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Sohmer Baby Grand Piano Cupid Model 5'5". Made in 1927. Shaped like a heart, thus Cupid Model. refinished white gloss and new key tops, work done around 15 years ago. Hammers, soundboard, bridges, pinblock all excellent. Beautiful, classic Sohmer rich tone and responsive action. Free Long Island.NYC vicinity delivery. All els continental USA only $475. Questions? Call Sonny Direct 631 475-8046.

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Dandelions promise by Rickckk

An Jing by Ichky

Sorry for not updating for so long, working has taken so much time that I have little time for transcribing. I should be releasing one of the projects above soon. Hope you have a nice day.

Artista: Fiona Apple
Disco: When The Pawn...
Lançamento: 09/11/1999
Selo: Epic/Sony
Procedência: nacional
Estado: deslacrado

A cantora e compositora norte-americana atinge a maturidade e o ápice de sua carreira com esse que é seu segundo álbum. Produzido por Jon Brion (Rufus Wainwright, Evan Dando, Sean Lennon, Elliott Smith etc).

Faixas:
1. "On the Bound" – 5:23
2. "To Your Love" – 3:40
3. "Limp" – 3:31
4. "Love Ridden" – 3:22
5. "Paper Bag" – 3:40
6. "A Mistake" – 4:58
7. "Fast as You Can" – 4:40
8. "The Way Things Are" – 4:18
9. "Get Gone" – 4:10
10. "I Know" – 4:57

Ouça: http://www.myspace.com/fionaapple

Preço: R$4 + frete

Todos os CDs são originais.
Entre em contato através do email: passadiante[at]gmail[dot]com

I think this signals the end of Malaysia's very short summer - but it's summer weather here all year long anyway. Usually, it rains every day, normally a short drizzle in the afternoon or a full-blown thunderstorm - both are possible - and I didn't realize it until now, that it'd stopped raining for the whole of July.

That probably constitutes whatever our summer was supposed to be, don't you think?

I wish we had winter here, though. Snow, snow, snow! My parents think I'm loony for wanting snow. They say that I'm just being naive, thinking I'll like it. Killjoys. They always kill the fun in everything. I couldn't even enter a coloring competition when I was 7 without my dad telling me I wouldn't win and it was just a big fat advertising gimmick, so the organizers could get more people to buy their ice-cream.

Message sent to a seven-year old's mind: You can never enter any more competitions because they're all a waste of time.

I was 7. How was I supposed to understand the ways of crooked and unscrupulous promoters? ):

Anyway, my piano lesson went A-okay. I only touched the Richard Clayderman piece - La Musique De L'Amour - today, like half an hour before my teacher came, because I was busy fooling around with the unassigned songs in the Piano Playmate book she gave me, instead.

Besides, don't tell me you enjoy playing songs with a thousand sharps in them, do you?

Yet, so surprisingly, once I started playing, it turned out the song was a piece of cake. I played the entire piece, eventhough I was only supposed to be practicing the first page. My teacher must've thought I was studiously practicing it the whole week, when I played it later.

I'm sneaky, yes. I actually spent more time working on The Entertainer, but my co-ordination is terrible, so I obviously cannot detach my left hand from my right's movements. I'm supposed to be all jumpy and staccato with my left hand notes, but my right hand notes are supposed to be at normal pace.

That's crazy talk!

But I still gotta try, anyway. If my piano lesson had gone bad today, I'd have been severely demoralized, as I tried to draw just now, and came out flat and blank in my creative aim.

Why am I so uninspired when it comes to art?

I can see the ideas in my head; the pose, the color, the feel. I just can't print it out and make it a reality. Maybe it's because my ideas are mostly meant for photography, not traditional art methods. That pisses me off.

Sigh. I've got nothing in me to express. When I'm upset, I write poems. When I'm dreamy, I write stories. When I've just listened to an emotional song, I play the piano and try to emulate it's feel. Well, what am I when I draw?

I never even bother starting on any art, because my desk is too small to accomodate all the paint and eraser dust. Plus, I hate clutter and messing my things up (I also have a nasty tendency to splatter paint on my books, by accident).

