Please Read:
http://www.tongtuning.com/wordpress/?p=1205
專業鋼琴調音師 湯 生 的私人專頁, 看音樂趣事, 聽好音樂, 作音樂交流, 更可以在這樣找到專業的鋼琴護理意見.
2013年10月30日星期三
2013年10月28日星期一
2013年10月19日星期六
2013年10月18日星期五
全新日本品牌鋼琴 - Asahi C-121E
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隨鋼琴付送/ With below free items included with piano purchase:
首年3次調音服務/ 3 tuning sessions for the first year
全新琴套/ piano cover sheet
琴椅/ piano bench
搬運服務 / delivery
防潮管/ Humidity Control Device
琴膽十年保用 / 10 years guarantee on piano action parts
拍子機/ metronome
PS:
- 依照該品牌香港代理條款作準
拍子機/ metronome
PS:
- 依照該品牌香港代理條款作準
優惠價/ discounted price:
請聯絡 湯生 確定最佳優惠價/ Please contact Mr. Tong to have the latest discounted price for this model
歡迎預約試琴, 請致電/ Please contact me directly to test out the piano:
湯生/ Mr. Tong
Mobile / Whatsapp: 6304 4081
Website: www.tongtuning.com
Blog: http://tongtuning.blogspot.hk
Facebook: https://www.facebook.com/Piano.Technician.HK
YouTube Channel: http://www.youtube.com/user/tongtuning
Blog: http://tongtuning.blogspot.hk
Facebook: https://www.facebook.com/Piano.Technician.HK
YouTube Channel: http://www.youtube.com/user/tongtuning
2013年10月17日星期四
2013年10月16日星期三
2013年10月13日星期日
2013年10月10日星期四
Walking to New Orleans
A channel four documentary first shown in 1985, featuring amongst others :Jools Holland, Fats Domino, Lee Dorsey, Allen Toussaint, Dr John,The Neville Brothers, Johnnie Allan, and Jools Holland's long time drummer Gilson Lavis.
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 1
Part 2
Part 3
Part 4
Part 5
Part 6
Part 7
Part 8
2013年10月5日星期六
2013年10月4日星期五
2013年10月2日星期三
優質二手鋼琴/ Second Hand Piano - Kawai US-6X
日本製/ Make in Japan
隨鋼琴付送/ With below free items included with piano purchase:
首次調音服務/ 1 tuning session
隨鋼琴付送/ With below free items included with piano purchase:
首次調音服務/ 1 tuning session
全新琴套/ piano cover sheet
升降琴椅/ adjustable piano chair
搬運服務 (如無電梯直達該層, 搬運費另議)/
Delivery (delivery cost to be quoted separately if captioned floor being not reachable for lift)
防潮管/ Humidity Control Device
琴膽十年保用 (必需由本站調琴師每年定期調音不少於兩次)/ 10 years warranty on piano action parts (Applicable if captioned piano being maintained & tuned by our piano technician at least twice a year)
價格/ Selling Price: HKD36,800
價格/ Selling Price: HKD36,800
歡迎預約試琴, 請致電/ Please contact me directly to test out the piano:
湯生/ Mr. Tong
Mobile / Whatsapp: 6304 4081
Website: www.tongtuning.com
Blog: http://tongtuning.blogspot.hk
Facebook: https://www.facebook.com/Piano.Technician.HK
YouTube Channel: http://www.youtube.com/user/tongtuning
Blog: http://tongtuning.blogspot.hk
Facebook: https://www.facebook.com/Piano.Technician.HK
YouTube Channel: http://www.youtube.com/user/tongtuning
The scales and the piano
Why Learn the Scales?
Learning the scales is like learning the ABC's when learning to read: not so exciting, and it doesn't get a lot of practical use in everyday life, but trying to learn piano without learning the scales is like trying to learn to read without first learning the alphabet. It can be done, but the "shortcut" only winds up handicapping a novice player. The counter-argument has been made that the scales mainly use fingers 123, which are already technically strong compared to fourth and fifth fingers, which are weak because of anatomical limitations. This argument's weakness, however, is in realizing that the purpose of learning and practicing scales has little or nothing to do with strengthening fingers 1,2, and 3 - although this is a pleasant benefit. Practicing scales with rigid tempo and in a legato (connected) style helps lay the foundations of rhythm and fluidity of motion.
The scales are essential, because 99% of music is built on them. One can find the scales, or portions thereof, in songs of every complexity, from the simplest one-note rendition of "Mary Had a Little Lamb" to the complicated classical pieces and even almost all modern songs.
