week, I just couldn't seem to figure out how that 2nd page is supposed to sound, That recording will help a lot.
Undone thank you for those recordings. I been on Scheherazade for the last week, I just couldn't seem to figure out how that 2nd page is supposed to sound, That recording will help a lot.
That’s great bobjr; glad to hear that the recording provided some assistance!
Anybody playing any X mas music that's particularly nice and suitable for a book 3-er? I'm working on a cute version of 'Rudolph the rednosed rendeer' (one of my favourites) but could use some additional inspiration! It's nice to see that some of the seasonal stuff I worked on last year seemed pretty easy now (Yes! Progress!)
For january I am thinking of getting back into Alfreds. That would be the Peer Gynt piece. Haven't looked at it yet, but it is nice I think!
I've also been doing a lot of etudes lately (HANON like) The book I use is eastern european and has quite a lot of modern type stuff in it. Weird time signatures (5/8) and strange dissonant stuff. Good for the note reading skills, and like my teacher says...it's good to listen to different sounding music to broaden your musical basis. Although I must say that my family members sometimes ask if I am reading a bass cleff as a treble or something like that whenever I'm playing one of those modern little things...hahaha!
Ingrid
PS...undone....good job on your list of recordings! And John..I agree with Bob on your recital piece. Very different type of music then I usually hear you playing, but you & 'new age' seem to have a very good fit!
Ingrid – Thanks for the complement. This is only my second Christmas as an “Adult Beginner†and so far I’m 0 for 2 in the Christmas music department. Each year I’ve thought “I really must get a good book or two of Christmas music and learn a few for the upcoming holiday seasonâ€. And each year I’ve put off doing so until I realize it’s too late to start working on something now. Next year I’ll have to set Halloween as my “Start getting some music ready for Christmas†date.
Thanks for the recommendations JF. It’s been a while since I sent in my last SheetMusicPlus order, I guess if I were to go ahead and get some Christmas music now, I’d really have no excuse for not learning some next year.
Undone - Santa just loves to see Christmas music books on a gift list - he'll make a rare exception for this even if you've been naughty... (not necessarily implying that you have been...)
Thanks John. The Dan Coates one looks nice (just checking the titles). You own it? It has treble/bass clef notation I assume? But chord symbols as well? (Would be nice if it allowed for the fake book approach as well!)
Both books have complete notation (nicely arranged), chords, and lyrics - the "Big Book' is just a little more advanced technically, but the Dan Coates arrangements are, as usual, very well done and musically appealing - I own and use both books, currently studying the piece on pg. 109 of the Coates book.
Finished Heller's Prelude in Eb in Book 3 - moving on to the last few regular section tunes - continuing work on several other pieces from various sources, including my next Recital piece (Feb. 15th).
My Book 3 progress has slowed slightly over the holidays. I'm working on Trumpet Tune (which is taking me much longer then I would have thought), along with a couple of pieces from outside of Book 3.
X mas is over here too, and I was just deciding yesterday on what to work on next. I've been looking through my books and taking a good look (and playing a few notes) of various pieces. Those pieces are (in no particular order)
Fur Elise (book 3, ambitious selection) Moonlight Sonata (same, did the 1st page 1/2 a year ago, but have the feeling I am more ready for it now) Peer Gynt (next piece I should work on in the 'normal' Alfred order) Gnossienne 6 / Satie (the only one I didn't do yet. very modern, weird note reading, I struggled with it for a very short while last year, but it feels better now) A Gymnopedie (also Satie, not too challenging I think, but beautiful, and still on my list) Yann Tiersen / Sur le Fil. Whaah! This is just an unfinished piece that I should finish. But maybe not now
Hmm. It's a bit much I think! I'll decide over the next few days what it will be, it might be the Moonlight & the 6th Gnossienne..
I think I will have a discussion with my teacher in january on how to continue with Alfreds. I've been doing so much other pieces lately, I am wondering whether we'll really get back on track and finish book 3 page-by-page, or whether she'll look through it with me and we'll decide which pieces we'll work on (because they're beautiful, or technically interesting, or whatever) and which ones we'll just leave.
Does that sound weird? We're only with a few people here in this thread, but I wonder which percentage of the book 3-starterss actually finish it completely. I see that a lot of the people posting here start doing more and more things 'on the side', just like myself. On the one had that feels good. It's a kind of natural process to more and more start choosing yourself what to work on instead of 'turning to the next page'. But on the other hand...I started with Alfreds, and it feels kind of sloppy to leave it, so relatively close to completion. But I must admit I have lost a bit of the automatic 'flow' of moving through the book, piece by piece.
I'm still hanging out in the back of Alfred's 3. Doing some of the ambitious stuff. But at the same time my teacher moved me into repertoire pieces months ago. I'am also going to talk to my teacher next month for the years game plan...
I think a good percentage will finish Book 3 .. Book 2 seems to be the place where I would expect most people to give up. I just finished up the Peer Gynt myself and It was a lot easier than I would have expected.
Hi all. I have been away and gotten back between a wicked cold, work and grad school. I had been working on Rudolph but decided that wasn't for me and went back to remembering "Carol of the Bells" and "O Holy Night". As much as I worked on "Fur Elise" I had to begin again because I forgot some parts AUGHH! Anyhow, Have a Happy New Year!
I’ve managed to finish “Trumpet Tune†(I found this to be a fun piece, yet more difficult to complete than I initially expected). And am now working on “The Hall of the Mountain King†(aka “the Peer Gynt piece) (Hi IngridT)
Well I'll be back on #3 as of Thursday when I have my lesson. Progress over the next 2-3wks is going to be heck slow though since I somehow managed to bugger up my right thumb
Still that won't stop me from playing but of course I won't be anywhere near full speed or capacity!
I'm back! I've been away for two weeks on winter vacation (although not from piano). Thanks for asking JF, I've missed the site while away ...
Edit. Never mind. Summary: Finished Fur Elise. Just finished Bach's Bourree in E Minor (which was a struggle for some unknown reason). Finished a second Mozart Minuet (K.5) with the wicked trills.
HAPPY NEW YEAR EVERYONE. Let's make 2010 the best year yet for piano and music.
Anyone played Blue Rondo yet? Sounds nothing like what I would have expected. Everyone on Youtube seems to be playing it totally different than what is in that book. For example here is a guy playing it supposedly from book 3.
bobjr - "Blue Rondo" in Book 3 is not the same piece as the YouTube piece "Blue Rondo a la Turk" - not even close - if I'm not mistaken (and I rarely am ) "...a la Turk" is a piece composed by the great jazz pianist Dave Brubeck and popularized by his quartet way back in the 1960s or so, which has become a classic of the genre - the Book 3 piece has yet to reach this status I'm afraid
CHecking in after the New Year's restart of lessons this week.
I guess I have to say I am done with Book 3. We've decided to put the Moonlight to rest for the time being. I can play through it well enough, tho I am not completely satisfied with it. But, as with a couple other things, we agree that I have probably taken it about as far as I can right now, and plan to revisit it later. So, then the question became: On to what? I brought a few things, she suggested a few things, and this is what we are working on now:
Hymne (from Opera Sauvage) by Vangelis (some may remember this as the Gallo wine TV commercial theme a number of years back)
Frosted Windowpanes (from the Martha Mier Romantic Expressions Book 2) This book got put aside when I began working in earnest on Fur Elise and the Moonlight. Appropriate for this time of year, I think!
"To A Wild Rose" - lovely tune - would like to hear it when you get it down...any chance?
JF
Not promising anything, but I am looking at options for getting the Kawaii MP-4 set up again. Have to do some measuring and moving things around, but It may happen. I just don't know when. Of course, I also don't know when I might get the piece to decent shape, either!
And I have a saltwater fish tank to set up first...
Not perfect, but let me know what you think; thanks,
Nicely done. I also took time to watch your Beethoven Sonatina's since I'm working on those now for my Exam in May. I can officially say you've fully surpassed me on piano skill Good job and keep it up!
Not perfect, but let me know what you think; thanks,
Nicely done. I also took time to watch your Beethoven Sonatina's since I'm working on those now for my Exam in May. I can officially say you've fully surpassed me on piano skill Good job and keep it up!
Thanks Nancy ! I don't know if I've surpassed anyone with piano skill. That Sonatina was really fun to learn, but probably should be played faster than I did (even though my teacher swore it shouldn't lol). How've you been?
Not perfect, but let me know what you think; thanks,
You've been a busy bee, nicely done indeed . I'm going to try to get back into #3 by Feb 1st, still working on polishing up some very hard (to me) pieces.. - SC
Thanks Nancy ! I don't know if I've surpassed anyone with piano skill. That Sonatina was really fun to learn, but probably should be played faster than I did (even though my teacher swore it shouldn't lol). How've you been?
I don't think you were too far off speed wise - I'm not up to speed on it quite yet; but am really close. I've been working on the level 3 stuff; I cannot for the life of me play the Sonatina by Clementi. (You play it great here http://www.youtube.com/profile?user=uvajoe1#p/u/12/Ib5fI3F0VuQ) - I have some sort mental block on that one where I stumble throughout the song when trying to play it at anything other than a death march speed. That one has to go super fast it seems. I've given up on it at this point (even though my teacher told me to work on it over the xmas break *grin*). A lot of other fun songs; but nothing from Alfreds I'm afraid. I think we've set aside alfreds and probably won't go back to it with my teacher - maybe I'll do some on my own.
Thanks TTigg! Hope to hear some of those new pieces
Nancy, yea, I thought that the 1st movement was by far the hardest of the Sonatina (although, once again, my teacher swore it was the easiest). To me, it was both the hardest and the most enjoyable to play (one learned that is, which took me forever).
Undone, Thanks! I think I began it around Dec. 1st. I began learning section "B" first, then C, and finally the main "A". It was really fun. What've you been playing over the last few weeks?
Waltz - excellent job on FE - still amazed at your speed of accomplihment - I don't know how old you are but you're a prodigy in my book - how do you do it?
Waltz - excellent job on FE - still amazed at your speed of accomplihment - I don't know how old you are but you're a prodigy in my book - how do you do it?
JF
Thanks JF, that's very kind of you to say; makes me feel really nice. I'm 23. And I think that the more familiar I am with the piece (Fur Elise being one), the better I end up playing it. Someone posted on another tread something along the lines of:
They spent nearly a year away from the piano (I think on a boat), but they listened to piano music while reading the corresponding sheet music, and they said it really helped in their playing and expression.
I think maybe that that sort of thing really, really would help in learning, at least for me. The pieces I've played not so well (which are the majority), I had not been familiar with how they were supposed to be sound etc.
How is easy' is "Trumpet Tune? I'm on "Well-Tempered Clavier" and am trying my hand on learning some gospel keyboard. It'll take me quite a while:-) Let's hang in there!
I think I’ve lost touch with what “easy†means. More and more I find pieces that look fairly easy yet take me a long time to finish and pieces that seem complex when I first start them yet don’t take as long to finish. “Trumpet Tune†took me several weeks before I was happy with my performance, which is longer than I thought it would when I first started working on it.
Fur Elise: Not perfect, but let me know what you think; thanks,
Let me also compliment you on your performance. As one who spent quite some time on the B-section with a one-in-five success rate, I can appreciate the effort you spent learning to play this section so smoothly and in time.
Since you have asked for feedback I do have a suggestion to make, but let me relate my own experience with Alfreds first. When I was working on Level 2 I had gotten to Dark Eyes and was working very hard at reading the notes and playing in time. After my performance my teacher had a very serious look on his face and said "but Bob, it's not musical". I'm sure at that point he was expecting that I might be insulted, but I'm too old for that, and instead resolved to make Dark Eyes musical or quit, otherwise what would be the point. Well it turned out to be the best lesson of my life.
As luck would have it the very next piece was the Chopin Etude which John Frank had recognized as the origin of the piece "No Other Love". John referred me a recording by Jo Stafford that I listened to over and over. It completely changed my playing as I started to play the way a singer would sing, with more emotion and feeling and I listened for the expression in my playing. As my teacher expressed it, the piece has to breath and it seems that one way to do that is the allow the time to stretch and contract ever so slightly in phrases, just as a singer does.
When I got to Fur Elise, although I could not play it with your skill, my teacher told me that I had managed to give the piece "movement". His point, I think, was that the notes should not be played exactly in time with a metronome. Of course it should be played "metronomically" when we first learn the piece, but then the timing and dynamics have to slowly move around. As it happens I am now working on My Funny Valentine which has a similar left hand to that of Fur Elise and I was thrilled that my teacher told me I had given the piece movement. He then went on the criticize the B-section which I had not learned well enough to express properly, but it is thrilling that we now talk about how I need to express the feeling of the piece, rather than whether I get the notes right. I know my teacher is much more interested in the former than the latter.
I know you have the technical skill to do this, but I think it's a matter of perspective. Good luck.
I think I’ve lost touch with what “easy†means. More and more I find pieces that look fairly easy yet take me a long time to finish and pieces that seem complex when I first start them yet don’t take as long to finish. “Trumpet Tune†took me several weeks before I was happy with my performance, which is longer than I thought it would when I first started working on it.
For what it's worth, I found Trumpet Tune to be the hardest piece in the Book 3. Not only does the left and right hands have to move in opposite directions, but the timing has to be such that one gets a "martial" feeling to the music. It took me several weeks as well, but it was quite rewarding to eventually get a pass from my teacher. Perhaps I just wore him down.
Since I finished Alfred's 3, I have been working exclusively on Lee Evan's Easy Jazz Arrangements. I really enjoy the music but "easy" they are not. It takes me several weeks for each piece. They are just on the edge of doable for someone who has finished Alfred's 3. I've ordered Lee Evans arrangements of Gershwin's music. Since "easy" is not in the title, I might be in for more than I bargained for.
Thanks for taking the time to write your reflections. I can relate to what you say about musicality vs. simply playing a score as written. My teacher sounds very similar to yours, and has tried to add expressiveness to how I play. But I guess being an older beginner makes me more prone to want precision sometimes at the expense of feeling. I'm always happy to have found others that have escaped the same trap I'm with which I'm struggling.
I'm thinking of beginning the 1st Invention (C major) by Bach. Does anyone have thoughts regarding doing this or warnings? My teacher didn't look pleased when I suggested it.
Just wanted to report that I'm back on book 3. I decided together with my teacher to at least target completion of the front part of the book. I'll be doing other things on the side, which might include pieces of the 'for fun' or 'ambitious' part of book 3 or other stuff.
So that means that for this week I am working on The Peer Gynt piece (you too undone??), while also tackling Gnossienne nr 6 by Satie. This was the only missing Gnossienne in my repertoire. I skipped it last year because it was too complex. I gave up after 3 or 4 measures. It looks remarkably simple note wise, but it's an incredibly unpredictable modern sounding little piece, that forces me to read every single note every single time I play it. Good for developing my sight reading skills! Anyway, it's just 2 pages and I hope that page one wil be more or less OK for next weeks's lesson as long as I keep it slow. Interesting challenge. And unbelievable that it was written more then 100 yrs ago. It sounds much more contemporary then that.
The Peer Gynt is a funny piece. Quite different from what I'd choose myself, but it's cute and kind of upbeat cheerful. 1st page doesn't look too bad, although it's a lot of similar sounding bits of melody that start on a different note (with different fingering) every time.
Ingrid (also started in a new etude book that has Czerny pieces in it. Isn't that a name I recognize from the forum here??)someti
Nice subject to start...musicality. Also a complex one to grasp. I do know that my teachers most happy moments teaching me are when she tells me that whatever I am playing is 'actually music'. The way she speaks and the look in her eyes at those moments are such that it is clear to me that this is what I want to be looking for when playing piano. Even though hitting the right notes at the right time is of course kind of a basic 'must have' it's not what it is really about.
And before you accuse me of bragging or whatever. I've been taking lessons for 3 years nog, and I think she's expressed something like that maybe 4 or 5 times.
But that was enough for me to understand. Even though it's difficult to really figure out what to do to reach musicality in your playing. But I do think I found out a few things though....
If you play a piece that you love for a longer period of time then the few weeks it might take to learn the notes and the rythm, it becomes easier to play around with. You can play it more briskly, or tender. Slower or faster. metronome-rigid or ridiculously rubato. You can try to play it in a way that it reflects your mood. Figure out how it sounds different when you are sad or tired vs when you are excited, nervous or happy. You can try to let your own emotions shine through. My feeling is that this kind of messing around with a piece you know very well allows you to learn a lot about all the differetn ways you can play. And that it helps you 'open up', to allow your own emotions or personality to shine through. And once you are able to do that with a piece that you could theoretically play with your eyes closed, it also becomes easier to get in that 'musical mode' when playing pieces you are less familiar an comfortable with.
Maybe a strange comparison: I studied physics. I loved math, but I chose physics, because for me math was a tool. A beautiful tool, but just that. Physics allowed me to use this beautiful tool to actually achieve something. Solve 'real' problems. It's like rather being a painter then a designer or producer of paint-brushes.
In a similar way I think that being able to read notes well and understanding the rythms, dynamics etc is like having all the tools at hand to actually create something beautiful....
And for me it's just like with the math and the physices..I love the tools. I drive my teacher crazy with all my questions. I want to understand it all, and master it. But also use it. To make music.....
But I guess being an older beginner makes me more prone to want precision sometimes at the expense of feeling
I'm really intrigued by what you wrote. You'd rather have precision then feeling/expressiveness? Is that what you actually want? Or is that what seems to happen to you? And something you try to work on/ avoid? (since you're talking about a 'trap' in your posting) And do you think that there is a connection between that precision thing and age? Does your teacher have any thoughts on that?
Personally I have the feeling that I'd rather make a few mistakes while playing a piece in a musical/expressive/emotional way, then playing it perfectly with little feeling....
Thanks for taking the time to write your reflections. I can relate to what you say about musicality vs. simply playing a score as written. My teacher sounds very similar to yours, and has tried to add expressiveness to how I play. But I guess being an older beginner makes me more prone to want precision sometimes at the expense of feeling. I'm always happy to have found others that have escaped the same trap I'm with which I'm struggling.
Hi Waltz I listened to your FE and I thought you did a very good performance, especially in light of the time you have invested in this piece. I like the control of the left hand in the C section with the repeating notes. Perhaps build a bit more tension in this area with that left hand. I think the expression will come as edges soften with familiarity. Nice work
I meant it is a pittfall. Child beginners have a predisposition to be of an open mind, while us adults, at least I assume, are more prone to want exactness in playing. I would prefer expression and am working on being more flexible with missing notes here and there etc.
Carl,
You changed your name! I recognized the picture immediately, you're name was CarlMC?
Thanks for saying that regarding my FE performance!
You changed your name! I recognized the picture immediately, you're name was CarlMC?
Thanks for saying that regarding my FE performance!
