Funk, Soul, Rock, Jazz, Pop, learned classical piano which I enjoy till today, but only at home.Hlaalu wrote:Playing what you hear is most valuable and truly mastering this craft is a lifetime's enterprise. That said, playing what you hear has little to do with the issue of how comfortable certain things are in certain keys rather than others, because the the following step after "playing what you hear" is "put that in practice". This is when the key thing comes into play.Duplobaustein wrote: I rarely (never?) play licks, I prefer playing what I hear in advance. But basically yes, I don't mind what key I play.
But I guess it all depends on the complexity of the music, and also whether you play on weighted keys where velocity also affects the sound, or not. If what one hears is some paddy new agey chords played on light action keybeds, I am with you the key won't make any difference when you put that into practice. If what one hears is a Oscar Peterson kind of solo, and he can immediately pull that off in any key with no kinetic difference in comfort and indistinguishable outcome, then he is either exceptional or he is Oscar Peterson himself -- for hearing such a thing in his head in the first place, and for actually playing it.
Last but not least, one thing is to "manage" to play the same passage in all keys. Another thing is playing that passage "equally well" in all keys.
What genre do you play by the way?
Agree 100% with everything you said. But one thing is to say that practicing in 12 keys is essential, and that one should definitely be able to play fluently in 12 keys. A very different thing is pretending that anything is equally comfortable to play in any key. This is simply not true, and was the only point of the above back and forth with Duplobaustein.Spider wrote:Well, in jazz it is common practice to practice (ahem) a tune in all 12 keys. And I think such an exercise was not unknown to a certain Bach.
In general, in classical and jazz it's almost mandatory to be able to play effortlessly in all keys. In other genres, much less so.
I find it interesting too, let's just hope we won't get our arse schooled by a moderator for having gone too OT.maurus wrote:Interesting side-line here. Well, as always, practicing sure helps. And if I should say which keys are more comfortable than others, I'd say that B or C# are both definitely more comfortable than C, for instance
By the way I believe it was Bach Himself who taught the B major scale firstly to his new students because he thought the fingering was the most natural, which hand-wise it is indeed the only major scale which aligns perfectly with the 1-2-3-1-2-3-4 fingering between white and black keys. That surely the case if you mean familiarisation with immediately knowing which degree of the scale is where, but as far as raw finger "mechanics" is concerned, certain things remain more or less comfortable in certain keys. For example, take the famous boogie woogie solo by Johan Blohm:maurus wrote: In fact a lot of this is just familiarity/familiarization. If you play in any given key for a long time, you get used to it, and which key is most comfortable changes over time, depending on what you are mostly playing...
Sure. But which key do you prefer as the bottom one and why?Duplobaustein wrote:Sorry, my bad. Let's get back to the NP5...
Gambold wrote:So is Clavia going to get off their pandemic and build a new Grand sample for the Piano 5 release? Or are they going to ship out this out with only the only-adequate White Grand as their leading sample? Here's hoping that won't be the case.
