Pianist 121

Pianist magazine is adored internationally by those who love to play the piano. From Bach to Billy Joel, the magazine offers a wide range of music styles to learn from, as you don’t just read it – you play it too! With every issue, you’ll find 40 pages of selected sheet music (suitable for players of all levels) accompanied by specially recorded sound files. The sound files act as the perfect learning tool, so you can listen to a piece of music before you learn it. All you need to do is click on the ‘sound’ icon and turn the Scores pages with a light swipe of your finger. With Pianist magazine you can expect nothing less than the very best when it comes to playing the instrument you love. You’ll have everything you need to play like an expert, including notes on technique, pedalling and interpretation, sheet music reviews, Q&As, teaching tips, in-depth ‘How to Play’ masterclasses, readers’ letters, piano news, interviews with top concert pianists and so much more! And guess what? If you opt for the digital issue, you get FREE EXTRA Scores! From the basics of scale playing to the difficult stretches and fast runs, Pianist magazine is your top piano playing guide – giving you the confidence and expertise you need to play like a pro!

United Kingdom
Warners Group Publications Plc
8,65 €(IVA Incl.)
43,24 €(IVA Incl.)
6 Edições

nesta edição

2 minutos
away from the page

A decade or so ago I was invited to a private performance given by this month’s cover artist, Gabriela Montero. Sitting at the piano without a score in sight, she asked the audience for melodies on which to improvise. As someone who has played with my eyes glued to the page for most of my life, I was in awe. How did she do it? Where did she learn to improvise? Was it a gift, a talent or a carefully honed skill? It had me thinking about organists in the French tradition – running from Marcel Dupré to Jeanne Demessieux to Olivier Latry – who continue to improvise every week: it is part of their craft. Why then, as Warwick Th ompson puts it in his feature on the subject, do…

2 minutos
your chance to have your say

EMAIL: editor@pianistmagazine.com WRITE TO: The Editor, Pianist, Warners Group Publications, The Maltings, West St, Bourne, PE10 9PH. Letters may be edited. ‘Vanilla’ articulation In Graham Fitch’s ‘Legato & Staccato’ video lesson on YouTube, he points out that his so-called ‘vanilla legato’ is the default touch in piano playing. Is this also true when there are no legato markings (or any other) in the score? Silke Reddemann, Hilfarth, Germany Contributor Graham Fitch responds: In the 18th century non legato was the default touch; legato was indicated by the composer and used for expressive effect. Notes that had no articulation markings (slurs, staccato dots or dashes, etc.) would have been played with separations between them, the amount of separation depending on the context (more separation in crisp allegros, less in cantabile adagios). Towards the end of…

3 minutos
creation from nothing

Although my notated composing portfolio is still quite small (a piano concerto, a piano/orchestral tone poem, a violin/piano piece and ‘Babel’ for piano and chamber string orchestra), I could argue that I have composed thousands of pieces. You see, in my experience, improvising and composing are so closely related that they are almost indistinguishable one from the other. I say this because I want you to consider not only the theoretical processes of notating musical architecture but – long before the first note is written down – where, why, and how the musical idea comes into existence. To some like myself, a work begins as an experience, conscious or not, that needs to inhabit a musical space in real time. It travels from my head, my heart, my memories, my fears,…

10 minutos
the natural gabriela montero

‘Iwas in the shower just now, listening to what was in my head. I realised that my inner world is not words. It’s always music. It’s almost as though nothing exists except thoughts through music.’ Gabriela Montero is reflecting on the latest twist in her musical life, which has also not been short of a surprise or two in the past. Th is time, it’s a change of focus – brought about not least by the pandemic lockdown – which has turned the pianist, long celebrated for her astonishing improvisations, into a composer. She had already recorded her own Latin Concerto, but now she is preparing her debut publication of a book of solo compositions and it sounds as if there will be much more ahead. ‘Everyone tells me that I’ve…

1 minutos
gabriela montero on… the improvisation brain scan

The team at Johns Hopkins put me into the MRI scanner tube with a small keyboard. On this I had to respond to random instructions to play a Bach minuet, to improvise or to play a scale, without knowing which would be next. The point was to see how my brain would behave comparatively in the different scenarios. I could not move my head, otherwise the resulting images of my brain would be fuzzy. After the initial 30 minutes, the team was so astonished by what they were seeing that they asked if we could continue for another hour and a half. After a while, Charles Limb asked me if I see anything while I improvise. I don’t – I’m not visualising someone running through the fields or meeting a lover!…

1 minutos
endless possibilities

1 Pedalling for colour requires sensitivity, but in particular, good listening skills.2 Experiment with your instrument to find the optimum range of pedal movement for achieving particular shades of colour.3 Try half pedalling and flutter pedalling to achieve more complex sound textures and colours, especially in 19th century repertoire onwards.4 Have fun with ‘hand pedalling’ to add a frisson of colour to your impressionistic playing.5 Used in combination, the three pedals open up myriad possibilities. First, become confident using each pedal in isolation; next combine the sustain and una corda pedals, then try transferring sounds between sostenuto and sustain, and in time progress to more ingenious exchanges and combinations.…