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There is absolutely no need to regret not having learned to play an instrument simply because it is truly never too late to do so. Sure, people like to tell themselves that they’re too old for learning something new, but that’s just not true because we never actually cease to learn new things.

The only thing that stands in the way of you playing the piano is making the conscious decision to learn how to play. To avoid the hassle of finding a piano teacher and rearranging your schedule to commit to lessons, piano-teaching apps such as flowkey  exist.

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Learning the piano has never been easier or more comfortable than it is in our day and age. Although no app can fully replace an experienced piano teacher, flowkey comes pretty close! flowkey teaches you all there is to know about playing the piano and reading sheet music in the comfort of your home. All you need to get started is a computer (PC, Mac, laptop) or tablet (iOS and Android) and your instrument (piano, digital keyboard, etc.). Open the app in your web browser or download the app for your tablet, sign up, and you’re all set.

HOW TO BEGIN YOUR MUSICAL JOURNEY

Signing up for flowkey is a quick and easy process. You answer three questions to enable the app to categorize your level of experience and create a specific learning plan just for you, and you’re all set to go. The way the app works is simple: you choose a piece of music and start learning it. “But how does that work,” you might ask, “if you have no experience reading sheet music?” Ah, not to worry: the app’s player not only shows you the sheet music that “flows” across your screen but also a bird’s-eye view of a professional pianist’s hands, playing the music. These keys are even highlighted with bright colors to make it easier to follow along visually.

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One very helpful feature of flowkey is that it provides you with real-time feedback while allowing you to learn at your own pace. You don’t have to be shy or embarrassed to repeat a difficult section an extra time: flowkey is a friendly piano teacher that accommodates you and adapts to your desires and wishes. Speaking of wishes, if there’s a particular song or piece of music that you’d like to learn which isn’t available in the flowkey library, you can always contact the support team to request your song wish which then gets recorded and released in one of the upcoming monthly song releases.

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The bottom line is that flowkey is a great tool for people of all ages and levels. The songs and courses are meant for both beginners and advanced piano students who can take on the challenge of learning a difficult Chopin prelude or perhaps completing the “Chords & Pop Piano” course to improve their improvisation skills. The best way to start (or continue) your musical journey and test out this revolutionary method is to try it out for yourself!

Find out more

This is a sponsored post. All information and images are supplied by flowkey

 

 

 

Disclaimer: The Cross-Eyed Pianist does not necessarily endorse organisations that provide sponsored posts which link to external websites, and does not endorse products or services that such organisations may offer. In addition, The Cross-Eyed Pianist does not control or guarantee the currency, accuracy, relevance, or completeness of information found on linked, external websites. However, every effort is made to ensure such information contained on this site is accurate at the time of publication.

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Who or what inspired you to pursue a career in music? 

It was my mother who first took me off to piano lessons age five although I can’t really say it was a particular calling at that age – I’m fairly sure I was going to be Prime Minister. It was not until I was a bit older and not really practising enough that my mum made me sign a contract promising that I would practise every day or the piano and the lessons would be gone! It was only then that I began to realise just what an important part of my life music was and became determined to dedicate myself to it further. Actually pursuing a career in music was never a particular ambition, however, until age 16 I was on the Chetham’s Piano Summer School and one of the professors simply said ‘why are you not here?’. Well, I didn’t have an answer so the next year I enrolled as a student and haven’t looked back since!

Who or what have been the most important influences on your musical life and career? 

I’ve been so lucky with my piano teachers over the years and they have all been hugely influential, but the person who really believed in my abilities as a pianist and really challenged me to be the best I could be, was John Railton. John was an astonishing man – with only one arm he managed to have a successful career as a pianist and conductor, recording for the BBC, conducting at the major concert halls and being the central point of many different communities music making. He had a total disregard for potential obstacles and just believed firmly that I would be a pianist – I really wouldn’t be here without him!

What have been the greatest challenges of your career so far? 

The biggest challenge for me is performance anxiety – I wouldn’t say I get crippling nerves but I have found it frustrating sometimes when I can’t achieve the same focus on the music because my mind is worrying about being worried! The challenge is to find techniques to control any anxiety and transform it from something destructive into a positive energy. As an accompanist I have also had to become very time efficient. Our job often involves learning lots of repertoire in very short periods of time and the ability to practise efficiently without getting injured is paramount.

Which performance/recordings are you most proud of?  

I recently launched the Devon Song Festival and I was so pleased with our inaugural concert. There was an unusual amount of pressure in organising the event, trying to keep the audience happy and performing but it went brilliantly and our reception was so enthusiastic. I’m so thrilled it was success and we can expand the festival next year.

Which particular works do you think you play best? 

I definitely feel most at home in the song repertoire, specifically German lieder and English song though I also love the sound world of cello and piano sonatas and am beginning to explore this further. I love playing with singers because I am able to find a deeper connection to the music when text is set. I rarely perform as a solo pianist these days but when I do it’s nearly always Russian: Rachmaninoff and Prokofiev being particular favourites!

Do you have a favourite concert venue to perform in and why? 