Still is... I am fond of musical instruments that are made of strings and wood, hence the new screen name. But, the "Rough Riders" are a dead giveaway.
Thank you "Undone" for your insight and reminder. I am finding out that as well and am frustrated a little bit when I go back to play a piece that I have worked so hard like "Fur Elise' only to discover I have forgotten parts of it!! But only a little (smile). The "Well-tempered Clavier" is a fun piece for me. But then again, I really enjoy putting in the hard work!
IngridT – I’m getting close to being finished with the Peer Gynt piece. Yes, it is a fun piece and for me it brings back memories of childhood. In grade school I went to see Peer Gynt done with marionettes. It was a “big production†of a show and now. Now whenever I hear “Hall of the Mountain Kingâ€, I always get a picture of that scene from show in my mind.
Hi... I need a little help on Toreador song. The triplets, what are they really supposed to sound like. Lots of videos on youtube of people playing the song, I have a hard time hearing the triplets I think they are not playing the same version from the alfred book.
Hi... I need a little help on Toreador song. The triplets, what are they really supposed to sound like.
They're supposed to sound like 3 notes played evenly and somewhat quickly.
The footnote states that "the three notes of a sixteenth-note triplet are played evenly, in the time of one eighth note " (emphasis mine).
Compare the 16th-note triplet in measure #9 to the double eighth notes that immediately follow it. The 3 notes of the triplet are played in the same amount of time as one of the 2 notes of each pair of 8th notes.
For example, if you keep the tempo via tapping your left foot and if you typically play the 1st note of an 8th note pair on the "downbeat", then you would also play the 3 notes of the 16th-note triplet on that same downbeat.
This is all eqivalent to what you're probably already familiar with when you play the 3 notes of an eighth-note triplet in the same time as one quarter note .
"Toreador Song" is one of the better arrangements in Book 3 and I thoroughly enjoyed working on it and playing it. You will too when you start getting on top of it!
Sorry if i should have posted this elsewhere, but this seemed like a relevent thread...
Im currently going through the adult course 1 book and am up to page 42... i only play for a few hours every other day or so, i unfortunatly spend alot of time working so i dont have as much time as i would like to practise...
Anyway ive been doing all the question/answer bits as i go through and my girlfriend asked me how i knew what i was writing was correct... Im pretty sure it was correct but i went to check the back of the book and noticed there was no answers... so i was just curious, is there any place you can get the answers just to confirm they are correct?
Also most pages have practise pieces to run through, usually showing how to play what you have recently learnt. I was just wondering what peoples thoughts are on how you should deal with those bits... currently i play them until i feel fairly confident with it and can play it through at least once without any mistakes... this sound ok or should i stay on each one until its perfect?
Sorry for the sporadic questions, just wanted to see what you all thought...
Hi... I need a little help on Toreador song. The triplets, what are they really supposed to sound like.
They're supposed to sound like 3 notes played evenly and somewhat quickly.
The footnote states that "the three notes of a sixteenth-note triplet are played evenly, in the time of one eighth note " (emphasis mine).
Compare the 16th-note triplet in measure #9 to the double eighth notes that immediately follow it. The 3 notes of the triplet are played in the same amount of time as one of the 2 notes of each pair of 8th notes.
For example, if you keep the tempo via tapping your left foot and if you typically play the 1st note of an 8th note pair on the "downbeat", then you would also play the 3 notes of the 16th-note triplet on that same downbeat.
This is all eqivalent to what you're probably already familiar with when you play the 3 notes of an eighth-note triplet in the same time as one quarter note .
"Toreador Song" is one of the better arrangements in Book 3 and I thoroughly enjoyed working on it and playing it. You will too when you start getting on top of it!
JF
Thanks for the advice,. It is starting to come together now and I have to agree it is one of the nicer songs in the book. Can't say I am really looking forward to playing "rock-a-my-soul" for the 2nd time. I think on Toreador and Sorrento are my favorites so far.
Sorry if i should have posted this elsewhere, but this seemed like a relevent thread...
Im currently going through the adult course 1 book and am up to page 42... i only play for a few hours every other day or so, i unfortunatly spend alot of time working so i dont have as much time as i would like to practise...
Anyway ive been doing all the question/answer bits as i go through and my girlfriend asked me how i knew what i was writing was correct... Im pretty sure it was correct but i went to check the back of the book and noticed there was no answers... so i was just curious, is there any place you can get the answers just to confirm they are correct?
Also most pages have practise pieces to run through, usually showing how to play what you have recently learnt. I was just wondering what peoples thoughts are on how you should deal with those bits... currently i play them until i feel fairly confident with it and can play it through at least once without any mistakes... this sound ok or should i stay on each one until its perfect?
Sorry for the sporadic questions, just wanted to see what you all thought...
Hi Grofit and welcome to the forum. I can’t answer your question about the “questing and answers†in book 1 right now. To be perfectly honest I don’t remember them, and I’m not at home where my books are right now. Your method of dealing with the practice pieces sounds about right though. Once you can play them confidently and all the way through without any mistakes its time to move on. As you progress through the Alfred books this may change a little. At first it’s all about learning to play the notes, later on you’ll start working on a lot more subtleties in terms of dynamics, tempo, mood, etc.
Also, while you’re more than welcome to post questions or thoughts to this, the book 3 thread, I just want to make sure you’re aware that we actually have three separate threads going, one for each of the Alfred’s Adult book levels:
Well seems I have completed Toccata in D Minor, anyone know a book that has the complete version with the fugue at a similar difficulty level? Maybe a different Alfred book ? I searched their website and I could only come up with the toccata. There are some books with Bach piano transcriptions but they are mostly very advanced and seem to be a little out of my league at this point. 2nd time Alfred has done that to me. Book 2 they had some variation of Cannon D and the "good part" never comes. Well the fugue seems like the "good part" of this piece, Toccata is like the intro.
Toccata & Fugue in d minor is one of my all time favorites. I have the sheet music for it, but it’s the full organ score (with foot pedals). I worked on this long before my “re-beginning†with Alfred’s. Working out your own transcription from the organ music is not really all that difficult in this case. There are several version of it available here: http://www.sheetmusicplus.com/search?q=toccata+and+fugue+in+d+minor including ones that are transcribed for piano. I think that if you’re willing to put the time in on this piece you could work your way through it “as written†(un-simplified). It’s just not going to be a quick “few week†project.
Undone, Thanks for the advice about working on Toccata", I am teaching myself how to play organ... it will take considerable time and "Toccata" is what I want to attempt to play when I reach the comfort level of knowing the pedal board well! I have played it on my piano with the organ voice and just want to do this!
Still working on the same 3 pieces. I think the Frosted Windowpanes will clear this Tuesday. Needed a little more "flow" and dynamic work, but I feel it's coming along. We'll see what my teacher thinks! Hymne (the Vangelis piece) is slower going. We added most of the third page to learn, but the chord progressions need a lot of smoothing and the dynamics are pretty much non-existant at this point. To A Wild Rose is working fairly well. A couple tricky spots yet for me, and controlling the p - pp - ppp at the end is not always smooth. It will get there, though. I hope!
On another note, I did finally get the Kawai MP-4 set up again upstairs. Now all I need to do is find the thingie that connects to the computer and I can try recording again. Can't go directly into the computer- my laptop is waaaaay too noisy!
Undone, Thanks for the advice about working on Toccata", I am teaching myself how to play organ... it will take considerable time and "Toccata" is what I want to attempt to play when I reach the comfort level of knowing the pedal board well! I have played it on my piano with the organ voice and just want to do this!
Piano4 – It’s hard to play that piece (even if just playing parts of it) and not dream of getting a chance to do so on a giant pipe organ in some huge and echoing cathedral.
IrishMak – Good to hear from you! I’m just about finished with American Hymn and the first section of Book 3. I feel like I’m moving in slow motion through some of this stuff, but I have been working on some additional material outside of Alfred’s (that’s my excuse and I’m sticking with it). Anyway, I look forward to hearing some recordings from you.
WOW, I noticed the other day that I haven't posted in the PW forums in awhile and I feel everyone has passed me by.
I haven't moved much in Book 3 myself. I'm finishing up "Steal Away", which is only page 30-31. I don't feel I'm very far in the book considering when I started it. Of course, my teacher has me working out of at least 4 other books too and I only work out of book 3 it seems every other month. My goal is to finish book 3 this year, some way, some how. My teacher may have something to say about that.
Glad to be back. I didn't realize how long it had been since I posted until I looked at my profile. I'd lurk around probably every two weeks or so to see what was up and such but just didn't post for whatever reason.
Here are the books I'm working on/finishing:
Romantic Impressions - Book 2 same as IrishMak, I loved "Frosted Windowpanes"! Jazz, Rags and Blues - Book 2 Alfred's Hymn's (not the name of the book though) - Book 2 or 3 Alfred's Top Hits! Christmas Book 3 (FINSIHED January 8th!) Alfred's Top Hits! Solo Book 3 (FINSIHED the first week of December!)
I've recently finished the Christmas and Solo books but they are early intermediate/intermediate books. I won't get the next Christmas book until September, so I won't have that for awhile. I think my teacher will get the next Top Hits! book for me soon though.
The Hymn book must be Early Intermediate since I pick up on those pretty quickly. The Romantic Impressions and Jazz, Rags and Blues are intermediate/late intermediate books and I'm almost done with those. I believe there's one piece left in each book for me to complete.
Also my teacher likes to pull out some special surprises out of her folders for me to work on.
I have the first Jazz, Rags and Blues book, but have set it aside for now. I just don't "get" the feel of those pieces like I do the Romantic Impressions pieces. I also need to get back into my book of standards and the Fresh Aire book. Yikes! So much music!
You don't have to tell me about "getting it" because I don't either. I like them (soundwise) but they are tough as can be for me to learn. When I'm assigned a piece out of the book it takes me quite a while to get the piece completed. Last year, my teacher asked me to perform a piece out of Book 2 for my recital. Oh my, I didn't want to say no but I wanted to do another piece instead but someone was already doing it, so that was the piece I ended up with. I think jazz/ragtime folks are unique musical beings. I want to get "it" because "Maple Leaf Rag" in on my long-term to do list.
I love the Romantic Impression Book 2. I'm glad to see there are at least two more of them to go!!!
How do you become better at playing trills FASTER. And by faster I mean the way some of these people on youtube rip them out. Beyond a certain speed, for me and my clav dp (maybe the problem?), the trill just falls apart. But these guys on youtube seem to play them at the speed of light without batting an eyelash.
Well Waltz, supposedly on pg 118 there is a trill exercise which I'm sure you probably already tried. I was thinking my keyboard maybe the reason I can't do trills and tremelos very well.. But like you said i see people on Youtube with cheap keyboards that look like they were purchased at Walmart and they are ripping out trills.
I finished "Steal Away" and "Dreams Bright and Beautiful" from Romantic Impressions at yesterday's lesson. My teacher looked at my lesson book and couldn't find "Steal Away". I saw that she was looking in the page 60-70 area. I said something along the lines that I'm nowhere near there. After realizing how far back I was she said we should keep going in the lesson book. She added "Come Back to Sorrento" or something like from the lesson book to my surprise. She also, assigned "Nocturne" from the Romantic Impressions book. Also, I think "Nocturne" is the last piece of music she assigns in the book and for good reason as it appears to be the most challenging in the book.
She asked me if I was interested in performing "Dreams Bright and Beautiful" for my recital piece. I really like the piece but my wife said she was sick of hearing it. I think I'm going ask her if I can do "Nocturne" even though I'm just starting the piece because our recital isn't until the end of May. That should be plenty of time to learn the piece and then memorize it.
Nocturne is one of the prettiest pieces in Romantic Impressions. I liked that one!
We cleared Frosted Windowpanes this week. I will use it as a warm up for a while. Started on Glowing Embers. That one is a bit different for the Meir books. A bit atonal and more modern sounding, to me. It will be interesting to see how it goes.
How funny! We won't be working on "Glowing Embers". My teacher has outright told me she doesn't like the piece. I guess the atonal and modern sound must be why. I've never heard the piece so I don't have an opinion on it.
I was just sitting here thinking that every time a new piece is assigned to me in the lesson book I kind of cringe. I really don't care for most of the pieces in Book 3. Also, I haven't got to work on any of the ambitious pieces, which I want to do. I want to get through them and be done with it but I got a ways to go.
I was just sitting here thinking that every time a new piece is assigned to me in the lesson book I kind of cringe. I really don't care for most of the pieces in Book 3.
Cyborg - I mostly agree and have pretty much stopped working in Book 3 - however, there's a real good chance that you will like "Come Back To Sorrento" - it's a beautiful, old Italian love song - if you've never heard it here's a good vocal version to use as a potential guide:
Where has everybody gone? Nobody working in book 3 anymore?
I am moving slow but steady. Worked on an American Hymn this week. It's kind of fun to tackle some short pieces of music, and be able to work on something new regularly! American Hymn is not too complex, and quite sweet, in my opinion (not to insult any of you, but the 'typical' american classics in the Alfred books are usually not my favourite style of music. And since I lack the 'bond' that the average american probably has with these pieces that doesn't help either. But this one was nice. Let's see if my teacher thinks it's ok to move on this afternoon.
Doing (as usual) etudes on the side (new book, with ao Czerny) and working with my 2 sons on a cute version of the pink panther theme, and on some Micheal Jackson stuff. With Daughter (8) it's all ABBA the moment. She is currently trying to play all kind of chords, and sing the melody. So cute. It's really fun to work with them on the things they pick out....
Hi IngridT – I’m still plugging along in book 3. I had been going through a period where everything seemed to be taking me much too long to complete, but now I’m back into some more manageable pieces and am enjoying being able to move along at something above a snails pace.
Congratulations and job well done to our fellow Book three’ers JohnFrank, Mark, and TTigg on their great recital submissions. I thoroughly enjoyed listening to them all.
Strings & Wood/CarlMc – I didn’t mean to leave you out of the congratulations, quite to the contrary. If I had submitted a piece to this recital it was going to be Chopin’s Op. 28 No. 4 which I just recently completed. Now I’m kind of glad I didn’t; it would have paled in comparison to yours.
but I must tell you, sometimes it’s better to “lack the bond that the average American probably has with these piecesâ€.
Lol! you might be right! To be honest I never heard that american hymn melody before. It was completely new to me. Teacher was happy with it, so I'm working on the next piece now, which is 'adagio in A major'.
It does seem like I'm back inbook 3 for a while!
Ingrid (I do need to listen to the recital, but I didn't yet..)
Thanks Undone for the confidence builder:-) yes, it is hard and harder still when you go back to it and forget parts!!!!! Anyhow, I'm working on "Trumpet Tune" and as usual, there is always one part that gets me! The seventh measure sounds off and the timing with the trill in measure eight is giving me a fit:-) Also, I'm moving in slow motion through book 3. Will get to practicing a bit later today!
Hey, thanks for asking . I had been working on many "late beginner" pieces with my teacher. However, about two weeks ago I began learning the 1st Bach Invention (c major). It's going well, and I really like the style (two voices, both hands carrying equally important melodies etc.)
How about you Undone? Are you still working on A3 or are you doing other things?
Waltz – I don’t know if all of Bach’s Inventions “are created equallyâ€, but some of them are pretty high up there on the old difficulty meter.
I’m still working my way through Book 3 but now I’ve also added more extracurricular stuff on the side. Most recently I’ve been working on a few of the shorter and less difficult Chopin preludes.
Yea, I'd probably put the 1st invention as an early intermedite piece. I'm guessing either the A major or the E minor prelude? Another short and really pretty one is the B minor prelude. I had toyed with raindrop but decided I should wait a while, until I've gained more skill...
I finished "Come Back to Sorrento" and another piece this week. My teacher wanted to skip "In the Hall of the Mountain King" and move on to "American Hymn". I've been working hard and making good progress for 2010 so far.
I've also decided to perform "Dream Bright and Beautiful" for my recital piece.
As Waltz had said, a BIG to our Book #3 (and the others) Alfred'rs on the recent recital. I must admit that since "parking" #3 at Xmas I've been busy with other things and have not (yet) gone back to it.
I am changing up my schedule of lessons a bit and hope to return to it shortly, maybe a month or so.
BUMP. I'm still on the 1st invention. I don't know if I'll really come back to Alfred's, but it's still fun to hang out here with my Alfred buddies
And, TTigg, I still think that was a cool video of the Lost footage and your playing. I didn't miss an episode from seasons 1-3 but then stopped watching it. Are you a fan of the show or just the music (or both)?
And, TTigg, I still think that was a cool video of the Lost footage and your playing. I didn't miss an episode from seasons 1-3 but then stopped watching it. Are you a fan of the show or just the music (or both)?
Both coz it's confusing which is good and I do love the music, hey it's TV & Film piano - I'm there - SC
I bought all three books at the same time just in case they sold out or something. I hate starting a series of something and not being able to finish it! The pieces in book 3 look amazing and im looking forward to getting my teeth into them.
Does anyone know roughly speaking what grade (theory or practical) you would be expected to pass if you complete all 3 books ? just curious
Thanks, yea I should contribute something this May, or maybe in the pianobar sometime. Maybe that invention if I ever can play it decently. What are you currently playing/learning? More Chopin?
Smokestack,
I'm not that familiar with the UK grading system, but I would think something like grade 3 or 4. Maybe TTigg or someone else from the UK would know more about it. Book 3 ends with pieces such as Fur Elise, the first movementof Moonlight, and Chopin's prelude in A maj.
Not that I'm the most regular poster, but I'll do my bit to keep this thread from disappearing completely.
I'm moving quite slowly at the moment, but worked last week on the Adagio in A major. Nice piece! I thought I was getting a bit tired of Alfreds, but I must admit that I really enjoyed working on both this one and the previous piece (American Hymn). Maybe A major is a good key for me! LOL!
My lesson is this afternoon, so let's wait and see if I get a go to move on to (what was it?) Blue rondo? or something like that?
I too enjoyed working on the Adagio in A major. Now I’m on “Just a Good old Tune†and at first I thought I’d be through with this in no time, but I was proven wrong once again. There a two places in this piece where my fingers just don’t want to behave. I’m hoping that I’ll be able to move on soon though (I have the rest of the piece down pat).
Thanks guys. Canon will probably take me a while, but I'm really enjoying it.
I'm popping out of lurkdom to say I really enjoyed working on Canon in D. The one in alfred's is a fairly simplified version; you can step it up just slightly by getting the Dan Coates version (http://www.sheetmusicplus.com/title/Canon-In-D-Easy-Piano/1279480). The Alfred version prepares you very nicely for this one. I spent about a month or so last summer obsessing over this piece of music. I haven't played it in forever.. I'll have to sit down with it again.
