Tom Brier torturing pianos 

left leaning as opposed to...?

@@n0rg as opposed to most pianists who will simplify the left hand or let their right hand be the primary strength. Tom’s left hand is borderline impossible to duplicate both in terms of accuracy and raw speed.

@@CarsonCrabill i feel called out lol Which is weird because im left handed

@@CarsonCrabill Okay, I was worried a political debate would ensue. I need a break from the Internet.

@@hraith lol as soon I had posted the comment I had a similar thought, fortunately it seems as though everyone understands I meant a physical direction!

In a very romantic way

naked

That piano was getting better play than any of us ever will

and the Piano requires a smoke break after..

Is it my phone or is he in some clips really faster then the videos fps can catch?

@@leonhardlippitsch2175 The performance of "Razor Blades" (where there's a clock in the background) seems to show the camera's automatic "steadying" facility trying to keep the focus on Tom's hands, with the result that the piano appears to bounce. I also suspect that the interleaved LH and RH notes are indeed beyond the fps capability.

Maybe impressed a bit but ultimately realise the music is too simple for refined palates

​@@ciararespect4296 I think you may need to get the sheet music to his pieces and study them a bit more carefully and do more thorough analysis of chord progressions, form, and themes and motifs. Some of them are simple for sure, but others are quite a bit more complex, not just in terms of sheer texture/technique required to play them, but also harmonically and even melodically, particularly his 'novelty piano solos' like "One Too Many", "Wind 'Em Up", "Frisky Fingers", "Fumble Fingers", "Treble Trouble" and others. Tom uses some quite novel chord progressions in these. Now- maybe not novel compared with what some cutting classical composers have been doing since the late 19th century (not to mention jazz since the 1940s), BUT definitely novel for ragtime, even 'New Ragtime' which already incorporates more contemporary elements. Tom has blazed a trail and definitely has his own voice and style which is recognizable... not an easy thing to do in a genre which already has so many different composers and stylists. ALSO, and even more impressive for some of the more perceptive classical bigwigs... Tom's best pieces maintain GREAT STYLISTIC CONSISTENCY within a piece, and have a VERY SOLID STRUCTURE with phrases and subphrases calling back to previous (or anticipating subsequent) phrases in the piece. He will weave together melodic motifs in such a way as to create an integrated whole within a piece, much in the way Scott Joplin and other great legendary ragtime composers did. This is compositionally an ADVANCED TECHNIQUE and is seldom (if ever) heard in the work of 'hack' composers. Besides the novelties already mentioned (and waltzes, and cakewalks, and on and on), some of Tom's rags are quite 'classical' or at least 'classic rag' inspired. For example, check out "Delphinium Rag" which he recorded for the "Ragtime Wizardry, Volume 1" folio published by Rivermont Records (with companion CD). Those who regard Tom's music as just light and frothy have not either heard the depth built-in to some of his showpieces, or else (if obvious tempo and mood is a major requirement for these listeners recognizing and respecting these qualities) then might I recommend "Liz's Rag", "Drift-Wood", "Rose Blossoms" and "Moon Shadows" (waltz) as pieces of greater emotional depth and where feeling is everything. Personally speaking, I have heard or played probably close to 1,000 contemporary (1940s-present) rags and ragtime-related compositions, so I feel like, although still just my opinion, I have an informed opinion when it comes to musical quality. I feel Tom's very best pieces stand up to harsh scrutiny from a musical and compositional standpoint. They are more than just 'crowd pleasers', they are materially great and stand up to repeated listening and reward the serious listener. I feel that his best, such as "Elephant Tracks" and "Frisky Fingers" are already in the pantheon of the 'greatest' rags... not only in my opinion, but in that of many other ragtimers as well. It is not merely the QUANTITY of Tom's output that is astonishing (over 200 pieces from 1987-2016, all told), but also the consistent high QUALITY of so many of them (I daresay 2/3 of them, although I have not yet heard or played them all), which is remarkable. I know of other "contemporary" composers who have composed either nearly as many rags as Tom, or more, who, despite their other gifts, have not (IMO) been able to maintain this high of a level of quality to their output, since quantity seems to be their overall goal. But quality is important, and I feel that is why Tom's music has become legendary, not just because of his live PLAYING ability, but because of the obvious quality of his work.

