Exercises yes or exercises no

Given that I don't know you and have never heard anything... I will try to give you a different perspective on the matter

orlando wrote:

Let me give you some examples: in 2007 I prepared Nocturne op.9 n2 but the C notes brought to the recital went all well, Tristezza, Summertime all went well (I started in October 2004 at age 54)

It strikes me that you say "All went well" in the sense that nocturnes are diploma pieces, so being able to propose these pieces credibly after only 3 years of study is not for everyone, but it doesn't mean you might not be capable of doing so.

Therefore, in this regard, I would like to know what "All went well" refers to: the emotional aspect, the note accuracy, musically, in relation to your interpretation of the piece, etc.

orlando wrote:

my first teacher leaves and a new teacher arrives, after some time he tells me to start Hanon (I didn't know what it was) then he tells me that I don't know how to read...

I stopped some time later in early 2009.

I am very sorry you stopped, and especially the fact that perhaps a change in teaching methodology may have played a part. In my experience, the main problem for many students is "solfeggio," in quotes because I am referring to the term in a broad sense and to everything surrounding reading and interpretation: note reading, rhythm, agogics, dynamics, etc.

Obviously, I don't know if this is your case... so I can only base myself on the "judgment" you reported between the lines of your two former teachers. The second one found problems with solfeggio and hand "positioning." For example, Hanon is often used at the beginning to instill rhythmic "regularity" and a certain level of finger agility because, in that specific case, the difficulty of reading is removed and one can concentrate solely on piano gestures.

Hanon yes, Hanon no—I have always been conflicted despite being made to adopt it in my youth... from my point of view, it depends on the student. Can you post a video where we can observe you at work? Even a digital camera is enough, just to see... if we really can't hear perfectly, I'm not asking for a studio recording... eh

orlando wrote:

Now my difficulty is exercises yes or exercises no

If by exercises you mean technique or studies, I doubt that anyone does none... the point is how, not whether to do them or not.

orlando wrote:

i would like to study Chopin, Mozart..... but I have the impression of not being up to it???

At this stage, I don't know if it is a problem of self-esteem or something else; there are certainly pieces that are technically easier or more complex in the repertoire of Mozart and Chopin; a starting point could be the "My first..." collections.

orlando wrote:

For light music I don't complain, but for the reason mentioned I am neglecting classical.

If it is a matter of taste, that's one thing; if it is a fallback, that's another.

Ultimately, if I were you, I would turn to a new teacher so as to receive a third opinion. If another highlights the same deficiencies as the previous one, then it may be that the first was too "understanding"... if instead they find no problems, the previous teacher might be one of many poor frustrated people out there.

Where are you from?... even privately, just to eventually direct you toward someone trustworthy.

I agree with Frank's wise advice.

I would add the technique courses by Rossomandi and Cortot. As for anthologies, also the Czerniane and my first.... collections of easier pieces by great authors. Naturally, a mandatory step is Bach. I would start with the Anna Magdalena Notebook and then move on to the 23 easy pieces. Only subsequently the inventions (the two-part ones). A fundamental and not easy collection, but very formative in my opinion, are the six volumes of Bartók's Mikrokosmos. Managing to reach at least the third.

Personally, I am against Hanon or at least its prolonged use. It can be done at the beginning in the way Frank suggested, but without giving it much attention, in my opinion. It has nothing to do with the study of "piano technique".

Good morning Maestro Ferrarelli

I am sending you this file for the spoken parts, I cannot manage to insert a Chaplin medley (recorded on mobile)

yesterday, responding to M. Frank, I succeeded, responding to one of his emails, but perhaps as mentioned he is a bit busy.

Thank you for your attention

Orlando

In fact Orlando, while on one hand the sound seems round to me, on the other hand one notices especially at the beginning a certain deficiency in terms of rhythm management (I want to specify that I am not referring to speed) which gradually loosens up but occasionally causes you to stumble.

In my opinion, another area for improvement could be dynamic differentiation; what do I mean? The pianos are too loud and the fortes are too soft...

You also need to work a lot on the final trill, where it is difficult to "hide" and where certain limitations are more evident.

Anyway, considering that you have been studying for 3 years, it already seems like a small first milestone... lowering the level slightly perhaps could allow you to have greater confidence and perhaps (I am hypothesizing)... satisfaction.

This is a simplified version of the Nocturne in C. It is fine for someone who has been playing for three years, but I still agree with ttw, pianoexpert, and Frank. Start studying something less demanding (I am speaking more from an interpretative point of view). The piano is an instrument that requires a lot of patience. Results come with practice, study, and time. You must start gradually with simple things and then make them increasingly more complex. Frank and Pianoexpert have already given you excellent starting points.

Thanks for the advice

orlando

TheSimon wrote:

This is an easier version of the Nocturne in C.

Speaking of which, perhaps it is actually worth approaching some simpler pieces... by Chopin or others, but original ones, so as to grow progressively by raising the difficulty level in the choice of different pieces.

thanks

orlando

Hi Orlando, several useful things have already been pointed out to you. As the good Messiaen used to say, Chopin with his rubato is as if he had reintroduced into music that freedom inherent to Gregorian chant ... which was entrusted to neumatic notation.

... I don't know how capable we are of being truly free right away; pedagogically speaking, to have a good command of agogics, one must first have developed a rhythmic sense. Clearly, the intrinsic difficulties of execution do not leave you with sufficient energy to fully convey this sense, and Chopin is one of the authors who plays most on these aspects.

