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On Musicality

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This video is about practicing musicality itself. I use a short four-bar phrase from Mozart Piano Sonata, K. 545 to talk about how you, no matter what level you are at, could improve your playing so it sounds less like notes, and more like music.

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27 авг 2024

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Комментарии : 19

@eseelert 2 месяца назад

I'm so glad I found your channel. Your method of breaking everything down into small pieces and the way in which you explain your thought process is extremely helpful; you're an outstanding teacher. THANK YOU!!

@CyrusandAurelius Год назад

Thank you so much for this. It has concrete steps! I hope you can have a longer video of your practices and let us know what you are thinking about and listening for.

@wangyulin6623 Год назад

We may break down musicality into two categories: styles (that is, baroque, romantic, etc.) and singing. Students who are proficient in basic techniques, must next learn how to articulate their music playing in accordance with the correct styles. On the other hand, I don't believe that singing can be taught because to me it's a quality of self-accomplishing (like you said, listen, evaluate, making adjustments, day after day, even when we are 100 y/o). If singing can be easily copied from a person to another, especially in this era of RU-vid, I suppose we must have virtuoso pianists everywhere we look.... 😜😀

@maxaudibert5793 Год назад

Amazing lesson; thank you. An organist from East Greenland.

@jasongallagher631 8 месяцев назад

Okay, I appreciate the sentiment, but I thought that there was a good deal more potential for specifics. When I teach this passage, I always talk first about how, in general, when we speak our sentences naturally trail off at the end. So too is the last note of each slur played softest. We also talk about how the dominant harmony is more intense than the tonic, and therefore played slightly louder. In the LH, we can think of the Alberti bass in two layers: the bottommost notes, and the others. We want to shape that bass and pair it as a duet with the RH part, and ensure that the remaining three notes of each Alberti bass set are played softest of all. The point is, I think we need to go pretty far beyond just telling children to listen to themselves. They need to be taught how to listen, what to listen for. Where is the climax of the phrase? In some cases, where even is the phrase? How do the harmonies contribute to tension and release? How is the balance? Are there other lines/counterpoint that are not immediately apparent? How about timing, where should the music breathe? And most importantly, none of it is dependent on talent. As long as the child is in a good mood and willing to pay attention, Hot Cross Buns can be taught with the same beauty as Chopin.

@JoeLinux2000 3 месяца назад

All good points for sure but somewhat of a mechanical approach to emotion. To me, music is about setting a mood. Some players have a great feel others don't. In the end it's hard to beat innate natural talent. A person could do everything you are saying and still sound quite mechanical.

@jasongallagher631 3 месяца назад

@@JoeLinux2000 Please don't teach. So many young musicians never experience beauty and end up unable to bring forth their individual expression because their teacher takes your attitude. It does a serious amount of damage. Everyone has their own individual voice, but that cannot be discovered without rules of thumb to help awaken the ear and imagination.

@JoeLinux2000 3 месяца назад

@@jasongallagher631 ROTHFLMAO ! Do you have an estimate of how many young people over all have been damaged by people with my attitude? I notice Jeewon states she requires an audition. I wonder why? I find her overall extremely astute. Some introspection might be in order. I love to listen to young people who play both musically and expressively. I even posted a link of what I consider to be very expressive playing which may demonstrate the concept better than words. Why don't you analyze the video and tell us exactly what he or she does that makes a rather inexpensive instrument sound so nice?

@jasongallagher631 3 месяца назад

@@JoeLinux2000 Sure. The player understands and and has the ability to control separate layers of bass, accompaniment, and melody, and shapes the bass as carefully as they do the melody. The phrases often trail off at the end, as I suggested was tasteful. The player has a good feeling for the varying intensities of each phrase. And the player has an artistic sense of timing, which is best taught through singing and discovering the natural response of the breath. My argument is that all these things can be taught to the earnest student. It should not be up to the whimsy of "talent." Auditions are not only a way to measure talent but also a way to measure work ethic. When you have enough money to be choosy about your students, you can afford to pick the ones which will require less work to become artists. Mozart was highly regarded as a genius. He also had a father who was one of the most famous violin teachers of the time and practiced piano all day. In addition, his sister was almost equally regarded as a pianist but thanks to the sexism of history was largely forgotten. So I suppose we can argue that Leopold had fantastic genes, but it seems more optimistic that his reputation as a teacher was well deserved.

