- Get access to a piano :
Before you begin your pursuit of becoming a pianist, you must have ready access to a piano that is in good working condition, and will be kept that way. Ideally, this is a piano in your home, that you can always play. The piano need not be a fancy grand piano--a simple upright piano will do fine. Electric pianos are acceptable, but not as good as the real thing, since they often do not feel and behave as an actual piano does. The other important prerequisite is time. Becoming a pianist requires lots and lots of time, and so if you want to see real progress, you will ideally need to carve out several hours each day for practice.
- Find someone to be your teacher :
While it is possible to learn to become a pianist on your own to some extent, you will never learn as much or as quickly as with a great teacher. Don't settle for a so-so or even a good teacher; once you have found a truly great teacher, you will know it, and you will see a great difference in how much you are learning, and how much you are being pushed to improve. To find a piano teacher in your area, see if anyone you know can refer you to someone. If not, look for a local classical music publication that may have a classified section, or ask for recommendations at a local music store that sells classical instruments. Once you find a local teacher that seems to be a good fit for you, be open with him or her that you want to see how things go for at least a few weeks, before you decide whether to continue.
- Learn the fundamentals :
There are many fundamental skills to learn about playing the piano. Start with basic musical notation, which is important to learn since otherwise you will only be able to play by ear, which has many drawbacks. Next, you should learn the notes on the keyboard, so that you can relate the notes on paper to them. With this knowledge, you can work on playing scales, which will help to lock in the location of the keys as well as build your finger strength. You can also start learning chords, which are combinations of notes played at the same time.
- Practice regulary :
With these basics in hand, and a great teacher to help you to continue to develop your skills, the only thing left to do is practice. If you want to see your piano skills improve at a reasonable pace, frequent practice is essential. Start with pieces of music that are very easy, and then as you become comfortable with them, move on to more and more challenging works.
Other than raw talent, the amount of time you practice is the number one factor in terms of how good you will get as a pianist. So while you may find your motivation lacking some days, do your best to build momentum and make piano practice a daily routine.
Senin, 18 Oktober 2010
How to become a pianist ?
These are some of the steps :
What is keyboard or piano ???
Piano, stringed keyboard musical instrument, derived from the harpsichord and the clavichord. Also called the pianoforte, it differs from its predecessors principally in the introduction of a hammer-and-lever action that allows the player to modify the intensity of sound by the stronger or weaker touch of the fingers. For this reason the earliest known model (1709) was called a gravicembalo col pian e forte (Italian for “harpsichord with soft and loud”). It was built by Bartolomeo Cristofori, a harpsichord maker of Florence, Italy, who is generally credited with inventing the piano. Two of his pianos still exist. The case of one, dated 1720, is in the Metropolitan Museum of Art, New York City; the other, dated 1726, is in a museum in Leipzig, Germany.
Early Evolution of the Piano
Beginning about 1725, when the noted German organ maker Gottfried Silbermann of Freiberg adopted Cristofori's action, the next major developments took place in Germany. Perhaps the most important contribution was made by Johann Andreas Stein of Augsburg, who is credited with inventing an improved escapement that became the foundation of the “Viennese” piano praised by Wolfgang Amadeus Mozart and favored by most German composers of the late 18th and early 19th centuries. Twelve masters from central Germany migrated to London about 1760 and established the English school that, under John Broadwood and others, turned to the production of pianos of a stronger build, resembling those of our own day. The French manufacturer Sébastien Erard founded the French school in the 1790s, and in 1823 created the double action that is still in general use. By this time artisans in all Western nations were working to perfect the pianoforte. Numerous improvements were and are still being made in design and construction. Germany and the United States have long been distinguished for fine pianos, notably those of the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bösendorfer firm are also highly respected.
The compass of the early piano was, like that of the harpsichord, only four, or at most, five octaves, but it has gradually increased to a compass of more than seven octaves as structural changes allowed for increases in tension amounting to several tons.