When one plays the melody of "Mary had a little lamb" in C major, you can be pretty sure that it doesn't have a wild bluesy part with a lot of black keys. OK, we exaggerated a bit, but we were still very very close. Try to play "Mary had a little lamb" on black keys only. You can make it, and when you can do it, you probably can do it forever. It's easy to remember to only use black keys after all. Conclusion: Scales are very good help in memorizing. If you remember the key of your piece, memorizing eases.
When you try to play some piece by ear, and you have figured out that it is in major key, the rest will come a lot easier. You will now know that the black keys aren't the first candidates for the right notes, if you want to play it in C major. Or if it sounds bluesy, you will presumably need some "blue notes", which you can always find in blues scales (there are various). Conclusion: Knowledge of scales is good for playing by ear.
When you play in parties, and you've finished your highly virtuosic piece and everybody is fascinated by your playing (the situation is fictional, it doesn't happen for real), somebody brings to you sheet music for some piece. But then you see, it has six(!) flats. This is no problem for you, because you instantly know it's either Gb major or Eb minor and what the black and white keys are. And then everybody at the parties considers you as a miracle. Conclusion: Knowledge of scales is absolutely essential for sight reading.
What scales are
In music, a scale is a set of musical notes in order by pitch, either ascending or descending. Western music is divided into whole and half steps. A half step is the distance from one note to the very next note, including black keys. For example, D to D#, Ab to G, or B to C. A whole step is two half steps. For example C to D, E to F#, or Ab to Bb. ALL SCALES RELY ON WHOLE AND HALF STEPS!
If you play any C and play all the white keys up to the next C, you have played the C major scale ascending. Do it backwards and you have played it descending. The scale you have played has a special pattern, what makes it sound major. It's 1-1-½-1-1-1-½. 1 stands for a whole step and ½ for a half step. Try to use 1-1-½-1-1-1-½ for every possible key; it always works; it creates a major sounding scale. Resorting the order of whole and half steps creates different sounding scales -- different modes -- as can be seen below.
Playing C major's relative minor A minor, just start from A and play all the keys up to next A. This scale is actually A natural minor scale. The notes and their order are the same, the start and end point is different. Then start from some other key than A or C. This scale isn't major or minor, it's another mode. Major and natural minor are, in fact, just different modes of each other. In the table below are all the modes. Don't memorize, if you don't want to, the only reason they're there is to help you to understand what minor and major really are. Major and minor just "killed" other modes. But, for example, phrygian mode is still used in flamenco, and all of the modes are used in modal jazz.
| Ionian | 1 | 1 | ½ | 1 | 1 | 1 | ½ | Major |
| Dorian | 1 | ½ | 1 | 1 | 1 | ½ | 1 | |
| Phrygian | ½ | 1 | 1 | 1 | ½ | 1 | 1 | |
| Lydian | 1 | 1 | 1 | ½ | 1 | 1 | ½ | |
| Mixolydian | 1 | 1 | ½ | 1 | 1 | ½ | 1 | |
| Aeolian | 1 | ½ | 1 | 1 | ½ | 1 | 1 | Natural minor |
| Locrian | ½ | 1 | 1 | ½ | 1 | 1 | 1 |
Why do major and minor sound so different? Why are the major and minor modes used so much more than the others? The answer lies in chords. So called I IV V chords in major are all major chord. In C major they are I = C major, IV = F major and V = G major. In A minor they are i = A minor, iv = D minor and v = E minor. Note: the roman numerals for minor chords are lower case. The other modes are more odd. You can harmonise many pieces using only I, IV, V or i, iv, v. Or improvise on them: just play something only using the notes of the scale and its I, IV, or V. If anything feels confusing, visit Ricci Adam's Musictheory.net. It's a free site with easy to follow animations.
Each scale degree has a name. I is called tonic, II is supertonic, III is mediant, IV is subdominant, V is dominant, VI is submediant, VII is leading tone. For example, in the key of C Major, if you are referring to the G note, which is the fifth scale degree, you would call it the "dominant."
Table of scaledegrees:
I - Tonic - First (and most important) note of the scale
II - Supertonic - Second note of the scale
III - Mediant - Third note of the scale
IV - SubDominant - Fourth (and third most important) note of the scale
V - Dominant - Fifth (and second most important) note of the scale
VI - Sub Mediant - Sixth note of the scale
VII - Leading Tone - Seventh note of the scale
(VIII)I - Upper Tonic - First (and most important) note of the scale
List of things to practice with scales
All major scales, harmonic minor scales, melodic minor scales and natural minor scales (natural not so important):
Hands together, hands separately, four octaves, two octaves, ascending, descending, ascending and descending, stacatto, legato, tenuto, crescending, decrescending, softly and loudly and everything between, rhythmic variations, contrary and similar motions.