@JoeLinux2000 3 месяца назад

@@jasongallagher631 It's possible Mozart was autistic. I have no idea, but Antonio Salieri was a much better composer than he was given credit for in the movie. I've heard complete concerts with nothing other than compositions by Salieri which are actually quite enjoyable. Some of the best players are actually self-taught. It happens that my youngest son is quite talented and graduated Magna Cum Laude from SUNY Purchase. He mostly taught himself how to play the piano, and his arrangements are very tasteful. It was hard to find a teacher for him, because a lot of teachers don't do very well with a really talented student. They tend tpo box a student like that in, not recognizing what he or she can actually do on their own. When he was in the 2nd grade he taught himself the entire Fur Elise in about 3 weeks. Then he would play it in a variety of styles changing the rhythms around. along with other alterations. Mostly everything was done with his ear. It was interesting for me to watch him. Generally he always wanted to hear something first before playing it. He is actually a saxophone player not a pianist, but he plays piano remarkably well on his own without lessons. I think he got all A's except for one B at SUNY. The B really PHO. because there were some extenuating circumstances. He was playing an instrument he didn't know how to play as a favor for the conductor, but he didn't play it as well as someone actually trained on the instrument. It was a bass clarinet or something he had never played before. I know he's able to think things up in his mind ahead of playing them in an actual performance situation. Of course Sax is easier than piano. Here's another video on musicality: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-4E4KsBp1t-4.html

@huisanlim96 2 года назад

Thank you. 👍🏻👍🏻👍🏻

@petorstevons3968 2 года назад

Working on jeux d'eau right now, I am still trying to get the right atmosphere and have the flowing quality that the piece requires. Thank you for your insights.

@JeewonLeepiano 2 года назад

Jeux d’eau is one awesome piece. It sounds like you are on the right track! Good luck.

@JoeLinux2000 3 месяца назад

You are on the right track when thinking about the atmosphere.

@kevinquinn2160 2 года назад

"🎹❤Always informative and interesting. Thank You!"

@JoeLinux2000 3 месяца назад

Roland GO:KEYS 3 使用 GEORGIA ON MY MIND 椰子おじさん ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oV5C8JDw8eo.html

@JoeLinux2000 3 месяца назад

As for your explanation of the Mozart, it's stellar. I can't speak highly enough of your commentary. Live performance is a constant balancing of one note or chord to the next. Every following note has to be adjusted to the proceeding. Not everything always happens as intended. Peter Schickele. (PDQ Bach) always said, "If it sounds good it is good." Here is a video on violin tone that I found quite interesting. Piano's are of course different because the tone is more or less fixed, but it is the manner in which you "stroke" the keys that makes a difference. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-mRUHL2LxZhs.html Presently I play a digital piano. I use a Yamaha DGX-670 said by many to not have a very good action, but I'm OK with it. The DGX is combined with Pianoteq Pro.. I spent a year or more developing my piano's tone. I play 5 virtual paino voices simultaneously. The primary tones are a Steinway D (Classical Recording) combined with a Petrof Mistral at half volume. Supporting those two voices are the DGX's "Warm Grand" and the "CGX Grand". These when played by themselves are not very loud at all. They mostly add thickness to the two Pianoteq voices, but there is one more Pianoteq voice. To the approximately highest two octaves I have added a Fender Rhodes electric piano voice at about 1/2 volume. This provides a more bell like tone to the upper end of the virtual instrument. Basically my piano's voice sounds like a very good acoustic concert grand not some sort of electric piano. The point here is that it takes a considerable amount of time to develop a pleasing sound albeit acoustic or electronic. When it comes to acoustics I prefer hammers that are not too hard. A brittle sound is harder to control. Here's an electronic piano that has a very good tone from my perspective: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-oeXY5jIbjjc.html This type of sound is not easy to develop. Most digitals on the showroom floor do not sound this good.

@JoeLinux2000 2 месяца назад

How does a "classically trained" pianist such as yourself explain something like this? ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-chPmwnLBbdU.html I would honestly be interested in your thoughts because there is always a lot of depth in your remarks.