New courses on piano technique and historical improvisation now enrolling at Improv Planet: The Four Pillars of Piano Technique : improvplanet.thinkific.com/courses/the-four-pillars-of-piano-technique Tone Production at the Piano : improvplanet.thinkific.com/courses/tone-production-at-the-piano How to Practice : improvplanet.thinkific.com/courses/how-to-practice The Piano Foundations Series : improvplanet.thinkific.com/bundles/piano-foundations And more: improvplanet.thinkific.com/
"8. Call BS on fingerings and motions that are not working" --- what has always worked for me is to play that measure or two in all twelve keys (going round the circle of fifths), by the time you get back to the original key you have found the best fingering and have committed it to both intellectual and muscle memories.
Although I would say that there comes a point where no matter what fingering or maneuvers you try in an attempt to make the passage easier for you, the piece you’ve selected may not be for you due to not you not having developed the required technique (but only if this happens at multiple spots within the piece).
I heard you talk about sight reading and memorizing and wanted to say thank you. I believed that for so many years and going to give myself a chance to actually build that skill
I use a lot of combinations and variations of a lot of what you mentioned here. I often recommend that when someone is having trouble with a particular section that they should isolate it and learn it in every key. This seems overkill and it seems like 12 keys would be a lot of work, but when you do this you actually realize how similar the feel of many keys are. You gain the benefits you mention of really thinking about what is happening harmonically and melodically and have to think about it differently (often in relation to scale degrees). You also gain a significant improvement to your technical ability. If a similar figure shows up in another piece in another key, you've already worked out the kinks. Obviously, if you play in jazz/pop styles, you can often add these to your toolbelt. They can become comping patterns or licks or whatever based on context. This is pretty standard practice for jazz, but has so many benefits to classical musicians as well, despite them often being quite resistant to doing anything that's not already on a page somewhere. The downstream effect of transposing and forcing your brain to understand how these ideas work is that your ear will improve just by understanding the mechanics of musical language. You'll hear a little fraction of those ideas and nearly immediately understand what another pianist (or really any musician) is playing and be able to transcribe that idea. You'll also be able to pull out plenty of other ideas by ear as a result of this bolstering of your ear. You can steal ideas from others, write them down (or not), and just work those out in every key as well to add to your bag of tricks. The amount of ideas I use in my day to day work that are straight up stolen from people I've listened to on UA-cam alone is staggering. As an organizational idea I actually use a series of notecards. Not only is this great for organizing and triaging work on large volumes of music I may be preparing for gigs, but if I'm too busy with work music to sit down and immediately work on some piece of musical inspiration, I write it on it's own notecard and file it in it's own tab for later work. When I'm no long under such a heavy workload and have some time for personal self improvement, I can sift through those cards and pick one or several to work from. I can also document my work and progress on the cards themselves making notes of dates, tempos, realizations of things that need special focus, etc. It means I no longer get an idea when I'm busy and just end up losing it by the time I'm freed up. I used to just write ideas in a composition book, but I found that it was too much noise to sift through and sort out what I wanted. Many of those ideas ultimately go lost due to there just being endless pages of random, unrelated ideas. The notecards give each idea a discrete place to live. Some ideas can be archived, or they can be put in a tab for "later" or they can be moved to the "current" tab for more daily focus. This has drastically reduced the amount of half-finished projects that were the result of suddenly getting several practice heavy gigs. Ideas that are particularly valuable or need a more solid representation may end up in one of many binders (essentially zibaldones sorted by instrument: piano, trumpet, accordion, guitar, etc.) where I've sketched out ideas on manuscript or have printed an exercise either from my own Finale, some source found online, or copied from books. These can easily be cross referenced on the notecards so that in my increasingly vast number of books and binder, no idea is really lost. At any point between work, I can pick up exactly where I left off.
I am just an amateur (actually not even that lately anymore, as my job did not permit me for the last at least 5 years to get time to play anymore but...) I found all you said in this video and the previous one about what a serious musician would do so true and helpful, not only for college students but also for people who are still at the start, maybe after 2-3 years of learning piano :)
You are one of the best musical communicators and educators I've had the pleasure of listening to!
5 років тому+4
*tips hat* I am piano teacher myself, and I have been watching a couple of your videos. Although we (most likely) differ in the way we teach (and what we teach), I am really pleased to see your ways coincide with mine. Viz. it's not (only) about the notes that are in front of you (or the piece that you are practicing at the moment), but much can (and does) happen when you step away and have listen to something (seemingly) different - for actually getting *it*. Thanks for sharing!
