Questions and Answers
I want to get good at the piano and i heard this guy on the radio play a very challenging song (one of those songs where there is no main motive or theme to it, just technical godliness)
I decided that it is very worth it and wanted to practice. But i dont know how to practice. My teachers dont believe in me (i dont blame them) and they never go over techinque with me.
Im oblivious to how or what im suppose to do when practicing.
All that you can fill me in about would help.
Sounds to me like something is wrong with your teachers, not you.
CHOOSING A PIANO TEACHER
WHAT TO LOOK FOR
The most important concepts you want to learn from a piano teacher:
HOW TO PRACTICE. One of the questions teachers are constantly asked during interviews with new students is “How much should I practice?” It’s not how much you practice, but how well you practice that really counts. A student playing a piece of music over and over again making the same mistakes is hardly getting more than increased circulation in their fingers. The student who works over small sections, perfecting the sound of each phrase while studying their own physical motions, is improving their playing of a particular piece as well as improving their overall musicianship. Practicing is work, but if organized properly, it is enjoyable and soulfully rewarding.
PROFICIENT SIGHT READING (the strange term used to describe playing from printed music) is one of the most important skills a musician develops. First, it allows one to perform unknown music with a decent degree of fluency — normally, such a performance can be brought off proficiently if the music requires less than the technical level the pianist has attained. Second, it makes the work of learning a new piece immensely easier.
DEVELOP A WORKING KNOWLEDGE OF THEORY. Integrating theoretical concepts relevant to the music being studied is essential to musicianship. Scales and chords, which are the foundation of music theory, must not be taught as isolated exercises. Balanced teaching includes introducing each element of theory as it becomes needed to help a student’s understanding of how music is put together.
Many “classically trained” musicians are notorious for lacking an understanding of theory due to training not received. For the most part, they are typists who can only play from the printed page in front of them, maybe with feeling, but without any knowledge of why the notes sound like music. Ironically, many classical only piano teachers degrade rock and roll musicians, but pale by comparison when it comes to playing their instrument from a knowledge of theory rather than from reading sequences of notes.
MEMORIZING a piece of music and making it part of you is the goal almost every musician has towards a composition they love. The good teacher follows a comprehensive procedure for solid memorization: building a base of theory through scale recognition and chord progressions; teaching the steps and methods of memorizing; and allowing the student to experience how their ability to play by ear is developing as they bring the physical and intellectual elements together.
CONCEPTS THAT GO BEYOND WHAT IS ON THE PRINTED PAGE — there are many qualities about musical sounds that are too subtle to be communicated properly in symbols, or properties of music that composers or editors leave off the score. One example is the layering of simultaneous musical lines, so that the melody is louder than the low (quieter) and middle (quietest) voices. The growth of a musician is facilitated by teaching them that there is more to creating music than playing the right notes. Getting to the spiritual core of a music composition, whether it be classical,
jazz or popular, requires developing a range of physical and intellectual skills. One of the greatest joys of teaching is experiencing that first time a student changes from a player of notes into a musician. The hours of struggling finally pay off for them. They suddenly find, while playing a piece they have practiced diligently, that they hear the inside of the music.
Neil Miller, author of The Piano Lessons Book
Enter in Amazon.com search: Neil Miller Piano Lessons Book.
I started learning piano last November, and I am starting to get into eighth notes at allegro, and I find it difficult to get my 4th and 5th fingers to move fast enough without collapsing. So I looked up some finger strengthening exercises, and they talk about Taubman and Schmitt and Pischna. What are those?
I am very confused. I just want to learn to play piano. How does one measure success at learning the piano? Can somebody describe the process and landmarks towards proficiency for me please, or link me to some sort of time line illustrating progression please?
Can I recommend you set yourself personal goals such as learn the song.... Or learn four new chords off by heart, within one month?
Since you now have goals, you can measure them 😀 and from personal experience someone who sets goals, is much, much more likely to master the piano faster than someone who doesn't.
If your looking for a place to learn the piano online, I can recommend: Http://www.learn-the-piano.com who offer "The Fastest Way to Learn Piano or Keyboard" or your money back! Check out the testimonials and your find many people have had great success!
Either way! Get playing buddy 😀
The names you mentioned are all people (Famous Pianists), I can only find links to one of them online but its the first one in the source box.
So I got this book, Piano for Dummies and used some google search as well
I am wondering after having gone through the basics, HOW DO I PRACTISE? I saw a few videos from Lypur on youtube.
Now I am wondering, how to do the practise??? I just want to get some "practise resources".
Piano exercises are a great way to practice different notes, chords and progressions. Play piano exercises with help from a producer and musical director in this free video clip. Don't forget me when you become famous 🙂