Information Source: Wikibooks
Piano Workshop Conducted by Billy Taylor
From the 1988 Tri-C Jazz Fest, Billy Taylor offers his thoughts for pianists working in different configurations.
Video from the compilation Tri-C Jazz Fest Cleveland, 30th Anniversary Collection, Willard Jenkins compilation producer.
Oscar Peterson - Keeping The Groove Alive
A Documentary on Oscar Peterson with some rare archival footage and interviews with Diana Krall and more.
"Perfectionist, practical joker, and one of the all-time greatest exponents of jazz, Oscar Peterson is unlike any music legend that ever was or ever will be."
2013年10月1日星期二
淺談美國的音樂教育
(紐約訊）美國不是所有的小學都設有音樂課，只有那些得到政府資助的學校才能開音樂課。除了一般性的音樂基礎課程外，一般到了四、五年級還會成立樂隊及弦樂團。
Jessica的選擇
Mike的成長
教人與育人
Jessica的選擇
Jessica即將成為四年級的學生，她一直夢想加入學校的樂隊，但不知哪種樂器較適合她。所幸在三年級學年結束前，學校的音樂老師帶了幾位在樂團及樂隊表現優異的學生，到三年級的每個班上進行表演，就在那時Jessica便對豎笛著了迷。
剛進樂隊時的Jessica什麼都不會，還好學校適時提供了樂器的分組教學，才讓她上了軌道。一開始Jessica還是很喜歡豎笛，但因疏於練習，經常無法跟上老師的進度而產生了想換吹長笛的念頭。老師試著告訴她，如果不好好練習，無論演奏任何樂器都一樣。但Jessica仍然執意想吹長笛，結果也自然如她所願。但經過一段時間後，Jessica發現長笛並不如她想像中的容易，所以Jessica又換回吹奏豎笛。
經由老師的評估，老師建議Jessica另外找一位專業豎笛老師來輔導她學習更深入的音樂技巧，因為這位老師可以提供更專業的音樂知識及練習方法。果然，Jessica通過專業豎笛老師的教導，慢慢地找到了吹豎笛的訣竅，這才使她重新找回吹豎笛的樂趣與信心。
一般學校音樂老師的教學方法是採取通才式教育，所以難免無法顧及所有學生的需求。家長若要自己的孩子在他們所選的樂器中有較傑出的表現，選擇專業老師上一對一課程是必要的。個別課程若表現優秀，有時還可經由校內老師推薦去參加一些表演或比賽，這些活動會有助於學生們將來申請大學時的加分考量。
Mike的成長
Mike是學校樂團首席的大提琴手，他從很小的時候就開始學琴。採用「鈴木教學法」學習大提琴的Mike上了五年級之後，依然持續上提琴課程。除了平常參加一年一度的州立檢定考試，提琴課老師還經常鼓勵他參加各種表演和比賽。
但美中不足的是，Mike獨奏經驗較多，與大家合奏的經驗則只侷限在學校的樂團。因此媽媽決定跟學校及提琴老師溝通，看看是否有適合Mike的校外樂團，讓他增加與他人合奏的經驗。因為Mike想加入樂團需要準備視奏及指定和自選曲目的測驗，經過一段時間的加強與準備，Mike不負眾望地考上了校外的樂團，為他帶來更多的合奏經驗。
如果Mike未來想走音樂這條路，這些經驗將帶給他很多的幫助，即使他將來不準備當演奏家，這些校、內外的經驗，除了在申請大學時可以增加分數考量外，更是一段人生美好的經歷。
教人與育人
在四、五年級的樂團及樂隊中，學生們更換樂器的情況屢見不鮮。一般學校的音樂老師皆會同意讓學生更換樂器。但也有些情況下是由老師指定某些學生吹奏或拉奏較特殊的低音樂器。因為任何樂團都需要有低音樂器來豐富音樂的和聲，而一般這些低音樂器（如：Tuba、Baritone或 Double Bass ）沒有高音樂器（如：Flute、Clarinet 或Trumpet）來得討喜，學生們較不喜歡選擇演奏這些樂器。但經過音樂老師的分析、引導和鼓勵，會增加學生們學習這些低音樂器的興趣，更瞭解到這些樂器在樂團中所承擔角色的重要性與其功能。
