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Chinese translation for Chinese students

在這個網站中，很重要的一個練習是“開離密集的和弦”（open-closed voicing）。
Tony說他練這個練習，練了好幾年。
如果你想要真的成為一個很厲害的鐵琴家，你要專心練一個東西，
練很多很多年，鑽研的很深，你就會成功。
像是Tony他自己就是練這個open-closed練習。至於他的另外一個學生Behn就是練Gary Burton的chega de saudade solo練了兩年，從裡面學到非常非常多東西。

所以Tony在這邊要說的，就是你要選一個項目，
值得你鑽研好幾，你會從中學到很多很多。


Practicing today on sound possibilities in executing a line over C-7 F7 Bb Maj7. Focusing on variations with pedaling, dampening, deadstrokes, ghost notes, accents and stickings. The first example is fairly dry with no pedal. There are a lot of possibilities in executing a simple line like this. I'll sometimes take even a smaller phrase and work with it trying to get as many nuances and phrasing possibilities out of it. Note selection is important for sure, but sound is also very important and needs to be constantly looked at.

Here's an exercise I used to do. Play it fast, hard and loud. That's the key. Sounds a little like a Steve Reich piece. Build up speed, play each pattern longer, etc. etc. etc. Stamina.

In this etude I really move the chords around. Lots of passing stuff. I suspend the 1 chord a bit.

Also there's a surprise at the end. I change the harmony. Can you hear it? Do you know what it is? Who's the first to post what happens.

Ticotism