Might I suggest writing piano reductions of short orchestral passages. This accords with your remark the many composers use the piano as a shorthand for the orchestra. Engage in that process
Hi Prof. Mortensen, I came across your first video about what serious pianists should do just a week ago. And now I am your biggest fan! I have watched all of your videos on piano techniques and other advice. They were tremendously helpful, and reassuring-I’m glad I’ve already been doing many of the things you mentioned when practicing. I just never knew if i was doing it right (like playing along with recordings-no shame now lol) Thank you very much for sharing your insights! I was wondering if you’d be interested to do some kind of series featuring specific composers and their works. For instance, you have mentioned that Mozart sonatas reflect his orchestra works, and how Chopin understood piano the best hence wrote pieces that could truly make the instrument sing. It would be wonderful to hear you delve into these topics:) Hope you will see this. Merry Christmas!
Another fine video with many useful suggestions. Thank you very much for taking the time and effort to film these. They genuinely qualify as a "public service" to the broader global community of piano students.
I really enjoy these videos! I’ve started classical piano very recently, having play Irish Trad piano for 5 years (since I was 12). I’m in love with classical music at the moment, thanks so much for your excellent tips!
Thank you very much for sharing your experience and insights to everyone here, where we can all reach out to it regardless of how privileged we might be. It's very nice to see and be able to communicate (even if it's one way through watching your videos) with someone who thinks deeply about music and approaches to it in a philosophical and rational way. Most musicians with experience seem to have a few unchanging perspectives that they like to share always and not listen to other opinions as much as that requires more brainpower.
Your videos are excellent. I play classical, jazz and play by ear, perform, and I teach also. I find it useful to take a simple piece and play it in all keys, whether it was already written or whether I'm playing it by ear. The insights I get from that practice are deep and very useful in my overall playing. I loved that you mentioned that (can't remember if you said it in this video or a different one). You're a great teacher! Thanks for sharing.
You're videos are really good. I have taken much from them and some confirm what I already apply. Thanks so much and keep spreading the multifaceted joy of piano/music.
Number 11: do analysis of form. Not just A B A but detailed breaking down of music bar by bar. An example might be the Mozart fantasia K 475, the one that goes with the C minor sonata. Also analyse symphonies and look at the methods of orchestration. What do you think, Dr Mortensen?
Expand to other musical areas: learn sonic arts, world music, research, sound design, music technology, composition, new music, conducting, get lessons for other instruments, etc etc Proven to make me have a more well-rounded maturity and the much needed versatility in today's musical word.
I totally agree. Having some understanding of acoustics or recording, or maybe a bit of knowledge about sound engineering or a different instrument like drumset or something can really help give you more perspective.
I like the no 8, in one Bärenreiter's edition of Mozart's Twinkle Twinkle -variations, in the foreword it was said that fingerings vary with age, hand size and the level of skill, so the fingerings given were only to be considered as suggestions.. Only within the last year I've been able to use 4-5, 5-4, 1-5, 5-1 fingerings in the left hand effectively in a more 'compact' fingerings I've encountered in some Bach works.. the 1-5 i still sometimes change to an easier option if possible..
You are great sharer of how to teach.. How to play.. a very often uncooperative instrument Grateful thank yous for making me think on how to make MUSIC Thank you again 👍👍👍💯💯
Does anyone have any tips on how to start 'taking flight' in improvisation? When I'm improvising I'm constantly having to think, "what's that note I'm hearing in my head? Oh, it's the 4th degree of the key". And it slows down even more when I want to modulate. How does one begin to make those processes more automatic?
Dear Prof I have been following all of your videos since I found them. I love them a lot and have learned a huge amount from them. Thank you so much. I am an adult learner and have reached a Grade 6 level in the British system (which is intermediate). I really struggle with rhythm. I spend so much mental energy counting that I my music sounds really wooden at times. Can you share some of your wisdom on how to gain a more natural rhythm?
I am struggling similarly, and if the Professor would allow, I would like giving my answer to the question: When keeping count to playing is going very well (and I might add the counting/internal metronome is basically 'automatic') then the count seems to anticipate the playing of the note, or put another way, the counting is 'beholden' to the playing, in other words the function of playing and of keeping rhythm have swapped places. I realize this is not purposeful, but I hope it can help.