高音樂器是較受大家喜愛的樂器，相對來講競爭得也比較厲害。所以，要讓學生們明白不一定非得吹奏主旋樂器不可。首先家長和學生都不能抱著先入為主的觀念，同時老師和家長更可試著鼓勵學生們嚐試學習各種樂器。說不定您的孩子就在合奏的位置中找到學習音樂的樂趣，而選擇較不令一般人看好的低音樂器。或許正因為如此才比較容易脫穎而出，甚至能成為如：William J. Bell、Tommy Johnson、Riki McDonnell 及Bob Cranshaw等少有的獨奏明星。終有一天綠葉配紅花，令音樂的道路花繁葉茂，前程似錦。學習音樂的道理是這樣，學習做人的道理何嘗不是如此呢？！＠
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作者介紹：沈亮寬，來自台灣，Nyack college講師。專業長笛演奏，並有22年教學經驗。2007年取得皇后學院音樂教育文憑，2007取得紐約州教育證照，1998年紐約大學音樂演奏碩士。曾獲紐約器樂傑出成就獎、西方凱斯儲備大學甘迺迪音樂創意獎、台灣省長笛演奏成人組冠軍。
From:
大紀元
* * *
作者介紹：沈亮寬，來自台灣，Nyack college講師。專業長笛演奏，並有22年教學經驗。2007年取得皇后學院音樂教育文憑，2007取得紐約州教育證照，1998年紐約大學音樂演奏碩士。曾獲紐約器樂傑出成就獎、西方凱斯儲備大學甘迺迪音樂創意獎、台灣省長笛演奏成人組冠軍。
From:
大紀元
成為 Young Steinway Artist 的資格 & 申請方法
從古典到爵士，甚至在流行音樂界裡，都有許多傑出的音樂家名列史坦威藝術家行列，從1857年開始，許多鋼琴家都希望自己能夠與世界知名的藝術家齊名於史坦威藝術家名單中，過去，在各種鋼琴大賽、音樂節、音樂會中，史坦威公司接觸到不少年輕的鋼琴家，他們優秀的表現雖不及真正的大師，但未來的發展都是指日可待的。音樂這條路除了音樂家的演奏技術及個人魅力外，還需要許多外力的協助才能讓音樂事業更上層樓，史坦威公司為了培育新秀以及宣傳鋼琴演奏藝術，讓年輕藝術家能夠藉此快速發展音樂事業，提供一個「史坦威年輕藝術家」計劃賦予一些經過選拔的年輕新秀加入史坦威藝術家的機會。
史坦威年輕藝術家準則－資格
- 史坦威年輕藝術家要與鋼琴家一樣，積極追求成為專業音樂家。
- 申請者必須為16-35歲，由史坦威公司破格邀請者除外。
- 申請者必須擁有一台史坦威設計的家族鋼琴（史坦威、波士頓、Essex）。
- 史坦威年輕藝術家無論在何時、何地都必須演奏史坦威鋼琴。演出活動中，若有提供其他品牌的鋼琴，史坦威年輕藝術家必須選擇史坦威鋼琴。若在演出活動中的史坦威鋼琴狀況不良時，請即刻通知史坦威公司改善此情況。
- 申請者在申請時應避免與其他品牌的接觸，包括公開代言、宣傳，包括加入其他品牌的團隊。在系列音樂會中史坦威年輕藝術家可能會演奏到其他品牌鋼琴，同樣，史坦威年輕藝術家應避免被標籤為其他品牌鋼琴的官方代言人，應在簡介、節目單中註明為史坦威年輕藝術家。
- 申請者應遞交一份「證明書」，描述史坦威對他的意義。藝術家也不應在發表對其他鋼琴製造者有利的宣言。申請時應提供高畫素的數位影像檔，如果檔案許可，史坦威公司可能會將此影像檔及證明書無償用於商業需求上，或者公開展示於史坦威官方網站中，直到藝術家撤回此權利。
- 申請成功後，史坦威年輕藝術家的身分將持續到年輕藝術家規定的最高年限36歲，或藝術家自動放棄鋼琴家身分時。任何時候，只要符合史坦威藝術家條件，史坦威年輕藝術家都能申請成為史坦威藝術家。
如何申請成為史坦威年輕藝術家？
- 申請者同意上述標準，即可向我們索取史坦威年輕藝術家申請表格。
- 申請者遞交完整申請文件、證明書、高畫素數位影像檔以及新聞發佈資料、錄音檔等。
- 申請者同意所有遞交的資料將由史坦威公司保管，並不再歸還。史坦威保有提名、否決及撤銷史坦威年輕藝術家身分的所有權利。
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