Cannot wait to move. Still.

So, this is the story of the Big Black Piano, formerly of New York, now of Tennessee.

We didn't have a piano. What!? A big-time performing arts center without a piano? Why the heck NOT? you might ask.

Dollars. It's all about money.

Pianos are expensive. I mean realllly expensive. The good ones, that is. And, when you've got world-class pianists on your stage, you've got to have a world-class piano. So, for the first fifteen years of our existence...we rented. That's fine, except it's a hassle. And there's only one such rental piano in town. Once last year, it was previously engaged when we needed it! ULP! I think that was the turning point.

So, we had a capital campaign. For $1,000, one could claim a piano key. Some people paid more than $1,000! Can you imagine? We didn't sell all the keys, but with the generosity of our donors, we raised the $80,000 PLUS needed to purchase the piano and its little climate-controlled bedroom (more about that in a minute).

Renowned pianist Yefim Bronfman generously met our selection committee at the Steinway factory in New York and guided us in our choice. It turned out that for us, there was just one that would do...and it was love at first chord. We found our Big Black Piano. And, after months of waiting, it finally arrived at our loading dock.

In a cardboard box!

They deliver $80,000 pianos in a big cardboard box. I told you this was a learning experience!

So, they fastened the legs to it...set it on its little porta-piano thingy...and Richard, our Piano Tuner Extraordinaire couldn't wait to start making it ready.

A couple of days later, our board came together for a meeting and welcomed the piano with a champagne toast. Even the mayor showed up. The Big Black Piano was basking in its celebrity.

What happened then? Now that we're dark for the summer? Well, here's the sad part....

The Big Black Piano was banished to the basement!

Now, before you start feeling all sorry for it, you must understand that it resides in the basement in a little room that was custom-built just for it. It is humidity and temperature controlled so that the piano's little hammers and pedals and whatever else stay just like they're supposed to be...perfect.

And just so the Big Black Piano won't get too lonely and out of practice, one of several friends drops by now and then to tickle its ivories. Just to keep it smiling.

This is Chris. He was like the Phantom of the Opera down there, all by himself, making music in his own little world. He was having a grand time until I snuck up behind him and yelled "Boo!"

No, I didn't. But, I could have, and it would have been funny.

Well, maybe not, since he and I had not met before that moment. Maybe the next time!

He's really nice and patient and didn't seem to mind my interrupting his practice session...especially when I told him he would be featured on my blog. Some people are all "oh, noooooo...." But, he was all smiles. And then he asked me to leave.

No, not really. Now he waves and smiles when he comes in to keep the Big Black Piano company.

The most important thing is that the Big Black Piano remains happy and ready to perform. And, when we crank up the elevator and raise it up onto the stage for its public debut with the incomparable Leon Fleisher, if you look very, very closely, you may see it smiling.

I know I will be.

Al final del video se ve como Elton levanta la tapa de su piano... yo creo que estaria pensando algo como "el mio no suena!!!" jajaja

La verdad es que esta ahi como de pegote, pero mola la interpretacion con Axel a dos pianos.

After reading an article in Wired magazine on Second Life must-haves, I decided to check out the hyper-flute in Scafell 93, 154, 48.   There were several instruments there, but I couldn't resist touching the grand piano.   It made me play Beethoven's Fur Elise...flawlessly, I might add.

This is a remake of Fernand Légers 1924 movie and George Anthiels' original composition in Jesus Himself fashion.

Ballet Mécanique was originally written to accompany a Dadaist film of the same name, directed by Dudley Murphy and Fernand Léger with cinematography by Man Ray. Antheil himself was not a Dadaist, though he had many friends and supporters in that community. Unfortunately, the score ended up being 30 minutes long while the film was only 16 minutes long. The film premiered on 24 September 1924 in Vienna presented by Frederick Kiesler, later a world-famous architect. Meanwhile, Antheil's music for Ballet Mécanique became a concert piece, premiered by Antheil himself in Paris in 1926.

