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PostPosted: Fri Jun 01, 2007 3:18 pm 
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But then the feeling is not repressed if you are expressing it, right? :? (can you elaborate while keeping it 'clean'? If not, do it anyway. :) )

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 Post subject: Re: Chopin Nocturne Op. 27, No. 2
PostPosted: Fri Jun 01, 2007 9:38 pm 
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Location: Gulfport, MS, USA
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I have been infatuated with this piece for a few weeks, now. It literally used to make me cry when listening to it - my heart hurt from the beauty of it. Then as I became better at playing it, I got more of a 'turned on' feeling than anything else (I know, weird reaction). Too bad I am always alone when playing piano. :wink: So...for two days, I have done nothing but record this piece. Had to give up my morning coffee, too, so I wouldn't be so shaky and heavy-handed. But no matter how hard I have practiced, or how many times I recorded this, I just can't get it perfect. This is the best I can do. Upon listening to it the very last time after editing out starts and stops, adding reverb, and naming it correctly, I did end up crying again, because it just doesn't go the way I wish I could play it. There are a few inaudible notes, some notes that you can hear but are too soft, some notes that came out too loud - Grrrr - I'm so disappointed in my playing. If you have any tips on how to play better, how to play softer, smoother, lighter, anything at all, I would be very greatful.

Chopin Nocturne Op. 27, No. 2

I definitely don't see any reason to cry...you've been working on it for just a few weeks, after all, and the technique isn't easy, despite the deceptive cadence. You know that. ;) You also know that I respect anyone that makes tempo a priority with Chopin, which you of course did, and you did a lovely job.

I won't say anything about that particular point that we already discussed. ;) One thing that I did, after I had played this nocturne for a jury the conventional way...I changed my fingering in the left hand to switch to the thumb on the 6th part of each beat, or most of them, anyway. It's unconventional, and I'm not sure that Chopin would have approved of it, but I loved playing it that way. It made it sooo much easier to be legato in the left hand, it made for any easy smooth pedal, and also helped me to control the volume of the left hand, and to be contrapuntal with the accompaniment. I find that using the soft pedal a great deal in this piece makes it too difficult to make the melody sing like it should.


For those of you who have different ideas about tempo rubato, and also compare it to sexual expression...or repression...whatever. :) Keep this in mind - the best path to a true sexual release is a nice, steady rhythm. Those who are bad in bed are those you just can't get in sync with, are they not? ;)
Quote:
This might sound really weird from my side but the excitement I sometimes feel in music can be close to sexual excitement (now don't make fun of me!).

I'm not about to make fun of you...I was raised on Chopin, and I first remember making the connection between music and sexual tension and release when I was about 12, with the 25/1 Etude.

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"Z Czernym poznałem się na panie brat—na dwa fortepiana często z nim u niego grywałem. Dobry człowiek, ale nic więcej..." - Fryderyk Chopin


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PostPosted: Fri Jun 01, 2007 9:54 pm 
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Quote:
I changed my fingering in the left hand to switch to the thumb on the 6th part of each beat, or most of them, anyway. It's unconventional, and I'm not sure that Chopin would have approved of it, but I loved playing it that way. It made it sooo much easier to be legato in the left hand, it made for any easy smooth pedal, and also helped me to control the volume of the left hand, and to be contrapuntal with the accompaniment. I find that using the soft pedal a great deal in this piece makes it too difficult to make the melody sing like it should.


Thanks, Terez. I'll check out your fingering when I am back at the piano. My teacher also showed something, (don't have the book in front of me right now) but it involves picking up a secondary melody note that is written for the LH but I can use the RH to bring it out better. It's those kind of things that I'm working on now. As far as soft pedal - I like to use it - but I'm finding that it so much depends on the piano. My Yamaha grand, which I used to love - is doing strange things with that pedal, so I'm not sure I will use it like before. The Steinway I play on at my lesson worked much better, as the upper notes weren't as muffled.

p.s. all this 'other' talk, well...you know...it's like playing really good piano. (stupid joke, probably nobody gets it except me)

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PostPosted: Fri Jun 01, 2007 9:58 pm 
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Hey, I get it! :)

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 Post subject:
PostPosted: Fri Jun 08, 2007 1:42 pm 
wow...this piece is beautiful and you have done a great job at capturing the emotion and feeling required to play a piece like this....you have absolutely nothing to worry about. But I do know how frustrating it is and you are always your worst critic so there you have it.

great job, love this piece!


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PostPosted: Fri Jun 08, 2007 5:51 pm 
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Thank you, Bitakia. I wish I would have gotten this in sooner, because I have just re-recorded it.
If anyone is still around here, and if you're bored to death and don't know what to do with yourself, maybe you can have another listen. I'm ok with this take, as I can at least hear the melody now. I did not use the soft pedal as much, and paid more attention to the accent marks, so this one is a keeper (unless someone tells me that it's worse, then I will simply throw in the towel)

Chris and Robert, please forgive me for re-submitting this so soon after the first one, but I just had to. :)

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my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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 Post subject:
PostPosted: Fri Jun 08, 2007 6:51 pm 
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I just listened to your second version. Very nice!


Being turned on when you play... reminds me of a funny story.
There was a youth competition, and a little kid (About 11 or 12) came up to the stage to play a Mozart Sonata. He was wearing very very tight pants. As he played, he started to get a big big erection, but he just kept playing with a really dumb smile on his face. The audience started giggling, some of the judges couldn't hold it much longer. He stayed like that all the time, when he took his bows and walked out. He was very well endoued for a 12 year old.


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 Post subject:
PostPosted: Fri Jun 08, 2007 7:02 pm 
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Ok, the new one is up the site. Better be good.

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 Post subject:
PostPosted: Fri Jun 08, 2007 7:17 pm 
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DemhaOdnanref wrote:
There was a youth competition, and a little kid (About 11 or 12) came up to the stage to play a Mozart Sonata. He was wearing very very tight pants. As he played, he started to get a big big erection, but he just kept playing with a really dumb smile on his face. The audience started giggling, some of the judges couldn't hold it much longer. He stayed like that all the time, when he took his bows and walked out. He was very well endoued for a 12 year old.

Ah, that is rather funny...
To be at that age when one could get a spontaneous boner at any time of day :lol:

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 Post subject:
PostPosted: Fri Jun 08, 2007 8:52 pm 
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Quote:
Ok, the new one is up the site.

Thank you.


Quote:
I just listened to your second version. Very nice!

Thank you, DemhaOdnanref. And I loved your story. At least I'm not the only one. :wink:

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my videos: http://www.youtube.com/user/monicapiano
my personal website: http://www.monicaalianello.com


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 Post subject: Did not sprout a "boner"
PostPosted: Fri Jun 08, 2007 9:01 pm 
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Ok, no anatomical changes to report upon listening to your second version, Monica. But loved it, nonetheless!
-N


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 Post subject:
PostPosted: Fri Jun 08, 2007 9:07 pm 
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:lol: :lol: :lol: - Thanks, Nicole.

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my personal website: http://www.monicaalianello.com


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