How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 1 of 3

How To Sound Like A Piano Pro – Create GREAT Performances From Melody And Chords || Part 2 of 3

Alex Woolf – Composer

August 12, 2019

Golden Rhapsody – flute & piano – Sir James Galway , flute

Interview with Alex Woolf, composer of “Music”

Alex Woolf: Cantata (percussion quartet) – Colin Currie, conductor

Andrew Schartmann
Published on Apr 18, 2013

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This video provides a basic formal analysis of the Grave; Allegro di molto e con brio from Beethoven’s Op. 13 (“Pathétique”). Please note that it is part of a larger project to provide formal analyses of all 32 of Beethoven’s piano sonatas, so check back frequently for updates.

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Published on Jan 4, 2015

Cello Sonata No.3 in A Major , op.69 (L.V.Beethoven)

Cello:Yo-Yo Ma Piano:

Emanuel Ax 1985.11.28 


Music Video Vault
Published on Aug 29, 2018

A brilliant interpretation of the Academy Award song “Over the Rainbow”.

Performed in Tokyo 1984

Brilliant Classics
Published on Jun 18, 2019

This album contains a musical portrait of Johannes Brahms in piano works from his early and later years, presented by Piano Classics, a label of Brilliant Classics

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):…

Available for licensing: https://www.brilliantclassicslicensin…

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Every bar of the Sonata burns with longing and passion thwarted, even the Andante tellingly prefaced with lines from the Romantic poet Sternau: ‘The twilight falls, the moonlight gleams, two hearts in love unite, embraced in rapture’. Almost four decades later, Brahms signed off as a composer with the more subtle and even playful spirit of a sublimely allusive quartet of opus numbers, the three Intermezzi Op.117, the seven Fantasias Op.116 and the two sets of mixed genre-pieces that make up Opp. 118 and 119.

These demand the most refined command of phrasing and harmony – at points they come closer than any other work of Brahms to casting loose from the anchor of tonality and anticipating the world of Schoenberg, for whom Brahms was an exemplar – and are eminently suited to a pianist such as Kopachevsky who has already proved himself at home in the twilit world of Liszt and Scriabin, in music on the brink of extinction. A richly rewarding release for all lovers of Romantic piano music and another feather in the cap of a superb young pianist.

Philipp Kopachevsky made his Piano Classics debut in 2016 with an ambitious selection of late Scriabin and Liszt, and Bryce Morrison in Gramophone was impressed: ‘haunting in confidentiality… no less powerful in storm and stress… never less than sensitive.’

Composer: Johannes Brahms

Artist: Philipp Kopachevsky (piano)


Tracklist: Piano Sonata No. 3 in F Minor, Op. 5: 00:00:00 I. Allegro maestoso 00:09:52 II. Andante espressivo 00:20:46 III. Scherzo, allegro energico 00:25:35 IV. Intermezzo, andante molto 00:29:17 V. Finale, allegro moderato ma rubato 3 Intermezzi, Op. 117: 00:36:30 I. Andante moderato in E-Flat Major 00:42:11 II. Andante non troppo in B-Flat Minor 00:47:24 III. Andante con moto in C-Sharp Minor 17 Fantasien, Op. 116: 00:54:07 I. Capriccio in D Minor. Presto energico 00:56:29 II. Intermezzo in A Minor. Andante 01:00:27 III. Capriccio in G Minor. Allegro passionate 01:03:32 IV. Intermezzo in E Major. Adagio 01:08:12 V. Intermezzo in E Minor. Andante con grazia ed intimissimo sentiment 01:10:58 VI. Intermezzo in E Major. Andantino teneramente 01:14:05 VII. Capriccio in D Minor. Allegro agitato 6 Klavierstücke, Op. 118: 01:16:17 I. Intermezzo in A Minor. Allegro non assai 01:18:15 II. Intermezzo in A Major. Andante teneramente 01:24:22 III. Ballade in G Minor. Allegro energico 01:27:54 IV. Intermezzo in F Minor. Allegretto un poco agitato 01:30:29 V. Romanze in F Major. Andante 01:34:41 VI. Intermezzo in E-Flat Minor. Andante, largo e mesto 4 Klavierstücke, Op. 119: 01:40:47 I. Intermezzo in B Minor. Adagio 01:44:33 II. Intermezzo in E Minor. Andantino un poco agitato 01:49:25 III. Intermezzo in C Major. Grazioso e giocoso 01:51:09 IV. Rhapsodie in E-Flat Major. Allegro risoluto

Bill Hilton
Published on May 27, 2019… ↓↓↓MORE LINKS AND DOWNLOADS BELOW↓↓↓

Vocalization is an incredibly useful technique to improve your piano improvisation – one used by major stars of jazz and blues piano in particular, though it’s used across the piano playing spectrum from pop to classical.

The basic idea is that vocalization allows you to tune into your intuitive musicality to save yourself being too consciously technical when you’re improvising at the piano keyboard. The piano is basically a machine, and it’s very easy to get tied up in the logic process of deciding which key to press when, which chord to use in particular places and so on – and that’s even before you get on to thinking about what to do with the pedals and how to deal with the idiosyncrasies of different pianos.