Hmm, you're out of my paygrade, but it's interesting to hear ideas for my (hopefully not so distant) future self. I'm struggling to sightread 2 part Bach Chorales for now. The hardest part is to see the chords jump off the page and into my musical brain. LOL. Suffering from Aural Aphantasia, this will be a problem. So it makes it a little more difficult, I've overcome bigger handicaps. BTW do you have any ideas for this?
Hey Prof! I'm a big fan of your great videos. I recently thought about upping my technique a notch or two, do you recommend the Liszt technical exercises? Or is there something out there more efficient to work with (taking into consideration I do not major in piano but would love to have a solid technique to serve the music with the little time I have to practise)
Professor, what is the name of the chord progression that you played at the end of the video ? Perfidia? Where can I learn more about this progression?
Hi Professor! I've discovered your videos a few days ago. I love them. You've got right to the point and told me some news I've known but that I refused to listen. It is a great shock but a good one. However I would like to know how do you suggest to study again a piece you've already mastered some years before. Do you have a video on that? Thank you very much. I'll keep on following your channel. Amazing! Greatings from Italy, somewhere near Como!
After knowing his charming and well-known "Pastorale" for many years, I discovered more keyboard music by Dominico Zipoli. Mon Dieu! Unbelievable! This composer had an imagination, inventiveness, and quirkiness, plus amazing contrapuntal mastery, that I never expected. Discover this great dud
Honestly, I wouldn't be surprised if that was true. Even more so for violin fingerings - I swear Paganini must've wrote some of them, they're absolutely ridiculous.
I have dreams that I am an unknown composer for people of the generation to discover. I will let you know how this works out for me if people of the future find an old UA-cam archive on an ancient server and discover my interesting compositions that will have not been heard for hundreds of years.
cedarvillemusic I don't mean to annoy you with my asking, but I would be happy if you could tell me your opinion on my struggle: I'm a High School student and soon I'll have to choose what do at University. I have a passion for the piano, but I know I will never be able to become successful as a performer of the overplayed pieces I like. I also am interested (and have great marks) in Physics. But I am not sure whether I like Physics enough for it to be my major (and thus my lifelong field). Would you suggest me keeping music just as a hobby, or should I pursue it at University? Should I start searching for other things in music that might fulfill me as well, and are more likely to become financially acceptable, like composing (for movies maybe?). I feel lost and still don't know what importance music shall play in my life.
Noot Noot I think you should choose what you love better..but then you also have to think about money in this. I’m actually much younger than you are, haha XD and I’ve been worrying about the same thing too recently...I think that you could make a great decision with three important things you include: 1-what you love 2-think about it’s money a BIT 3-ask advice from your parents, But that still doesn’t mean you HAVE to choose their opinions!! Just whatever feels right.. Anyways, I tried to help! 😅
New courses on piano technique and historical improvisation now enrolling at Improv Planet:
The Four Pillars of Piano Technique
: improvplanet.thinkific.com/courses/the-four-pillars-of-piano-technique
Tone Production at the Piano
: improvplanet.thinkific.com/courses/tone-production-at-the-piano
How to Practice
: improvplanet.thinkific.com/courses/how-to-practice
The Piano Foundations Series
: improvplanet.thinkific.com/bundles/piano-foundations
And more: improvplanet.thinkific.com/
If I was in college and could choose any professor it would be this guy.
"8. Call BS on fingerings and motions that are not working" --- what has always worked for me is to play that measure or two in all twelve keys (going round the circle of fifths), by the time you get back to the original key you have found the best fingering and have committed it to both intellectual and muscle memories.
Ooh, good idea!
"Call BS on fingerings and motions that are not working". I love it.
Applies to violin too. Bye bye, crappy editor fingerings! It's like they just slap down random numbers from 0-4, those fingerings. lol
Although I would say that there comes a point where no matter what fingering or maneuvers you try in an attempt to make the passage easier for you, the piece you’ve selected may not be for you due to not you not having developed the required technique (but only if this happens at multiple spots within the piece).