Last year I played at the Wigmore Hall for the first time and I absolutely loved it. It’s such an intimate space and from the piano it feels perfect as a hall for song. There is incredible clarity in the acoustic and you can really challenge yourself as to how quiet you can play and what extremes of articulation you can reach. It of course helps that the piano is absolutely beautiful too!

Favourite pieces to perform? Listen to? 

This year I’ve been working on Stephen Hough’s ‘Other Love Songs’ (for a performance at Wigmore in May 2016) and it is just the most brilliant cycle. It was written as a companion piece for the Brahms Liebeslieder waltzes and really cleverly picks up on themes from the original work but set to a wonderful selection of texts covering all forms of love and emotions from the heart-breaking to the comic. My personal highlight in the performance comes near the end where the pianists get to join in singing and my part is mostly just hitting the piano!

Who are your favourite musicians? 

I’m lucky enough to be taught by one of my favourite musicians, Eugene Asti. I have huge admiration for his attention to detail and respect for the score and the history of every work he plays. Importantly it is not only theoretical but you can really hear all that detail in his playing and it brings the music to life amazingly. Another is Iain Burnside, his playing is so robust and clear and I find his recordings of English song especially moving in their simplicity.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

I suppose as I’m still a student I would consider myself to be still aspiring! But I definitely think all young musicians need to think about more than just practise and performing. I’ve been working with Alisdair Hogarth recently and he has shown me the importance of being savvy when it comes to self-promotion and the commercial side of music making. He suggested that we should be spending as much time promoting performances and developing our career as we do practising. Whilst I can’t quite bring myself to do that just yet, I can see that when I leave music college, working hard to find performances and creating appealing programmes will be just as important as working on technique!

Where would you like to be in 10 years’ time? 

In ten years’ time I would like to be living in London enjoying a fledgling career as a song accompanist and working as a broadcaster for Radio 3. Basically, I would like to follow in the footsteps of Iain Burnside!

Originally from Devon, Natalie Burch initially studied with John Railton before moving to Manchester to study solo piano with Peter Lawson at Chetham’s School of Music. In 2014 she graduated with first class honors from King’s College London where she studied musicology and took lessons at the Royal Academy of Music with Daniel-Ben Pienaar and Andrew West.  Natalie is currently studying for a masters in accompaniment at the Guildhall School of Music & Drama under the tutelage of Eugene Asti and Andrew West.

Recent and future highlights include performing at the Wigmore Hall alongside Alisdair Hogarth and the Prince Consort, a new commission for the Leeds Lieder festival, rehearsal pianist for Tchaikowsky ‘Rococo Variations’ with Guy Johnston, a recital for the Elgar Society and a number of concerts and masterclasses as resident pianist for Opera Prelude.

Read more about Natalie here

 

 

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My first visit to Spitalfields Music and the first time I’ve heard pianist Melvyn Tan live. More importantly, the concert included three premieres, by Rolf Hind, Judith Weir and Jonathan Dove, including a new addition to the ‘Variations for Judith’ which opened the evening.

Composed as a special gift for Judith Serota when she left the Spitalfields Festival in 2007 after nearly twenty years at the helm, the Variations comprise 11 short reflections on ‘Bist du bei mir’ (G H Stölzel arr. JS Bach, realised by David Titterington), composed by other Spitalfields Festival Artistic Directors, all people with whom Judith worked. An initial collection of seven variations was presented to Judith and a further four were added, all by composers associated with the Spitalfields Festival. The Variations hark back to a precedent probably set by J S Bach – a collection of short pieces of varying difficulty – and rather like Anna Magdalena’s Notebook, which Bach presented to his wife, the Variations for Judith were presented to Judith Serota to encourage and inspire her own piano studies.

The pieces which make up ‘Variations for Judith’ are often described as “music for amateur pianists”, and while they may be short and mostly roughly Grade 4-7 level, I would refute the suggestion that these pieces are exclusively the preserve of the amateur pianist. Nor should they be: the suite works very well as a complete concert piece. Each work is unique, portraying its composer’s distinctive compositional style and soundworld, yet they are all connected by the opening theme. In some variations the theme is obvious, in others it is fragmented or subtly veiled. The works are varied in their individual characters, some displaying sparkling wit and humour (those by Anthony Payne and Judith Weir, for example), while others are fragile, tender or lyrical (Thea Musgrave, Jonathan Dove).

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Melvyn Tan

Pianist Melvyn Tan originally premiered the ‘Variations for Judith’ in June 2012 and he is evidently very at home with this music, adept at drawing out each variation’s individual character and alert to the swiftly changing moods of the pieces. In addition to a creating an appealingly translucent sound (helped by a beautiful Steinway D and the acoustic of the venue, St Leonard’s Church), his playing was gestural and sensitive: each miniature was elegantly shaped and coloured. The newest variation by Rolf Hind, premiered at this concert, began with a fleeting sound in the bass and stamping feet, before the main theme emerged. There were chiming bells and plangent bass chords, utilising the timbre and decay of the piano.

