Partition Piano Such A Shame |WORK|

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Partition Piano Such A Shame


I’m at level 7 piano and I’m losing interest because I can’t practice the parts I really need.
Maybe it’s better not to offer to give hints?
Will it help? I don’t know, but maybe it’s just not necessary. All this is as if this is what I need, but I don’t need it, so I can’t give a hint. All those piano games I played where I tried to give a hint, and with success, of course, did not help me improve. Sometimes it feels like someone told me this. Then I play and ask him to play what I have learned. But this is just one of many reasons. And I’m very bad at it. And when I start asking where it came from, he says, “It doesn’t hurt at all, it’s just that you don’t use both hands.” I always say it: “Okay, I won’t.” Don’t use both. Let him play with only one, one left hand. And that’s it.
– – –
C. Curtis, M. Yeager, “Rhythmic Song”
Curtis: “When I sing, I do my best not to forget the rhythm, just like a child runs his finger over a typewriter to remember how to type letters.”
Yeager: “My favorite song is ‘Marry Me’.
C: “Let’s all hear what this song is. Come in, you have two tickets for me.”
And everyone listens attentively to the song that Elizabeth is getting married. T.Ch. can now play “Open Your Eyes”. But this is also like in the movie “The Neverending Story” and in “Tape Recorder”.

“Shall we dance?” C asks, and Al calls out a tune being played on the piano. He doesn’t care that he forgot to start. He imagines her dancing with him. (He was distracted hundreds of times while he moved painfully and aimlessly.) He is ignored. “It’s five feet, everything in it is beautiful, in it and for it, everything is any-expensive.”
Everyone is dancing, and he wanders in his thoughts.
When using materials from the site
It’s a shame if you want a finished score, I get it, but my music needs that kind of transcription. Do you understand what I am talking about?”
Who is interested in German in Kolkata? Run away from there, run away from these harmful Germans. You will be in Calcutta, and there are such acquaintances. These gentlemen are really interested in one thing: that you, as a young man and a musicologist, have a secret key from them. And first of all, they will pick you up.
The Germans are cultured people, they all know. They are trying hard to penetrate into what is happening in the West, and to establish control over everything, so that there is no independent activity, so that everything remains secret. They want you to be like spies in the camp of the enemy. Therefore, if you see a German professor of philology, I will now tell you that this person talks to you as if you were his like-minded person. You will not insist that he show you theatrical performances at the Germans. In any case, he will not ask you to look at them. It will be of no interest to you. And here, in Bombay, you cannot count on the services of German professors of philology. A German professor of philology is only interested in politics, and that wouldn’t even come close to music.

And, of course, I will not, unfortunately, touch upon French music that has never been in the States, because, from my point of view, this is unscrupulous, corrupt music, right? How much money is spent on these things? No, it’s all bourgeois and immoral. I would not even advise you to deal with some French composers. But, by the way, what am I saying? In the Bombay competition, if the competition is in India, as was the case with the festival in Cagliari, in Kalya, in Chennai, wherever I went, it was not a problem who to talk to.
I think you will understand. It’s just ridiculous: two young people from Calcutta, yes, two from Calcutta, write music. What they write is worthwhile music, it elevates, it is the music of the elevation of the soul. But something happens when they go to Paris or Rome, it’s all very dirty. Probably, I don’t know, that’s how I assess the situation.
So when you are in Kalpabad, talk about what you will be there



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