I heard you talk about sight reading and memorizing and wanted to say thank you. I believed that for so many years and going to give myself a chance to actually build that skill
I use a lot of combinations and variations of a lot of what you mentioned here. I often recommend that when someone is having trouble with a particular section that they should isolate it and learn it in every key. This seems overkill and it seems like 12 keys would be a lot of work, but when you do this you actually realize how similar the feel of many keys are. You gain the benefits you mention of really thinking about what is happening harmonically and melodically and have to think about it differently (often in relation to scale degrees). You also gain a significant improvement to your technical ability. If a similar figure shows up in another piece in another key, you've already worked out the kinks. Obviously, if you play in jazz/pop styles, you can often add these to your toolbelt. They can become comping patterns or licks or whatever based on context. This is pretty standard practice for jazz, but has so many benefits to classical musicians as well, despite them often being quite resistant to doing anything that's not already on a page somewhere.
The downstream effect of transposing and forcing your brain to understand how these ideas work is that your ear will improve just by understanding the mechanics of musical language. You'll hear a little fraction of those ideas and nearly immediately understand what another pianist (or really any musician) is playing and be able to transcribe that idea. You'll also be able to pull out plenty of other ideas by ear as a result of this bolstering of your ear. You can steal ideas from others, write them down (or not), and just work those out in every key as well to add to your bag of tricks. The amount of ideas I use in my day to day work that are straight up stolen from people I've listened to on UA-cam alone is staggering.
As an organizational idea I actually use a series of notecards. Not only is this great for organizing and triaging work on large volumes of music I may be preparing for gigs, but if I'm too busy with work music to sit down and immediately work on some piece of musical inspiration, I write it on it's own notecard and file it in it's own tab for later work. When I'm no long under such a heavy workload and have some time for personal self improvement, I can sift through those cards and pick one or several to work from. I can also document my work and progress on the cards themselves making notes of dates, tempos, realizations of things that need special focus, etc. It means I no longer get an idea when I'm busy and just end up losing it by the time I'm freed up.
I used to just write ideas in a composition book, but I found that it was too much noise to sift through and sort out what I wanted. Many of those ideas ultimately go lost due to there just being endless pages of random, unrelated ideas. The notecards give each idea a discrete place to live. Some ideas can be archived, or they can be put in a tab for "later" or they can be moved to the "current" tab for more daily focus. This has drastically reduced the amount of half-finished projects that were the result of suddenly getting several practice heavy gigs.
Ideas that are particularly valuable or need a more solid representation may end up in one of many binders (essentially zibaldones sorted by instrument: piano, trumpet, accordion, guitar, etc.) where I've sketched out ideas on manuscript or have printed an exercise either from my own Finale, some source found online, or copied from books. These can easily be cross referenced on the notecards so that in my increasingly vast number of books and binder, no idea is really lost. At any point between work, I can pick up exactly where I left off.
Hello Dr Mortensen! Thank you once again, listening to this for the second time!
Thank you again! Will be watching many more of your piano videos in this quarantine!
Brilliant! So appreciate you!
I am just an amateur (actually not even that lately anymore, as my job did not permit me for the last at least 5 years to get time to play anymore but...) I found all you said in this video and the previous one about what a serious musician would do so true and helpful, not only for college students but also for people who are still at the start, maybe after 2-3 years of learning piano :)
Really appreciate your conversations about being a musician and ways to increase your knowledge and musical ability -
You are one of the best musical communicators and educators I've had the pleasure of listening to!
*tips hat*
I am piano teacher myself, and I have been watching a couple of your videos. Although we (most likely) differ in the way we teach (and what we teach), I am really pleased to see your ways coincide with mine. Viz. it's not (only) about the notes that are in front of you (or the piece that you are practicing at the moment), but much can (and does) happen when you step away and have listen to something (seemingly) different - for actually getting *it*.
Thanks for sharing!
Might I suggest writing piano reductions of short orchestral passages. This accords with your remark the many composers use the piano as a shorthand for the orchestra. Engage in that process
Hi Prof. Mortensen, I came across your first video about what serious pianists should do just a week ago. And now I am your biggest fan!
I have watched all of your videos on piano techniques and other advice. They were tremendously helpful, and reassuring-I’m glad I’ve already been doing many of the things you mentioned when practicing. I just never knew if i was doing it right (like playing along with recordings-no shame now lol) Thank you very much for sharing your insights!
I was wondering if you’d be interested to do some kind of series featuring specific composers and their works. For instance, you have mentioned that Mozart sonatas reflect his orchestra works, and how Chopin understood piano the best hence wrote pieces that could truly make the instrument sing. It would be wonderful to hear you delve into these topics:)
Hope you will see this. Merry Christmas!
same as me:) cool guidance and/or revision of what was or should me taught during schooling time;)
You are truly a gift
Another fine video with many useful suggestions. Thank you very much for taking the time and effort to film these. They genuinely qualify as a "public service" to the broader global community of piano students.
