I wish I knew. Luckily found your channel last week and subscribed immediately. I’m 57, have a brand new piano that’s sitting in my basement for the longest time. Time to get good use out of it and promised myself to learn how to play it by watching your videos. THANK YOU!! 😘🌟🌟🌟🌟🌟
Yay, you're correct! You've won 2 weeks free in my Piano Roadmap Membership. Please email me for details and we'll get you set up: pianoroadmap@gmail.com. 😊
Such a great topic! I wonder, at what level a student should dive into it? First you must be able to play perfectly timed, then use learned control to perfectly control mistiming, right? Is there drawbacks in learning the subject from the beginning (not so perfect technique)? A:Tchaikovsky, Op.39, #22 "The Lark's Song". Btw, great organ play. Please make a video on your organist journey, differences and nuances, playing on e-piano (VSTs) maybe.
Gah! I was going to mention in the video that one first must have enough control to maintain a steady tempo before attempting manipulating the tempo too much. So, I would say the techniques I talk about in the video are good for the early intermediate player and beyond. However, even a beginner can work on small timings, like ritardandos at the end of a piece. Thanks so much for brining that up! Tchaikovsky is the correct composer, and while you've got the correct opus number, it's actually the Waltz (no. 9)! Also, are you asking for a video on the differences and nuances of playing on an acoustic piano vs. e-piano or organ vs. piano?
Waltz by Mira Yevtich-Richter The only pieces I see with Ritardondo are Bach Chorales. I'm getting better at playing them, but it's frustrating just to play the black dots on the page, let alone giving them life. Oh well, starting musical education at 65 yoa has some drawbacks, but lack of motivation isn't one of them. I'm not surprised that you also play the organ, but I learned some things with your simple explanation. I would often go into churches when the organist was practicing. They always were surprised to have an audience.
Title = correct, but the composer is Tchaikovsky! Glad you were able to learn something with this video. And be kind to organists - let them know you're there! 😆 I've been scared out of my pants many times by someone silently listening.
An excellent tutorial on phrasing and expression with respect to use of tempo changes -- one of the more difficult aspects of music to convey. I find it helpful to think in terms of speech -- listen to the pace, the rise and fall of pitch and intensity, the pauses, the accents given to words by a good orator -- then consider how you would adjust your playing to make it more "speech-like". Or also, as in the case of singers, more lyrical (although that often has more to do with legato playing). The mystery piece you're playing is Tchaikovsky's Waltz No. 8 from Opus 39, "Album for the Young" (or "Childrens Album"). Question regarding your follow-along piano course (which I think is an awesome idea!!): is it possible to do more than one lesson per day, or is the course paced/limited/rstricted to only one lesson/video each day? Also, do they have to be done in order, and I go back and watch previous videos more than once -- i.e. as a "refresher"? I think your content is awesomely-practical, well-centered and balanced, and highly accessible -- nicely done! Also awesome to know that you're an organist as well -- so am I! The varieties of organs and their attendant rooms are highly instructive in finding ways to be expressive!
Hello, fellow organist! 👋😃 You're so right about using speech as a guide. I often make up silly lyrics to go with a melody to help. It also can really help solidify memory! You're correct about the piece, although someone managed to name both the title and composer before you. I'll be doing more giveaways in the future, so stay tuned! And if you'd like to try out the Piano Roadmap Membership (which houses the follow-along), there is a 7-day money-back guarantee. So, if it's not right for you, just email me (pianoroadmap@gmail.com) or use the contact form on my website (pianoroadmap.com), and I'll refund you. I made the follow-along as a day-by-day calendar, but it's only meant as a guide. You can easily go at your own pace and repeat as many videos as you like. If you do decide to give it a try, make sure to check out your library once you log in to see all the piano videos available outside of the follow along, and I add more videos every week.