Ballet mecanique - Part 1

Ballet mecanique - Part 2

In this film, he does some stop-action animation with a cut-out puppet that crudely resembles Chaplin's Little Tramp character. This must have been somewhat confusing for French and Belgian audiences in 1924. In its original release, this film's French title was "Charlot présente le ballet mécanique" ... referring to showman Andre Charlot, who financed this film's French distribution. But in France, Chaplin's Little Tramp character was also known as Charlot ... so the presence of that puppet in this movie must have seemed a cheat: an attempt to advertise a 'Chaplin' movie that doesn't actually have Chaplin in it.

The original orchestration called for 16 player pianos (pianolas) in four parts, 2 regular pianos, 3 xylophones, 7 electric bells, 3 propellers, siren, 4 bass drums, and 1 tam-tam. As it turned out, there was no way to keep so many pianolas synchronized, so early performances used a re-orchestration with 1 pianola and 10 pianos.

In 1953, Antheil wrote a shortened version for four pianos, four xylophones, two electric bells, two propellers, timpani, glockenspiel, and other percussion. The original orchestration was first realized in 1999, when the University of Massachusetts, Lowell Percussion Ensemble performed it using MIDI-controlled Disklaviers.

The score and film were successfully combined in 2000 by Paul Lehrman.

Watch the premiere of all-robotic version for 16 player pianos and percussion orchestra. Features new robotic instruments from LEMUR (League of Electronic Musical Urban Robots):

Links:
- George Antheil on: Official page, LastFM, Wikipedia, G. Shirmer Inc.
- Fernand Léger on: Official page, IMDB, Wikipedia
- Ballet Mécanique on: IMDB, Wikipedia

Alors tout d'abord intéressons nous à Emily Haines. Elle est née à New Delhi et a grandi au Canada et elle a su très tôt que son avenir sera dans le monde la musique.

Elle est dont la chanteuse et le "leader" naturel du groupe Metric, c'est elle qui compose les chansons et qui dans un premier temps compose la musique au piano.

Son histoire est lié au groupe Metric ainsi que ses membres, Jimmy Shaw avec lequel elle a partagé durant plusieurs années sa vie, Joshua Winstead et Joules Scott-Key.

Pour plus d'informations, retrouvez son histoire via la biographie Emily Haines sur le fansite français du groupe Metric.

Son Projet Solo

Depuis le début Emily Haines compose des chansons toute seule, le premier album est Cut In Half And Also Double, le deuxième et le plus célèbre : Knives Don't Have Your Back, c'est cet album qui permettra d'être reconnu en tant qu'artiste solo. Et enfin le dernier est What is Free to a Good Home qui est un EP avec 6 chansons extraites des sessions de l'album précédent. Retrouvez tous ces albums dans la discographie Emily Haines ;)

Les chansons d'Emily Haines en solo sont en piano/voix principalement et il en ressort des très belles chansons, très envoutante, vous pouvez écouter une chansons dans la section Musique Metric et Emily Haines.

Sur le Fansite français de Metric vous pourrez retrouvez différentes ressources concernant ce projet solo d'Emily Haines :

• Photos Emily Haines
• Vidéos Emily Haines
• Partitions Piano Emily Haines

Les collaborations d'Emily Haines

Emily Haines a collaboré avec nombre d'artistes ou groupe dans sa vie, on peut noter qu'il y Broken Social Scene (Voir article sur le rock canadien), le groupe Stars ou bien encore Delerium.

Emily Haines est donc une artiste complète et dont l'univers musical est vaste.

Voilà ça sera tout pour le moment sur Emily Haines et son projet SOLO.

まるでピアノを演奏したままピアノの乗り物に乗ってるような感じになり
気持ちいいです。

土地をもってないくても、プリム数が足りなくてもこれでいつでもどこでも
ピアノが演奏できま～す。

Satoko Instruments

While at dinner with my friends, we discussed old high school friends and relationships.  We talked about our guy friends who are still dating younger girls, and we came to the conclusion that most of them are dating girls on their same maturity level (which is pretty low).  A friend of mine then said, "And you're hanging out with 37 year olds."  

