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mom3gram and Bazc,

I'm copying my post from BazC's thread here so this thread is complete in itself:

Regarding the fingering on The Marine's Hymn.

Yes there are definite purposes for this.

- In pieces that are much faster then this, it allows you to play repeated notes faster than if you use the same finger on one note. Learning to get comfortable with this motion in a slower and easier piece gets you ready for using it when you really need it. The reason for it is anatomical (or maybe neurological), we can move two different fingers in consecutive motions faster than we can move the same finger twice.

- In the context of this piece, it moves your hand up so it is ready for the next position.

- Also note that the enter phrase you posted is just that a phrase played legato (as indicated by the slur line in the original music). Well, you can't really play five notes the same legato, but the closest you can come is helped a just a tiny bit by using different fingers.

- The next note is a B (after the end of this phrase) and you are told to use the middle finger (3). This is on purpose and is not intended to mean that you should cross the 3 over the 1 to play it. It is the end of one phrase and the start of another and you are supposed to break one phrase to start the other. Think of how you would sing it - you would pause and take a quick breath before starting the next line of the song. That is the effect you want to create there, and the fingering suggested helps.

- Historically, some older editions fingered every single instance of repeated notes marked using different fingers. It is not always necessary, I think they were just using something akin to the principle that if you always use this method then it becomes second nature when you have to.

- I think there are also some technique books that make this a rule for the same reason. It's not always considered necessary now, unless you are playing a piece at a fast tempo.

Does this help?

Rich

Thanks again Rich!

I'm probably well behind the rest of you but I would like to share how I have settled into a practice routine for whatever it might be worth.
As a general guideline, I try to practice three times a day -morning, mid day, evening for at least twenty minutes each.

The first session I start over with pieces I have more or less conquered, the second session I work on the one or two that I am trying to learn, and the third I take a stab at the next thing in line, then reward myself by playing something that I like and can do fairly well.

Does anybody do it this way or does anybody have any other ideas how to approach this?

And last, absolutely hate the combination of any two white keys together, especially F and G. Good grief does that sound awful!
Anybody else feel the same?

There are a lot worse "doozers" in the bad combo... Try some g#with the c.

Lets do it...post it and I'll add it...

Thanks!

Thanks for the advice, repetition sure does help right now I feel like I have a maximum limit, that I have to raise. I do find taking a break say coming back the next day doesn't help, it's like going back to square one. Over a period of time I will get to where I need to be, it is what I feel is the biggest hurdle for me to overcome. I am finding I read the piece quicker than my hands react once I have become a little familiar with it.
I am finding that since I joined the MOYD I have increased my practice time considerably and I am beginning to see some benefits of the extra practice. I am hoping that my lack of natural ability ( I rate that at 0 ) will succumb to hard work and desire.

Just an update....

I had my first lesson with my new teacher. She is great. I think this will work out much better than my last two. Its a little bit of a drive for me but I think it will be worth it. We will be continuing in my Alfreds book which is a plus. And she assigned me a duet piece to do with her as well as a long term piece to work on. And, I will be participating in the MTAC exams. So I am very excited and motivated. In my Alfreds book I am working on "Cafe Vienna". She noticed that I have problems with the chords in the left hand and gave me a really good suggestion. She is having me practice with the chords blocked in the left hand and then eventually splitting them up as written. Ill see if that helps. She also gave me pointers on my posture and wrist position. It was a great lesson.!!!!

Anyway, thanks for letting me ramble on and on....

KaylaX

Hey KaylaX,

Congratulations! Sounds just great. Keep us updated.

Angelo

Here it is. Thanks Mark!

Scarborough Fair

Key Notes

It's wonderful that you joined MOYD! It certainly is another great source of motivation and reason to regulate your practice time.

Wow, and how interesting and intriguing it is that you can read the notes faster than you can find the keys. That means that your reading skills must be excellent. That's fabulous Dave!

And zero talent(?) I normally prefer not to get into such an age-old debate or discussions, but I would like to believe that EVERYONE has talents in one way or another, in different things and in varying degrees of course, but I whole heartedly agree that hard work and strong desire will win out in the end. I admire your hard work and positive attitudes.

Best Regards,

Key Notes

Original text in Portuguese. Translated
by Google language tools.

After taking a look at all posts
using the google translation, at last
registered to post.

I wonder if someone has already recorded all
parts of Alfred's basic all in one Adult Piano course and
could provide in 4shared. In
beginning of the discussion had a link with 10
parts, but the link is broken. Someone
managed to break down before him and may
available?
Not yet started the book. Will any
difficulty with English. But counting on the
help you. rsrs

Kisses and thanks.

There is a young man on youtube.com who has recorded all the songs in Book 1 and Book 2 and has started on Book 3. He is using the Alfred Basic Adult Piano Course, but most of the songs are the same as the All-in-One book that you refer to.
http://www.youtube.com/profile?user=PianoNoobAlexMan&view=videos&start=120

Also, at the beginning of this thread, on Page 1, there are recorded versions of several of the songs.

I hope this helps.

Here it is. Thanks Mark!

Scarborough Fair

Key Notes </strong></font><hr /></blockquote><font size="2" face="Verdana, Helvetica, sans-serif">Well done Key Notes! Thanks for the contribution.

Mark

Way to go Key Notes!

Nice job.

Undone

This week I had my second lesson. My teacher hit the break somewhat. I practised up to BTMD and played most pieces. She told me my pedaling was good, but I have to work on my hand independency: play melodies fluently with my right hand (not lifting my hand in between notes that are tied) while playing chords independend with left. And my posture, I bend my back to much. She sure is right there; I feel my back after playing for half an hour.

So no new song for me until next week, but I can already notice the difference after practicing these remarks for some days. It feels and sounds more musical, more like I am playing the piano.

Hi Key Notes,

I'm in Florida now. Got here yesterday. MAN you should see thier practice tasty oh my gods wonderful practice keyboard. Yum...,, but I was unable to play for days and won't be able to until sometime next week

great, well done

Just an update.....

I'm working in a book about How To Play from a Fakebook, and in the Alfred All-in-One Book I'm up to Cafe Vienna (p.94 in the All-In-One Book).

In my opinion, the Alfred Book is more fun than the How-To Fake Book!

Do you find How To Play from a Fakebook a useful book?

Dave123,

I'm still not sure I've done enough of it to form a fair opinion yet...