I really enjoy these videos! I’ve started classical piano very recently, having play Irish Trad piano for 5 years (since I was 12). I’m in love with classical music at the moment, thanks so much for your excellent tips!
Thank you very much for sharing your experience and insights to everyone here, where we can all reach out to it regardless of how privileged we might be. It's very nice to see and be able to communicate (even if it's one way through watching your videos) with someone who thinks deeply about music and approaches to it in a philosophical and rational way. Most musicians with experience seem to have a few unchanging perspectives that they like to share always and not listen to other opinions as much as that requires more brainpower.
I really like your idea of copy some music by hand. For many reaoons. Thanks again for your invaluable expertise. Brian
Thank you for valuable advices.
For playing along with pieces often I’ll slow the recording down to as low as 60% speed as an additional practice tool
Your videos are excellent. I play classical, jazz and play by ear, perform, and I teach also. I find it useful to take a simple piece and play it in all keys, whether it was already written or whether I'm playing it by ear. The insights I get from that practice are deep and very useful in my overall playing. I loved that you mentioned that (can't remember if you said it in this video or a different one). You're a great teacher! Thanks for sharing.
Thank you. How creative a teacher to come up with the 2 lists! I can tell you work your students hard. London
Every good professor pushes their students. Why bother going to university if you aren't challenged and come out a better person?
Your videos are fantastic! I love your pedagogy.
You're videos are really good. I have taken much from them and some confirm what I already apply. Thanks so much and keep spreading the multifaceted joy of piano/music.
Very nice...thx for sharing those insightful things..
Number 11: do analysis of form. Not just A B A but detailed breaking down of music bar by bar. An example might be the Mozart fantasia K 475, the one that goes with the C minor sonata. Also analyse symphonies and look at the methods of orchestration. What do you think, Dr Mortensen?
Expand to other musical areas: learn sonic arts, world music, research, sound design, music technology, composition, new music, conducting, get lessons for other instruments, etc etc
Proven to make me have a more well-rounded maturity and the much needed versatility in today's musical word.
I totally agree. Having some understanding of acoustics or recording, or maybe a bit of knowledge about sound engineering or a different instrument like drumset or something can really help give you more perspective.
Thank you so much for your helpful tips!!
Great video again! I love Rameau even more than Bach sometimes. I was happy to see him mentioned in your description box.
I'm a fan of Soler. He's like "the other" Scarlatti.
I like the no 8, in one Bärenreiter's edition of Mozart's Twinkle Twinkle -variations, in the foreword it was said that fingerings vary with age, hand size and the level of skill, so the fingerings given were only to be considered as suggestions.. Only within the last year I've been able to use 4-5, 5-4, 1-5, 5-1 fingerings in the left hand effectively in a more 'compact' fingerings I've encountered in some Bach works.. the 1-5 i still sometimes change to an easier option if possible..
Good suggestions
You are great sharer of how to teach.. How to play.. a very often uncooperative instrument
Grateful thank yous for making me think on how to make MUSIC
Thank you again 👍👍👍💯💯
Call BS on fingerings and motions that are not working. Perfect!!
Does anyone have any tips on how to start 'taking flight' in improvisation? When I'm improvising I'm constantly having to think, "what's that note I'm hearing in my head? Oh, it's the 4th degree of the key". And it slows down even more when I want to modulate. How does one begin to make those processes more automatic?
football fan I think it becomes more natural the more you practice it
Hindemint “Ludus tonalis” was quite an interesting discovery😉
Pom pom pom pom pom badle dum badle dum!
Dear Prof I have been following all of your videos since I found them. I love them a lot and have learned a huge amount from them. Thank you so much. I am an adult learner and have reached a Grade 6 level in the British system (which is intermediate). I really struggle with rhythm. I spend so much mental energy counting that I my music sounds really wooden at times. Can you share some of your wisdom on how to gain a more natural rhythm?
I am struggling similarly, and if the Professor would allow, I would like giving my answer to the question: When keeping count to playing is going very well (and I might add the counting/internal metronome is basically 'automatic') then the count seems to anticipate the playing of the note, or put another way, the counting is 'beholden' to the playing, in other words the function of playing and of keeping rhythm have swapped places. I realize this is not purposeful, but I hope it can help.
