philbestmusic.... In this spontaneous piano composition, super simple modal tonality is explored, changing the mode/tonal centre midway, to generate a dynamic, introspective journey to a beautiful, unspoiled place.
Right from the beginning I watched this as a lesson. Not disappointed! The beauty you get with such simple elements is a perfect demonstration of what you teach.
There is a new midi keyboard company called Play Vidal who are releasing anew midi keybaord, all wood made. Looks beautiful, expensive but they have been testing it with Pianoteq and Keyscape. Looks like a real winner.
Nobody gets to try it unless they're in Philadelphia. 50 pre-orders only. I love my VPC1, which I didn't get to try. Two moving parts per key doesn't say anything about the sensors. It sure looks nice, though.
@@PhilBestMusic they said on Instagram that they were tired of seeing keyboard players with plastic keyboards and not very nice looking keyboards whilst guitarists get these beautiful guitars so they have set out to make aesthetic looking keyboards. That are using magnetised keybeds too which seems interesting.
Officially it's the same... Apart from my V-Piano, they all have the PHA50, which I like very much: it feels very Model B Steinway-like to me. But I do think the Fantom feels smoother than the others.
I could but it's not a piece I'm currently exploring myself... If I do study it some more, and I think it's a good one for a video, I will. But no promises!
Well I can simply tell you that I do it in the same way that I do all music. I express rhythm cells in the matrix and tonal blocks in the keyboard map. That's all music ever is. Every piece I play is just that for me, even the most complex ones (and La Campanella is not all that complex for me). But just showing this to some one who has not yet developed the ability to play even the simplest things fluently is not helpful. It might be interesting, maybe a little dazzling, but not practically helpful. I could maybe take a short interesting passage and look at it very slowly, describing every rhythm cell in the matrix and every block in the keyboard map (watch this space!). But you have to grasp that fluent skills are practical and understanding comes from doing it yourself not from having it explained. Imagine me going through a piece of speech or writing in French and describing all the words individually and the way they group together. That would not make you fluent in French and it might be a rather intimidating experience for a French student. It's certainly not a good way to learn a language: it's far better to take some words and idiomatic structures and play with them, expressing yourself. The difficulty with musical fluency is far deeper than the difficulty people have with language though. People accept that fluency in language is the ability to say and understand words grouped together correctly. It's very difficult for people to let go of their karaoke, muscle-memory, theoretical, technique-based models of music. Until you can completely abandon those ways of making music, musical fluency will be impossible for you. That's why I always say that musical fluency must be self-directed learning based on a deep desire to express yourself. I can coach and offer practice materials but I can't force you to make the necessary paradigm shift in how you make and process music. YOU have to do that yourself.
@@PhilBestMusicWow, for you that La Campanella is not that complex at all. It is one of the hardest piano pieces that ever made and most pianist even the accomplished ones find this piece difficult.
"Even the accomplished ones" You're hilarious! What I'm saying is that it's not one of the most complex at all, in fact it's relatively simple IN TERMS OF MUSICAL LANGUAGE, so when you're fluent, it no longer appears so difficult to learn. But of course, it can be tricky for me too doing all that jumping around if I play it a bit faster than I can navigate it. And I would only do that if I got caught up in the stupid piano "athletics" thing that plagues the classical music world, which is really total nonsense. Almost any piece of music becomes absurdly difficult if we try to play it at break-neck speed like a machine. Really, it's so stupid! And I'm ashamed of how much I have fallen into that trap in my own classical playing in the past. But anyway, have a look/listen to the Brahms Paganini Variations, or Ravel's Gaspard de la Nuit, or Rachmaninov's Prelude in D flat from op.32 (I have a video of that one on here), or Tippett's 3rd Sonata (all pieces I have performed). These and many other pieces are far more complex than La Campanella. But how I hate piano "athletics" and competitiveness! It's such a drain on musical creativity and feeling.