@@andrewbarrett1537 of course when I say simple I don't mean technically or compositionally it's just the sound of ragtime is quintessentially similar and after ten minutes I find a bit " boring " for want of a less offensive term. I too play rag but I think classical is far more imaginative. Of course I don't expect everyone to share my viewpoint. Just giving my opinion and I stand by it Thanks for the suggestions they're all great

Tom is an example of a craft done at its best. People can only live up and look up to the legacy he has set in place

@@ciararespect4296 I think you're forgetting the part where he isn't simply a rag pianist to begin with. His left hand performs technique even Liszt would be reluctant to perform. We're talking blazingly fast staccato technique, unbelievably intriciate boogie entries center voiced within massive leaps, etc. In particular I would make note of how genre development and voicing transforms ragtime into unique substances. You might just be looking at common rag pieces and not realizing he has been provided sheets he himself did not write at INSANELY high levels for random VIDEO GAME MUSIC which originally has NOTHING to do with rag. And yet? He performs these types of arrangements with sheer minutes of mulling over the sheets and imagining chords with utmost accuracy. -Someone who studies and loves everything from bach, mozart, hanon, hadyn, beethoven, liszt, ravel, debussy, tchaikovsky, shoskavich, rachmaninoff, chopin, brahms, liszt, alkan, to nobuo uematsu, koji kondo, etc. (and has done so for well over 3 decades.) -Someone who will never get tired of some particular tom brier peformances out of acknowledgement that 10 seconds of his time is worth thousands of hours of pianists widely considered top 0.0001% in the world........ Give the friggin credit where it's due.

That gives it a very authentic feel, which I personally like; you are very right tho!

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AFze1dj2Og0.html

Truly phenomenal. Sadly I never saw him before he was injured.

Agreed, but you won't cramp if you play with proper technique (like he does)

@@Mikernoob It certainly makes it less likely.

One would also need to collect all kinds of obscure rags and must have an easy to modest personality to boot

He's great IN HIS GENRE. By far and away not the best. Classical us probably Marc Andre hamelin. But greats are sokolov volodos argerich bleschaz Richter etc

He's in the background of the first piece.

I feel the opposite

It's funny you should write this, since as a past performer at the WCRF, I can attest that the clocks are there to remind each performer of what time it is (as well as who is supposed to play that venue, that day, at what time and in which order). This is so that performers don't have an excuse for going overtime on their sets and thus either reducing the amount of time the next performer would get on their set, or else (in case all subsequent performers, to a late performer, also go over on their sets), throwing the schedule off so much that it no longer matches what is in the program, and the audience members (some of whom carefully plan who they will hear in what room at what time), then get annoyed.

Yea shame there wasn't a way you could salvage the brain parts of pianists and composers through history and transfer them to your fingers and brain? I suppose one day it will be possible

It's very unknown, but also very insane!

He's not doing well, unfortunately.

Yeah, he got into a super serious car accident in 2016 and almost lost his life. He was in a coma for an extended period of time before enter rehab to learn to talk and function again. Unfortunately, it’s highly probable that he’ll never be able to play like that again, but the most important thing is that the man is still with us. Get well soon Tom, and Godspeed. 🙏❤️

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-T_JlZo5nMRY.html That is the link for Blue Lampshade

@@tombrierfan Thanks !!

@@metanogaming412 Came here to ask the same thing! Thanks!!!

I updated the video description 😉

Yes

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-T_JlZo5nMRY.html

Absolutely right, but the video isn't called torturing piano's for no reason!

Peril in Pantomime

Peril in Pantomime

Lmao thanks Didn't know some people actually read that

You are completely right! I thought I had already done that, thank you for your comment.

ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-K3hbPLN7nh8.html&ab_channel=Keeper1st

Elephant tracks by tom brier

I assume you mean when these videos are filmed. No, this is before the accident.

It's called 'Cetus' and is part of the Constellations album he wrote with Neil Blaze.

@@tombrierfan Thank you fellow fan! I'm working on playing his "Super Mario Land 2 ending theme" right now, but wanted some more rag-style gems to try out.

That's his own composition "Over The Top".