Not much to say, I have an audition tomorrow and I dint know if I am cooked. I have two other songs I am playing besides this, but still. You can either get nothing, an Honors Recital (8 min memorized music), or a concert (20 min memorized music).

I was 14 years old, had bought Bach WTC 1 by myself though at the conservatory they made me play very easy music, like Clementi. At home I would burst free and play my stuff or some Chopin

I initially learned this song in a different key because it had less sharps in it which are hard for me since I’m still a beginner (started piano lessons last July). But I really like how it sounds in the original key so have been learning it over the past couple weeks. I still have some parts to work on, but overall very happy with my progress

Hi! I made this new cover of one of my favorite Christian songs. Any comment or feedback is appreciated! :)

Full video: https://youtu.be/IlsrVDggUSs

These are always a challenge for me but rewarding to work on. I like this one, seems I don’t hear it played as often as some of the others.

Hi everyone, In order to change my current piano (Korean one) I would like to buy a Yamaha U3 from the '70s. There is one thing I am not sure about: I hears the u3 is supposed to be very loud, but this one (refurbished) is not. It is actually of a shop which has a huge shed: I cannot really understand how loud it is. However it even sounds a bit less loud than other u1s in the shop. Do you think this represents a problem or is a symptom of something not good? Thank you in advance

This is not a performance but I recorded myself practicing für elise. It’s not a perfect recording but I wanted to share to get some advice on posture, hands, pedal use, and anything else you can think of. I wish I could upload a better performance but I get too nervous when the camera is on. I consider myself a beginner and I can only practice twice a week. Thanks in advance.

So I was just looking at fb marketplace and I see a steinway b7 for the low cost of 500 dollars and the description said something about it being the seller's brother's piano and that he passed away. I'm thinking of getting it but unsure whether it's a scam. What are some red flags or questions I should ask to sus out whether it's a scam or the real deal? This would be life changing for me if it was real so I'd just like to know.

Throughout our piano journey, we find certain aspects that seem harder to master than others. Whether it's hand independence, sight-reading, memorization, or tackling difficult pieces, everyone has their unique challenges. Let’s share and learn from each other’s experiences!

Working on Chopin’s winter wind, and totally struggling to have it stick in my brain. I have the first run down fine but after that I’m not doing great. I learned Moonlight Sonata (3rd movement) a while ago and that one was fine because it was all arpeggios and patterns. Anyone have tips on learning the runs and things in winter wind?

right before the Coda where you spam the A flat in octaves, how do you finish that a flat octave section and still have enough energy for the coda?? when i’m done, i have no strength to play the next thing my right hand is sooo tired do you have any tips ?

I've been playing piano for roughly 5 - 6 years and I have improved a lot, from learning classical pieces to learning some of the jazz standards the traditional way (w/ sheets and a teacher). However, I always wanted to get better at improvising chord progressions because when I try to come up with a bunch of chords they end up sounding messy and out of scale. Across all my years playing I have figured out there is no "secret formula" on learning anything from scratch but I wanted to ask you if there are any tricks or tips for making this process quicker!

Can someone tell me: is Poulenc’s FP 42 (novelette in c major) harder or is für Elise (Beethoven ofc) harder??

I’m playing the first one for my recital and I want to know if I’m better or somebody else I know. Thanks!

Introduction

At first glance, the weight of 3.3 kg seems excessive for a tuning wrench. Readers might wonder, "Why so heavy?" or "How could this possibly be useful?" However, this weight is intentionally chosen to demonstrate the practical manufacturability of the device on a lathe.

This article explores the hypothetical tool called "Max's Cone," a novel concept in the evolution of tuning wrenches. It is designed as an experimental approach, introducing a new way of interacting with tuning mechanics.

Max's Wheel: Max's Wheel is a mechanism that combines a first-class lever, a rotating element, and a wedge-shaped component. Its unique feature is the positioning of the support point (the axis of rotation) above the force application point (the hand), creating a distinctive kinematic scheme. The applied force transforms into rotational motion (torque) transmitted to the socket in a series of fast, sequential impulses. This action mimics the effect of impact tools without abrupt energy accumulation and release. Such a construction allows for force amplification.

Historical Context: The tuning of musical instruments has evolved significantly over time. From the hammer—a simple tool for the additional "tapping" to the T-shaped and today L-shaped wrench, which has been the standard for over a century. This article highlights a hypothetical alternative to these traditional tools: a design that offers greater rationality under specific conditions.

Design Philosophy: The shape of "Max's Cone" reflects engineering thought and invites philosophical analysis. It redistributes force efficiently through its "integrated structure," where the post and rim function as a unified system. This solution harnesses friction forces to benefit the system, establishing a new level of convenience and functionality.

Future Perspective: While the weight of the wrench can be reduced by using composite materials (halving or even reducing it to one-third), this article opts for oak—a classic material that emphasizes durability, reliability, and the realistic possibility of lathe production. This choice underlines not just how the tool could function but how it could be crafted.

The "Max's Cone" article invites readers not only to see the hypothetical tool but to reflect on its physical, philosophical, and engineering aspects. Although it may never become a practical solution, its purpose is to inspire and broaden the horizons of thinking, uncovering new possibilities in traditional tuning practices.

https://www.academia.edu/128649561/Scientific_Article_Maxs_Cone_A_Hypothetical_New_Type_Wrench_for_Piano_Tuning_

On the Piano 🤟🏻

Hey everyone! This is my second attempt at a pro-style piano video — this time playing Una Mattina by Ludovico Einaudi. I'm working on both my performance and the overall video setup (lighting, camera angles, etc.), so I'd really appreciate any feedback you have on either!

What works, what doesn’t, and anything you think could take things to the next level — I’m all ears. Thanks for watching!

His arrangements are just on another level

I'll get straight to the point

Goals to achieve:

Become a pianist that listens to stuff and immediately plays and improvises on the spot.

Know everything about chords and chord progressions and know when and how to play them.

Have an advanced level of control and speed over the fingers , kinda like what the jazz pianists do

But not limited to jazz

Background:

Spent 3 years studying electronic keyboard.

Have basic to intermediate skills in sightreading and the regular stuff.

I realised I'm average at everything and not exceptionally good at one thing

Want to break out of that.

Not a genius or talented by any means.

But am willing to spent hours with the piano.

It would be a huge help if you guys would tell me how to get started on becoming a freestyle pianist , what to learn , how to learn , in what sequence.

I'll take any advice that would help me begin my journey.

☺️

Every time I go to bed I think about what could I have done better in my practice, how much more I could have done etc… I think about these things all the time even if I made “good” progress. Even when I go to my piano lessons my teacher is satisfied with my progress but I never am. Is this a good or a bad thing?

I am curious, how many people intentionally just noodle instead of trying to play a composition or having an end-goal?