1:34 I learned this prelude (or tried to!) in the 12th grade. Your comment here has floored me. I knew what voicing is. And (thanks to you!) I knew what a plane of tone is. But to make this connection is... wow! So awakening. The pianists call planes of tone "voicing". Thanks!!
Very important topic - with potential to explore for a lifetime. My go-to pianist-composers are Rachmaninoff, Ravel, Scriabin and Poulenc. Many others of course, but these are among my favorites writing for the piano.
Wonderful video as always - I'm wondering what your thoughts are on pedal indications in contemporary pieces? I tend to leave out most pedal indications as its assumed the performer will understand where it is and isn't appropriate, but I've seen many examples (such as the Chopin in your video) where the pedal markings are near incessant.
As an advanced pianist myself, I recommend knowing what's natural to us and marking if you have specific parts where it's really important to do things a certain way or where what you want is counterintuitive. Too many markings and you risk getting ignored
I realize I’m pretty late to comment, but at around 1:25 you mention how ‘the pedal makes clear the planes of tone.’ Could you or someone else clarify on that point? My interpretation was that you meant that if it weren’t for the pedal the separation between voices Rhythmically and in terms of Register wouldn’t be possible while maintaining the harmony. But I’m not sure. I feel like I’m not entirely understanding. Like I’m missing something. EDIT: This may just come down to my inexperience with the piano.
@@alanbelkin8611 Hello, thank you for the quick response. I've been watching your channel for quite some time. I just want to say that I appreciate the work you do. I'm fairly amateur in the sense that I don't have any formal training when it comes to composition. Much of what I know in terms of thinking critically about the subject comes from your channel, the various materials on your website, and books. Thank you for sharing your observations and experience with us all.
6 місяців тому
this is helpful but not in the way i was expecting i for myself however as i said it is helpful nonetheless
Chopin is good to study for figuration, as is Rachmaninoff. I would definitely add Liszt to the list. He is also great for different textures. For exploiting the piano's textural potential maximally for counterpoint, I suggest Medtner. He's good in general, actually, for piano writing
1:34 I learned this prelude (or tried to!) in the 12th grade. Your comment here has floored me. I knew what voicing is. And (thanks to you!) I knew what a plane of tone is. But to make this connection is... wow! So awakening. The pianists call planes of tone "voicing". Thanks!!
Very important topic - with potential to explore for a lifetime. My go-to pianist-composers are Rachmaninoff, Ravel, Scriabin and Poulenc. Many others of course, but these are among my favorites writing for the piano.
great musical examples 🎶 thanks alan!
Essential and concise, thank you.
Wonderful video as always - I'm wondering what your thoughts are on pedal indications in contemporary pieces? I tend to leave out most pedal indications as its assumed the performer will understand where it is and isn't appropriate, but I've seen many examples (such as the Chopin in your video) where the pedal markings are near incessant.
As an advanced pianist myself, I recommend knowing what's natural to us and marking if you have specific parts where it's really important to do things a certain way or where what you want is counterintuitive. Too many markings and you risk getting ignored
@@tabby7189 Thanks for this, that's my instinct as well but seeing the Chopin example in this video made me question it!
I realize I’m pretty late to comment, but at around 1:25 you mention how ‘the pedal makes clear the planes of tone.’ Could you or someone else clarify on that point?
My interpretation was that you meant that if it weren’t for the pedal the separation between voices Rhythmically and in terms of Register wouldn’t be possible while maintaining the harmony.
But I’m not sure. I feel like I’m not entirely understanding. Like I’m missing something.
EDIT: This may just come down to my inexperience with the piano.
You are right. The pedal makes possible more than two planes of tone in different registers.
@@alanbelkin8611 Hello, thank you for the quick response. I've been watching your channel for quite some time. I just want to say that I appreciate the work you do.
I'm fairly amateur in the sense that I don't have any formal training when it comes to composition. Much of what I know in terms of thinking critically about the subject comes from your channel, the various materials on your website, and books.
Thank you for sharing your observations and experience with us all.
this is helpful but not in the way i was expecting i for myself however as i said it is helpful nonetheless
and some example of orchestration, from a composition made on the piano?
Liszt - Hungarian Rhapsody No. 2
Ravel orchestrated many of his solo piano pieces as well.
Charles Ives have some good pieces of music i pick Ives.
Ives - Piano Sonata No.2, 'Concord, Mass., 1840-60'
Chopin is good to study for figuration, as is Rachmaninoff. I would definitely add Liszt to the list. He is also great for different textures. For exploiting the piano's textural potential maximally for counterpoint, I suggest Medtner. He's good in general, actually, for piano writing
Alan - you have been spammed with links to pornography :( I reported the 3 instances.