![]() Music offers tremendous joy, solace and catharsis, and when I make music, it’s to provide this for myself and others. Improvising like this forms the core of my own practice, as well as my teaching. To this day, I enjoy nothing more than playing unplanned improvisations, exploring melody, harmony and rhythm to express my inner feelings in a way that is clear and accessible. I simply wanted to indulge my fascination with how rhythmic and tonal patterns are formed organically from deep, simple principles and elements and to express myself musically with spontaneity, honesty and conviction. As a child, I rebelled against this passive approach with a quiet determination. Most musicians are trained in ways that are essentially passive – following theoretical or technical instructions or relying on intuitive mimetic skills. True musical fluency is a neglected area of music education today. I adore beautiful, soulful melodies, infectious rhythms, flowing grooves, lush harmony, all in the service of vivid musical storytelling. I love to create music that “speaks” directly and vividly to the listener, music with a real depth of feeling but which is always unpretentious and accessible. So, once these core fluent skills are solidly in place, I’m happy to work with students in any style or genre.Īs an artist, I have two main projects: as Phil Best, I create classical-based solo piano music – both my own compositions and improvisations as well as classical repertoire and as PJ Best, I create soulful jazz-based songs and piano pieces. Fluency in the language of music gives us access to such a wide range of very useful skills in any genre of music. I use a somewhat radical approach… one that I developed specifically for the purpose of training fluent vocal and keyboard musicianship ( ). My own experience as a musician inspired my unique approach as a piano teacher and singing teacher. This is because the conventional approach to teaching piano – used by my other two teachers – really didn’t suit me at all. But in reality, most of my fluent skills are self-taught. I was lucky to have studied with two wonderful teachers, who supported my desire to become a particular kind of musician – one with real fluency in the language of music. ![]() And I’ve been exploring this musical vocabulary and syntax with great curiosity since I was a small child. ![]() In short, less than 50 MB for all these qualities that each update continues to approach perfection, what can I say except that Modartt is unbeatable on his land.Music is a language shared between human beings to express deep feelings that are beyond the scope of words. Electric pianos (especially R2, for my taste) are also illusion, like clavinets, excellent. If I have not mentioned here that the model D4, U4, recently acquired, is also phenomenal as upright piano. Note that I only compare here the sound, the choice of a keyboard "all in one" or "master keyboard + computer" does not come into consideration, convenience fit for the purposes of course depends on the individual. As for the marriage with a more electronic environment, too, brings the Pianoteq own living next to the "real" instruments. Although the two musical contexts are different (against Soul jazz / classical), but to choose, especially when it comes to marry a virtual piano with real acoustic elements, the Pianoteq is needed undoubtedly. ![]() To complete the proof by experience no comparison between the two in studio version: The registered last year on a project NS2 Soul sounds nonetheless digital, where Pianoteq recently placed on the soundtrack of a short film is completely illusion. In short, once all the settings adjusted to my way, I get a sound quality and playability well above the Pianoteq, despite the recognized qualities of excellent NS2. And there is the great advantage of the latter, since everything is adjustable, the length of the string to the position of striking point and volume of hammers, as the resonance of the soundboard, much better on the plugin. Realism that I could find on Pianoteq, including through Damper settings and positioning of microphones. I still tried to get "closer" to the NS2 several levels being used on some concerts practicing Yamaha C3/C7 or Steinway Model D, with quite reactive dampers, I particularly like the ability to disable the long release of NS2, which I think brings a lot of realism and sound game (others say the same thing "with" !). However, taking the time to compare two equal volumes ( NS2 Steinway D Close Pianoteq against D4 Jazz AB without reverb), I finally looked for Pianoteq. It always takes time to adjust when going from a very clean Pianoteq sampled piano because the sound, the atmosphere can be confusing in this regard. Purchased from the first version via the group buy launch, I come back happily on Pianoteq 4.5, after a break of 18 months hardware via the Nord Stage 2 for live AND studio.
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