Modern Structure
The modern pianoforte has six major parts (in the following discussion, the numbers in parentheses refer to the accompanying diagram (Diagram #1 below) of the structure of a pianoforte): (1) The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated. (2) The soundboard, a thin piece of fine-grained spruce placed under the strings, reinforces the tone by means of sympathetic vibration. (3) The strings, made of steel wire, increase in length and thickness from the treble to the bass. The higher pitches are each given two or three strings tuned alike. The lower ones are single strings made heavier by being overspun—that is, wound around with a coil of thin copper wire. (4) The action is the entire mechanism required for propelling the hammers against the strings (see Operation of the Action below). The most visible part of the action is the keyboard, a row of keys manipulated by the fingers. The keys corresponding to the natural tones are made of ivory or plastic; those corresponding to the chromatically altered tones, of ebony or plastic. (5) The pedals are levers pressed down by the feet. The damper, or loud pedal, raises all the dampers so that all the strings struck continue to vibrate even after the keys are released. The soft pedal either throws all the hammers nearer to the strings so that the striking distance is diminished by one-half, or shifts the hammers a little to one side so that only a single string instead of the two or three is struck. Some pianos have a third, or sustaining, pedal that does not raise all the dampers, but keeps raised only those already raised by the keys at the moment this pedal is applied. The use of these pedals can produce subtle changes in tone quality. Many upright pianos have been built in which the application of a pedal interposes a strip of felt between the hammers and strings so that only a very faint sound is produced. (6) According to the shape of the case, pianos are classified as grand, square, and upright. The square form (actually rectangular) is no longer built. For use in private homes it has been entirely superseded by the upright, which takes up far less room. Grand pianos are built in various sizes, from the full concert grand, 2.69 m (8 ft 10 in) long, to the parlor or baby grand, less than 1.8 m (6 ft) long.
Upright pianos include the late 19th-century cottage piano, of which the upright grand is merely a larger form. The modern spinet and console pianos are small uprights related to the cottage piano. In the upright pianos the strings run vertically, or diagonally, from the top to the bottom of the instrument. Uprights and small grands are sometimes overstrung; that is, the bass strings are stretched diagonally across the shorter treble strings, thereby gaining extra length and improved tone quality. The combined tension of the strings on a concert grand piano is about 30 tons, on an upright about 14.
Operation of the Action
Essentially, when a piano key is pressed down, its tail pivots upward and lifts a lever that throws a hammer against the strings for that key's note. At the same time a damper is raised from these strings, allowing them to vibrate more freely. The following is a much more detailed description of how the action works; the numbers in parentheses refer to the accompanying diagram (Diagram #2 below) of the action of a grand piano.
The piano key (1) is a lever that pivots on a balance pin (2). When the player depresses the key, the tail rises and the capstan screw (3) in the key pushes up the whippen (4), which is hinged. The free end of the whippen rises, taking with it an L-shaped piece called the jack, or escapement lever (5), and the repetition lever (9).
The jack pushes the knuckle, or roller (6), a roll of felt that is fixed to the hammer shank (7); the hammer thus rises. The jack's upward motion is stopped when its protruding end hits the regulating button (8). The hammer flies up away from the jack and strikes the appropriate strings. The repetition lever (9) also rises, but only until the end where the jack passes through it and touches the drop screw (10); this lever stays raised until the key is released.
The hammer falls back, but only partway. It is stopped by the knuckle (6) hitting the raised repetition lever (9). The jack (5) can thus slip back under the partially raised hammer shank and into its original position. At the same time, the backcheck (11) keeps the hammer from rebounding against the strings.
If the key is partly released, the hammer moves free of the backcheck, and the repetition lever stays raised. If the player again depresses the partially released key, the jack (5) can once more push the knuckle (6) and hammer shank (7) upward. (This system allows rapid repetition of notes before the key and hammer have time to return to their original positions. It was an important improvement over early, simpler piano actions.)
Meanwhile, the tail of the key has also pushed up the damper lever (12), which lifts the damper (13) off the strings for that key. When the key is even partially released, the damper falls back onto the strings and silences the note.
When the key is fully released, all parts of the mechanism return to their original positions because of gravity. Unlike grand pianos, upright pianos cannot rely on gravity to cause everything to return to place. In a grand piano the action sits horizontally on the key; in an upright piano the action is adapted so that it sits more or less vertically. Because it cannot completely rely on gravity, it includes various springs and small strips of cloth to pull some of the action parts back into place.
Early Evolution of the Piano
Beginning about 1725, when the noted German organ maker Gottfried Silbermann of Freiberg adopted Cristofori's action, the next major developments took place in Germany. Perhaps the most important contribution was made by Johann Andreas Stein of Augsburg, who is credited with inventing an improved escapement that became the foundation of the “Viennese” piano praised by Wolfgang Amadeus Mozart and favored by most German composers of the late 18th and early 19th centuries. Twelve masters from central Germany migrated to London about 1760 and established the English school that, under John Broadwood and others, turned to the production of pianos of a stronger build, resembling those of our own day. The French manufacturer Sébastien Erard founded the French school in the 1790s, and in 1823 created the double action that is still in general use. By this time artisans in all Western nations were working to perfect the pianoforte. Numerous improvements were and are still being made in design and construction. Germany and the United States have long been distinguished for fine pianos, notably those of the German firm founded by Karl Bechstein and the American firms of Baldwin, Mason & Hamlin, Steinway, and Chickering. The pianos of the Austrian Bösendorfer firm are also highly respected.
The compass of the early piano was, like that of the harpsichord, only four, or at most, five octaves, but it has gradually increased to a compass of more than seven octaves as structural changes allowed for increases in tension amounting to several tons.