What’s the song name 7:28 ? Please
a video about ear training please professor please
Look up "Rick Beato Ear Training."
Hmm, you're out of my paygrade, but it's interesting to hear ideas for my (hopefully not so distant) future self.
I'm struggling to sightread 2 part Bach Chorales for now. The hardest part is to see the chords jump off the page and into my musical brain. LOL. Suffering from Aural Aphantasia, this will be a problem. So it makes it a little more difficult, I've overcome bigger handicaps.
BTW do you have any ideas for this?
Hey Prof! I'm a big fan of your great videos. I recently thought about upping my technique a notch or two, do you recommend the Liszt technical exercises? Or is there something out there more efficient to work with (taking into consideration I do not major in piano but would love to have a solid technique to serve the music with the little time I have to practise)
Could you do a video about trills? How to improve their speed, how to practice them, etc.
Julien Painot my thrills improved after practicing hanon a lot. :)
I love you!
Professor, what is the name of the chord progression that you played at the end of the video ? Perfidia?
Where can I learn more about this progression?
Search "perfidia partimento".
Thank you!
Hi Professor! I've discovered your videos a few days ago. I love them. You've got right to the point and told me some news I've known but that I refused to listen. It is a great shock but a good one.
However I would like to know how do you suggest to study again a piece you've already mastered some years before. Do you have a video on that?
Thank you very much. I'll keep on following your channel. Amazing!
Greatings from Italy, somewhere near Como!
Love Como Performed third stream music there mid fifties
After knowing his charming and well-known "Pastorale" for many years, I discovered more keyboard music by Dominico Zipoli. Mon Dieu! Unbelievable! This composer had an imagination, inventiveness, and quirkiness, plus amazing contrapuntal mastery, that I never expected. Discover this great dud
I meant that to end Discover this great dude of a composer. Awesome.
This is terrific; thanks! Does Madame de Montegoult have another name? I'm having trouble finding a composer by that name.
Discover unknown composers for me: Respighi (waltz caressante: just beatiful)
#8: Yes! I used to joke that people who do the fingerings (and often edit scores in general) don't even play piano!
Honestly, I wouldn't be surprised if that was true. Even more so for violin fingerings - I swear Paganini must've wrote some of them, they're absolutely ridiculous.
Just out of curiosity, would you have heard of any great pianists from Ireland/residing in Ireland at the moment?
John O'Connor
I have dreams that I am an unknown composer for people of the generation to discover. I will let you know how this works out for me if people of the future find an old UA-cam archive on an ancient server and discover my interesting compositions that will have not been heard for hundreds of years.
Madame de Montegoult - who is that? Google gives no information.
Sorry. Hélène de Nervo de Montgeroult.
What is a Zibaldone?
ua-cam.com/video/2XrCz-teNn0/v-deo.html
cedarvillemusic Thanks for the link. It seems like a great thing. I'll definitely keep a zibaldone.
cedarvillemusic
I don't mean to annoy you with my asking, but I would be happy if you could tell me your opinion on my struggle:
I'm a High School student and soon I'll have to choose what do at University. I have a passion for the piano, but I know I will never be able to become successful as a performer of the overplayed pieces I like. I also am interested (and have great marks) in Physics. But I am not sure whether I like Physics enough for it to be my major (and thus my lifelong field). Would you suggest me keeping music just as a hobby, or should I pursue it at University?
Should I start searching for other things in music that might fulfill me as well, and are more likely to become financially acceptable, like composing (for movies maybe?). I feel lost and still don't know what importance music shall play in my life.
Noot Noot I think you should choose what you love better..but then you also have to think about money in this. I’m actually much younger than you are, haha XD and I’ve been worrying about the same thing too recently...I think that you could make a great decision with three important things you include:
1-what you love
2-think about it’s money a BIT
3-ask advice from your parents,
But that still doesn’t mean you HAVE to choose their opinions!! Just whatever feels right..
Anyways, I tried to help! 😅
It's that thing they drive around ice rinks.
cernohorsky fugue in a minor is a good one
Indeed. ua-cam.com/video/LclIbeS8xBo/v-deo.html
Go and studie jazz! You'll learn more about music you can imagine !
video: *go listen to that non-piano pieces by that composer*
Chopin: _We don't do that here_