Horton’s Ways Around The Piano Keys (Made Easy)

See if you have enough points for this item. For those who have never touched a piano to those who are incredibly advanced, this book is for you! Offering secrets and easy to understand techniques for not only playing music you hear on the radio, but also creating your own. Many musicians are exposed to learn how to play sheet music, but completes the course without completely understanding music. Telling a child that 2 plus 2 equals 4, teaches the child how to memorize the answer but not fully understanding why it equals 4.

But in my teachings, I help the student understand how to create complex chords so that they are able to transpose those chords on their own without using an easy to remember method. I also show beginners the basics of piano playing explaining each step which will have you playing very soon. These techniques apply to all genre of music. How to write a great review. The review must be at least 50 characters long.

Horton’s Ways Around The Piano Keys (Made Easy)

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Throughout each piece, Clark processed an even mix of chord and fingering progressions. The positioning of his hands just to the left of middle C provided the founding of a center. He would unleash the beginning of a musical line with his left hand and continue it with his right, his hand placements steered by the rhythmic groove, which also prepared the groundwork for the accents.

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He alternated being poised and deliberate with allowing his fingers to fly into relentless expressions during which a singular phrase disappeared into a plethora of phrasings, the closeness of the intervals the key to the precision of an arpeggio. In every instance when he started a fingering process that brightened the pace, he counterbalanced that gesture with chord plants, clusters and other slow and deliberate finger manipulations that would, in effect, deconstruct the tempo, laying bare its constituents.

Not all the ideas were abstract; in fact, they were simple, melodic, concrete and direct, exemplifying articulation in the plainest sense of the word. And it was not only one note that he aimed for: Clark exhibited no roughness, no severity, no explosiveness—only repeated straightforward emphasis. If the music slipped into perceptible familiarity, he always pushed himself out of that territory.

One could see the music taking shape in his mind as he looked at the keyboard and then picked up his head to look straight ahead. Of the three pianists, Connie Crothers was the only performer to not bring a written plan to the piano.

Brian Horton

Her plan unfolded as she played. Nothing about Crothers, though, was uncertain. She took hold of the environment, the audience, the location, the local history, and shaped her program in response to it. She decided that the first piece would be a tribute to Max Roach, who had lived nearby in Amherst when he taught at UMass, and with whom she had toured many years earlier.

Rather her tribute reflected a map of how he inspired her. Without melody, her flat-handed splats on the keys from the treble to the bass drew the starting line for the wide-angled action to come. The notes and chords to follow became the tools with which she built an unpredictably strong foundation of persistent resonance.

The tempo established itself and then changed as the notes multiplied.

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Her right hand traveled more than her left, which stayed on the bass keys to keep the rhythm. Occasionally her left hand tore itself out of the bass pocket to follow the right into a fingering flurry up the keyboard. But it was not long before, as if magnetized, her left hand made a beeline to the bass keys, leaving the high register at the mercy of diligent, purposeful fluttering. At no point was she playing in the center of the keyboard. The expressive adamancy of her wide embrace of the keyboard lifted her body off the piano bench, her hands dropping from the keys, which still seemed to resonate from the force of her insistent two-handed chords.

Both tunes were assembled with chords harmonizing the melody, yet intricate fingering fostered a connective tissue while exerting a sparkling flare between familiar melody signposts. Soon, arpeggios and runs spiraled down the keys to dissemble the themes. If she occasionally ignored the rumble of the bass, it always returned—in the same way that the constant sonic vibrancy overrode discrete rushes of trills and tremolos.

Her creations lay bare the extremes of the keyboard, which were available to her to the degree she searched them out, starting in a different place every time, taking a different approach every time. The parameters she established with one finger or her elbow paradoxically marked the boundlessness of her improvisations.

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As she continued, delicate sonic notions altered the music in a piece she dedicated to Emily Dickinson. The ideas were the unconventional romantic ones that tell arresting stories, where the intervals between the notes are both wide and tight simultaneously. She wanted to dwell, to linger, in the blues, in a deceptively dream state of mind, but she strove for ecstasy. She erected a border between abstraction and melody the better to probe the question: Her tribute to her mentor, Lennie Tristano, ended the concert.

In the piano, this emotion translated to thematic concerns, simultaneously locked into the bass and launched in the treble. Blissfully integrated energetic hand and finger motions traveled from mid-keyboard out and then back in again. With a resurgence of two-handed bass ostinatos that progressed to mid-tones and then to repetitions of a melody, she constructed a melody of repetitions. All tuneful coherence that had amassed broke down. Then, as in the beginning, the sounds re- collected. And with her eyes closed and her head held high, notes sprang from the bass to the highest register.

And she was done. In the same manner after each piece, Crothers rose from the bench and turned to the audience, one hand resting on the piano. She looked a bit drained from her intense involvement with her work, but in a way that illuminated her face. She glowed from the satisfaction that her creative instincts had produced in her, to be kept secure until another day, another performance, another application of her unparalleled talent.

The character of Joe Bonner is built on the sizable influence of some big guns, since he was at one time picked as a band member by both Pharoah Sanders and Roy Haynes. Out of the tradition of accomplished instrumentalists and composers, he has risen like a musical engine that runs in perpetual overdrive. Dressed in a black tux, a ruffled shirt topped off with an oversized velvet bow tie, Bonner came to this concert to display his dynamic wares.