Modern Structure
The modern pianoforte has six major parts (in the following discussion, the numbers in parentheses refer to the accompanying diagram (Diagram #1 below) of the structure of a pianoforte): (1) The frame is usually made of iron. At the rear end is attached the string plate, into which the strings are fastened. In the front is the wrest plank, into which the tuning pins are set. Around these is wound the other end of the strings, and by turning these pins the tension of the strings is regulated. (2) The soundboard, a thin piece of fine-grained spruce placed under the strings, reinforces the tone by means of sympathetic vibration. (3) The strings, made of steel wire, increase in length and thickness from the treble to the bass. The higher pitches are each given two or three strings tuned alike. The lower ones are single strings made heavier by being overspun—that is, wound around with a coil of thin copper wire. (4) The action is the entire mechanism required for propelling the hammers against the strings (see Operation of the Action below). The most visible part of the action is the keyboard, a row of keys manipulated by the fingers. The keys corresponding to the natural tones are made of ivory or plastic; those corresponding to the chromatically altered tones, of ebony or plastic. (5) The pedals are levers pressed down by the feet. The damper, or loud pedal, raises all the dampers so that all the strings struck continue to vibrate even after the keys are released. The soft pedal either throws all the hammers nearer to the strings so that the striking distance is diminished by one-half, or shifts the hammers a little to one side so that only a single string instead of the two or three is struck. Some pianos have a third, or sustaining, pedal that does not raise all the dampers, but keeps raised only those already raised by the keys at the moment this pedal is applied. The use of these pedals can produce subtle changes in tone quality. Many upright pianos have been built in which the application of a pedal interposes a strip of felt between the hammers and strings so that only a very faint sound is produced. (6) According to the shape of the case, pianos are classified as grand, square, and upright. The square form (actually rectangular) is no longer built. For use in private homes it has been entirely superseded by the upright, which takes up far less room. Grand pianos are built in various sizes, from the full concert grand, 2.69 m (8 ft 10 in) long, to the parlor or baby grand, less than 1.8 m (6 ft) long.
Upright pianos include the late 19th-century cottage piano, of which the upright grand is merely a larger form. The modern spinet and console pianos are small uprights related to the cottage piano. In the upright pianos the strings run vertically, or diagonally, from the top to the bottom of the instrument. Uprights and small grands are sometimes overstrung; that is, the bass strings are stretched diagonally across the shorter treble strings, thereby gaining extra length and improved tone quality. The combined tension of the strings on a concert grand piano is about 30 tons, on an upright about 14.
Diagram #1
Essentially, when a piano key is pressed down, its tail pivots upward and lifts a lever that throws a hammer against the strings for that key's note. At the same time a damper is raised from these strings, allowing them to vibrate more freely. The following is a much more detailed description of how the action works; the numbers in parentheses refer to the accompanying diagram (Diagram #2 below) of the action of a grand piano.
The piano key (1) is a lever that pivots on a balance pin (2). When the player depresses the key, the tail rises and the capstan screw (3) in the key pushes up the whippen (4), which is hinged. The free end of the whippen rises, taking with it an L-shaped piece called the jack, or escapement lever (5), and the repetition lever (9).
The jack pushes the knuckle, or roller (6), a roll of felt that is fixed to the hammer shank (7); the hammer thus rises. The jack's upward motion is stopped when its protruding end hits the regulating button (8). The hammer flies up away from the jack and strikes the appropriate strings. The repetition lever (9) also rises, but only until the end where the jack passes through it and touches the drop screw (10); this lever stays raised until the key is released.
The hammer falls back, but only partway. It is stopped by the knuckle (6) hitting the raised repetition lever (9). The jack (5) can thus slip back under the partially raised hammer shank and into its original position. At the same time, the backcheck (11) keeps the hammer from rebounding against the strings.
If the key is partly released, the hammer moves free of the backcheck, and the repetition lever stays raised. If the player again depresses the partially released key, the jack (5) can once more push the knuckle (6) and hammer shank (7) upward. (This system allows rapid repetition of notes before the key and hammer have time to return to their original positions. It was an important improvement over early, simpler piano actions.)
Meanwhile, the tail of the key has also pushed up the damper lever (12), which lifts the damper (13) off the strings for that key. When the key is even partially released, the damper falls back onto the strings and silences the note.
When the key is fully released, all parts of the mechanism return to their original positions because of gravity. Unlike grand pianos, upright pianos cannot rely on gravity to cause everything to return to place. In a grand piano the action sits horizontally on the key; in an upright piano the action is adapted so that it sits more or less vertically. Because it cannot completely rely on gravity, it includes various springs and small strips of cloth to pull some of the action parts back into place.
Diagram #2
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