I've not worked on anything in Alfred's in forever. My teacher and I never really started book 3. I've been doing a lot of level 3 repertoire & studies to prep for the level 3 certification exam. I've gone through these songs * minuet in G Minor (Petzold) - just started this one a week ago. * Hornpipe in B flat major (Purcell) * Sonatina in C Major (Clementi). i had a block with this one and gave up on it after spending a month or so trying to stop making stupid mistakes every time * Sonatina in G Major, I and II (beethoven) * Morning Prayer (Tchaikovsky) * The song of twilight (Nakada) * Studies: Arabesque, Study in D minor & just started The doll (Tansman) this past week.
I have songs actually memorized now so I can (in theory) sit down and play them at any time. We accidentally missed the sign up to take the May level 3 test; so we decided we'd just start working on level 4 and do that in December. My teacher said she thought the songs at level 3 were really easy for me so level 4 won't be a problem at all, but I need to work on the other stuff associated with the exam : playback by ear, recognizing intervals and sight reading. since I've got all year now we'll have plenty of time to get me through both levels on that.
honestly i don't care if I ever take the exam. I just wanted to do something 'different'! I practice scales and triads and such as part of my routine (not every day - but at least once a week or so). All the focus on really polishing each song and basic skills such as scales has made me a much better player too IMHO . I'm learning to love my metronome, at least as a necessary tool.
I keep meaning to record something for the recitals here; but then forget. Someday I'll remember!
Sounds like you've been busy! I too have more or less departed from Alfred's. Learning to play by ear would be an amazing thing, but where in the world do you begin? I'm curious how many people here would be interested in that...
I haven't done anything in Book 3 in quite a while - been working from 3 other sources: (New Age book, Classical book and Christmas book (late for last season or way early for next season )
Still want to do one last regular Book 3 piece, the "Rondeau" by Mouret, which is an adaptation of the theme from the PBS show "Masterpiece Theatre", which I've always liked (the show and the theme) - and several advanced pieces, but just can't seem to get to it.
And thanks for everyone's comments on my last Recital piece!
A while ago I was doing some (more and more) non-alfred's stuff and I mentioned here that I was wondering whether I'd really finish book 3.. At that time most of you were pretty sure that you'd all continue to work on book 3 till completion....
Now I see everybody drifting of to film music, new age, playing by ear...just when I decided to give book 3 some renewed attention! haha!
Waltz..what do you mean exactly by 'playing by ear'?
I've been doing some popular / lead sheet work on the side which I really liked. It taught me a lot about using (inverted) chords, and understanding how a lot of (non classical) music is built up. My oldest son is doing the same stuff right now, and I notice that the things he learned are also helping him to 'just mess around' at the piano. He makes up things, or plays melodies he knows with interesting accompaniments (is that the word? I mean he doesn't just play a 'simple' melody, but fills it up with chords, bass riffs/beat etc)
Since he basically used the same chord/lead sheet books as I did I shoud be able to do the same I guess! Point is that I never really tried. I always play from a score. Or by heart.
I guess I meant playing things you've heard "with your ears" on the piano without any sheet music. It sounds like your son is doing some of that and some "improvising" (I think) which is also really cool, and I would think requires similar skills. I'd like to be able to do it some time...
I finished up the first Invention a few days ago and did a nice recording of it. I have now started on the eighth Invention (F major) and am working on some beginner teaching pieces for my instructor.
I finished up the first Invention a few days ago and did a nice recording of it. I have now started on the eighth Invention (F major) and am working on some beginner teaching pieces for my instructor.
What do you mean by "working on some beginner teaching pieces for my instructor"? Did he send you back to square one?
Haha, no, I guess not all the way back there . But she did give me one really easy piece, I mean, it was a simple LH repetitive chords and right hand simple melody (and it was short). The other is not as easy, but it is still more to teach me a very specific technique rather than a "repertoire" type song. Of course, the F Major Invention is now giving me enough to work on, and with board exams in a few months, this is porbably about all I can handle :yikes:
How about you Undone? Anything new going on in your piano world?
Haha, no, I guess not all the way back there . But she did give me one really easy piece, I mean, it was a simple LH repetitive chords and right hand simple melody (and it was short). The other is not as easy, but it is still more to teach me a very specific technique rather than a "repertoire" type song. Of course, the F Major Invention is now giving me enough to work on, and with board exams in a few months, this is porbably about all I can handle :yikes:
How about you Undone? Anything new going on in your piano world?
Ah, now I understand. Actually, when I read “working on some beginner teaching pieces for my instructorâ€, I thought she might be having you help with some teaching in someway.
Me? I just had my butt kicked by “Just a Good Old Tune†in book 3. I finally put it to bed and made a recording that I wouldn’t want anyone to hear. The alternating between a 3-5 and 2-4 fingering really did me in (in one spot I could manage it, but in the other I never did get it down satisfactorily). Like trills, it’s something I’m just going to have to keep working on.
HI to all the Alfred threes! I will also do what I can to keep this thread from disappearing as well. I am with you "IngridT" in moving slowly through this book. I have finished the "Well Tempered Clavier" and am now on "Trumpet Tune". I intend to continue through to the end with "Moonlight Sonata" which I started last year, but we ( my instructor and I ) thought it best to wait.
I am also working on pop music and just playing around. I am also looking forward to starting a band with like minded folks who just want to play. There are three of us and we really won't get going until July. I need to finiah these last two sections of my final course and I will be partying in May!
I've started working on Laredo now. I'm just getting past the initial "note reading" fumbling and into the part where it starts to sound like music. I've been finding a lot more "finger challenges" in some of the recent selections. Especially for someone with fat fingers like me.
short update from me: currently working on Blue Rondo. It's been ages since I played anything blues-like. I've got the separate 'sections' more or less under control, now I only need to smoothen the transitions a bit. Although I used to really like playing blues/boogie/ragtime pieces out of the previous books, this one doesn't really excite me. It's kind of nice, but nothing more then that. Oh, well, I still like working on some 'shorter' pieces again, and I really enjoyed the last 2 ones in Am. Especially the Adagio. I worked on it a bit more last week, trying to get the melody a bit louder, and the rest (chords & part of the right hand) more as a background. Good technical exercise, made me quite proud that I really improved. Different loudnesses between 2 hands (or even within one hand) is something that's not one of my stronger points.
I seem to remember that the next piece is Laredo? So we're quite close Undone!
Well I'm certainly behind in my #3 stuff but that's only coz I've been busy "wondering in another meadow" Almost ready to (hopefully) record the following...
Forest Gump - Feather Theme (my nemesis) Bella's Lullaby (Twilight) River Flows in You (Twilight) La Nascita Delle Cose Segrete (Einaudi) Primavera (Einaudi)
I'm hoping to start squeezing back into #3 and I've also changed my lessons to twice a month as oppose to weekly. Just too much going on at work to have enough done each week in time for lessons. - SC
IngridT - I agree with you 100%. Blue Rondo didn't do anything for me either, but I thought Adagio was a very nice piece.
Ha. So it's not me. I'll just finish it up and move on! is Laredo a good piece?
I'm spending quite a bit of time at the moment with a small music group that my kid's elementary school started up a few yrs ago. It's fun! I'm working with about 5 kids aged 8-12 in preparing a few songs for a small recital next month. really beginners stuff... but's it's nice to work with the kids and make something cute out of 'oh when the saints go marchin in'! Back to square one! (although..to get a flute, violin and piano to sound good together is quite a challenge!)
TTigg – So what you’re basically saying is that you’ve gone out into the big wide world but hope to come and visit book 3 sometime when you get the chance. Well, at least you’re still writing home from time to time. (All said in jest – good to hear that your keeping active and working on some great pieces).
TTigg – So what you’re basically saying is that you’ve gone out into the big wide world but hope to come and visit book 3 sometime when you get the chance. Well, at least you’re still writing home from time to time. (All said in jest – good to hear that your keeping active and working on some great pieces).
Undone
Yep but I do have to squeeze #3 back in there somehow else it's going to take WAY too long to finish it! I hope to be back onto this in the next month-2 once I've got the other recordings finished up
Good to hear from you Cyborg. I liked both of those pieces your working on, and if memory serves (a rarity), they both lead to even better pieces in the Advanced section.
Finished the last piece in the 2nd Romatntic Impressions book. Now waiting for book 3 to arrive. Am almost but not quite there with the Vangelis Hymne. A few chord transitions and the tremolo at the end still hanging me up. And we started on Crisofori's Dream, also.
On an outside of lesson note, hubby and I went to see Trans Siberian Orchestra last week. They are touring right now with Beethoven's Last Night. As always with them it was a stellar show. And made me start pulling out the few Beethoven pieces I have attempted to play. Haven't quite mustered the courage to go back into Moomlight Sonataa, tho!
Progress update: I finished “Jazz Ostinato†this past weekend and have now moved on to “The Tap Dancer†and “Moonlight Sonataâ€. Jazz Ostinato is nothing I’d care to keep in my repertoire, but it was a lot of fun to play (especially if you try to speed it up a bit). Moonlight Sonata is at the end of the book but at the bottom of Jazz Ostinato it states “you can now try Moonlight Sonata…†so I’ve started working on it. I’m sure I’ll be working on if for some time to come which is why I’m also continuing on in the main section of the book.
Yea, Moonlight mov 1 seems like only moderately difficult technically, plus it has a slow pace, but it's quite long. Learning the whole thing would take quite a while.
One of my long term fantasies would be learning the 3rd mov of this haunting classic
HI Mak and belated Happy Birthday! Aren't TSO GREAT! I missed them last year and vowed that I wouldn't miss another concert! I am just starting "Moonlight Sonata" (1) and I am only on the seventh measure:-) I agree with Waltz, the piece is slow pace.
Thank you! Yes, TSO always put on an awesome show. We missed the Christmas show last year, so whane we got the fan club info about Beethoven's Last Night, we had to go!
Moonlight is slow piece, but there are tricky bits! I can't say I ever "mastered" it, but for where I am now, it was ok. My teacher says we will revisit it at a later date!
Quick question (that makes NO sense whatsoever because im only half way through book ONE!) but, where do you go after you finish book three ? if your teaching yourself from books as I am, what are your choices once you've finished this series ?
SsL - see the link below to a post of mine in this thread from Feb. of last year - this should give you some ideas, at least if you're at least partially interested in Classical piano studies:
As far as popular music, etc. the choices are virtually unlimited - check out the many compilations and anthologies avaiable at www.sheetmusicplus.com for example.
There was also another series of posts that had a great list of some of the various repertoire books that would make a good place to go after book 3, but I haven’t been able to find that one again. Maybe JF would remember it.
Thanks for the suggestions guys. I just had a quick look at Alfred's Essential Keyboard Repertoire and thats pretty much exactly what I was looking for. Id never heard of that before but it looks really comprehensive. 8 volumes I think !
I suppose another good way to go for developing technique and sight reading skills after finishing the All In One course would be the study books for the actual piano grades ?
I started on level 3; then didn't take the exam (we missed the sign up date. Oops) and now I'm working on level 4 stuff. I enjoy the music and if you do the studies, there's a combination of shorter pieces with the longer pieces in the repertoire book.
Thanks for the suggestions guys. I just had a quick look at Alfred's Essential Keyboard Repertoire and thats pretty much exactly what I was looking for. Id never heard of that before but it looks really comprehensive. 8 volumes I think !
I'm currently using EKR 1 - nice selection of early intermediate pieces in their original form, covering a wide time period and variety of composers - easy to read format - recommended
JF
P.S. if you're interested two Baroque minuets recorded by me from EKR 1 can be heard in the April Piano Bar thread.
Nice job on those, John. I enjoyed your playing. I've been taking notes on this thread and the previous ones and compiling a list of books to look forward to when I am at (or almost finished with) Book 3. Since I am currently struggling with the early book 2 pieces, that will be a while, but it's never to early to have a plan. :-)
P.S. I just couldn't get "Light and Blue" in book 2 until I listened to your recording and internalized your LH rhythm. Thanks for posting your pieces. It really helps those coming up behind you.
P.S. I just couldn't get "Light and Blue" in book 2 until I listened to your recording and internalized your LH rhythm. Thanks for posting your pieces. It really helps those coming up behind you.
Thanks mom3 - glad my recording of L&B helped - mine was a modified and slightly expanded version of this, and was one of the few pieces I recorded from any of the 3 books that I was (and still am) completely happy with.
Back after a week away (from pianoworld, not piano), this thread was on page 6 or so, and needed a "bump".
An update: I finished up Invention 8 a couple of weeks ago and actually started on Burgmuller's "25 easy and progressive studies". I also started learning "Zanarkand" (I had learned the intro a while back, but now it's time to learn the entire piece...). Making great progress on both, but contrary to the name, Burgmuller's studies really aren't that easy.
Welcome back (to pianoworld) Waltz. I'm still plugging away at Moonlight (and will be for some time to come) and I'm working on Soldier's Joy (which is taking longer then I initially thought it would).
Are any of you guys/gals submitting a recital piece?
Hi all, Man SO many things going on with work etc. Been very out of #3 at the moment but I shall be submitting a recital piece for sure. Either Forest or my 1st Einaudi - SC
Are any of you guys/gals submitting a recital piece?
I am not. I found the recitals resulted in my putting far too much pressure and stress on myself, and it stopped being fun. Perhaps, at some point, I will try again. But I will be listening to the submissions, as always!
Are any of you guys/gals submitting a recital piece?
Yes- another David Lanz New Age piece - this one is called "Return to the Heart" - this version is somewhat simplified and slightly re-arranged (by me).
Probably not. I dunno. Ive thought about subitting Zanarkand if I finish it in time, but Im not sure that I'll be able to. I'll be checking out all my pw friend's performances though, it's really fun.
To those in book 3, tonight I took a stroll down memory lane, I played through book 1 from the beginning to BTMD, Although familiar material I was able to read through it pretty much clean and in time. Will finish it tomorrow.
It really gives you a new perspective of where we are and where we have been...
Ha Ha! I just did that yesterday too. It's always good to review - I was fine with BTMD but I had a little trouble with Lone Star, which is where I stopped. Will pick that one up again tomorrow.
Ha Ha! I just did that yesterday too. It's always good to review - I was fine with BTMD but I had a little trouble with Lone Star, which is where I stopped. Will pick that one up again tomorrow.
So how is book 2 going mom3gram? What piece are you up to and how do you like it so far?
I just started "Solace", just the first couple of measures. It seems hard, but they all do until I get the hang of it. I like the pieces so far. I had no illusions of being able to play difficult classical or jazz pieces, so I am happy with, and having a lot of fun with, the "corny" pieces most people complain about. Every once in a while though, I feel like I'm way over my head, and that's when I go back and review book 1 like I'm doing now. It gives me a big confidence boost to see how far I've come.
Waltz - I plan on submitting something to this recital. Hopefully these plans won’t go awry.
Mark - I haven’t gone back and played anything from book one in a long time, but every now and then I like to listen to some of the recordings I made while working through it. Like you said; it really helps one see just how far they’ve come and can be very motivational.
I just started "Solace", just the first couple of measures. It seems hard, but they all do until I get the hang of it. I like the pieces so far. I had no illusions of being able to play difficult classical or jazz pieces, so I am happy with, and having a lot of fun with, the "corny" pieces most people complain about. Every once in a while though, I feel like I'm way over my head, and that's when I go back and review book 1 like I'm doing now. It gives me a big confidence boost to see how far I've come.
I'm sure you will be playing pieces you never thought possible. Your hard work will pay off.
HI Mak and belated Happy Birthday! Aren't TSO GREAT! I missed them last year and vowed that I wouldn't miss another concert! I am just starting "Moonlight Sonata" (1) and I am only on the seventh measure:-) I agree with Waltz, the piece is slow pace.
Take care!
Piano4 – How’s it going with “Moonlight Sonata†(1)? I was just getting to the point where I was starting to feel “familiar†with the first two pages, then I turned the page and “Oh my gosh!â€; it’s a whole new ball game.
Just finished up Zanarkand a couple of days ago. I'm now learning Waltz in A flat Major by Brahms. It's clearly above my level, but fortunately not too long and somewhat repetitive. 4 flats though hmphh
Waltz - I bet that Brahms piece is a bit of a challenge as it changes key a little here and there. Glad to hear that you're prospering in your "life after Alfred".
Just wondering, as im nearing the end of book 1, whether looking back you guys would do anything differently about the way you worked through the course ?
Hi SmokestackLightnin, I've been working my way through the Aflred books with the goal of getting what I consider a "passing" recording of each and every piece. This has worked well from me and I wouldn't change it.
As for the "Graduate pictures", information on these can be found in the "Alfred Graduate" thread click here
Ive been messing around with some new graduate signature tags. Inspired of course, and with all due deference to BazC's originals. These might be too large (or too rubbish) but hey ho. I was bored
Still hanging with Moonlight". This is my graduation weekend so i will play a bit before I leave and unless I find a piano in the hotel, I will get back to this after Tuesday. For now, take care!
Working on "Toreador Song" and continuing on with what will be a long relationship with "Moonlight Sonata". It seems to be taking me longer and longer to complete the pieces in A3. In part I guess that is to be expected, but it also has to do with the nice weather cutting into some of my practice time.
I'm still around too. Cyborg, we're close...I'm working on the Jazz Ostinato, which I think is just a few pages ahead of blue rondo. I'm pretty slow at the moment in moving through book 3, but I am planning to finish it. Atleast the 'basic' part, don't know yet about the 'for fun' or 'ambitious' (though I already did the bach prelude ages ago).
Summer vacation starts next week (piano lessons I mean). I still have to decide what to work on during the break. Last year it was Yann Tiersen, but I haven't made up my mind about a nice 'big' thing to tackle this summer...
I'm really enjoying working on "Moonlight" too. Just getting the dynamics to be anything close to correct and controlling the "right hand little finger vs. thumb" condition is enough of a challenge all by itself.
I couldn't agree with you more! Actually, I found a Youtube video from someone, ( of course I forgot who!!). Anyhow, it is broken down into three parts and this guy teaches each section of "Moonlight"! I'll go back on a bit later to see if I can get this guy's name! So far, it's a help. Going to work on this a bit before I go to a meeting tonight!
I did a quick search on Youtube but didn’t find the videos you were referring to (there are lots of hits for “Moonlight Sonataâ€). If you do fine them again please let me know the guy’s name; I can use all the help I can get.
Here's the video name: It's under "JJBartleymusic' He does pretty well, makes a few mistakes but seeing the video of where he places his fingers help when he makes mistakes. He also goes kind of fast so I just pause and rewind.
He has parts one up to part five.
yes, I also need all the help too!:-) Maybe I can put the firstpart of what I;ve learned on youtube at some point.
