April 6, 2018 at 1:25pm

Peter breaks down the real way to play a bossa nova groove.

December 15, 2017 at 8:46am

We know how to play a normal glissando, but how do you play these glissandi?
a) Black keys glissando
b) Chromatic glissando
c) Thirds (or doubles) glissando
d) Octave glissando

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Gavin Koh

Please share if you know of another piece that lets you perform a special glissando. Just wanted to compile a list:
a) Lotus Land - Cyril Scott (Black keys)
b) Cadenza to Liszt's... See More

Please share if you know of another piece that lets you perform a special glissando. Just wanted to compile a list:
a) Lotus Land - Cyril Scott (Black keys)
b) Cadenza to Liszt's Hungarian Rhapsody #2 - Marc-André Hamelin (Black keys and octave)
c) Feux d'Artifice - Claude Debussy (Chromatic)
d) Missing You - Namine, Kingdom Hearts Piano Collection (Chromatic)
e) Das Geisterschiff or The Ghost Ship - Carl Tausig (Chromatic)
f) Albredo Del Gracioso from Miroirs - Maurice Ravel (Thirds)
g) Hungarian Rhapsody No 15, Franz Liszt (Thirds)
h) Pour les huit doigts from 12 Etudes - Claude Debussy (Black keys)
i) Petrushka arrangement, Igor Stravinsky (Octave)
j) Variations on a Theme of Paganini, Book 1 Var 13, Johannes Brahms (Octave)
k) Waldstein Sonata, 3rd movement, Prestissimo section - Beethoven (pseudo Octave)
l) Khachaturian-Solin - Sabre Dance from Gayane (Black keys)
m) Pierre Sancan - Toccata (Chromatic)

December 17, 2017 at 1:20am
March 29, 2017 at 11:25am

How do you teaching fingering on the piano? Do you advocate a "fixed way" for fingering (as spelled out in the score, especially), or do you train learners to adopt a more flexible approach?

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Maxim Yanchenko

Both, depends on a situation. The written fingering, when it contradicts the habitual fingering of a student, frequently exposes weaknesses and gives a way to address them (for example, overuse of... See More

Both, depends on a situation. The written fingering, when it contradicts the habitual fingering of a student, frequently exposes weaknesses and gives a way to address them (for example, overuse of the third finger when the forth is more appropriate but it's weak and therefore uncomfortable to use). Otherwise the weaknesses would stay hidden and the student would end up with a very limited set of fingering patterns he's comfortable with.

March 29, 2017 at 11:30am
Goh Zensen

Thanks for your sharing!

March 29, 2017 at 11:37am
Goh Zensen

Explaining why music theorists are always lagging behind instrumentalists!

March 29, 2017 at 11:40am
Gee Yong

Adopt flexible approach due to short or long fingers. In playing different genre of music may requires different fingering techniques.

March 31, 2017 at 5:57pm