5 ?
5, 1, 3, 4
ZOOM h1n
These days, I organized data, artworks, etc.
I remembered a piano teacher with whom I studied as an adult at Kawai Omotesandou. She recommended this suite - perhaps she liked playing it. It was at that time that I finally learned it.
I recorded this suite in 2023. I played the 1st and 3rd movements on digital harpsichord.
I've been thinking about how to enjoy playing them (the first and third movements).
(I like the 2nd movement.)
This time I played all the movements on digital piano.
I think that it is difficult to play since I may feel that in some parts the first notes of the right and left hands are not so harmonized well.
I found that I felt the score, as a set of shapes, may be beautiful - scale (big flows) and tiny flows, etc.
The piano teacher I mentioned said that she felt good whenever she played it well.
This time I realized that whether I can play it through to the end may depend on the atmosphere and spirituality at the moment, as well as my physical condition and finger technique.
Near spring. In spring?
The wind was still cold.
I saw sakura.
2026.03.29
Recently, I organized the data of tracks. I created original artworks. I refined titles of classical music track and tags of tracks. and so on...
Three years have passed since I began uploading a recording on soundcloud.
It is becoming warm, but the wind is still a bit cold,
I played it while practicing modern classical pieces,
started in E,
ended in A.
お花見はしていない が、桜餅は食べた。
Digital Piano: KAWAI CA9500GP. 442Hz, Loudness
Home Recording: ZOOM h1nvp 48k 16bit wav
Digital Piano: KAWAI CA9500GP. 442Hz, Loudness
Home Recording: ZOOM h1nvp 48k 16bit wav
Digital Piano: KAWAI CA9500GP. 442Hz, Loudness
Home Recording: ZOOM h1nvp 48k 16bit wav
Digital Piano: KAWAI CA9500GP. 442hz, Loudness
Home Recording: ZOOM h1nvp 48k 16bit wav
An idea of title "what is behind the brightness, just patterns" occurred to me while listening the improvisation.
However, I changed the title.
The original improvisation was over 10 minutes. I have cut the first 21 seconds.
F
Fa Mi Do
Flat keys, B♭ etc.
Recently I recorded Faure's Dolly suite for four-hands by double-recording.
I improvised using the same method.
First, I played and recorded on my electric piano.
Cm and so on.
Then, I played the recording once, and after that I played improvisation while listening to the recording, and continued playing after the recording.
Black flat keys, clusters, D♭ and so on.
It brought back memories of when I had played in a small free jazz band on weekends in a tiny live house.
These past few days I slightly practiced Vierne Nocturne, Ravel Ma mère l’Oye and so on.
The title is Beyond, Dokoka-he, but it doesn't carry much meaning...
最近、連弾曲を、自分の録音(左側奏者)を聴きながら、弾く(右側奏者)ということをしていた。ちょっと神経を使う。
なので、てきとーに弾いてみる時にも、二重録音してみようかと思った。
the famous start part of Beethoven Symphony No. 5
♭Mi
=#Re, the famous start part of Listz La Campanella
I'm practicing works of Louis Vierne.
I was remembering something, but I shifted my thinking.
Fa So Do
Mi
I've been playing some well-known pieces in C Major, though I didn't record them.
I was thinking about C major, pure?, clear?, justice?, etc.
As you may know, even pieces in C major often includes some black keys.
In this improvisation, however, I used only white keys.
Also I wasn't aiming for "C major". I just moved my hands.
After I played this improvisation, "ambivalent" came up to me. What is ambivalent? My right hand played and my left hand played, but my both hands did not play differently I think.
Today is Hina-matsuri.
ひな祭りの歌をてきとうに弾いてから、即興しました。アンビバレントという言葉が思いつきましたが、何の意味だったか忘れていました。検索して、そんなにアンビバレントでもないけどと思いましたが。