Just wanted to say "hi" to everyone on this thread. I'm still around. I'm practicing less these days due to other commitments but I still get in at least 30 minutes a day at the piano. Still working out that Brahms Waltz and have been playing around a bit with Moonlight. Hope everyone's well,
Piano4 – Thanks for the info. I’ll definitely check this guy out tonight when I get home.
Waltz – Good to hear from you. Yep, life has a way of mixing up one's priorities on a regular bases. When it comes to piano, I’m just trying to stay with the “slow and steady wins the race†philosophy.
Moonlight Sonata is comming along nicely now. I'm playing it all the way through and working on a couple of trouble spots. I also finished the second appearance of "Rock-a My Sole" (the song that just won't go away) and have moved on to Prelude in E flat Major.
Undone - your tenacity and perserverence in pursuit of mastery of "Moonlight" is exemplary and commendable - looking forward to hearing a recording soon - might even pay to see you play this live and in person!
After years away from the piano, I have returned at age 64. Yes, I set myself goals but only in the short term. The journey is more important than the destination. I have jumped in at Book 3 ..... a bit ambitious I hear you say. Not only that .. I have gone straight to the back of the book and found I could play the first 20 bars or so of Bach's Tocatta and Fugue. What joy! Definitely tingles down the spine. I regret being away from the piano for so many years but I will make the most of it now. I suits me to practise Bach's arpeggios with those tonal progressions rather than routine exercises. That is part of the ( enjoyable ) journey.
Doug - Glad you found a "re-entry point" that's right for you, and it's great to hear that you've been able to "shake the dust off" and get right back into the swing of things so quickly. Welcome to the Book 3 thread!
Awesome Undone! And thank you for the well wishes! My hand is improving but I am not pushing it! I was hoping to get through"Moonlight Sonata" by the end of this month, but I have the whole summer! And hey, I would even pay to hear you play this (smile).
Welcome to book 3, Doug! Everybody take care and stay cool!
Ha! Well thanks for the vote of confidence anyway. I'm trying to have Moonlight wrapped up and recorded for the upcoming recital, but it's going to be close. I'm leaving on vacation before the recital deadline, so I don't have much time left.
Hey gang, Well I didn’t get Moonlight finished before going on vacation or for the recital, and the vacation did set me back a little once I returned, but at long last here is my recording of the first movement of Ludwig van Beethoven’s Op. 27 No. 2 Sonata Quasi Una Fantasia aka Moonlight Sonata:
And best of all the tickets are free. There are plenty of things in need of improvement in this recording; a goof here and there and some tempo issues among other things, but trying to get a good recording of a selection this long is challenging enough, so I’m giving myself a “pass†on this one and moving on to the other pieces I still have to complete in Book 3.
Thanks Mark, but I'm not quite through with Book 3 yet. At the bottom of various pieces in the book it says "you are now ready to try ... in the Ambitious section". I've been trying to tackle these pieces when indicated. So I'm getting closer, but still have a ways to go before I'll be finished with all the selections in book 3.
Wow, I thought it was great. Added to the opening thread! I believe this means you graduated book 3.
I'd agree - excellent work
But hey, if he wants to hang around there for a little while, 6mths I may be able to catch up (lol). Been way too busy having fun with other stuff but I do want to get back to finishing #3 after taking the better part of a 1yr off it.. - SC
Thanks mom3gram & TTigg, I’ve been working on this piece so long now that I’m just glad to be able to move on and not spend the majority of my time at the piano working on it. It’s going to take me a while to finish book 3 (you’ll probably still beat me TTigg ) especially with pieces like Toccata in D and Fur Elise still to do, but I do need to start thinking about what to do in my “life after Alfred’sâ€.
Thanks GustavoF & piano4, I think this is my favorite Book 3 piece so far. There’s a lot more that can be done to improve my performance, but that’s what makes this sort of piece fun to continue to work on.
Bravo, Bravo! I listened to your performance again. It is very clear and it is helping me! I'm still working on it. My hand is improving and i'm taking it easy AND I'm not giving up( smile)
Let me ask a question? On the second page,the second line, measure 4... my downfall was trying to reach that C and that's how I overstretched my hand,do you think that by sustaining the B and not playing the C, would be determintal to the sound?? I'm continuing to try to play as written but I'm also looking to see how I can get the correct sound?
Piano4 – I’m away from home at the moment but will try my best to remember to look at measure you speak of tonight when I get home (I now the area you’re talking about, but not well enough to comment without looking at it). Most importantly; don’t do anything to hurt yourself again!
On an aside; I learned a piece by the name of “A Bag of Rags†a while back and it had numerous hand stretches that were, well, “a stretch†for me. I found that I could only practice that piece for short periods of time in the beginning, otherwise my hand would start to feel a little sore. That piece took me many months to finish, but as time went by, I could work on it for longer and longer periods of time before I felt it in my hand.
Bravo, Bravo! I listened to your performance again. It is very clear and it is helping me! I'm still working on it. My hand is improving and i'm taking it easy AND I'm not giving up( smile)
Let me ask a question? On the second page,the second line, measure 4... my downfall was trying to reach that C and that's how I overstretched my hand,do you think that by sustaining the B and not playing the C, would be determintal to the sound?? I'm continuing to try to play as written but I'm also looking to see how I can get the correct sound?
Thanks!
Piano4 – Well I thought I knew the area you were talking about , but not that I have my music here in front of me I ‘m not so sure. In my book, there are only three measures per line on pages one and two. But if you mean measure number 18 (actually it would be the same thing in measure 16) and are referring to the first beat where the right hand plays both a B (eighth note) and C natural (dotted half), then I would say it no, it is more important to hit that C natural even if you don’t play the B since that is where the melody is. But I’m no instructor, and would just reiterate that the most important thing is to not hurt your hand again by over stretching it.
Just to get this thread back up from the depths – I’m currently trying to finish up “Dry Bonesâ€. This is one of those pieces I wasn’t all that thrilled about playing but thought I should be able to knock it off quickly. It’s already taken me much longer than anticipated.
I'm new to this group, but looking forward to participating. Right now I'm working my way through Book #3 with my instructor. What comes after book #3?
I can't believe I took almost 1yr off #3. I mean I started it but then was having way too much fun in exploring (mainly Einaudi) Will pick it up again towards the end of the year in a hope to get that notch on the belt completed.
Yellow - what comes after? a lot of fun and enjoyment of playing pieces you love..Not sure if there are other books/details to follow that though.. - SC
Hi YellowDog and welcome to the group! The topic of “What comes after book 3†comes up from time to time here in the ABF. Here is a thread on the topic: Life after Alfred’s book 3
and here is a post by one of our long time Alfred supporters JF who actually corresponded with Alfred Publishing Co. on this very topic: What comes next
It seems everyone here is enjoying Alfred's course book. I've been learning piano for two months now. My piano teacher assigned a few random pieces from Alfred's level 1 and 2 books to me when I first started, but we gave up on following any course books because we can't figure out which level I fit in. Yet personally, I still very much hope that I could have a main book that I follow through every single piece without feeling too boring or too overwhelmed. Right now, I'm studying Notebook for Anna Magdalena Bach, Clementi's Sonatina Op.36 No.1, and Schumann Album for the Young Op.68 (so I guess I'm pretty comfortable studying ABRSM Grade 3 pieces).
I'd like to join the Alfred classmates, but I don't know where I should start... I'm guessing skill-wise, I'm probably somewhere between level 2 and level 3. But I notice that some quite advanced players here started from level 1 and went through the pieces quickly regardless of their previoius experience. Is it any advantage to that? Would you recommend starting from level 1 or jumping into the middle of the course? If you recommend jumping in, where is the best place for me to start?
It seems everyone here is enjoying Alfred's course book. I've been learning piano for two months now. My piano teacher assigned a few random pieces from Alfred's level 1 and 2 books to me when I first started, but we gave up on following any course books because we can't figure out which level I fit in. Yet personally, I still very much hope that I could have a main book that I follow through every single piece without feeling too boring or too overwhelmed. Right now, I'm studying Notebook for Anna Magdalena Bach, Clementi's Sonatina Op.36 No.1, and Schumann Album for the Young Op.68 (so I guess I'm pretty comfortable studying ABRSM Grade 3 pieces).
I'd like to join the Alfred classmates, but I don't know where I should start... I'm guessing skill-wise, I'm probably somewhere between level 2 and level 3. But I notice that some quite advanced players here started from level 1 and went through the pieces quickly regardless of their previoius experience. Is it any advantage to that? Would you recommend starting from level 1 or jumping into the middle of the course? If you recommend jumping in, where is the best place for me to start?
Thanks!
WOW! That’s some pretty amazing progress for only two months of piano. I’m one of the one’s who had some lessons and played piano many, many years ago and then, upon “re-starting†my study of piano, went back to the very beginning and worked my way through the Alfred books page by page. I feel I have benefitted from this and wouldn’t feel bad about recommending it as one way to go unless the individual was working with a teacher, as you are.
In this case I’d recommend sticking with what your teacher suggests. As you do so, feel free to post to any of the Alfred book threads. If you’ve been working on a piece from book 2, you can post about it in the book 2 thread . Next you’re on a piece that seems similar in difficulty to the one’s in book 3, post here about it. Once you start doing so, you may find that one book or another is “hot†at the moment and that there is a lot of discussion going on there. In that case, you may want to keep posting to that thread. As long as it feels like the things being discussed relate to you and the things you are currently working on, feel free to post there.
Thanks for your reply, Undone. Your Moonlight Sonata is very impressive.
My piano teacher is very good at classical, and I love to play classical pieces best. I'm sure he can coach me all the way up to grade 8 with just classical pieces. But somehow I just feel it is a bad idea to skip the rich variety of music genres that a well-organized course book covers... Or maybe I could fit in these pieces as my sight-reading exercises, and like you said, jump in here and there as I go?
It's probably a mental thing. I don't feel confident enough if I do not go through a basic course like Alfred - as if there would always be holes in my foundational training. But I guess you are right - my teacher deserves more trust from me...
Originally Posted by Undone
WOW! That’s some pretty amazing progress for only two months of piano. I’m one of the one’s who had some lessons and played piano many, many years ago and then, upon “re-starting†my study of piano, went back to the very beginning and worked my way through the Alfred books page by page. I feel I have benefitted from this and wouldn’t feel bad about recommending it as one way to go unless the individual was working with a teacher, as you are.
In this case I’d recommend sticking with what your teacher suggests. As you do so, feel free to post to any of the Alfred book threads. If you’ve been working on a piece from book 2, you can post about it in the book 2 thread . Next you’re on a piece that seems similar in difficulty to the one’s in book 3, post here about it. Once you start doing so, you may find that one book or another is “hot†at the moment and that there is a lot of discussion going on there. In that case, you may want to keep posting to that thread. As long as it feels like the things being discussed relate to you and the things you are currently working on, feel free to post there.
Panoist d’amore – Sounds like a good plan to me. Just remember that your teacher works for you (while you’re working for your teacher) and don’t be afraid to mention these things to him. I bet that even though his interests are more toward classical, he can still help you mix in other musical genres during your lessons if you let him know that you would like to do so. And as for the foundational training, he should definitely be seeing to it that you get that; probably even better than what is presented in Alfreds.
You said that you’ve only been at this for two months, it may take a bit longer than that to really get a feel for how things are going with this teacher and how well your instruction matches your expectations and desires. Don’t be shy about talking with your teacher about these things, just don’t talk your whole lesson time away.
I've been in book three for a while now and I'm working on "The Unfinished Symphony". I'm having a hard time with the tremolo part. Anyone have any tips for playing an even tremolo?
I've been in book three for a while now and I'm working on "The Unfinished Symphony". I'm having a hard time with the tremolo part. Anyone have any tips for playing an even tremolo?
Hi HeirborneGroupie – “Unfinished Symphony†is a fun piece, I think there is a recording of my attempt at it on page one of this thread. I wish I could provide some tips on playing the tremolos but I guess this is where a teacher comes in handy, one who has experience not only in doing, but in explaining how to do it. I remember having difficulties with the tremolos on this piece and I remember working on just the tremolos by themselves for a while. I execute them by locking my fingers in position and rapidly turning my hand at the wrist. I also found that recording and then listening to the results is helpful as they tend to sound more even then they feel while playing them. If anyone has more or better (or more better ) advice, I’d love to hear it too.
Thanks for the reply Undone. I did listen to your performance of the piece and aspire to play it as well as you do.
I guess tremolos just take a lot of repetition to get down. I did talk to my teacher about them and she said that tremolos are not necessarily perfectly even. Mine are still terrible though.
In the Raindrop prelude, during the c sharp minor segment, there is an F key with a double sharp sign. Does this mean play "G regular"? For some reason, this doesn't sound all that great to my ears when I play it, but what do I know...
Other than to agree that “yes, an F double sharp is the same as G naturalâ€, I can’t help with whether or not this is correct in Raindrop. I haven’t tried tackling that one yet.
I'm still playing "Moonlight" I've gotten on page 4 in another book that has the same arrangement as what is in Alfred 3. Plus, I am playing in a band plus working so... keeping busy and having fun:-)
Good to hear from you Piano4 and thanks for pulling this thread up out of the depths. For me, the top of page 3 was the most difficult to get under control, though there is one section on page 4 that was next in line for “most difficultâ€. I’m glad to hear your still at it.
I’ve been working on some Christmas music which has cut into my Book 3 time. True to form I decided I try on work on something that was rather challenging for me and now I’m getting close to being able to play it through, but I doubt it will be done by Christmas (always a day late and dollar short).
In book 3 I’m currently working on Toccata in Dm (always loved that piece – when played on a church organ) and after that I just have Fur Elise then I’ll have completed every piece in the series.
Hi Undone! It's good to hear from you too! It took a while to find this thread and I admit that work ( which is a very good thing!) has kept me off from this site.
I started pulling out Christmas music, especially pieces I had forgotten and since I am trying(?) to put together a band, I have gotten some pop pieces to work on.
It will be good since I have these next four days off and a fairly slow period, so I can get to playing. Thank you for the "heads up on page4. This piece is tough but I'm determined to learn it:-)
"Fur Elise" gave me a bit of fit, particularly page 3. I started at one time on the "Prelude in A Major" but left that for "Moonlight"
Oh,"Toccata" is Awesome on organ!!! I have "organ voice" on my clavinova and it gives me chills! I also have the registration for organ for this piece and I am going to try very hard to remember and go over parts so that I can play this on our church organ!
I'm with you with the "dollar short and day late" theory(smile) Maybe, by this time next Christmas, I can put this on recital.
Piano4, WOW! You not only have access to but know how to play a church organ (one with the foot pedal/keyboard and pipes and everything?) I’m jealous! I too have the organ music for Toccata and Fugue and had tried to figure out a way to play it on a single keyboard once a long time ago before my piano “rebirth†but I never really managed to play the whole thing through (I do like the Fugue part though and will have to see if I still have that music once I finish the Alfred version).
I guess even M. Mouse and Uncle Walt enjoyed this piece, seeing as how they used it to kick off the movie Fantasia.
Hope you enjoy your time off and that you're able to make that "band thing" happen.
Well, my teacher has finally got me working out of book 3 again. I've just started "Shenandoah". I've joined MOYD 2011 and I want to finish book 3 this year. So I'm making a pledge to practice daily, work hard and wrap this book up.
Good to see you back in book 3 Cyborg. I found the MOYD to be a good motivator. There were quite a few days last year when I probably would have skipped practice but then I would think of the MOYD and remember that the only requirement is to spend at least ten minutes practicing, so go ahead and sit at the keyboard intending to do "the least I could do". Then I’d wind up spending at least a half hour or more practicing without giving it any further thought.
I too hope to finish Book 3 this year, and seeing as how I only have one and a half pieces to go, I think I just may do it!
Hi Undone! Oh believe me, I am taking baby steps on the organ but I have had lots of help from folks who have shown me how to place myself at the organ. Right now, I know how to go from C to G with my left foot! But the keyboards ( or the manuals as they are called)are pretty easy. I guess when I finally finish "Moonlight", I'll be "finished" book 3, but there are some pieces I will go back to so, I know that you can do this:-)
And Cyborg, I definitely agree. MOYD has kept me on track even if it is 10 minutes! Happy New Year to both of you and let's hanging there!
I wanted to finish Book 3 in 2010 but I didn't have my best practice year and we didn't work as much out of it as I thought. I think this year may be my best year for me.
Piano4,
Yes, MOYD is definitely a good motivator. I did it one year but I don't think I finished but it was my best practice year due to the extra motivation. So I'm definitely looking forward to it.
Checking back in after a year long break (from Book #3 not piano)
Am going to be scanning in the book #3 so I can have this on the iPad along with all my other sheet music (currently have 90% of it loaded up!) I did begin #3 but only got a short ways in before I decided I wanted to just play instead.
Will report back on progress as it moves slowly towards it's completion. I'm hoping to get it done by Xmas but we'll see how it goes.
I havent started book three yet... got a long way to go. But I did get an Ipad for Xmas. I want to scan in my music too. I have multi function printer and scanner. I was wondering if that would be good enough to scan in the music?
I havent started book three yet... got a long way to go. But I did get an Ipad for Xmas. I want to scan in my music too. I have multi function printer and scanner. I was wondering if that would be good enough to scan in the music?
Should be that's what I used., it's time consuming but well worth it once they're all in there. I have a Brother large (A3) one. I used the document feeder and scanned 50 pages at a time (both sides).
Then made PDFs using Adobe and the images I had made. Not sure if that was the best way since my PDFs are not technically search-able so I may try other options later on (for the larger books)
With the new update to iBooks I now have all my music organized into different categories also - Steve
That is a great idea for using an iPad. I may need to get one now.
That was the main reason I got mine (as my 40th present). I have all 4 Einaudi books + all my other sheet music, some single ones (mostly Film & TV), Alfred stuff, theory, scales, Circle of 5ths etc.. - LOVE it for this use alone.
I've also got all of the songs I'm interested in loaded on the iPod portion of the iPad so I can have them playing whilst I'm learning.
Aside to this I also have ForScore which I am using to house my current repertoire and this also has the ability to link/load up the song from the iPod section.
I've basically finished Toccata in Dm (though I'm still futzing with it) and am about to move on to my final book 3 piece Fur Elise.
Undone
Great stuff Undone I'm looking forward to picking back up where I left off (just over 1yr break) after initially starting and then parking #3.. - Steve
I'm probably years from Book 3 at the rate I learn, but I can't wait till I get to some of those pieces. I hope you will all post recordings.
ME too. Im halfway through book 2 and I'm so ready/anxious/eager to get to book 2 and other pieces that it is hard for me to focus on what I am working on now, which is kind of sad. The process takes so long. I wish it were instant
I'm probably years from Book 3 at the rate I learn, but I can't wait till I get to some of those pieces. I hope you will all post recordings.
