it is because they have lids with little tiny hinges so you can store music inside them. this sounds wasteful, but i'd rather not eat, than eat a piece of meat that has dubious qualities. To just have a cool conversation. Playing a scale (2). so, instead of eating the whole thing, threw it out. «Reply #36 on: July 18, 2005, 09:52:53 PM », «Reply #37 on: July 19, 2005, 04:03:17 AM », «Reply #38 on: July 19, 2005, 01:43:10 PM », «Reply #39 on: July 19, 2005, 01:43:49 PM ». I am feel really pathetic. It takes me quite a while to learn one, for example it took just over a year and a half to learn Rach 2 and about the same for the Paganini Rhapsody. Tchaik. I am working on a pedaling technique for the Beethoven Sonatas. Maybe you’re starting lessons and wondering where it ends. Speaking of finely tuned treble pianos – I started looking at the Leichte Sonata, too, because as you know the Sonatas are not grouped in Verlag according to their compose date – but rather their publishing date (i think). These videos are approximately an hour per movement, sometimes (as in larger works as the Appassionata) almost two hours. Gradually, in the later Sonatas you see less and less of the ‘turns’ at the beginning of motives (as with measure/s 14 and 15). Two months is a more than enough time if you learned the Ravel in two weeks and Chopin in a month. Memorizing music is the hardest thing for me. hint:  buy a bench that does not hinge. Now, by being able to play 60% “right away” I mean that: as soon as the brain knows what notes there are and tells the fingers, that means you can play it. What good would that do you? Change ). «Reply #27 on: July 16, 2005, 08:00:51 PM », «Reply #28 on: July 16, 2005, 08:03:10 PM », «Reply #29 on: July 16, 2005, 08:31:00 PM ». Sorry for slipping out of context. I'm a guitar player but I want to go more into classical music and orchestra, how do I start? 109; Op. :(I also have been working on learning Beethoven’s Piano Sonata No. 14 it was made available to me easily; for No 30 simply, I heard it performed and fell in love with it. This was a bit of CPE and Mozart there – but gradually it gives way to stopping any attempt to be ‘refined’ for the sake of appearances. Wonderful event. Just great! 27, 1; Op. Learning it is one thing, but mastering it in its correct form and style is another that takes even more time. 31, 3; Op. In fact, if one were to yell out ‘your playing *’s’ – i’d simply say ‘ok. btw, at home I have a Kawaii studio upright that has lasted years and years, stayed in tune well, is slightly stiff (still), and has been an excellent practice piano. do you know why benches fall apart? Vivace doesn’t mean you have to lose control. Lighter keyboards in Beethoven’s day notwithstanding, the piece doesn’t sound right to me if played at much less than that. Take your time and learn each section well before moving on to the next section. 2nd grade – Op. I mean, it’s supposed to sound ‘musical’ and has a lot of technical help – but w0w – you can waste a lot of time that way. Ha, this sounds fun, thanks a lot for the advice! The first thing to do is to asses if the pieces are too difficult technically. Do you think it's realistic for me to learn First Mvt. I would say to students, and their teachers: instead of playing one Beethoven sonata per semester, take two month and work with at least three different ones at the same time instead. Why? I’m sort of half and half on Czerny. Like he needed a little exercise on stage and just took it – when the orchestra was going full tilt and didn’t need a beat on every single beat of the measure. The masterpiece tell the performer what to do, and not the performer telling the piece what it should be like, or the cocomposer what he ought to have composed. I mean, if one has a good piano – should one be forced to play on a bench that looks much older? Ola is a guy who can stumble on stage and mess up his clothes, he can even get hoarse – the audience will love it anyway, but he must not lose the specific spark and joy that is his true characteristic as a performer. «Reply #7 on: July 15, 2005, 01:34:46 AM », «Reply #8 on: July 15, 2005, 03:01:55 AM ». He becomes more interested in feelings. If you are yourself – nobody can be you. For instance, if I knew now what I dealt with then – I’d learn as much as i could about piano tuning. 111; Op. I will get back to that in the post, because it’s so important! Playing a scale (1) Well, the judges will know. ( Log Out /  His own feelings. And yes, many students or amateurs like the passion and drama of the first sonata, but it is a difficult one. That way – i can get a break here and there. For those, like me, who have never seen Beethoven’s g minor Fantasy, Opus 77 – here’s a preview: http://www.pianopedia.com/mov689_1957.aspx. And all this was so charming and nice, creating a friendly and relaxed atmosphere. I was being interviewed together with Ola Salo some months ago, and he said something that I thought was great: that people will just be happily entertained when you mess up a little…and he compared it with Donald Duck and Mickey Mouse. However, here near Philly – it’s winner takes all. Now and then I pick up something new! What do you guys think? I find your recommendation here above very useful and will try it. Not that Beethoven has to be divine – but it seems more like Clementi than Beethoven to me. Usually, they are small and consist of mothers and fathers and children or a group of people eating dinner. I want to learn one that would be labeled as late intermediate to more advanced. 26; Op. ewww. But, pounding takes away any sense of tone in a piano. So, is it ok to select Op49 1 and 2 as two of the 3 pieces you recommend to work with and add one more to that? 10 no. There was this old-fashioned microphone which had a too short wire … Ola had to crawl (literally) up to the stage, looked like he was recently unpacked from a suitcase and made a terrible “speech”.