I am Interested in Recording My Piano Recitals. How Can I Go About This?

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I wanted to break this otherwise, potentially complex subject into small nuggets of information for you, to make it useful, as well as easy to implement. I am not expecting you to become a professional sound engineer over night, and fortunately, It is not a requirement to achieve great recordings nowadays from your home. The most important ingredient is a basic laptop computer, with software that ranges from the free Audacity program to the more complex, and still well priced Sony Audio Studio Software.


The main difference between the two packages is that the Sony Audio Studio software has more detailed editing functions, preferences for settings and also has the built in function to save audio recordings as an MP3 file, without needing a plugin program. Whilst it could take a few days to learn the Sound Studio software, compared to the easier Audacity program, the features may well make it a viable option for you.


However, the sound quality of both programs is identical, with no degradation either way. The biggest factor here, will be the microphone that you choose.


It is certainly no secret that there are more and more good quality USB microphones that are becoming available, but I have found a particular model, the Audio Technica microphone USB 2020 to be very versatile, for both speech, as well as music (instrument) recording. This way, you can get away with only one model of microphone. As a side note, I am aware you can use multiple mics for the same recording, to get different angles, and tonal qualities of sound, but please note that this is intended for someone starting out, and who just wants a good quality result, without the bells and whistles.


If you want to record both a speech introduction, or conclusion for your recording, I recommend doing several takes, if you only have the one or at best, two mics for a stereo recording, as this way, you can optimally place the mic for each recording type. This means the microphone can be optimally placed above the piano's open top, above the strings, around the middle C area, which is one way, or on each side of the strings area, when using two mics. If you are using a stereo mic model, where the two mic heads are in one enclosure, mount the mic above the centre of the piano. It is best to remove the piano cover, in most cases, for an even distribution of sound.


The mic should be about 20 centimetres away from your mouth, when doing your voice recording, and is at all possible, a pop filter should be fitted to the mic, which is essentially a gauze or 'stocking type' material, that will prevent the rush of air across the mic head, that can cause popping noises, when we say a 'P' or 'D' word. Try this for yourself, and see the result. Say “I am popping a pee shooter at the mic'. If you do not have a pop filter, the 'P's will sound distorted.


I recommend also having your laptop computer as far away from your piano or other instrument as possible, determined by your USB cable length, to reduce the possibility of the computer fan noise getting into the recording. Most laptop computer fans turn on and off automatically, depending on the temperature inside the computer case.


Once you have completed your recording, it is worth tidying up the recording, by editing or removing the bits of 'silent track' before you start playing and after as well.


You can also eliminate any coughing or other erroneous noises the same way. Once you have completed your editing, and are happy with the result, you can then relatively easily save the file as a WAV file or MP3 file, and record that onto a CD. I recommend using the WAV file option, as this is a slightly better quality than an MP3 file, and record that to CD. You then have your completed CD recording of your performance, ready to go.




Are you able to store your piano performances for future listening? Have you been having trouble recording your piano performances, for the long term? Not only can you record your performances, but also gain an enhanced comfort from your playing. To learn more, see the Piano Magic Touch.  

Introductory Basic Techniques for the Magic Touch for the piano

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Posture

 

 

In most of the exercises in this book, the hands play two octaves apart, thus enabling the forearms to assume a natural, comfortable position parallel with one another, at right angles to the keyboard. To maintain this angle, the torso tilts to the left, centre, or right, according to the geography of the passage played. When the hands play in front of the body, one should lean back a little to accommodate the elbows. Commonsense and circumstances will determine when, and to what degree, the angle and the bodily movements must be modified. Where needed, reminders should be written on the score to 'sit left', 'sit right', 'sit back', 'sit forward', etc.

Of course, one will often lean forward or back for other than technical reasons: for example, a forward attitude is generally conducive to playing of a contemplative or introspective nature, whereas to 'sit back' is often associated with a feeling of breadth and expansiveness. The student will understand that there must always be freedom of movement at the hip joints.

We remind the student to be aware of unconsciously raised shoulders and fifth fingers.