ME too. Im halfway through book 2 and I'm so ready/anxious/eager to get to book 2 and other pieces that it is hard for me to focus on what I am working on now, which is kind of sad. The process takes so long. I wish it were instant
Book three seems to have a high attrition rate. A lot of people decide they’ve had enough of Alfred and move on to other things before completing it. There are a bunch of great pieces in it, but they are mostly in the “Ambitious Section†while the main section of the book has a lot of “not so memorable†pieces. These are also a number of pieces that take a long time to master.
I'm probably years from Book 3 at the rate I learn, but I can't wait till I get to some of those pieces. I hope you will all post recordings.
ME too. Im halfway through book 2 and I'm so ready/anxious/eager to get to book 2 and other pieces that it is hard for me to focus on what I am working on now, which is kind of sad. The process takes so long. I wish it were instant
Book three seems to have a high attrition rate. A lot of people decide they’ve had enough of Alfred and move on to other things before completing it. There are a bunch of great pieces in it, but they are mostly in the “Ambitious Section†while the main section of the book has a lot of “not so memorable†pieces. These are also a number of pieces that take a long time to master.
Undone
This definitely bears repeating!
A lot of folks who study on their own drop out of this book pretty quickly due to the dud pieces or they move to the "Ambitious Section", complete them and move on. Those with teachers seems to be in the book to start with but then they are pulled away from it. Of course, there have been several folks on here complete the book but as Undone said, the attrition rate is high.
There have been times that I have wished for "instant process" especially going through Alfred 2 and 3 books. I am still in 3, working at my pace on "moonlight"> I am on the fifth page!! But I have been working on this piece since last Christmas along with other music.
Take the time to enjoy what you have learned to play and don't forget to go back on what you've learned ( that's one of my goals because I have forgotten some pieces).
And yes, I will definitely post this when I have this piece to my satifaction :-). Take care
Congratulations on being another step closer Cyborg. Jazz Ostinato, as I recall, was one I had to “force myself to learnâ€, but I must admit that almost all of the pieces that fit into this category I wind up getting some enjoyment from once I get them down.
Fate; Welcome to the book 3 thread. We look forward to hearing more from you once your book arrives and you get started in it.
Ironically, it's been one of my favorite pieces so far out of book 3. I got it in two weeks (pretty good for me) and my teacher said she loved hearing me perform the piece with such confidence. So I was pretty pleased. Hopefully, I'll get the next piece out of book 3 assigned to me this week.
Fate,
Welcome aboard!!! I'm looking forward to seeing your progress through book 3.
All the better then! There are a few “jazz oriented†pieces in book 3 an I may have one confused with another. But it really doesn’t matter, as I said above, even the ones I’m not crazy about at first I usually wind up liking by the time I’m done with them, and it’s always better when you like it right from the start.
Funny enough, I spent some last weekend trying to find Tocatta in D, and here it is all nice and transcribed. Having some fun with that one.... Tho, I'm still trying to keep to my goal of playing through these books properly.
Hi book 3er's. I started this book a while back, but like so many others have set it down to pursue other things. I have decided to try and complete this book from the beginning so I'm starting with "A Super-Special Sorta Song".
Hi HG, good to see another book 3 participant going for the “full setâ€. If you can keep at it through some of the “pieces of questionable worth†you’ll find that there is a lot of good stuff in here. You’ll also find that this will probably take longer to complete than either of the previous books (if you include the “Ambitious Section†which you really should).
Well gang, I’m considering myself done (though I'll still use the forum name "Undone" ). I finished Fur Elise, the last piece I had to go in Alfred’s Book 3, this weekend. It’s not quite at “recital level†thanks to all the repeats, but there are only a few glaring “oopses†in it and most of them are problems with dynamics. I’ll continue to work on it from time to time just as I do many of the other pieces at the end of book 3, but I figure I have it down well enough to call it finished and so will move on to other “post Alfred†work.
I know, beyond a shadow of a doubt, that I would not have made it this far if it were not for the “Alfred Adult All-In-One†threads here in ABF and all the fine people who have contributed to them and worked along with me through many of the phases of learning. A big thanks to Mark for starting them and to everyone who has contributed to them over the years!
Howdy y'all. Let me introduce myself. I'm recently retired, but have been foolin' around with keyboard "for an embarrasingly long time", considering that I still can't really play--I actually started when I was a teen. I've mostly tried to learn on my own, but I've had a few teachers along the way, for a few months at a time--one was very good, actually (taught at college) but I didn't have my own piano at the time and didn't pratice nearly enough.
Anyway, I'm here because a few years ago I decided to pick up again with Alfred Adult AIO Book 2, and with the help of a teacher, slugged my way through it. I didn't think the teacher was helping me all that much, so I quit lessons and started Book 3 on my own. According to my notes, I got up to page 41, "Make up Your Mind". I must have "made up my mind" to do something else at that point. What I did do is go back to the Chord Approach Book 2, and I worked through those and a lot of the supplements, especially Christmas and Hymns. That was fine for just playing tunes, but I wanted to really learn the left hand, so I went to the Basic Course starting in Book 2 again, and quit again when I got into book 3 or 4! Reminds me of the old saw--I don't have X years experience, I have 1 year experience X times!
But I still can't play the songs I want, or play good enough to, say, accompany a family sing-along. I'd like to evenutally be able to "play by ear" and play hymns from the hymnbook (4-parts).
So now I'm now working with a new teacher in a group class, and he's using a "constructive" approach--showing us how to write songs and make chords. I like that--I feel I'm starting to play music and not just notes. But his approach is a bit weak on technique. And discipline--which I sorely need.
When I (re)discovered this forum, it inspired me to take another look at Alfred, because I was making noticeable (to me at least) progress then, and as I say, I don't seem to make progress unless I'm following a disciplined plan of study. So I guess this is my pledge to me to FINISH AIO Book 3! (And review book 2.) Imagine being able to play Bach, Beethoven, and Chopin! Off to the piano!
Tinman1943, I hope you have better luck in completing book 3 this time. It can take a long time to do so. One thing I found when I started my re-learning journey; I thought that when I got “good enough†I’d be able to play some of the more complicated pieces such as those at the end of Book 3 as easily as I could play the pieces in book 1 when I was at that level. This has not been the case. It takes me much longer to get the “ambitious†pieces down, but on the other hand, I’m able to complete them much more quickly than I could have when I started in book 3. You just have to stick with it!
I decided to go back to the begining of 3 since I've been away for so long. Actually I'm also reviewing 2 in parallel.
And I'm also trying to catch up on the first 46 pages of this thread, because I'm sure there's a lot of good advice in there. And in the other book threads as well.
But here's a problem I'm having at the moment.
In a piece like Super Special Sort of Song, there's a lot of repetition of the same patterns, and switching to repetitions of a similar pattern. I can do any given pattern, measure or pair just fine. But when I try to play the complete song, I end up still playing the G7 chord pattern when I should be playing the C, or vice versa. It's like the change sneaks up and surprises me, then I either hit the wrong notes or have to stop and figure out which notes to play before going on. Perhaps I'm not really paying attention to the music at all, just playing from memory, and don't notice the switch until it's too late. (When I was in school I could "read" a whole page of a boring novel while daydreaming about something else!).
I'm guessing I need to learn to read ahead so I can start planning the switch before I actually get to it. Which means playing one thing while looking at something else. I know I can do it with words, when reading aloud, so it must be similar with music, right?) Any suggestions how to practice that?
Tinman1943, Sounds like you already know what to do to resolve the problem; read the music as your playing (don’t go by memory too soon) and learn to look ahead a little for what’s coming up. In my previous post I stated that it takes a long time to get some of these piece down. That’s true, but the further I went in book 3 (and the more time under my belt), the more I found that I could quickly “work my way through the pieceâ€. Maybe not site read it, but within a relatively short period of time I could bungle my way through. Where the “takes a long time†comes in is taking the piece from “bungling my way through†to “finished pieceâ€, and the last ten percent of “polish†takes more time than any other segment. But then that’s just me, and it’s all part of the fun.
Undone, I think you may have identified my problem. For too many years I've been satisfied with "bungling through" a piece. And unfortunately, most of the occasional teachers I thought I could afford were happy to let me be satisfied with that. But now I find I've been "studying forever" and still can't play a single piece--not without mistakes, anyway. Even the one time I played in a recital I bungled it. I couple years ago I even started over in book one and bungled that! But I was bungling through so successfully that in due course I find myself in book 3!
So I guess I'm back to the fundamental question. What makes the difference between being able to play a measure or phrase and being able to play a piece? I guess this isn't really a "book 3" question, but it seems to me the issue always comes up in book 3, because that's where I start having trouble with the phrases. I think it may be shifting hand positions or something like that that I never quite get. Or maybe it's maintaining concentration for an extended duration--"book 3" may be where they start to get longer.
In any event, there's no part of "Super Special Sort of Song" that I can't play, but somehow I can't ever put the whole thing together. I'm starting to feel like Bertie in "The King's Speech"--there's no way I'm ever going to get through a whole song!
That piece of music is a bit tricky. It's ( i think) one of those written by Palmer that is just gives what is needed for that particular type of accompliment. I have gone back to it and have used it for the occasional filler pieces... no I don't play regularly, pieces of music that the average person listening to it, thinks it's classical.
Book three does require a bit more concentration and as my piano instructor told me when I begun pieces such as "Toccatta", Moonlight Sonata", that these are the actual pieces, nothing cut down. And I find that when i am sight reading other musical selections, away from book 3, that I find myself using the techniques from that series.
Yes, you will get through an entire song, even if it takes months. I finally got "Toccatta" down but when I went back to play it, i had forgotten some. It came back.. I have been working on "moonlight Sonata for two Christmases and I am finally getting close to the end page. It has taken time and it will take time.
Also, I am glad to see this thread continuing! This is the first time in a few weeks that I have been able to come to this site because work intervenes (smile). Good luck, take it slow and don't give up!
So I guess I'm back to the fundamental question. What makes the difference between being able to play a measure or phrase and being able to play a piece?
Like piano4 says, “Yes, you will get through an entire songâ€, it’s just a matter of setting your mind to it. What has worked for me, but is obviously not for everyone, is to get a good recording of the piece before I consider it “finishedâ€. I’ve done this with every piece in all three Alfred books. Now what constitutes a “good recordingâ€? Well, it’s not necessarily one without errors (wrong notes), though that’s what I shoot for. It’s more like “a recording that I would be willing to share with people here in the ABF without feeling too embarrassed about my playingâ€.
When I was working on book 2 there was a small group of us that kept posting our recordings of some the pieces and providing support/incentive to one another. That helped me a great deal in “not moving on too soonâ€. The main thing is to remember that it’s not a race, and that there is no finish line. Completing work in a method book may be a mile stone, but you’re never done, so you might as well just go at whatever pace is right for you and enjoy the ride.
Thanks, all, for the encouragement! I did slow it down quite a bit and now I can almost get through it without wrong notes or stutters. So I think it's coming along. Back in Book 2, Bridal Chorus is pretty solid. I may be about ready to turn the page. So now I need to get one of those digital recorders so I can upload. Or can I use MIDI? Or make a YouTube video--can I do that with a Blackberry? All my cameras and audio equipment is analog!
Meanwhile, my piano instructor (using a different method) has assigned us the Bach Prelude 1. It doesn't look so hard, really--just a couple left-hand notes and a right hand 3-note chord--but it offers the same challenge as Sorta Song--repetitions and then minor (or not so minor) variations in the next measure. I'm starting doing a couple lines at a time, at tempo 1/16 = 60 bpm, working up to 100. It seems painfully slow, but the mistakes are disappearing! I'm actually working on a "secret weapon" for this one--if it works out, I'll post more about it!
Well gang, I’m considering myself done (though I'll still use the forum name "Undone" ). I finished Fur Elise, the last piece I had to go in Alfred’s Book 3, this weekend. It’s not quite at “recital level†thanks to all the repeats, but there are only a few glaring “oopses†in it and most of them are problems with dynamics. I’ll continue to work on it from time to time just as I do many of the other pieces at the end of book 3, but I figure I have it down well enough to call it finished and so will move on to other “post Alfred†work.
I know, beyond a shadow of a doubt, that I would not have made it this far if it were not for the “Alfred Adult All-In-One†threads here in ABF and all the fine people who have contributed to them and worked along with me through many of the phases of learning. A big thanks to Mark for starting them and to everyone who has contributed to them over the years!
Undone
My Man! <Denzel voice> congrats indeed! I WILL finish book #3 sometime, hopefully this year, we'll see.
Thanks TTigg & JF. As for “What’s Nextâ€; I’m first taking some time to enjoy not having my every next piece planned out for me. I have started work on another Chopin Prelude and a Vince Guaraldi piece, and I do plan to start working on one of the various “repertoire†series eventually, but first I’m going to enjoy not knowing “what’s next†for a little while.
As for “What’s Nextâ€; I’m first taking some time to enjoy not having my every next piece planned out for me. ... I do plan to start working on one of the various “repertoire†series eventually, but first I’m going to enjoy not knowing “what’s next†for a little while.
Undone
Good plan (or should I say "non-plan")
May I humbly suggest that you might want to consider looking into the possibility of attempting one or more of the many very delightful works of the Norwegian composer Edvard Grieg, especially those found in the collection called "The Complete Lyric Pieces for Piano", which is a compilation of the 10 sets of wonderful sound portraits totaling 66 pieces he composed over the course of his career.
An ongoing and indepth discussion of these works with some recorded examples can be found in this thread:
Question about Calypso Rhumba: On the second page, are the second ending of the middle part and the last two lines still 8va? Otherwise, the middle 2nd ending is a ti-do jump DOWN, which doesn't sound very musical.
Also, does anyone know which is the "calypso" part and which is the "rhumba"?
Question about Calypso Rhumba: On the second page, are the second ending of the middle part and the last two lines still 8va? Otherwise, the middle 2nd ending is a ti-do jump DOWN, which doesn't sound very musical.
Also, does anyone know which is the "calypso" part and which is the "rhumba"?
Tinman, I don't have my music with me here now, but I'll try to remember to look at this when I get home tonight (unless someone else comes to the rescue first).
Question about Calypso Rhumba: On the second page, are the second ending of the middle part and the last two lines still 8va? Otherwise, the middle 2nd ending is a ti-do jump DOWN, which doesn't sound very musical.
Also, does anyone know which is the "calypso" part and which is the "rhumba"?
Tinman, I don't have my music with me here now, but I'll try to remember to look at this when I get home tonight (unless someone else comes to the rescue first).
Undone
Better yet, go to page one of this thread and have a listen to the YouTube recording for this piece (and check out the funky upside down piano). It sounds the way I remember it as far as the octaves go.
Did you get the octaves thing worked out Tinman? I did take a look at the music when I went home that night and noticed another key point: it is marked (loco) at one point (I think it was at the beginning of the last two lines). This means to return to playing as written or “in their normal pitchâ€.
Congratulations Undone! I am at the end with the one piece that I have been working on for ... let's see two years now!! Mostly, I have enjoyed playing these pieces. I went back to "Fur Elise" last night and was surprised how much I had remembered some of it. I have the chance to go back through some pieces within the book. I'm branching out with some fifties, sixties pop music and it feels good to as you put it, "not having every piece planned".
Thanks Piano4! Some of the pieces at in the back of the book sure do take time to learn. I figure that if I really have to work at it, I must be making some sort of progress, whereas if I can just sit down and almost site read it, I’m probably not gaining in ways other than enjoyment. So I’m going to try to have plenty of fun, but continue to keep something challenging on the back burner too.
Key question: For me it was "Toccata" I've tried to go back to it and I have forgotten part of it... to my dismay. But, I take my time and it will come back to me eventually:-)
Toccata, Moonlight Sonata, Trumpet Tune, Fur Elise, and others all take some work. But what was the hardest for me while learning it, may not be the hardest now to “get back†and what I spent the most time on is not necessarily the hardest. As my playing ability grew while working my way through the book I was able to conquer more difficult pieces in less time than I could earlier on. People with smaller hands are going to have more difficulty with Moonlight than people that can easily accommodate the spread needed. So the “hardest piece†will probably vary from person to person. But they don’t call it the “Ambitious Selections†in the back of the book for nothing.
RE Calypso Rhumba Undone et al: Thanks for your comments. It's been a while since I took a look at it (I've got a new teacher and we're doing something else). But I played the demo and that goes loco at p 7 second line second ending. Which doesn't sound right to me, since I'm playing 8va the measure before that (the measure before ending 1). And I don't actually see LOCO written in the music anywhere in my edition (C) MCMXCVI. If there is a LOCO, I'd expect it on the second beat of the second ending, leading into line 3. So, I'm just playing the second ending and last 2 lines 8va. Sounds OK, why not? It's just that things like this can be confusing.
I wanted to take a minute and introduce myself. Some may know me since I had been posting in the Alfred's Book Two area for a while. I finished book two about two months ago. I'm 40 and started playing the piano one year ago this month.
I'm just now starting on book three. My teacher had me learn a song in between that was in a Suzuki book she had titled Sonatina in C major, op. 36 no. 1 by Clementi. It took me about a month and a half to learn the three parts. I was so tired of that song by the end. I should start playing it once a week though because I can already tell I'll forget it.
I'm currently working on Serenade from String Quartet. The pedaling part has been driving me crazy. That changing from one finger left to finger right and then two fingers left one right has been challenging for me. It's like my brain shorts out and just keeps hitting the one key on the left.
I think that's it for now. I look forward to meeting people and getting advise from everyone here.
Cyborg - good to see someone finally post here in this long dormant, but always worthy, thread - good luck with "Dancer" - hope it's not another 4 months until the next reply or post.
BTW - whatever happened to Undone, the last remaining regular here - did he become, well, a, er, undone...? He was a real player and we haven't even heard from him in the Recitals...
I'm glad to see this thread resurrected also. I'm not in Book 3 yet, and as slow as I'm going through Book 2 I may never get there, but I like reading about what's up ahead. Congrats to everyone who has stuck it out through all three books. I hope that if and when I get to Book 3 this thread is still active.
Cyborg - good to see someone finally post here in this long dormant, but always worthy, thread - good luck with "Dancer" - hope it's not another 4 months until the next reply or post.
BTW - whatever happened to Undone, the last remaining regular here - did he become, well, a, er, undone...? He was a real player and we haven't even heard from him in the Recitals...
Trap
I work on/off in Book 3 with my lessons, so I don't really post here too much. I've decided I want to try and get out of Book 3 once and for all, so my teacher has agreed to accelerate through the lesson sections quickly and move onto to the "ambitious" section. Also, due to the pieces at the end of Book 3 I might be in it for a good while longer.
I wonder what happened to Undone too. He hasn't posted here in months. I'm more of a lurker than poster but I'm usually floating around at some point. If he has participated in past recitals, then that makes me wonder what's up.