@@PianoRoadmap That is fine about the title and composer as I would have conceded it to the next person. I'm more interested in your follow-along as a fellow teacher -- looking for ways to improve my own teaching -- I'm very impressed with all that I've seen of your videos. I teach mainly beginners to early intermediate students starting at about 11 years old through adult. I do not recommend starting students on piano much younger than that as it's "financially inefficient" (what takes a 7-year old a year to complete an 11-year old will cover in a few months ... ) as well as prone to "burnout" (a 7-year-old will have been studying for 2 or more years to reach what the 11-year old reaches at the end of the first year). Rather, I recommend that parents have their children exposed to a lot of good listening to music, singing, dance, and maybe a solo instrument to become familiarized with and internalize music (rhythm, pitch, dynamics) prior to starting piano -- with exceptions made, of course, for a student who seems particularly interested and motivated. I have my own "track" for teaching which I've used for years which begins with a hybrid of Suzuki (rote imitation) and Leschetizky (close touch). I'm a strong adherent of the "music learned as language" of Suzuki (think in terms of ear-training) and use that approach coupled with a strong focus on technical development for the first 2 - 4 months. At their first lesson, besides covering the basics (posture, orientation to the keyboard -- black note/white note patterns, etc.) the student learns the first of Leschetizky's finger independence exercises (hold all keys down, play each finger 4x), C major root position triads in blocked and a broken pattern, and the C major scale -- each hand alone 1 octave. We proceed from there to put hands together in combinations for the triads, cadences (introducing 1st inversion and 2nd inversion triads), varous blocked and broken triads combinations in both hands in all inversions, and other keys, and typical scales development. I typically build on this purely technical track for the first 4 - 8 weeks to try to establish the beginnings of a fair technic without other "distractions" involved with reading and learning pieces.To proceed with reading, I start with rhythm only (I'm also a percussionist) -- learning to count and read in 4/4 -- quarter, half, whole notes and rests and dotted half notes. We do this on a drum, using each hand alone, and hands together (in tandem -- as a percussionist) on a drum and wood block, or cymbal, and on a single note on the piano (important on the piano to hear the sustained tone and rests). Once rhythm becomes somewhat established, we begin playing the rhythms on various pitches, and move into one of the method books to proceed "as normal" (finally! ;-). I use the Glover Level One Piano Student as my core source for learning how to read, learning how to learn a piece, and the first repertoire. I find too many of the methods are geared towards teching younger students and are somewhat "baby-fied" for my students' age. I'm teaching them more as "grown-ups", and I'm following a strong technical track the first 6 to 8 months. While I have written (and continue to write) most of my material to follow this track, I'm finding it somewhat more time-consuming than I wish, and I'm looking for better published material to use. I've pretty much settled on the Faber Adult Method Book 1 to use instead of the Glover as a resource to teach the basic elements of music, piano, and repertoire.
Correct! Someone else got both title and composer before you were able to reply, but there will be more free giveaways in the future. Thanks for playing 😃
Thanks for this video. I'm working through the intermediate level and I'm feeling when I play mechanically even more keenly. My teacher and I haven't talked about thr control of speed too much yet. However. I'm trying ro polish up Burgmüller's Ballade (Opus 100, No. 15) and introducing a little (only a little!) accelerando might be just what it needs.
Wow, that was a great one. And I didn't know you played the organ also. Just Beautiful. Thanks Susan.
Thank you 😊
I wish I knew. Luckily found your channel last week and subscribed immediately. I’m 57, have a brand new piano that’s sitting in my basement for the longest time. Time to get good use out of it and promised myself to learn how to play it by watching your videos. THANK YOU!! 😘🌟🌟🌟🌟🌟
Awesome! Good luck 😃
Tchaikovsky's Waltz from his Children's Album op39 (I'm still crawling through Morning Prayer :) ) Thank you for the video - really helpful tips xx
Yay, you're correct! You've won 2 weeks free in my Piano Roadmap Membership. Please email me for details and we'll get you set up: pianoroadmap@gmail.com. 😊
@@PianoRoadmap Yayyy!!!!! Thank you!
@@PianoRoadmap Email just sent :) xx
Such a great topic!
I wonder, at what level a student should dive into it? First you must be able to play perfectly timed, then use learned control to perfectly control mistiming, right? Is there drawbacks in learning the subject from the beginning (not so perfect technique)?
A:Tchaikovsky, Op.39, #22 "The Lark's Song".
Btw, great organ play. Please make a video on your organist journey, differences and nuances, playing on e-piano (VSTs) maybe.
Gah! I was going to mention in the video that one first must have enough control to maintain a steady tempo before attempting manipulating the tempo too much. So, I would say the techniques I talk about in the video are good for the early intermediate player and beyond. However, even a beginner can work on small timings, like ritardandos at the end of a piece. Thanks so much for brining that up!
Tchaikovsky is the correct composer, and while you've got the correct opus number, it's actually the Waltz (no. 9)!
Also, are you asking for a video on the differences and nuances of playing on an acoustic piano vs. e-piano or organ vs. piano?
Waltz by Mira Yevtich-Richter
The only pieces I see with Ritardondo are Bach Chorales. I'm getting better at playing them, but it's frustrating just to play the black dots on the page, let alone giving them life. Oh well, starting musical education at 65 yoa has some drawbacks, but lack of motivation isn't one of them. I'm not surprised that you also play the organ, but I learned some things with your simple explanation. I would often go into churches when the organist was practicing. They always were surprised to have an audience.
Title = correct, but the composer is Tchaikovsky! Glad you were able to learn something with this video. And be kind to organists - let them know you're there! 😆 I've been scared out of my pants many times by someone silently listening.
An excellent tutorial on phrasing and expression with respect to use of tempo changes -- one of the more difficult aspects of music to convey. I find it helpful to think in terms of speech -- listen to the pace, the rise and fall of pitch and intensity, the pauses, the accents given to words by a good orator -- then consider how you would adjust your playing to make it more "speech-like". Or also, as in the case of singers, more lyrical (although that often has more to do with legato playing).
The mystery piece you're playing is Tchaikovsky's Waltz No. 8 from Opus 39, "Album for the Young" (or "Childrens Album").