 

 

The Thumbs

 

 

The thumbs have only two joints and are shorter than the other fingers, but, by way of compensation, they have a range of movement more than the other four fingers combined.

They have four main functions. With the palms facing you, they can move:

 

(a) directly towards you,

(b) away from the hand,

            1. ) right across the hand to the little fingers, and

            (d) rotarily, which is a combination of the above three movements.

             

            They have capabilities that the other fingers do not have and without their use, the fingers could not function properly because there would be an inadequate grasp.

            The thumbs, as the dominating fingers of the hands, play a major role in the positioning of the hands on the keyboard. They also have a remarkable melodic capability. Students will appreciate some of the essential functions of the thumbs as they progress from the playing of single thumb notes, to double octaves, and chords through the position of the octave, and other chords in which the thumbs have a guiding influence.

            Because of their fundamental importance,we begin our technical studies with the thumbs.

             

             

             

             Thumb Notes

             

             

            ♦ Place the limp hands palms down on the lap, as shown in Figure 1. Note that the gap between the thumb and index finger is about the extent of a major or minor third – a natural position. Note that the thumb is turned slightly outwards.

             

            More details and instructions are available from The Magic Touch by Wallace Tate, in association with Lionel Bowman

            Note on the Exercises in the Magic Touch

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            The exercises are based on what the hand is capable of doing with various passages, i.e. single notes, octaves and chords in their thousands of permutations, which make up what we call music. Once the learning processes are understood, the pianist will find that they are comparatively few, and that they can be adapted and applied to the learning of any passage regardless of style or character.

            These basic techniques are learnt through the exercises which are to be practiced daily in the manner prescribed. They provide a therapeutic learning process and are elementary guidelines only to play more comfortably and with greater ease at speed. They also give one the means of cultivating various basic touches.

            During the learning process some of the technical movements, muscular conditions, postures, and sounds, are extremely exaggerated, as a good deal of concentrated attention and effort is required. Eventually it will be sufficient to devote a few minutes only to the more essential and representative exercises before regular practice sessions.

            The exercises were taught by Professor Bowman by rote: they were not written out for the student. Thus, attention focused on the physical means by which notes were played in order to produce a preconceived type, intensity and quality of sound. As a result, the approach was experimental, somewhat improvisational and rhythmically flexible. The student should keep this in mind when working the exercises as transcribed in this book.

             

             

            DVD

             

             

            A DVD to illustrate the exercises and examples in this book is available as well, from

            //www.ThePianoMagicTouch.com

             

             

            Introduction to The Magic Touch

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            Between 1978 and 1985 Lionel Bowman paid a number of extended visits to Australia, to give concerts, master classes and individual lessons to a large and enthusiastic following of piano teachers and students at colleges, universities and conservatoria. Participants in these courses were impressed by the extraordinary beauty and technical superiority of his performance, by his inspirational power, and by his unique skill in imparting the secret of these qualities to others. In response to frequent requests for published information and instruction and the obvious need for a more permanent record of it, Professor Bowman and I discussed a plan for me to compile the essential material of his teaching as it now appears in this book.

            The contents have been gleaned from vast quantities of notes and audio and video tapes taken from his lecture demonstrations, master classes, workshops, and numerous consultations with him.

            Although the manual is not addressed to beginners, teachers will find the relevant procedures invaluable in the instruction of pupils at all levels. Many points of technical and musical interest may be extracted from the book. Nevertheless, the content should be considered as a whole, and studied and practiced accordingly. Although it may have some special applications for pianists who have particular problems now, it will help others to avoid developing such problems later in their playing lives. In addition to this therapeutic effect for all pianists, the miracle is that the Bowman approach also produces a more beautiful sound than that which can be produced by more physically demanding techniques.

            Although the book is not focused on the development of virtuosity, it will be found, that through the use of correct muscular procedures, the playing of al passages becomes workable and comparatively effortless. Thus, the student is able to play more comfortably and musically.