I'm glad to see this thread resurrected also. I'm not in Book 3 yet, and as slow as I'm going through Book 2 I may never get there, but I like reading about what's up ahead. Congrats to everyone who has stuck it out through all three books. I hope that if and when I get to Book 3 this thread is still active.
The attrition rate to get to and through Book 3 is pretty high. So I'd never expect this thread to be super active. But anyone who makes it to Book 3 is to be congratulated. Anyone who finishes it is a superstar to me.
I know I was sick of Book 2 when I finished it. I loved finishing it though because of the arrangement of "Canon in D". It's been my favorite Alfred's piece so far. I'm sure that will change in the near future since I'll soon be in the ambitious section of Book 3 and it has several pieces that I've always wanted to learn. I'm real excited again about things to come.
Still on book 2, but I spend some time ripping the CD > MP3 for my phone, so I can listen to all the pieces in book 3.
For the first time, I can see a light.. some of the pieces in this book are awesome! "unfinished symphony", "toccata" and then the ambitious section.
The whole adult series 1,2 & 3 has a perfect progression of pieces, although if you like more modern pieces, I could understand a disappointment with the collection. For me, the truly great pieces are spread thinly throughout, but with enough interesting lesson pieces to keep the interest.
Hope this makes sense, and doesn't appear to much as a necromancer at work lol
After practicing earlier this evening, I spent some time reading through approximately the first 10 pages of this Book 3 thread. Will continue with the remainder in the next day or so.
I started Book 3 (All-In-One) about a week ago, although I read through the theory pages in the first quarter of the book before that. Like many others have pointed out, some of the "For Fun" pieces seem kind of lame, and I've given myself permission to give them short shrift. So "Super Special Sorta..." and "Calypso Rhumba" I did not spend much time on.
I am working on getting my speed up on Fandango. Jazz Sequences is a little further behind and just tonight I started looking at Serenade. Went through the first repeat section hands separate.
I'm still working on a few pieces from Book 2 (and will be for awhile). Outside of the Alfred books, I'm working on the Scherzo section of Haydn Sonata No. 9 in F major. I started on the "Married Life" section from "Up" but will probably shelve in for now.
I am hoping that the other Book 3'ers will check in with the thread now and then--it's always helpful and interesting to hear how others are faring.
For those who might like to supplement or replace "A Very Special Day" by Willard Palmer with a Haydn (or rather R. Hofstetter) piece, try "Little Serenade."
It features the "new style of bass" featured in the AIO book and looks to be at about the same level of difficulty.
I was looking to see if this thread was continuing and I am glad to see familiar posts! I've been away from this thread, but have been working back on the pieces in book 3, the simple and the not- so -simple:-)
"Moonlight Sonata" I've gotten to the end and am working on other music, for my band. Besides that, work intervenes, which is a good thing!
I'm off today because I don't go in until later and it's my birthday, so I can play "catch up" with folks that I haven't heard from.
For those who are just beginning book 3, don't give up. If you have gotten to the "Ambitious" section, take your time. It is well worth the effort!
Hey, Cyborg, congrats on being into the Ambitious section. I am oh so tempted to jump into it, but it will be better if I hold off a bit.
Meanwhile--I think I'm finished with Star-Spangled Banner. It is way far from polished, but I just don't enjoy playing it. Swan Lake is coming along, and I've played Scheherazade through HS once or twice. I'm doing other pieces outside of Book 3, so I'm keeping busy. My impression from reading this Book 3 thread is that a lot of people start adding in other pieces at about this point. I'm working on a version of Canon in D that I got from Monica K. I like it a lot better than the Alfred version from Book 2. Getting it up to tempo (lots of sixteenth notes in both hands towards the end) will be a challenge for me.
Hey! I was looking for this thread.. glad it's still going strong! I've gotten busy with work and busy learning some other ambitious music--playing with a two piece band and continuing to go back and forth in book 3. It's good to see folks continuing on! Take care!
Hurray! I've arrived in Alfred 3. The Canon in D was probably the best piece so far in the Alfred series but "A Super-Special Sorta Song" is a real low point in my opinion. Luckily it's not very difficult. However, it really tires my right lower arm. I haven't felt this tense (RH-wise) in a long time. What's my problem/mistake?
EDIT: Is someone else also starting with the third part?
Super-Special looks like it keeps the right hand busy, but it's certainly no busier than, say, Canon in D in Book 2. So, sorry, I'm not much help there. If it hurts, stop.
For the last few months most of my piano time has not been focused on Book 3--there's just so much out there that looks good!--but I've just started buckling down again on #3. I'm working on Theme from the Unfinished Symphony and Steal Away. I use the "Just for Fun" and pieces I really don't care for for sight reading practice and spend my energy on pieces that speak to me.
Book 3 has a lot more theory and covers the remaining keys from the Circle of Fifths, so there's probably less space devoted to actual pieces than in the other books. If fact, other than playing in keys that haven't been covered in Book 2, one could probably dive into most of the pieces in the book whenever one chose.
May be it's the finger #4 or perhaps I just worked too much in the yard during the past days
I've been thinking a lot about straying from Alfred but I'm afraid of getting lost in the multitude of options. So my plan is to get a good start into Alfred#3 and then mix in other things sparingly.
Have fun with the "Unfinished". I wish that I could catch up with you but unfortunately I'm pretty slow and not brave enough to change the order of the book.
for those who have successfully completed book 3 (congratulations, I am hoping to reach that point as well), what pieces are you guys able to play (just after finishing book 3)? how did you guys further your piano education beyond the alfred adult series?
Hi, Book 3 Piano Gang! I had a real time finding this thread, so thanks for the reference in the Alfred Adult Book 1 and 2 threads! I am a 58 year old self-teaching student and I've really enjoyed progressing at my own, albeit slow, rate.
Scheherezade, page 44-45 in the All-in-One. So far, I've gone through all the pieces in the first two Alfred (Basic) books, and the All in One #3 thus far, and the interpretation has generally been obvious, but I'm stymied here. I'm having a bit of trouble with the bass clef slurs and ties, especially at the top of page 45, 3rd measure -- Does one play the G and E-flat together for 3 counts (dotted half in 6/8 time) and then smoothly (legato) go to the G and D for one count (eighth notes) ----- or, is the G held for 4 counts, while playing first E-flat and switching to D? So far, as I'm learning the piece, I've sounded the G twice in the measure, but I'm not sure that is correct.
I've listened to the piece (not a familiar one to me) played here and watched on Youtube, but my ear is just not able to pick that up.
How does one make the distinction when the notes are the same between the slur and tie?
Hi, Book 3 Piano Gang! I had a real time finding this thread, so thanks for the reference in the Alfred Adult Book 1 and 2 threads! I am a 58 year old self-teaching student and I've really enjoyed progressing at my own, albeit slow, rate.
Scheherezade, page 44-45 in the All-in-One. So far, I've gone through all the pieces in the first two Alfred (Basic) books, and the All in One #3 thus far, and the interpretation has generally been obvious, but I'm stymied here. I'm having a bit of trouble with the bass clef slurs and ties, especially at the top of page 45, 3rd measure -- Does one play the G and E-flat together for 3 counts (dotted half in 6/8 time) and then smoothly (legato) go to the G and D for one count (eighth notes) ----- or, is the G held for 4 counts, while playing first E-flat and switching to D? So far, as I'm learning the piece, I've sounded the G twice in the measure, but I'm not sure that is correct.
I've listened to the piece (not a familiar one to me) played here and watched on Youtube, but my ear is just not able to pick that up.
How does one make the distinction when the notes are the same between the slur and tie?
I missed this post in the Alfred's Book#3 thread, so I'll take a stab at it now.
I believe the correct way to play those notes is your second method: the left-hand G is held for four counts, the Eb for three and then slide down to the B for one count.
A tie is usually indicated by having the curved line extending between the side of one notehead and another. A slur (or phrase line) is from one stem to another stem or between a stem and the top or bottom of a notehead.
A slur between two adjacent, identical notes doesn't seem that common--it's almost always a tie. At least in my experience (which isn't all that much).
I hope you guys will keep this thread alive, I'm looking forward to joining you in a couple of months!
I'm also interested in the answer to amirall's question: For those who have successfully completed book 3, what pieces are you guys able to play (just after finishing book 3)?
I haven't finished Book 3 by any stretch, so I can't really answer (I'm hoping others will), but as I mentioned earlier, many of the pieces in #3 seem to be similar in level (i.e., less graded in level of difficulty) than Books 1 and 2. Instead, Book 3 brings in a good deal more theory and the remainder (or at least most) of the keys.
For me, it was at the end of Book 2 that I started branching out. For example, Canon in D at the end of Book 2 is great, but I started learning an arrangement the Lee Galloway arrangement of Canon in D that I liked better still. The Chopin Waltz in A Minor is another I worked on. Walking in the Air (a section of the G. Winston arrangement) is another. If you liked Etude (Chopin Op.10 no. 3) in Book 2, then the first 21 bars of the real deal are not impossible (the middle part is still way beyond reach). And so on.
Here are a few links to earlier discussions of what people were working on that you might find interesting:
Hunh. I think I just discovered an error on page 137 in the Ambitious Section ("...well-known classics in their original form...).
It's Chopin Prelude Op. 28 no. 7, measure 13 with the big chord. Alfred’s has an F5 but it should be an E5, if I’m reading it correctly. Am I reading it correctly? (Alfred’s puts the F4 in the RH rather than LH, but that’s okay.)
I was reading an old thread and came across a reference to an E in the right hand in that chord and that didn't jibe with what's in the Alfred score.
As I've mentioned before, I find Book Three less 'graded' in the sense that Books 1 and 2 worked best when taken from beginning to end, adding skills as one progressed through the books. Book 3 invites a little more skipping around and/or going to the back for the "Ambitious" selections.
From the early part of the book: Fandango was fun to play, I thought. The pieces before that, not so much, imo. I look forward to hearing what you guys think.
So far I've played up to p. 74 (Shenandoah), though I have certainly not polished every piece. In the Ambitious section, I've played Prelude 28 no.7 (Chopin) and that piece I have buffed a fair amount. I like it.
So... here am I at the beginning of the review part of book 3! I find these first songs easy to read and grasp - which is comforting after struggling with the last pieces in book 2.
This time I will try not to skip any song and at least sight-read and play each one of them for a little while, including the ones I dislike (Super-Special Sorta Song anyone?).
Fandango is very nice indeed. I love to learn chord progressions that can be applied to other tunes too.
Agree with Stubbie on Book 3 inviting more jumping around. I've only played up to pg. 24 "Alberti Bass". I look forward to the Ambitious Section at the end of the book but I'm not sure I totally 'feel' this Alfred Series. I supplemented the series with Alfreds Masterwork Classics and told my teacher I want to complete all Levels 3-10 even if there's overlap. We're also working on other materials and have spent the past month on Bach's Invention No.1.
I'm sure the supplemental material will facilitate progress through Book 3, somewhat jading my perspective.
I went through the first few songs of this book in a breeze, then I somehow managed to learn Haydn's Serenade and now I'm stuck with A Very Special Day and Classy Rag. The first one especially shouldn't so difficult, right? And it's depressing to see how hard it is for me to coordinate the two hands in Classy Rag. Thought I was getting better at this.
malkin, I'm learning so slowly right now that you will catch up with me in no time! I'm also trying to prepare something for the next ABF recital, but my progress is so slow it might well be next year's recital!
Yeah, I agree, Classy Rag is tough to get sounding good. It needs a certain amount of speed, a bucket of confidence, and the bouncy spirit/syncopation of ragtime.
I don't have any of those with that piece, so I always stank at it.
I did Swan Lake - the pedal is tricky, it doesn't sound amazing but it's there, and I like it. Then I moved on to Scheherazade and the theme from Schubert's Unfinished Melody and well... I am in a rut! It's happened to me before, but not this bad. I try to apply all the good practicing methods but my progress with these pieces is terrible and I would do anything else instead! Maybe I'm hitting a wall because I went too fast with the first two books... or maybe I'm just not used to working so hard. Any thoughts?
I'm pretty sure the rut is because you are all alone on this thread! Hang in there--gahdzilla and I are both slaughtering Danny Boy, so it won't be long until you have some company up here in Book 3.
Seriously, you're probably doing fine; up and down is the normal course of things. You know it is; you told me yourself! Play something fun or work out something new and easy. Or load up an online Wish list of sheet music.
Sinophilia, glad you resurrected the Book 3 thread, even with a lament!
I agree--Scheherazade and Unfinished... are tricky. Scheherazade never clicked with me and Unfinished's dotted eighth-sixteenth note combos in the left hand were (and are) difficult for me. The next piece, Spooky Story, I played through once and that was it.
But the pieces that follow clicked with me: Steal Away (easy, but very peaceful), Come Back to Sorrento (peppy; a lot of fun), Magic Carpet Ride (eh; once through and that was it), In the Hall of the Mountain King (kind of fun and such a familiar tune), An American Hymn (again, peaceful and not too hard but ultimately kind of boring in the left hand), Adagio in A Major (went from here to Chopin's Prelude in A Major in the back of the book) and so on.
All of this is the long way around to saying that, in my opinion, Book 3 is far less linearly graded in difficulty from front to back than Books 1 and 2--i.e., earlier pieces in Book 3 are not necessarily easier than later pieces (many pieces introduce new keys). I think moving around in the book is reasonable and sometimes just a little more time and experience playing other pieces helps with the harder ones. So--give yourself permission to try some of the pieces that follow and see if they click with you!
I can only share your feeling of being in a rut. I don't think book 2 is particularly linear and since I ordered book 3 at the same time I alternate between them. I can tell that even if I mastered book 2 I would still have got stuck in book 3. Both books have some easy songs and then some doozies. But I believe each of the hard songs has something specific to teach me, that will be required later on as well.
My solution to the problem is to incorporate small sections of the songs (the tricky bits) into my regular practice. So I might only practice a difficult chord shape or progression. I find this helpful but because improvements only happen at a snails pace I just have to wait until ability catches up with enthusiasm.
I've just noticed that it's been over a year since I've started with Alfred's #3. I really haven't made much progress in the book. 'Fandango' was fun and not too difficult, 'Modern Sounds' a bit boring, and now I play other things again. I also upgraded to an acoustic piano (a used Yamaha C3) in November, which required some adjustments I'm still planing/hoping to finish Alfred #3, so I will definitely continue to check this thread.
Since it might be somewhat helpful to others, I add a few words about my experience with some non-Alfred-AllInOne pieces.
For instance, I've learned two minuets from Anna Magdalena's Notebook (BWV Anh. 114 and 115), which were pretty difficult for me. Especially the left hand (and left-right hand coordination) felt very different from the typical Alfred pieces. Anyway, I believe these minuets really helped me advance (at my very modest pace).
I've also worked on Erik Satie's Gymnopedie No. 1 for several weeks. At first I was really excited about my progress but never finished the piece because I still don't have enough control to pull off the right sound in a reproducible fashion.
A good choice (in my opinion) is Beethoven's Sonatina in G Major. It's in Alfred's Sonatina Album and I hope to play more of those. I also bought Schumann's Album for the Young but haven't tried any of those pieces yet.
I also noticed that I've increased my "storage capacity". At the end of Alfred #2, I could usually memorize 1-2 pieces at a time. Whenever I've learned a new one, an old song dropped out. This has gone up to 4-5 or so.
What's the next Alfred highlight? The Haydn Serenade? I still feel bad about not sticking closer to our dear friend Alfred ...
EDIT: I've just checked my old post. I reached #3 in August--thank God (and registered in February 2012). That makes me feel a bit better ...
Thanks for that tlh1, I was looking for something classical away from the Alfred books that didn't look too advanced so I just downloaded the music for the two minuets from imsip.org. Will get stuck in.
Thank you Stubbie, I guess I'm too focused on the progressiveness and don't allow myself to wander about much.
On one hand I feel like I should be better now, after over 1 year, than I actually am; on the other hand I can see that I have gained some general skills - specifically I can read much better and my fingers usually know where the right keys are. I find myself looking around more, downloading scores and trying out things that are not in the Alfred's book. I did this with the song I'm supposed to record for the ABF recital. Plus I'm doing quite a lot of sight-reading. Still, the more I go on, the more I realize how terribly complex this is. I once thought the piano was a somewhat easy instrument, because you don't need to struggle just to hold the thing or produce a sound like with a violin or woodwind. But with most instruments you only produce a single note at any given time! Sometimes I'm a bit overwhelmed.
On one hand I feel like I should be better now, after over 1 year, than I actually am; on the other hand I can see that I have gained some general skills - specifically I can read much better and my fingers usually know where the right keys are. I once thought the piano was a somewhat easy instrument, because you don't need to struggle just to hold the thing or produce a sound like with a violin or woodwind. But with most instruments you only produce a single note at any given time! Sometimes I'm a bit overwhelmed.
I think you are being a bit hard on yourself sinophilia, obviously if you are on Alfred Book 3 after only a year you are way ahead of most. You like many others here have also decided to give it your all - anyone can play piano in a pop style and sound pretty good with only a scattering of knowledge and a book of chords. To take the life long learning path is not the easiest but the most satisfying.
Hi sino, sometimes it's better not to overthink the process (i.e. the opposite of what we are doing in this forum). I believe we all go through tougher phases when we just practice and don't see much progress. And anyway, you have been super fast.
I do understand your earlier statement about listening to Martha Argerich. On the weekend I sometimes practice, then (just by chance) listen to a Gould CD or some semi-pros on youtube etc., return to my piano and am deeply surprised how "different" it sounds. I guess that's subconscious wishful-thinking ...
Hi earl, please ask me if you need fingering tips for the minuets. They are beautiful pieces.
Yeah well, unfortunately I'm a very impatient person, it's a miracle that I got this far
Talking about extra stuff, I had tackled Bach a few months ago but couldn't learn anything properly for the life of me. I think I'll try again this summer (I have the First Lessons in Bach book).
I bought the same book. My impatience shows in the number of sheet music books/albums that I've bought already during my short (and sluggish) piano career. Buying them is so much easier then playing just the first few measures ... Thank God, they are rather inexpensive
Hi earl, please ask me if you need fingering tips for the minuets. They are beautiful pieces.
Thanks again tlhl, I started the first minuet yesterday and actually had a lot of fun trying to work out the fingering. First time I have ever had to do that as most of my pieces are with my teacher or from Alfred's
I am working on Alberti bass this week. Seeing it in print like that makes me want to visit the fishmonger for some bass and make up a new dish!
I always end up thinking of the fish too when I see "bass", because I have to figure out the right pronunciation every time! I keep mixing them up.
I'm currently trying to polish Jazz Ostinato in C# minor (skipped quite a few songs, but will go back to them later). Actually I've been working on this one for over a month now, and new mistakes keep creeping in when I try to speed it up as I'd like to. If I look at my right hand at the wrong time, I keep missing the black keys with my left pinky. Frustrating. Don't know if I'll ever be able to record this.