Question regarding your follow-along piano course (which I think is an awesome idea!!): is it possible to do more than one lesson per day, or is the course paced/limited/rstricted to only one lesson/video each day? Also, do they have to be done in order, and I go back and watch previous videos more than once -- i.e. as a "refresher"?
I think your content is awesomely-practical, well-centered and balanced, and highly accessible -- nicely done!
Also awesome to know that you're an organist as well -- so am I! The varieties of organs and their attendant rooms are highly instructive in finding ways to be expressive!
Hello, fellow organist! 👋😃 You're so right about using speech as a guide. I often make up silly lyrics to go with a melody to help. It also can really help solidify memory!
You're correct about the piece, although someone managed to name both the title and composer before you. I'll be doing more giveaways in the future, so stay tuned! And if you'd like to try out the Piano Roadmap Membership (which houses the follow-along), there is a 7-day money-back guarantee. So, if it's not right for you, just email me (pianoroadmap@gmail.com) or use the contact form on my website (pianoroadmap.com), and I'll refund you. I made the follow-along as a day-by-day calendar, but it's only meant as a guide. You can easily go at your own pace and repeat as many videos as you like. If you do decide to give it a try, make sure to check out your library once you log in to see all the piano videos available outside of the follow along, and I add more videos every week.
@@PianoRoadmap That is fine about the title and composer as I would have conceded it to the next person. I'm more interested in your follow-along as a fellow teacher -- looking for ways to improve my own teaching -- I'm very impressed with all that I've seen of your videos.
I teach mainly beginners to early intermediate students starting at about 11 years old through adult. I do not recommend starting students on piano much younger than that as it's "financially inefficient" (what takes a 7-year old a year to complete an 11-year old will cover in a few months ... ) as well as prone to "burnout" (a 7-year-old will have been studying for 2 or more years to reach what the 11-year old reaches at the end of the first year). Rather, I recommend that parents have their children exposed to a lot of good listening to music, singing, dance, and maybe a solo instrument to become familiarized with and internalize music (rhythm, pitch, dynamics) prior to starting piano -- with exceptions made, of course, for a student who seems particularly interested and motivated.
I have my own "track" for teaching which I've used for years which begins with a hybrid of Suzuki (rote imitation) and Leschetizky (close touch). I'm a strong adherent of the "music learned as language" of Suzuki (think in terms of ear-training) and use that approach coupled with a strong focus on technical development for the first 2 - 4 months. At their first lesson, besides covering the basics (posture, orientation to the keyboard -- black note/white note patterns, etc.) the student learns the first of Leschetizky's finger independence exercises (hold all keys down, play each finger 4x), C major root position triads in blocked and a broken pattern, and the C major scale -- each hand alone 1 octave. We proceed from there to put hands together in combinations for the triads, cadences (introducing 1st inversion and 2nd inversion triads), varous blocked and broken triads combinations in both hands in all inversions, and other keys, and typical scales development. I typically build on this purely technical track for the first 4 - 8 weeks to try to establish the beginnings of a fair technic without other "distractions" involved with reading and learning pieces.To proceed with reading, I start with rhythm only (I'm also a percussionist) -- learning to count and read in 4/4 -- quarter, half, whole notes and rests and dotted half notes. We do this on a drum, using each hand alone, and hands together (in tandem -- as a percussionist) on a drum and wood block, or cymbal, and on a single note on the piano (important on the piano to hear the sustained tone and rests). Once rhythm becomes somewhat established, we begin playing the rhythms on various pitches, and move into one of the method books to proceed "as normal" (finally! ;-). I use the Glover Level One Piano Student as my core source for learning how to read, learning how to learn a piece, and the first repertoire. I find too many of the methods are geared towards teching younger students and are somewhat "baby-fied" for my students' age. I'm teaching them more as "grown-ups", and I'm following a strong technical track the first 6 to 8 months. While I have written (and continue to write) most of my material to follow this track, I'm finding it somewhat more time-consuming than I wish, and I'm looking for better published material to use. I've pretty much settled on the Faber Adult Method Book 1 to use instead of the Glover as a resource to teach the basic elements of music, piano, and repertoire.
Amazing content, currently following your free course. The piece is jugendalbuum (think that's how it's spelled)- Waltzer.
Composer?
@@PianoRoadmap Tchaikovsky :)
Correct! Someone else got both title and composer before you were able to reply, but there will be more free giveaways in the future. Thanks for playing 😃
Thinking of childhood abuse brings out the best in emotional piano playing 👍
Thanks for this video. I'm working through the intermediate level and I'm feeling when I play mechanically even more keenly. My teacher and I haven't talked about thr control of speed too much yet. However. I'm trying ro polish up Burgmüller's Ballade (Opus 100, No. 15) and introducing a little (only a little!) accelerando might be just what it needs.
That’s the perfect piece to try it with. And yes, just un poco will do, so little that people who listen might not even realize you’re doing it!