I bring my natural talent to the keyboard. I can hear when the note is wrong. My fingers seem to have adequate dexterity. I know how to position my left hand to play chords. Reading notes is optional.

My question;
In what other areas is talent needed in order to play reasonably well?

Hey, this is fun, John C.

Feeling...

Though technically not essential, if you are good reader, you should have a good sense of timing, and be familiar with the nuances of the original piece. Eventhough many tunes are altered through the years, people like to hear familiar tunes. I am fortunate in being able to remember most details of the original recordings, and strive to duplicate them. Dynamics are also important, as well as tempo. Roger's submission "feeling" is perhaps the most overlooked.

I was married to a classical piano player, she received her training at the School of performing Arts in New York City (Fame) Take the music away and she stopped playing. Her sense of timing was not as we understand it. Although she played very well but had no feel for rhythm. Some measures bordered on an extra beat if needed. Most classical players I worked did not have a good sense of rhythm.
I played one job with my KN6500, a sax player and a drummer. I put the speaker next to the drummer but he insisted on leading. My Kn6500 hated the guy and the sax player was so confused because he was not sure who to follow, the drummer or the keyboard.

All in experience and all in enjoyment.

John C.

Bernie, What does our friend Roger know about feeling, I bet he can not walk a straight even line. (smile)

Hi John,

Although you made mild fun of Roger's comment about 'Feeling', I think he hit the nail square on its head! Without being able to express yourself and put feeling into any piece of music you may play, you might as well just use some kind of mechanical method - such as a player piano - to play the music. There is a world of difference between sitting down and playing a piece of music absolutely 'note perfect' from the score, and playing one's own interpretation of the written part, by adding these little personal nuances, phrasing, light and shade etc. without actually departing from the written melody. Adding improvisation is of course a whole new ballgame.............

Your comment "...Take the music away and she stopped playing..." says it all - I have come across quite a few musicians like that. However, I have also met many who are very good readers, but were able to play their own interpretation of the written score and add that certain indefinable 'Feeling' to their performances.

I believe that a sense of Rhythm is something which is born in us - some have it - some don't (the unluck ones!) and I am of the opinion that it cannot be taught. A similar gift is a natural sense of harmony. Harmony can be taught in an academic sense, but to 'Feel' it naturally, is totally different. You only have to listen to a gathering of native Africans singing and dancing - I very much doubt if they ever had any lessons in Rhythm or Harmony

I count myself very lucky to have been blessed with a good sense of rhythm and also a natural sense of harmony, and I firmly believe that I inherited these gifts from my parents and all four grandparents, since they all played musical instruments.

Dear Friends,
I thinks Bill has stated a perfect comment on this subject. The only addition I would make is to appreciate the wonderful gift a composer gives us. With his/her map we can fly with the melody, perhaps play with the harmony and reach our own destination. What a wonderful trip this playing music is,
Frank

I think the training some classical players receive makes them somewhat rigid as far as tempo goes because of the need to play the classical piece 'as it is written' with little room for interpretation ... consequently, when they play a 'pop' piece it is also very rigid and mechanical sounding ... but remember I said "... some classical players ...

t.

One of the best examples I know of... http://www.youtube.com/watch?v=CyBcHUe4WeQ

I guess we agree on feelings and the ability to execute those feelings as being prime. I feel this more for the keyboard player. My example; My Dad was a Concert Piano Player, he was sent to Italy for his studies. I hope that impresses you, it always impressed me. When play my keyboard or my Wersi organ he did not sound very good. Equally so, when I played the piano I did not sound good.

So, what are the gifts/knowledge needed to play a keyboard reasonably well? What makes one keyboard sound better than the other having equal gifts of feeling, rhythm and dexterity?

John C.

Hello All,

My own playing is affected by my moods, if I'm tired, or feeling down, my music tends to be of a ballad nature. If I'm well pleased, I'll play almost anything with a rhythm that makes you 'tap your feet'. I can most certainly get out of a bad mood by playing my keyboards/piano.

Having said that, some of the keyboards have setups that suggest HOW to play the music and I don't mean a popular song title. e.g. the first time I played the Tyros 3, I found an 'Orchestra Jazz Ballad' a real dreamy setup which just called for the all the sentimental songs I could think of, such as "I'll Close My Eyes" ... loverly!

It is really down to you, the player. We can all play the same piece and sound completely different, that's what 'artistes' are made of. The main thing is to enjoy your playing.

Audrey

I often take a song I know well and play it with different styles. Possibly a Jazz style than a Latin style and then s lounge piano style -- making sure that I do not play the song with the same feeling as I change from style to style. This is a way of you expressing according to the feel of the keyboard.

It also improves your perception of the effect of each style in your playing. I love playing a ballad style and changing to a Bolero style and then back like in the song Tangerine.

John C.

Roger Mepstead is absolutely right when he says that feeling (not the song) is the most important characteristic. I know many musicians who read the notes as part reads a newspaper. And sometimes it becomes almost like a jukebox. Now of course music is a huge variety concept, but listening to Ray Charles or Elvis to name a few. They have that little extra that can not be written into the notes, but must come from the soul.
Lindoz