With Grand Piano Band, I have to work pretty hard to make it sound pretty bad. I apologized to my husband for this and he said it sounded like a fun song. I'm hoping it will be more fun when I can play it a little more competently. I'm still not wild about the pieces in Alfie, but I'm still working on Martha Mier and now also on the Stravinsky "Cinq Doits" which look easy, but I still have to work at them.
I'm still not wild about the pieces in Alfie, but I'm still working on Martha Mier and now also on the Stravinsky "Cinq Doits" which look easy, but I still have to work at them.
I can't say I am wild about the Alfred pieces either. A few on initial listen sound good to me and I don't have a problem trying to learn them. With other pieces though it may be a more concentrated listen that inspires me or someone else playing it that gets me motivated.
I'm probably musically naive, but I actually like the fact that most pieces in the Alfred's books are popular, memorable tunes. If I know how it sounds I will probably me more willing to give it a try. Although at this point I'm more attracted by the real thing and some arrangements definitely start to sound annoying. Must be the reason why I'm finally moving to other things. after 2.5 books, just when the end of this c(o)urse was at hand.
Psychologically, sticking with Alfred will work for me. I'm not doing anything else 'in order' so it will seem like progress to keep moving through the pages.
Holy moly; I'm just going slowly. Is that just the nature of book 3? I was out of town (working) for the weekend. I feel like I'm starting over on my current Alfred pieces, the syrupy special day and the not particularly elegant rag. Stravinsky and Martha Mier did just fine with 3 days off and are just about where I left them.
Book 3 is indeed slow. And IMO a bit too challenging for what it gives in return. I have not given it up completely but I've only been playing Jazz Ostinato from it in the last two months. On the other hand, I had fun picking up book 1 again and going through its tunes, almost sight-reading. One needs some gratification once in a while! I plan to do that with book 2 to see if I have actually progressed at all.
Holy moly; I'm just going slowly. Is that just the nature of book 3? I was out of town (working) for the weekend. I feel like I'm starting over on my current Alfred pieces, the syrupy special day and the not particularly elegant rag. Stravinsky and Martha Mier did just fine with 3 days off and are just about where I left them.
I know what you mean by the syrupy Special Day.....I really loved this when I first heard it, now after a few weeks playing it I am just over it.
I only pick pieces at random from the book (but do intend to learn them all). What I do is find a piece I want to learn, find the hard bit and try for a few days to a week to learn just that part. If it's too difficult I leave it and come back a little later (sometimes a month). Miraculously when I come back to the piece it doesn't seem so hard and progress is quite quick to finish the whole piece.
On the other hand, I had fun picking up book 1 again and going through its tunes, almost sight-reading. One needs some gratification once in a while! I plan to do that with book 2 to see if I have actually progressed at all.
Improvements in sight reading are golden, but also a great indication of how far you have come.
Thank you malkin, I downloaded these and will try them later today. I'm hungry for stuff to read and practice that's not too frustrating. Right now I'd rather spend a month on Stravinsky or Burgmuller than on a single Afred's song.
Been awhile between posts. From midway through book 2 until now, midway through book 3. Piano is my solace and inspiration. Social media and networking is... not my better side. So, three and a half years to get this far. Looking at around four years to get past book 3. That is anticipating another six months in book 3. Don't know if that is normal, fast or slow. Don't think it matters - but maybe it does. What I wondering for myself now is, "What comes after book 3?" I very much like the structured methodical Alfred's approach. I do spend a lot of time musically digressing, sometimes doing more supplemental pieces than I do method. But I always come back to the AIO course. But, what do I do after the course completes? Kind of a scary thought. I feel a need for structure and a progression plan. Some means by which I can - I don't even know what - advance?
Captain Zero, do you have a genre of music you want to play? E.g. classical, rock, blues, new age, etc.? Or are you happy with any music? Depending on what you prefer to play, I may have some suggestions.
I am happy and excited to play anything. I enjoy learning new things and have found attempting things I would not previously expected to be fun. But in general, in order from best to worst. I enjoy the jazz/blues genre most. Classical is surprisingly good. Pop/Country/Broadway etc. are okay, in passing. New Age is not really 'it' for me.
Oh yeah! I do love me some Martha Meirs. I diverged from AIO long enough to work through Jazz, Rags and Blues Books 1 and 2. That was what I considered as supplemental. I am now looking for something more for foundation work - to pick up after I complete AIO. Also liked working through supplemental books by William Gillock and Larry Minsky. I attempted Phillip Keveren without a lot of success - not sure why. Too much hand movement across the keyboard for me at the time I think. I have done a lot of work with sacred, hymns and holiday pieces too. All of which I consider supplemental.
I don't know if I am expressing myself well. I am a little lost for direction at the core. not so much at the day to day. I appreciate the thoughts.
So where are you going? Maybe if I ask question instead then I can reapply the answer to me?
I have a teacher, so he's in charge of anything foundational; I don't even know what that would mean. In Alfred 3, I'm starting the Clementi Prelude in D minor; I was just listing to recordings of it on youtube, and thinking it is kind of boring. I'm in no rush in the Alfred, because peeking ahead it is quite a few pages until anything looks interesting.
I have book 3 of Jazz, Rags, and Blues and there is quite a jump in difficulty from the earlier books in the series. I am presently working on Waterfront Jazz. "Working on" makes it sound like I might be making progress. "Stuck on" might be more accurate.
I am also playing/ working on the Stravinsky Five Finger pieces that are mentioned earlier in the thread.
At my last lesson, my teacher gave me a little speech about harder pieces taking more time, so not to expect to knock them out in a week, so it's all fine.
I have a teacher, so he's in charge of anything foundational; I don't even know what that would mean. In Alfred 3, I'm starting the Clementi Prelude in D minor; I was just listing to recordings of it on youtube, and thinking it is kind of boring.
I loved this when I first heard it but the it proved very difficult for me. After learning the basic piece I went to the Bach Prelude in C, finished it and put it into the last recital, but still can't play the Clementi Prelude fluidly. It is one of those pieces that is in my constant practice list.
My instruction was to to block the RH chords. Problem for me is that I can't reach all of them, but I marked the ones that need rotation, so I know where I'm going and how to move.
My guess is that I will like it better when I can play it more competently.
And hey! Congrats to your Aussie boys on their TTT yesterday and the yellow jersey!!!
I've decided to put Alfred 3 aside completely. I picked it up again yesterday and it takes me too much time just to read through the pieces in the second half of the book. Most of them are more difficult than the extra stuff I'm working on. I'll be glad to go back to them next year, but for now it will be mainly Burgmuller and Czerny etudes for me, and the beginner pieces in Pianist magazine. Plus I have a few other things I want to try out, such as Les Cinq Doigts and Chopin's Waltz in A minor. And there's my daily sight-reading. No time for Alfred right now!
My instruction was to to block the RH chords. Problem for me is that I can't reach all of them, but I marked the ones that need rotation, so I know where I'm going and how to move.
My guess is that I will like it better when I can play it more competently.
And hey! Congrats to your Aussie boys on their TTT yesterday and the yellow jersey!!!
Blocking the right hand chords is difficult but a good start non the less. As this was the most complicated chord changes I had come across up to this point I found it a very useful exercise in itself.
So in my own world with the piano I hadn't seen the news in the last couple of days. A revolt in Egypt and now I am being told an Aussie has done well in the Tour De France....it's all late news to me
I've decided to put Alfred 3 aside completely. I picked it up again yesterday and it takes me too much time just to read through the pieces in the second half of the book. Most of them are more difficult than the extra stuff I'm working on. I'll be glad to go back to them next year, but for now it will be mainly Burgmuller and Czerny etudes for me, and the beginner pieces in Pianist magazine. Plus I have a few other things I want to try out, such as Les Cinq Doigts and Chopin's Waltz in A minor. And there's my daily sight-reading. No time for Alfred right now!
sinophilia, I don't blame you for putting book 3 aside. It is so frustrating every time I go to learn a new piece just how slow it can take. I have started four pieces at once (bad timing as others have completed almost together) and right now it feels almost like they will never come together. So a good balance of material is important.
Congrats to your Aussie boys on their TTT yesterday and the yellow jersey!!!
...now I am being told an Aussie has done well in the Tour De France....it's all late news to me
The whole Orica Greenedge team rocked it, and Simon Gerrans is still in yellow today. It's still quite a long ride to Paris.
Sino--best wishes on cutting yourself free of Alfred! I shall miss you on this thread! Earlofmar--I do love hearing reports of your skip around approach!
It brings up happy memories for me too. When my daughter was about 3 she talked so much that I bought season tickets at the ballet (matinee and in the highest balcony because that was all I could afford) and took her regularly, just so that she would have an opportunity to stop talking for a little while.
Finished Jazz Ostinato. My initial go at putting hands together resulted in a kind of paralysis, but then the whole thing just fell into place and seemed to improve noticeably with each play through.
The Tap Dancer I thought was going to be too dopey, but it is cute and quite fun to play.
Hoping to keep this thread alive - not there yet but hope to be starting AIO 3 in a few months. Jazz Ostinato/C minor is one of the pieces I am looking forward to.
Given my pace, I'm sure to have more than a few months left! My new kindle has the feature where it estimates how long the next chapter will take based on my rate; I'd hate to see that calculation at the bottom of my A3!
Working towards the end of book 3 the pieces get tougher and this typifies the future where two, three or more months to get a piece to performance is not unheard off. Lets not even get started talking about the advanced section although there are a few in there that are quite doable.
The section with Jazz Ostinato, Tap Dancer, and the Hornpipe (started last night) is a bit of a break in difficulty. It's the typical Alfie pedagogy cycle, work the student HARD and then drop in a few easier ones for a break. I think I have about a dozen more, and then the pieces in the Ambitious section which I haven't started, because I am not that ambitious!
I've been working on "Super Special Sorta Song", "Calypso Rhumba" and "Fandango" and will be for the next week (spring break no piano lessons). None of the 3 seem to be overly challenging so I'm hoping to work out the details and get a pass on them when lessons resume.
Also, working on a "Beach Buggy Boogie" and "Misty Night Blues" from the Jazz, Rags and Blues series and "A Little Joke" from the Masterwork Classics series.
Of the 6, Misty Night Blues is giving me the most issues - but I like the piece.
I Love this book. I use the Alfred All in One series to teach my students with great success! I especially love the classics such as Fur Elise, Moonlight Sonata, and Toccata in d minor towards the back of the book. Usually when students get to this level, things get really fun and intellectually stimulating.
LessonsOTW, many people finish at least Alfred's Book One but find hand independence difficult -- for example as might be found in Petzold's Minuet in G. This is not surprising given the chord emphasis in Alfred's. At what point do you find your students are able to play with more independent hands: more counterpoint than chords?
What do you like about Alfred's that leads you to choose it over other methods?
You are right on about Alfred's emphasis on playing chords in the left hand while the right hand does most of the work, and when the left hand does have any kind of scalar or melodic activity; it is usually accompanied by rests in the right hand. This is especially true for book 1. I use Hanon exercises to build finger strength and dexterity and then move on to some of the easier Bach inventions to get the students accustomed to playing counterpoint.
I myself went through the Level 1 Alfred's adult lesson book about 25 years ago, and during my studies I was able to develop some left hand/right independence just by practicing the pieces.
I do remember it was kind of a "ah-ha!" moment when I started to develop this skill.
What is also nice, is that after starting my lessons back up eight months ago after a 20+ year gap, this skill came back very quickly, as well as some of the other skills (such as I, IV, V7 chord progressions) that I picked up.
One tip: Try not to ever stop your studies no matter what. This is a lesson I learned the hard way.
Is anybody (besides me) still working through this book?
I am working on two pieces from the book - Steal Away and Come Back to Sorrento.
Finished up Unfinished Symphony last week. That was probably the toughest piece in the book for me. I found the rhythm very difficult.
Steal Away was a nice change of pace - came much easier after just a week. I think I will probably get a pass on it at lessons tonight.
I haven't spent as much time on Come Back to Sorrento. I basically just worked through the right hand at tempo this week and have started adding in the left.
I had a goal at the beginning of the year to finish up book 2 and book 3 this year. Since I am short of 1/2 through book 3 for sure I am not going to make it with only 4 months left but I will keep marching along.
Also I am working on Worrisome Blues in Martha Mier's Jazz, Rags and Blues #3, Passepied in C Major by Handel and Hunting Song by Schumann.
Working on the Für Elise and not likely to finish it up anytime soon! At least it is pretty, and not like many of the uninspiring pieces of so much of the book.
The cover of my book is starting to peel away from the comb binding, and there are several coffee stains. My teacher and I keep joking that if the book self destructs before I am done I may (or may not) be able to give up on it.
Hey OhioMark... I listened to the YouTube video you suggested and yes it is the full song. The middle sections are the most difficult..... at least for me. To play the beginning at a nice melodic tempo I really fumble to play the middle section at the same speed. It has been almost a year.
I'm working on "Just a Good Old Tune" and "Shenandoah". Never of them are inspiring. Piano lesson on Wednesday probably have a good shot at getting a pass on both of them which will mean moving on to Laredo and Jazz Ostinato.
Also, working on Railroad Street Blues from Jazz, Rags and Blues 3 and Beethoven Ecossiase in G Major WoO 23 and Schumann Wild Rider from Masterwork Classics 3.
I'm coming back to Book 3 sometime this month to hopefully wrap it up in 2015. I had completed the first three pieces of the Ambitious Section and had been working on "Toccata in D minor" when I had to stop lessons about 1.5 years ago.
Now I'm back at things on my own for the time being. I've been practicing various things over the past month trying to shake the rust off. Surprisingly, I'm doing better than I thought I would.
Cyborg, good to see you back! I love your tagline quote and I might just shamelessly steal it for future use.
I still haven't finished Book 3 and acknowledge that I likely won't. I still do play a few of the pieces from time to time. As I think I mentioned earlier in this thread, Book 3 seems to be the level where many of us have developed enough of a foundation to branch out to a whole slew of other great stuff.
I definitely understand the high attrition rate with Book 3. Overall I did not like Book 3 that much when I worked on it. This past week I looked at what I had worked on in Book 3 and I didn't realize how close I was to completing it when I stopped my lessons.
Plus, I've always wanted to learn "Toccata in D minor", "Fur Elise" and the first movement of "Moonlight Sonata". It may possibly take me all of 2015 to finish those three pieces but I'm going to see what happens. Also, I'm working on refreshing "Jazz Ostinato" and "Prelude in C major".
The Chopin A maj. Prelude is my currently assigned ambition. It requires a lot of new skills for me; I'm looking forward to a time when it will sound pretty!
I've been working on Fur Elise since sometime in January and still don't have it right! Doing well on Moonlight Sonata and still working hard on Toccata in D Minor. Blue Rondo is fun and Adagio in A Major is beautiful! Book 3 is definitely my favorite. I feel bad for the people who don't go on to book 3 for whatever reason because it really has some very nice pieces.
Ha ha! My assignment for the week was to work out the 16th-quarter bits. All of them and only them. I am working with an ipad rhythm trainer so that I get it just right.
I am starting to subdivide clock ticks into 1-e-+ *uh* two three.
I don't know what I'll do if my heart starts beating in that rhythm!
How is the ipad rhythm trainer working for you? Are you using it for learning Fur Elise? My husband found a metronome on the web that seems better than the one I have on my DP.
I didn't struggle with any rhythms in Für Elise. But the dotted quarter-eight, and the dotted eighth-sixteenth and me--we go way back. I also mess up rhythms in Martha Mier on a fairly regular basis. I can almost always figure out what it is, and clap it, slap it, or tap it, but when I have to actually play different notes I muff up the rhythm. The trainer app is nice because it stays steady and right even down to the embarrassingly slow tempo which I sometimes need while my fingers learn where to go.
Working on Laredo for the 2nd week - I wasn't playing the 1/8th note as an 1/8th. Moving off Jazz Ostinato in C# Minor onto Moonlight Sonata. Pretty excited.
Also, working on the following:
Waterfront Jazz in Mier's Jazz, Rags and Blues #3 (2nd to last piece in the book)
3 pieces from Masterwork Classics 3 - Sonatina in C and G major by LaTour March Op 93,3 by Gretchaninoff These are the last 3 pieces in the book for me.
I finally finished Book 3!!!!! Moonlight Sonata gave me the most trouble and what didn't help was I used the Henle version where the fingering is different and/or doesn't give fingering! I just wanted to learn from this version, plus it has the whole Sonata.
In all, it took me a little under 3.5yrs to go through all 3 Alfred Adult books. You could probably complete the series quicker, but I learned other pieces in between or in conjuction with the Alfred Adult books.
Congratulations monads! Did you learn all the pieces in the ambitious section too?!? I'm going through some of them now, although I never finished the book. They're definitely intermediate pieces and I figure each one of them would take me at least 2-3 months!
Monads Congratulations and kudos for a job well done! That's an impressive accomplishment. It seems like not a lot of people make it through all three volumes. Just curious, any ideas what you have planned next in your piano journey?
The Chopin A maj. Prelude is my currently assigned ambition. It requires a lot of new skills for me; I'm looking forward to a time when it will sound pretty!
Take a look at the big, rolled chord in the latter part of this piece. In my edition of AAIO Bk. 3, it shows an F (F5) (also shown at the bottom of the page with the tip on how to play it) to be played by finger 5 of the right hand.
In all the other versions I've seen of 28/7, this note is an E (E5) rather than an F. I play it with the E.
Thanks for the kind comments on finishing the series! Yes, I completed all the songs in the "Ambitious" section, even though I wanted to not finish Moonlight. LOL. For me Moonlight was just the most difficult, struggling/frustrating. It must have taken me like 3mos.
Next on the list is: - Moonlight Sonata movements 2 & 3. I know this will take lots, lots of work. Not sure I'm up to it even though I've already started
- Toccata & Fugue in D minor by Bach. I want to go back and re-learn/play from the "Edition Peters" version. I remember some subtle note variances when comparing against Alfred's.
- Chopin Preludes, Henle edition. Not all of them of course, but a few more
- Czerny, Art of Finger Dexterity. At the discretion of my instructor. Right now I'm stuck on "Flexibility of the Left Hand". These pieces seem to take forever too, and are hard. I've only learned one other "Clearness in Running Passages". Haha.
- Masterwork Classics by Alfred Level 5-10??? I like this series, own them all and learned pieces in confunction while going through the Alfred Adult series. I don't think it makes sense to go back and start from earlier levels upon completing the Alfred Adult series though.
- Bartok Mikrokosmos. I'd like to complete the series to improve skills. I started and stopped but I'm going to have to re-visit now.