The Variations were followed by two more premieres of works by Judith Weir and Jonathan Dove. ‘I’ve turned the page….’ by Judith Weir was a witty musical take on the phrase “I’ve turned the page”, implying that one is start afresh, and each turn of the page in the score brought fresh ideas, from a boisterous dance (page 2) to a haunting twirling melody, then a frenetic rising figure, culminating in treble flourishes and clusters redolent of a Chopin Etude.

Jonathan Dove’s ‘Catching Fire’ was written as a birthday gift for Melvyn Tan (who turned 60 this year), a work which combines elements drawn from the toccata and perpetuum mobile genres, with passages which flicker and shimmer at the far reaches of the keyboard. At times the insistent throb of the music was almost industrial in its sound, while the clever use of repetition and pedal effects called to mind other instruments such as drums and horns rather in the manner of Somei Satoh’s atmospheric ‘Incarnation II’. Tan’s sensitive pacing, dynamic shading and colouristic nuancing ensured the work remained “musical” at all times, and the piece provided an interest complement to Liszt’s three Concert Etudes, which Tan executed with understated bravura.

(picture of Melvyn Tan by Eoin Carey)

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The piano nocturne

The term “Nocturne” or “Notturno” (Italian) was first applied in the eighteenth century to pieces written for string ensemble to be performed at an evening party and then put aside. At this time, it was not necessarily a piece evocative of night-time but simply music to be played in the evening. In the early nineteenth century the name Nocturne became specifically associated with a single-movement work for solo piano and the Irish composer John Field is credited with “inventing” the Nocturne in the form we commonly understand it now: a cantabile (“singing”) melody over an arpeggiated or guitar-like bass, free in form and rather languid in character. Field composed his first Nocturne in 1812. Gentle and nostalgic, full of reverie and tenderness, the form enabled him to explore the piano’s myriad nuances and colours. He had created a pianistic form based on charm and delicacy, with elegant textures and rich sonorities.

It was Fryderyk Chopin who took the genre to new heights of structure, expression and beauty. He took Field’s template and embroidered his own unique musical personality upon it, creating piano miniatures in which the melodic lines are amplified with “fioriture” – ornaments and decorations draped across the melody like gossamer, fleeting and improvisatory in nature. In addition, the right hand’s mellifluous cantabile becomes almost elusive with the help of beautiful legato and the subtle use of the piano’s pedals. The Nocturnes remain amongst the most popular and well-loved of his entire oeuvre, and are prized by pianists everywhere as the apogee of writing for the piano.

“His music is some of the most beautiful ever written. The nature of his genius defies classification.”

Claude Debussy

“Their closer kinship of sorrow than those of Field renders them more strongly marked; their poetry is more sombre and fascinating; they ravish us more, but are less reposeful…”

Franz Liszt on Chopin’s Nocturnes

It is a mark of Chopin’s genius in this miniature form that composers continue to write piano nocturnes to this day. Notable successors include Schumann’s Nachtstϋcke (‘Night Pieces’), a quartet of disturbing character pieces in which “One sees more eyes and owls than stars” (Franz Liszt) and which reflect the dark passionate heart of Romanticism rather than its intimate lyricism. Liszt himself took up the form in his Liebestraum (‘dreams of love’). Based on poems by Ludwig Uhland and Ferdinand Freiligrath, each piece describes a different type of love: exalted, erotic and mature.

For the sensitive, romantically-inclined Gabriel Fauré, the nocturne was a form very close to his heart and his nocturnes portray a sublimated musical introspection, enchanted by the silence and solitude of night-time. His thirteen pieces in the genre vary in form and content but definitely take their cue from Chopin. Fauré’s compatriot Francis Poulenc also wrote a series of eight nocturnes which roughly span a decade (1929-1938), but unlike Chopin’s or Fauré’s, Poulenc’s nocturnes are not romantic tone-poems but characterful evocations of night-scenes and sound-images of public and private activities. No. 2, for example, depicts the charm and innocence of a girls’ dancing party, while in No. 4 night-time bells chime across the empty town.

This depiction of nocturnal activities was taken up by composers such as Bartok and Britten who both used the nocturne form to imitate of the twittering of birds and scurrying and croaking of other nocturnal creatures. Here the tranquillity and meditative quietude of Chopin’s nocturnal soundworld is exchanged for one which is rather more unsettling and suspenseful.

The American composer Samuel Barber wrote a Nocturne subtitled ‘Homage to John Field’, based on the old ideas of Field and Chopin, complete with fioriture, but written in an evolving lyrical style appropriate for its time.

Contemporary composers of the nocturne include Peter Sculthorpe (1929-2014), whose ‘Night Pieces’ are truly “miniature miniatures”, fleeting works of beguiling yet evocative simplicity. British composer Richard Causton’s ‘Night Piece’ for solo piano is a short encore work based on the clarinet solo from the slow movement of Mozart’s Clarinet Concerto. Premiered by the Polish pianist Piotr Anderszewski in 2014, it harks back to Bartok and Britten in its spare scoring and thoughtful sonorities which explore the timbre and resonance of the piano rather than its melodic capabilities, and like all piano nocturnes before it, it is a brief yet expressive work.