            No sound, or series of sounds, is ever played without conscious effort while learning. Every sound is controlled with musical intention in slow motion. The way of teaching is essentially one of conscious musical activity through muscular control. Thus, relaxation in this method equals control – not as the word implies, flop.

            Over a period of some ten years, I have taught these techniques to teachers, individually and in groups. Gratifying successes resulting from the application of these musical and technical practices have been reported:


            (a) by teachers who found the approach creative, rewarding and satisfying, even when working with pupils previously discouraged by seemingly insurmountable technical hurdles;


            (b) by pupils at all levels who found to their delight that they could produce sounds of the quality of professional pianists and play with ease and ever-increasing technical capability, musical awareness, and depth of meaning, and who found themselves looking forward eagerly to lessons as a continual source of encouragement, discovery and fascination;


            (c ) by parents appreciative of sudden and dramatic development in the quality of their children's playing and in their attitude to lessons and practice.


            I shall be forever grateful to Lionel Bowman for his kindness, patience and generosity in showing me these technical and musical procedures which have given me access to a new world of pianistic joy and inspiration. I am thankful that through other dedicated teachers I have been instrumental in sharing this experience in turn with their pupils. If my endeavours through this book are successful in assisting some of that vast army of perpetually striving pianists, I shall be well rewarded by the realisation that a great debt has been paid.

            Many pianists suffer pain and injury resulting from unsound practice habits; this is indeed regrettable. Any sign of strain should be heeded as a timely warning and remedial action taken

            without delay. The following is pertinent.

            As a young student, Lionel Bowman practiced with considerable discomfort, as he persevered to overcome the problems imposed by a narrow hand span. Nevertheless, he continued to practice and build a formidable concert career. Eventually the pain became unendurable. The years of physical abuse had taken their toll, causing irreparable damage to ligaments, tendons and muscles.

            After this crisis he evolved a series of exercises in muscular coordination founded on the elementary principles of anatomy. He based his teaching on these ideals, and this enabled him to slowly adopt the new ways himself. As a result of these natural and correct procedures, Lionel Bowman felt completely comfortable physically and playing became easier, the tone quality improved immeasurably, and he and his students became fearless, instead of fearful of performance.

            Furthermore, he became aware that what we call relaxation in playing should be described as control. This fact will become clear to students as they understand what follows in this book. In very general terms, we are trying to help the average to talented pianist through a set of simplified muscular exercises, to find the way to artistic fulfilment.

            –

            Can I Overcome Hardship in my Life and Career?

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            I think this is an important questioon to ask ourselves, time and time again, when difficulty strikes, as inevitably, we can all suffer from set backs from time to time.


            As you are no doubt only too well aware, the difference between the winners and the losers, to use a term, is the mindset we apply, as well as our creativity…



            What do I mean here?


            Well, whilst I am going to refer to Lionel Bowman as my subject in this example, there are countless people who have mixed sheer determination, creativity, and  opportunity to turn an otherwise seemingly bleak situation into a benefit, not only for themselves, but for others as well.

             

            I was greatly privellaged to be given the honour and opportunity to transcribe the manual on The Magic Touch, or Therapeutic Techniques for Pianists to an electronic format

            In so doing, I was able to learn about the human spirit in overcoming adversity, and that lesson alone, if for nothing else, was worth its weight in gold.

             

            However, being a piano player, either for pleasure or professional gain, the impact of this manual compounds itself greatly, and provides a light to all pianists experiencing pain and difficulty in playing various complex works. This can greatly enhance the difficulty that many people with small hands may also be experiencing.

             

            Mr Wallace Tate has successfully taken a complex subject matter, and explained it in a readable, and relatively easy way to understand. This skill, in itself is a rare gem, and I can thoroughly recommend the manual to all serious piano players. 


            Having learned the piano myself, I could certainly have benefited from this information many years ago. The bonus fact, however, is that it is not too late to implement the techniques created by Professor Bowman. The book, apart from a learning tool of great value, is testimony to man's ability to overcome all difficulties, no matter how seemingly hard, at the time. It also has benefited countless students to massively enhance their playing technique, and resulting sound at the keyboard.

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