Pianotråden, diskutér her

[Imaginary]

Hei, flytter på hybel til høsten og mister dermed muligheten for å bruke hjemmets piano. Tenkte derfor å kjøpe meg et elektrisk piano på grunn av plassmangel, men må si jeg er rimelig blank på hva som finnes og er bra. Jeg ønsker skikkelig god lyd- og byggekvalitet, og pris er ikke så veldig nøye, - viktigst at jeg får et toppers piano. Noen som kunne hjulpet meg? Til informasjon hadde det vært kjekt med tilkoblingsmuligheter for øretelefoner.

[Emomilol]

Klarer noen av dere å snakke/ha en samtale mens dere spiller?

[Programvare]

Klarer noen av dere å snakke/ha en samtale mens dere spiller?

 

Jepp, pleier å sitte litt på skrå og snakke med familiemedlemmer mens jeg spiller. Riktignok på sanger jeg kan veldig godt.

[victoryseieren]

Om det er sanger jeg kan virkelig godt, så er det mulig, men hender som oftest at jeg spiller litt feil, men skal sies at jeg greier dette bedre når jeg spiller gitar enn keyboard. På keyboardet går det ganske så raskt i kluss. Men uansett så føler jeg at meningen med å spille er å leve seg inn i sangen og bli at med den istedenfor å spille uten å virkelig bry meg om sangen. Hvorfor skal jeg snakke når jeg skal spille?

[Urmaker]

Hvorfor skal jeg snakke når jeg skal spille?

 

når du f.eks skal gi cue til medmusikanter.... eller i undervisningssammenheng?

[Emomilol]

Cirka 3:15 inn i denne filmen.

[Urmaker]

Glenn Gould er utrolig! helt fantastisk. Han er et prakteksempel at musikalitet virkelig gjenspeiler seg også i uttøvere, og at man dermed kan betegne også de for sanne kunstnere. Jeg har alltid likt hans opprørske tilnærming til musikken - bare se måten han sitter og spiller på!

[Emomilol]

Glenn Gould, ja. En skikkelig særing.

 

Klikk for å se/fjerne innholdet nedenfor

Glenn Gould usually hummed while he played, and his recording engineers varied in how successfully they were able to exclude his voice from recordings. Gould claimed that his singing was subconscious and increased proportionately with the inability of the piano in question to realize the music as he intended. It is likely that this habit originated in Gould's being taught by his mother to 'sing everything that he played', as Kevin Bazzana puts it. This became 'an unbreakable and (notorious) habit'. Some of Gould's recordings were severely criticised because of the background 'vocalise'. For example, a reviewer of his 1981 re-recording of the Goldberg Variations opined that many listeners would 'find the groans and croons intolerable'.

 

Gould was renowned for his peculiar body movements while playing, (circular swaying, conducting, or grasping at the air as if to reach for notes as he did in the taping of Beethoven's Tempest Sonata) and for his insistence on absolute control over every aspect of his playing environment. The temperature of the recording studio had to be exactly regulated. He invariably insisted that it be extremely warm. According to Friedrich, the air conditioning engineer had to work just as hard as the recording engineers. The piano had to be set at a certain height and would be raised on wooden blocks if necessary. A small rug would sometimes be required for his feet underneath the piano. He had to sit fourteen inches above the floor and would only play concerts while sitting on the old chair his father had made. He continued to use this chair even when the seat was completely worn through. His chair is so closely identified with him that it is shown in a place of honor in a glass case at the National Library of Canada.

 

Conductors responded diversely to Gould and his playing habits. George Szell, who led Gould in 1957 with the Cleveland Orchestra, remarked to his assistant, "That nut's a genius." Leonard Bernstein said, "There is nobody quite like him, and I just love playing with him." Ironically, Bernstein created a stir in April of 1962 when just before the New York Philharmonic was to perform the Brahms D minor piano concerto with Gould as soloist, he informed the audience that he was assuming no responsibility for what they were about to hear. Specifically, he was referring to Gould's insistence that the entire first movement be played at half the indicated tempo. Plans for a studio recording of the performance came to nothing; the live radio broadcast (along with Bernstein's disclaimer) was subsequently released on CD.

 

Gould was averse to cold and wore heavy clothing, including gloves, even in warm places. He was once arrested, presumably mistaken for a vagrant, while sitting on a park bench in Sarasota, Florida, dressed in his standard all-climate attire of coat(s), warm hat and mittens. He also disliked social functions. He had an aversion to being touched, and in later life he limited personal contact, relying on the telephone and letters for communication. Upon one visit to historic Steinway Hall in New York City in 1959, the chief piano technician at the time, William Hupfer, greeted Gould by giving him a slap on the back. Gould was shocked by this, and complained of aching, lack of coordination, and fatigue due to the incident; he even went on to explore the possibility of litigation against Steinway & Sons if his apparent injuries were permanent. He was known for cancelling performances at the last minute, which is why Bernstein's above-mentioned public disclaimer opens with, "Don't be frightened, Mr. Gould is here; will appear in a moment."

 

In his liner notes and broadcasts, Gould created more than two dozen alter egos for satirical, humorous, or didactic purposes, permitting him to write hostile reviews or incomprehensible commentaries on his own performances. Probably the best known are "Karlheinz Klopweisser", the English conductor "Sir Nigel Twitt-Thornwaite", and the American pianist "Theodore Slutz".

 

Fran's Restaurant was a constant haunt of Gould's. A CBC profile noted, "sometime between two and three every morning Gould would go to Fran's, a 24-hour diner a block away from his Toronto apartment, sit in the same booth and order the same meal of scrambled eggs."

[kjeklulf]

Det er en lang rekke pianister som har vanen med å synge til det de spiller. Hør på blant annet Keith Jarrett og Michel Camilo. De synger av og til håpløst "out of key".

[Kapli]

Noen her som har erfaringer med å ta opp piano via mikrofon? Til nå har jeg brukt mikrofonen på laptoppen min sammen med webkameraet mitt som også er på laptoppen, kameraet er greit nok, men lyden er litt for dårlig. Trenger en ikke så dyr, men lizzom grei en som kan ta opp helt grei lyd fra pianoet.

[Programvare]

Har spilt inn noe random tull med mikrofon. Ble helt greit.

[Kapli]

Mhm, men trenger forslag på mikrofoner som kan passe meg

Hm, f.eks http://www.idmusikk.no/index.php?main_page...products_id=842 ?

[Emomilol]

For oss som har sett Pianisten:

Klikk for å se/fjerne innholdet nedenfor

Endret 14. juli 2008 av Emomilol

[Programvare]

Det der var rett og slett ikke morsomt.

[Emomilol]

Fordi Pianisten er en veldig trist film som handler om nazister og jøder og sånn?

[olsen_st]

Fordi Pianisten er en veldig trist film som handler om nazister og jøder og sånn?

 

Haha.. Jeg måtte bare le litt når jeg først tolket dette som: "Fordi den handler om alle de triste jødene og sånn?"

[Emomilol]

Er det noen som vet hvorfor flygel typisk er mye dyrere enn en vanlige "upright" pianoer?

[Matias]

Er vel blant annet fordi det er vanskeligere å lage, det er større, og har bedre lyd?

[Garanti]

Transportkostnader

[olsen_st]

Transportkostnader

 

Det er faktisk nesten like enkelt å transportere et flygel som et piano.