Therefore, since they have also pointed out some difficulties regarding dynamic management, I would suggest approaching the Baroque repertoire, as it poses fewer rhythmic difficulties (more "regular") and dynamic ones ("terraced").

A collection worth owning and knowing is:

"Easy pieces for piano from the 17th and 18th centuries by Violeta Hemsy de Gainza," published in two volumes.

The pieces are arranged in progressive order of difficulty and, besides being very lovely (all original works), they are also pedagogically suited to an improvisational approach.

It also contains notions of formal analysis and the pieces are categorized, thanks to indices, not only in terms of formal aspects but also under other aspects (e.g., whether or not they contain modulations, etc.).

Thanks Frank

orlando

...I don't know how capable we are of being truly free right from the start... A beautiful phrase, Frank!!!! In this phrase, there is everything! Each of us would want to express our signs of artistic freedom "soon," skipping over certain phases, certain stages... but I would say that... at a certain point... even an initial one, we find ourselves a bit disoriented. Meanwhile, time passes and imposes on us an assessment of the efforts we have spent. When I was a boy, they often asked me: "Excuse me, do you play for pleasure or do you do it seriously?" But what does that mean, I would say? And by any chance, does an amateur practice and a professional one exist? Things were not clear to me. One day my father brought home a small 45 rpm record with this nocturne by Chopin. I liked it very much and since I had a good ear, I not only reproduced the right hand by ear, but also the chords of the left hand. Of course, it wasn't perfect, because the performance was by Rubinstein, who, as is well known, makes the left hand barely heard, and then it was truly difficult to "separate" it from the right. I also liked that "rubato" that I perceived and that I liked so much.... perhaps because I believed it allowed me to play with "full" freedom. My mother took me to an audition with a concert pianist, who, listening to the nocturne, asked me: "But why do you play it all a half-step higher?..." when she understood that I was playing by ear and that I had "found" it on my piano which was a half-step lower,... she almost fell off her chair. She asked me how long I had been practicing this "system" and advised me to study "seriously." But honestly.. what does seriously mean????? Well, it was made clear to me later by what became my great teacher when she said to me: "...But excuse me, she said to me, time passes regardless, whether you play things as you please, or if you follow a structured course of study,... then-she said- isn't it worth it for you to take the second path? This will guarantee you, wherever you arrive, that you possess something." She convinced me and I began to study "seriously." Sorry for the long story.. at my age, I like to reminisce. However, I see a bit of myself in you and I think, as Simone, Frank, ttw, Stellina have advised you, that you could abandon the "simplified" versions that make you, yes, have fun, to explore a course from the beginning, that proposes things that are, yes, easier, but performed in a rigorous way. Begin rigor, patience, application. The assimilation of rules... so as to be able to abandon them a little later, becoming "truly free" (but not immediately!!!) What do you say? Best wishes and... Good study decisions"

Good morning M. Ferrarelli

Thank you for your advice, I don't know if I will ever manage to be free (perhaps I should have thought about it sooner)

I liked the anecdote very much; as for the Nocturne, while browsing through the "easy" musical gems, trying with the right hand in 2006 (I started in 2004), with the first notes I understood

that it is an exceptional piece; perhaps out of presumption or perhaps it was enthusiasm, I insisted with my teacher to perform it later in 2007 at the end-of-year recital.

In 2009 I then stopped attending (certainly making a mistake) but I had the impression that my enthusiasm with white hair was causing annoyance.

I think I have received the message and I strongly agree regarding the originals.

I have resumed Czerny from no. 51, I would like to resume Cesi starting from the Kulau sonatina (very beautiful) and then move on to Bach's Anna Magdalena; at the moment I haven't been able to find Violeta de Gainza.

I listened to the Nocturne by M. Rubistein and for me it is the best performance.

I noticed that we have a passion in common (besides music) DOGS; I was fortunate enough to have an exceptional female Newfoundland who lived for 12 years, then she passed away. I saw her passing in the beautiful tutorial, the Intermezzo "Liebestraum" was beautiful, beautiful, compliments on the tutorials.

If I may suggest, a tutorial on how to optimize the study session.......

Thank you very much, I see a lot of enthusiasm in your words, I like this....

Kind regards

orlando

Orlando, I have white hair too! So it's time we use the informal 'tu'! (Even if we.... our white hair.... we dye it white! Isn't that true?) My observations are in no way intended to diminish the results you have achieved. I wish you with all my heart that you can enjoy more and more this immense world that is Music. Bach and Kulau are fine! You'll see that a little "diet" won't hurt!! Compliments on the Terranova. Such a sweet and wonderful dog. I am sorry he is no longer here. I have a male Border Collie, Socrate, and a Maremmano, Gaia, very sweet and intelligent...... more than him!!! He is 11 years old, she is 2 and a half.... but she is teaching him many disciplines!!!! This evening I returned from dinner with friends and it was pouring rain. For the first time: dry dogs.. finally She convinced the "wet blanket" that it's better to take shelter under the porch of the house!!! And it took 11 years to realize it??... There's nothing to be done... you have to listen to females!!!!

hello maestro

how much I have learned from my kira.......females have an extra gear

thanks

orlando

Hello maestro, I am sending you some photos of my KIRA

greetings

orlando

Wonderful. I am honored that you shared with me the memory of such a beautiful and sweet animal!

thank you maestro

orlando

Good morning Maestro

I wonder if it would be possible, a video tutorial or....on how one should study to optimize the daily practice session?

am I asking too much?

thanks

orlando