This is true.  I like to think of myself as a little more mature than most people my age, simply due to the fact that I've seen a lot in my years (all 21 of them).  I have befriended a 37 year old man recently, along with a man in his 80's who is a jazz piano player who I sing with every week.  

I think my new friends are the result of the lack of younger men in the area in which I live.  I believe someone said that the average age in my town is around 60.  Yes.  We are definitely lacking in the younger crowd.  

I do enjoy it though.  I have learned so much from the older people and listened to some great stories.  I have always thought that I was born in the wrong time.  I feel that I belong in the early-mid part of the 20th Century (in terms of culture, music, fashion, world events, technology, so on...).

I get made fun of quite frequently for the friends I have, but it doesn't bother me so much.  

However I do have one problem: 

Over time I have come to realize that older men find me attractive.  I'm not really sure why, but they do.  I suppose it's my witty sense of humor and good looks that win them over...but it does create problems.  I have run into this problem today actually, and I'd like to type about it.  

I work with a very lonely man who is in his 80's I suppose.  We have a great time together and I wanted to photograph him.  He wouldn't let me, and after lots of pleading he finally said that we could work out a trade.  I knew exactly what he was getting at.  He said he would let me take a photograph of him in exchange for a kiss.  I looked at him and said, "I don't do trades."

I didn't know he still had it in him, but apparently he does.  Lots of it.

So I'm wondering if it really is possible for men and women to be friends.  I thought that it would be possible, especially with this older man.  I guess I was mistaken...

Of course I will still see him once a week because we do gigs together, and he is still great company.  But no more sexy jazz music.

Things I dreaded as a kid: my list of chores each week, nights my mom served meatloaf, getting my report card (I went to a Catholic school and the priest handed them out. I felt that if I got anything lower than a B, I was offending God. Needless to say, I was a conscientious student), and piano recitals.

Without fail, my elderly piano teacher put on one recital each year in the spring. It was a big deal. She would talk about it weeks in advance. We discussed which piece would I play, made sure no one else was playing that piece, and then I'd do a zillion repetitions to get it memorized. It was the only time all year that I was asked to memorize a piece. It ended up being the real fear during the recital. It didn't matter if I played musically. The real goal was to get to the end without a memory lapse, take that bow, and say a thank you prayer to God afterwards for having it all behind me.

At home my parents prepared for the recital too. They would arrange to pick up my grandmother, shop for a new dress and listen to my piece a zillion times as a trial run. The carrot they dangled in front of me to go through with it was going out for ice cream as a reward after the recital (They knew that I would do just about anything for ice cream. Some things never change).

Why was it such a traumatic event? Now that I am a Suzuki piano teacher, I realize that it was because recitals were an annual event and because I was not taught how to memorize music.

The Suzuki method encourages the concept of frequent performance.  The student is encouraged to play often for family members in an informal atmosphere, during monthly in group lessons, and in formal recitals at least twice a year.  I encourage my students to have music nights for their families in their homes. Once a week they gather the family, maybe after dinner, and just play anything they are working on. It is fun for the parents to see the progress, good for siblings to hear the music and beneficial for the student as a means of self evaluation so that they know what to practice in their next session. At group lessons students are asked to perform for each other. Although they are encouraged to play something that is perfected, they may not have perfected pieces that often. The act of getting up in front of others that frequently takes the fear away. The student realizes that if they make a mistake it's ok and they learn how to deal with it. It raises their confidence and gives them the ability to listen to the music rather than worry about being the center of attention. With two or more formal recitals during a year, students shed the fear of performance. It just becomes a natural result of their efforts. The students then become eager to share their hard work in front of others. The parent is expected to attend the lessons, so playing in front of the parents becomes a non- threatening event. They realize that their parents are a support system rather than critics. In doing so, Suzuki students often feel comfortable performing and volunteer to play for other audiences.

Sharing music is one of the many a benefits of studying an instrument. So, if you are a student, be brave and perform. If you are a teacher or parent of a student, provide performance venues. I will write again on the importance of memorizing music and how to accomplish the goal.