In this piano tutorial I introduce vocalization by working through a pretty straightforward eight-bar improvisation exercise that you should be able to manage as long as you’re familiar with some basic chords – or you’re willing to copy the chords I’m playing on the keyboard – and you know the names of the notes on the piano.

Vocalising as you improvising won’t magically make you into a piano improvisation genius overnight, but it will help you produce much more natural-sounding improvised lines, especially when improvising melodically in the right hand. Beware, though – if you incorporate this into your piano practice anyone listen to you might think you’re a bit weird! Vocalization is definitely worth the effort, though, so give it a go.

MY BOOKS How To Really Play The Piano (book):… Seven Studies in Pop piano (book):… PDF of chords:…

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Brilliant Classics
Published on Apr 9, 2019

This album contains the complete Partitas by Bach, presented by Piano Classics, a label of Brilliant Classics.

Online purchase or streaming (Spotify, iTunes, Amazon Music, Deezer, Google Play):… More Information:… Piano Classics Facebook:


Wikipedia: JS Bach: Keyboard Partitas

Luann Payne

Published on Nov 23, 2017

Portrait in Jazz is an album by American jazz pianist Bill Evans, released in 1960. Personnel: Bill Evans (p) Scott LaFaro (b) Paul Motian (dr) Released: 1960 .

Portrait in Jazz is an album by American jazz pianist Bill Evans, released in 1960. Personnel: Bill Evans (p) Scott LaFaro (b) Paul Motian (dr) Released: 1960 . Bill Evans – Sunday at the Village Vanguard Released 2014-06-06 on Not Now Music Buy this album: 1. 00:00:00 Bill . Bill Evans Trio with Symphony Orchestra is an album by American jazz pianist Bill Evans and his Trio, released in 1966. The Bill Evans Trio is accompanied by a .

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Alexander Malofeev

Published on Jan 4, 2019

S.Rachmaninoff. Piano Concerto No.3 in D minor, Op.30. Soloist Alexandеr Malofeev (17 y.o.). Russian National Youth Symphony Orchestra

Conductor Dimitris Botinis. Tchaikovsky Concert Hall. 30/12/2018

Published on Jul 13, 2013

Sakari Oramo: Conductors – The BBC Symphony Orchestra

Rachmaninov: Rhapsody on a Theme of Paganini – BBC Proms 2013 (Stephen Hough : Piano


on Jun 5, 2018

This was inspired by two wonderful instruments – a Bechstein Upright and a Fazioli 2m80 grand one night at the Concert Hall of BA Trossingen, Germany. It is part of the Album “Felt on Strings” 2018 by Florian Sitzmann – find more information on


on Dec 5, 2011

Yitzhak Finnegan

With the Israeli Philharmonic Orchestra


Ashish Xiangyi Kumar

Published on Nov 5, 2015

It’s not easy to think of a composer who was Chopin’s match in writing miniatures, but Rachmaninoff at least comes very close. His preludes are marvels of textural innovation, harmonic imagination, gorgeous counterpoint (Rachmaninoff’s brilliance at counterpoint is really not noticed often enough), and lyricism in all its forms — bleak, sweeping, stark, doleful, lush. (Individual descriptions below.)

Lugansky’s performances are some of my favourites. I think of him as being for Rachmaninoff what Rubinstein was for Chopin. There’s nothing bloated or forced about his style, and it manages to find a perfect middle ground between harsh, steely banginess (a bit easy too easy to slip into with Rachmaninoff) and saccharine melodrama. The melodies are clear, the counterpoint well-formed, the tempi judicious, the musical peaks and troughs clear even in the densest passages. In some passages Lugansky also reveals a gift for startling coloration. With music as naturally rich as Rachmaninoff’s the result is a fantastic listening experience, completely bereft of the sense of weary struggle and stiffness you sometimes get.

1. Largo, F-sharp minor — 0:00 2. *Maestoso, B-flat major — 3:26. Lugansky’s performance is both thunderously exuberant and tightly controlled. The LH melodies in the middle section are impeccably outlined: 4:23 onward. 3. Tempo di minuetto, D minor — 6:53. Note the striking canonic passage with diminuition at 9:28. 4. Andante cantabile, D major — 10:27. Unorthodox harmonies scaffolding a simple but marvelous melody. 5. *Alla marcia, G minor — 15:04. Yet again, more striking counterpoint from 16:48 onward. 6. *Andante, E-flat major — 18:52. Note how carefully Lugansky parses the minor voices in an already contrapuntally dense prelude. E.g.: 20:15. 7. *Allegro, C minor — 22:04. One of Rachmaninoff’s best. Lugansky produces some stunning bell-like sounds [22:28] and dynamic changes [23:27]. 8. Allegro vivace, A-flat major — 24:28 9. Presto, E-flat minor — 27:41 10: *Largo, G-flat major — 29:27 This neglected prelude features some of Rachmanioff’s starkest and most beautiful counterpoint [31:35++] played with impeccable clarity, with some lovely harmonic turns and arpeggiation thrown into the mix [see e.g., 32:36++.]

Roderick Williams – Topic





Published on Sep 11, 2014