Waterfront Jazz in Mier's Jazz, Rags and Blues #3 (2nd to last piece in the book)
That one took me quite a while. Last week, my teacher suggested that I revisit it, because I might find it easier now. I'm afraid to look at it!
I think I am getting close. I am hoping to have it recorded to have it available for the next quarterly recital. I think I have my tempo up to speed just need to smooth out a few of the rough spots. Maybe another week (2 at most).
I started Book 3 at the beginning of the year and I'm now working on A Very Special Day and A Classy Rag. The first was easier than I expected but the second is a bit harder than I hoped it would be.
I am currently working on Toreador, Rock a my soul and Prelude in Eb Major. I found the most difficulty in play the triple sixteenth notes in Toreador.
Does anyone have a good youtube or other video they can recommend for learning to play trills? I have found a few that are OK. I have a tendency of getting tense in my hands. I don't want to strain my tendons.
so...where does one go when they have finished this book? new to the forum, but finished this up a month or so ago, and started with a new teacher. but..the teacher really doesn't have me working in any books except for scales and such.
Hi krumpetina, what kind of music are you interested in playing? What does your teacher say about plans for where to go next?
I think that after the Alfred books, most people start learning pieces in the genre that interests them, and refining techniques and skills needed to play those pieces. Some people may focus more on "pieces, with technique as needed", while other people might focus on "technique, with pieces as needed to practicing ce technique", but some mix of technique and pieces is the usual pattern.
Is anybody else working on this book? I just started it and I have a feeling it is going to be a lonely road!
Today I did "Super Special Sorta Song" which I actually like. I think the lyrics are stupid but the music is pretty good. I have difficulty playing the double notes. I also did "Calypso Rhumba". My teacher complimented me for playing it in a laid-back style and I explained that I was playing it as fast as I can!
My teacher wants me to select a piece from the ambitious section to work on. None of them appeal to me very much, but I am sure there is plenty of nutrition there. He is threatening to teach me "Fuer Elise" but I am keen to avoid that one.
My sister-in-law has now started taking piano lessons, and I expect that she will become my hated rival. I am not sure whether this is a good or a bad thing. She has a wonderful honky-tonk piano which she got for free, but she is studying with an ultraclassical teacher who does not like how it sounds. She is doing "Classics to Moderns" by Denes Agay and some sight reading exercises, so it will be interesting to see whether that is more effective than the Alfred's plunking chords approach.
I'm thinking of looking at some of it this year, at least get through the theory stuff. I certainly won't go through the entire thing. I'm following the RCM syllabus now with my current teacher, so I'm focusing more on that. Coincidentally, she did bring up Fur Elise to me, but I don't think I'm going to start that again soon. My stretch piece right now is River Flows In You.
I am only on page 35 (Festive Dance) in Book #2 but I already own Book #3 and the plan is to use it when I finish with All in One Adult Book #2. My son (both of our sons have master degrees in piano performance) is teaching me using Skype. I have a one hour lesson each week. I also work on a hymn arrangement from various books at the same time. I am an amateur Church music director and learning to play the hymns, even in simple arrangements, helps me with the rhythm when I lead singing.
@bsharp Sounds good! I must say that I don't think there was much benefit to going through book 2 strictly in page order, because the difficulty of the pieces varies so wildly. I expect the same is true of book 3. Looking at the children's version, the songs in the adult books are taken from all over the place in Lesson Books 1-5. It's strange.
@David I also like hymns. But I only tend to enjoy playing ones I have heard before. At my level, most of the arrangements I can find are too difficult. (But there's a good version of Morning has Broken in Alfred's 2.)
@Utkonos Our two sons both have masters degrees in piano and have played in Churches for more than 20 years (they started in their early teens). I have about 10 books that are at my level. Here are three books that I have been learning most recently:
Strong in the LORD by Rebecca Bonam published by Soundforth
Junior Hymnbook Book Three (this is part of a series which progresses in difficulty) - not sure if these a currently published but the publisher is Boston Music Company - I bought my set from an Amazon marketplace company in Nashville.
Playing for Church Intermediate Arranged by Harold Decou Published by North Valley Publications
We sing standard hymns in our Church - we all love them. We are older - at 66, I am a relative teenager in our Congregation. Our pastor is 87 and our pianist is 82. So I play hymns that we use in our Church services (can't play them for the service because they are too simple and I am busy leading the singing).
I want to continue on to book three when I finish book #2. About half way now. Hope this thread will still be active. In you opinion how difficult is book three compared to book 2 in terms of time it will takes to learn new pieces?
I've been going through it actually, the theory anyway. I actually started a piece yesterday out of it called King Williams March. I was reviewing the section on Ornaments/Trills and this piece didn't look too complicated. So I thought I would give it a try and see if I could sight read through it. I can for the most part, but need to slow down on some hand position changes. I'll work through it though and add to the 40 piece challenge. I think Volume 3 is more interesting the Volume 2.
Hi Birdgolf, I am currently working through Book 3 and am up to Swan Lake. I don't think we are going any slower than we were in Book 2, but the "Ambitious Section" is a whole different story! Also, it looks like there are some difficult pieces coming up.
I think the intention of the authors is that you go through them at the same speed. I mean, the music gets harder, but the reader is supposed to have got better at playing the piano at the same time.
Hi guys, I'm a newbie three months into this and still in book 1 of course. I thought I'd post here because I have a book called "How To Play The Piano" written by James Rhodes that teaches you to play Bach's Prelude in C (BWV846) from scratch, a piece that, as you know, it's in the ambitious section of Alfred 3!
So I guess sometimes this is a matter of attitude.
Just starting book three and supplementing with Golden Standards for Easy Piano which I can run through most of the songs easily - just to improve my reading ability, and also adding one intermediate jazz piece which will take several weeks to finish. I find the Golden Standards book almost too easy, but the intermediate jazz almost too hard. Hoping to find something in between.
I have been reading these posts since I started 1 1/2 ago taking piano from scratch. Very interesting comments and helpful insight from various posters. I am worked on Come Back to Sorento. Very challenging indeed. Love the song. I am starting to work on doing scales now 10 mns before working on songs in the book. I believe scales will help me progress easier. My piano teacher never mentions scales and it is only a 30 minute lesson per week. What do others here think of doing scales and lesson length?
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Hi Astropiano, IMO scales, chords, and arps are a good thing to practice, edpically in the key you are playing your pieces. But most of your practice time should be spent on your songs. Cheers, Birdgolf.
Hi Birdgolf : I agree as I believe I have done well mostly doing the songs in Alfreds books. But I do think that practicing more scales in the keys we are playing could help considerably if done like 10 mins warm up. I wonder if anyone else will chime in? Cheers! Astropiano.
Working on "In the hall of the mountain king". Very interesting song with fingering that is tricky when first trying it out. Just stated it yesterday but it's going to take some work to get it right. Anyone else have any comments or ideas to make it easier?
I am currently in book one of Alfred's Adult All-in-one as well as studying with Hoffman Academy. I am 40 years old and have played piano since I was 12. Self taught and by ear of course, with a hiatus of a few years here and there. I have always wanted to have piano lessons with a teacher but life has always thrown me curve balls and it just never happened. So Alfred's and Hoffman online will have to suffice. Anyhow, I am wondering what else you use besides Alfred's AIO to supplement? I feel like I am learning a lot but feel that it lacks in theory. I have ordered the greatest hits book 1 and 2 and will start those shortly. I do have a background in playing clarinet, so not a complete beginner and find myself flying through the lessons. Sorry for the lengthy intro, just wanted to give you an idea of my background.
I'm really just wondering what else besides Alfred's AIO are you doing?
Hi Birdgolf: I am working on the piece, but I had to take my daughter out to California to get her a place so she can finish her doctorate in PT. While out in California I stopped by to see Pianist Steve Rivera at Kim’s Pianos. He is a vary talented song writer and pianist. I discovered him on utube as he has some videos for Kim Piano Store as they sell Bluthners and he plays his own songs which are very nice. Very similar to George Winston. Look Steve up and buy some sheet music or his CDs. You won’t be disappointed. Also a very humble person. He personally let me practice on two concert grand pianos and gave me some piano tips on this song. It was great. I feel more confident I can get this song down soon. How about you. What have you been working on? Thanks.
Enjoyed hearing Steve Rivera on YTube. Thanks. Working on Danny Boy and Canon in D in Alfreds. Upon Completion I plan to start Alfred’s #3 and Faber Piano Adventures Level 4. Regards, Birdgolf
Birdgolf how you coming along? It would be nice to have company working on book three. Book 3 is even better than the two prior Alfreds books. I passed the mountain king and now finishing up a Chopin Prelude in A Major in ambitious section of book page 137. Rondo Blue looks ominous though to me right now. Anyone else chime in by all means. Cheers!
I've been working on Fur Elise and Prelude in A Major out of this book, in combination with the sheet music of Fur Elise from RCM 7 and the sheet music for Prelude in A Major from Chopin - An Introduction to His Piano Works (Alfred's - Palmer).
I just finished up Chopin Prelude in A major in the ambitious section of Alfred’s Adult Leve 3. It’s a great piece to keep in your back pocket and a lot of people will have heard it sometime in their life to recognize it as a masterpiece. How difficult is Fur Elise? I believe that comes towards the end of the Alfred’s book. It sure seems like your making great progress. I enjoy your wonderful posts. cheers!
Hey two piano guys....Congratulations on your progress on Chopin's Prelude in A Major. You are way ahead of me. I am still working on Danny Boy (can only play it at about 40 bpm) and Canon in D in book 2. Had to go out of town for three weeks and no piano. "Let's play Piano" guy on YTube has some fingering recommendations for Prelude in A Major if you are interested. Later, BG
@Astro - Fur Elise is difficult I think, and to play correctly. My teacher always finds something to improve. She's particular about keeping all sections consistent in tempo. It's important that you find what part you can play section B at comfortably, and make sure everything else is consistent, including the part with triplets. I do practice with a metronome at times to help things in check. I don't go much faster than 104-108 at this point for the 8th note. I can play section B cleanly with that tempo so far, but then section A feels too slow compared to what I typically hear. I think I prefer this piece a bit slower and a bit softer than what you might find online. The following is probably my favorite.
@Bird - Thanks, I'll take a look at that video. I really don't use the fingering in the Alfred's 3 book, but rather the fingering found in the Alfred's Chopin book.
Great posts guys. Danny Boy is a fun piece. Cannon in D is also nice piece. Keep at it Birdgolf as getting these pieces will really help you for Alfred’s 3 level book. Bsharpcyclist thank you for the suggestion on Fur Elise. Hey Jeffrezzzz. Don’t go away. We thank you for sharing about yourself here and looking forward to you getting into Book 3. Stay at it. I am working on Blue Rhondo. It’s a real hoot of a tune. A little hard on the fingers at times but we will get used to it. Cheers😉
Working on Blue Rondo and enjoying learning it. Doesn't seem like there are too many of us working on Book 3, but glad to see some activity on this thread.
I stopped checking this page since everyone disappeared on me. Great to see some people working on book 3 like me. Blue Rondo is cool. I finished Jass Ostinato! That one is really fun but I still have difficulty completing it without a mistake. I believe it will help in future when I try to tackle bogie woggie. I am trying to conquer The tap dancer. That one is crazy. Also started Rachmaninoff Op 3 no. 2 Prelude in C sharp minor since I am working on this key right now. Very cool sounds on that piece but more difficult than I was hoping for. cheers!!!!
Where is everyone? I hope your fingers are still tickling the keys🎶😎 I have now completed Soldiers joy and Toreador Song. The hornpipe song was challenging not to make a mistake like Jazz Ostinato was as it is fast playing with Sticcato in mainly left hand only. Now working on Rock a my Soul. Just keep playing. Love it. Love to hear any accomplishments for others.
Where is everyone? I hope your fingers are still tickling the keys🎶😎 I have now completed Soldiers joy and Toreador Song. The hornpipe song was challenging not to make a mistake like Jazz Ostinato was as it is fast playing with Sticcato in mainly left hand only. Now working on Rock a my Soul. Just keep playing. Love it. Love to hear any accomplishments for others.
Working through The Stranger. First one that has really needed a lot of time for me. I normally take an hour (spread over 15 minutes slots over a day or two) to learn the notes and road map. This one is taking 4 times longer before I can even start to consider the proper rhythm; and then the dynamics to come.
Birdgolf: Fandango is a keeper. The Stranger is in Book 1. There are some really good songs come my up for you like sheradaz. I am working and on Variations of the Sea Chanty. Very neat song. The prelude before confounds me. I have to keep at it diligently to get it right. Keep those keys bouncing. Cheers!😎ðŸ‘🎼🎹
Hey Book 3'ers...lets get this back on page 1. Does anyone think Masterwork Classics would be a good warmup and sight-reading book(s). I am about finished with Dozen-A-Day Vol 2. --Regards, Birdgolf
Got Rondeau down. Now working on Trumpet Tune. My right hand got sore over weekend with doing the trills. I guess you cannot over due it for too long. The last songs like Toccara In D minor and Fur Elise and moonlight Sonata finally coming up but they look massive compared to everything we have accomplished so far. So stay tuned! I will let you know.
Where are you Bsharp and Birdgolf? Hope you are doing well. I have been working on Toccata in D minor and Fur Elise. I feel pretty good on Toccata with a small section that needs Constant attention and Fur Elise section with the one finger altering fingers with left hand. I am getting there and just keep going at it. How about you guys doing?
I haven't tried anything new from the Alfred's book lately. I'm focusing on my RCM exam for now. After that, not sure what I'll do next Perhaps I'll give Toccata in D minor a try.
Hello my friends, I am still here and moving slowly through Book 3. I am currently working on SERENADE (p.26). I keep letting other music get in my way. Hopefully I can soon concentrate more on Bk 3. Keep up the good worth. I understand very few complete Bk 3. I guess it's like running a marathon. Cheers, Birdgolf
Glad to see Birdgolf and Bsharp are hanging in there. I have worked on Toccata d minor and have everything good except top of page 3 complicated fingering down pat. That section is going to take a long time to perfect. It's good but I make mistakes on that section most times still when playing thru the piece. I have Fur Elise down relative good now so that it sounds respectable when I stay focused on the runs. I started moonlight but the right hand stretches of the fingers is very challenging and not comfortable yet. Needs a lot of work to get it comfortable. How about you guys? What's happening?
Got Moonlighting down! Now working on Clare de Lune. Now that is an interesting piece to elevate my playing. What are you guys working on now? Keep me posted. Cheers!!!
Glad you got Moonlighting down. Just that first part, right? I think the 3rd movement is super fast. I have not yet attempted Moonlight, nor any other piece out of Alfred's 3 since my last post. I'm working on pieces assigned to me by my teacher for now, along with easier pieces I pick up to keep moving forward with the 40 piece challenge.
I am working on Clare de lune. It is the longest piece I have ever attempted. I do not think my piano teacher was excited that I wanted to do this piece as I think he thought it was to difficult but when I played thru first page I think he was surprised I could do it. So now I can play the first 4 pages all the way thru. I still have two more pages to learn and then I need to do a lot of polishing to get it to sound good. How is every one else doing? Keep on playing. 🎹🎶🎼
Hello, I've decided to switch over to Faber Piano Adventures Level 4 using the Lesson, Technique, Theory, Perf, and Sight Reading books. Looks like an integrated package and will probably keep me busy for 6 to 8 months. Keep up the good work. --Birdgolf
I can now play all the way thru Clare De Lune😃. Now I have to get the dynamics and polishing done to make it sparkly. I hope everyone else is doing well. I had a guest yesterday over who plays by cords. Something completely different than the traditional way I have been taught. How about everyone else. Feel free to chime in. Happy keys to all. Cheers!🎼🎹🎶
Hello all, I've been away a few years, I was on Alfred's book one or maybe two the last time I was here. I'm now working on book 3, A Classy Rag, sounds like a fun piece. Hope to stick around this time! I've also upgraded pianos from a Yamaha U1 to a Kawai GL30. It's an awesome piano and I need to justify the cost by practicing A LOT! Larry
Thanks dobro. I'm hoping to put my version of A Classy Rag up on YouTube soon. I'll put a link up here when I do. I found this version from page one of this thread, maybe by a member here? Anyway it's quite well done I think.
Hey all Alfred book 3 folk, here's a 9 year old video of Adagio in A-major from said book, I did on my old Sherlock Manning piano. My playing is kinda rough but not too bad I think. I unfortunately got away from the piano but I'm back at it again and hope to participate here.
I'm near the end of book 3. I just worked my way through Für Elise and it took me over a month. Chopin's Prelude in A so far doesn't seem nearly as difficult. I'm expecting to struggle with Moonlight Sonata.
I'm not sure where to go after I finish, but I'm thinking of Masterwork Classics, and maybe some Jazz instruction.
I'm near the end of book 3. I just worked my way through Für Elise and it took me over a month. Chopin's Prelude in A so far doesn't seem nearly as difficult. I'm expecting to struggle with Moonlight Sonata.
I'm not sure where to go after I finish, but I'm thinking of Masterwork Classics, and maybe some Jazz instruction.
Awesome achievement to get to the end of Book 3! I got burnt out on Alfred last year after book 2 but back into it now. I'm on Steel Away (piece 14 of 45) This and the last one (spooky story) are pretty easy thankfully! Fur Elise I have done earlier but it still needs work, especially the B section!
If anyone is still reading this I have a question, how strict are you on going through every song in the book? I did that with book 1, now I’ve picked up book 2 again after briefly starting it. I stopped and did a lot of piano marvel’s learning programme and ABRSM 1. I find it hard to get a long piece done well so if it’s a song that has that basically repeats expect for the last bar I just learn half of it as such. I don’t really fancy spending over a year on book two but want to learn what I’m supposed to from it. Would be reasonable to skip some songs if I felt I’d learn enough in the particular key? Thanks
If anyone is still reading this I have a question, how strict are you on going through every song in the book? [...] Would be reasonable to skip some songs if I felt I’d learn enough in the particular key?
You can skip any piece that you don't like, and if you feel you would like to get more practice with a particular key, you can find lots of pieces in that key online, or in other books.
Thanks for your reply. Yes that’s how I feel, I want to maximise my learning and enjoyment while not getting bogged down with pieces that aren’t actually teaching me anything new especially if I don’t like the song, I want to skip La Bamba for example, fun song to strum on guitar, not appealing for me on piano
I’ve cherry picked pieces from this book- currently on toccata and prelude in A major but that’s will take me ages to learn properly. Earlier pieces I enjoyed were “ in the hall of the mountain king “ Blue rondo Jazz ostianoto
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(smile). Wish luck me all:-)
With Toccata, I am only on the first page! 
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then a 1wk break so I can look @ Forest again. Then I'll be over here saying "hi" and looking at what #3 has in store.. 
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