Hoshwalon Ko Khabar Kya Bekhudi Kya Cheez Hai

What do conscious people know, What (a thing) being enraptured is like,

Ishq Kijiye Phir Samajhiye Zindagi Kya Cheez Hai
Fall in love, and then (you'll) understand, What (a thing) life is!
Unse Nazar Kya Milin Roshan Fizaein Ho Gayee
No sooner did my eyes meet hers, (than) the atmosphere brightened,
Aaj Jana Pyaar Ki Jaadugari Kya Cheez Hai
Today I realized, What (a thing) love's magic is!
Khulti Zulfon Ne Sikhayee Mausamon Ko Shayaree
(Her) opening wisps of hair taught the seasons poetry
Jhukti Aankhon Ne Bataya Maikashi Kya Cheez Hai
(Her) lowering eyes/gaze taught (me) What being intoxicated feels like!
Hum Labon Se Keh Na Paaye, Unse Haal-E-Dil Kabhi
I could never tell her (from my own lips), The state of my heart
Aur Woh Samjhe Nahin Ye Khamoshi Kya Cheez Hai
And she never understood, What this silence meant.
aaaaaaaaaaa
aaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaaa
aaaaaaaaaaaaaaa
aaaa
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Nice intention, Theodor, but I'd offer a different medicine.

Mechanical drills, especially without a teacher overseeing them (and sometimes e
ven with), can lead to all sorts of problems if started too soon.
Beginners (and autodidacts) are better off working on musical skills than mechan
ical. The chief difficulty in the beginning is getting both hands to play togeth
er so five-finger position pieces (e.g. Beyer Op. 101) that don't need changing
hand positions are good starting material.
1. Picking out familiar melodies is the first step in ear/interval training (and
keyboard topography). Chords can be worked out later when melodies come more ea
sily. Play louder where the notes rise and softer where they descend. This devel
ops the beginning of phrasing and increases awareness of the dynamic quality of
notes. It also makes piano playing more natural as arm weight over finger speed
is more important - this is even more marked if just one finger in each hand is
used. Add other fingers out of convenience later on.
2. Sight reading is difficult for a beginner because it requires the ability to
play with both hands and this is hard to start with. So, read one staff at a tim
e and then, as a second exercise, just tap the notes of the two staves with both
hands - left hand taps where left hand plays, right hand taps where right hand
plays. This improves the ability to read both staves at the same time, learn the
values of the notes and also builds co-ordination. It may also help the ability
to count along. I have found that it is better to learn to play while you are c
ounting than to count while you are playing.
3. Memorising is an important skill that doesn't come naturally or easily to man
y but can be done with one or two bars a day. Just a short enough extract that y
ou can play a few times, from the music or by ear, and then play from memory. It
helps in the beginning to emphasise the accents on the beat notes. The first be
at in each bar is stronger, the third beat next (in common time), second and fou
rth beats weaker, and other notes unaccented. In time you'll be able to bring th
ese out subconsciously but may need to emphasise them until then.
You might have to start with just four notes or a couple of chords. So
re. If you keep the same music you can gradually get to the end of the
start again with slightly longer extracts. The second memorisation is
faster and stronger than the first. Eventually you'll be able to play
piece from memory.

start the
piece and
typically
the whole

4. For repertoire, pick music you have an interest in and go from there. Learn i
n short sections, maybe a phrase or a line at a time (song line, not printed lin
e) and practise both hands separately and hands together. Go slow enough that th
e physical actions are easy and repeat a few times each day until they are quick
enough for the piece. Then reduce the practise of that passage while you work o
n the next. Follow recommended fingering where you can - it will gradually insti
l a natural facility for choosing appropriate fingering later on.
Start your pieces in easy keys to read, C, F and G. Pick from as wide a range as
possible.
_______________________
If you're using a digital make sure the volume is high enough to make loud playi
ng easy and quiet playing difficult. The volume needs to be controlled by the pl
ayer, not the volume control. This is where DP learners fall down most when movi
ng to acoustic pianos. I also recommend you vary the touch sensitivity regularly
if the instrument has that option. A heavy touch setting makes dynamic control
easy and a light touch more challenging.

________________________
If you want to progress to scales (preferably in a year or two) I would suggest
starting with all the black keys first. B major in RH, Db major in LH. C is the
hardest scale to play ergonomically and mechanically as there are no landmark bl
ack keys to help the hand along and assist the turn. The idea for scale practice
is to find which black key to put the 4th finger on (Bb/A# is the favoured key
in RH, F#/Gb in LH) and the rest follows the 123,1234 pattern with the 5th finge
r coming into play at the extremities. This gives a different LH fingering than
the regular method for F, G, D and A but is ergonomically and logically sound.
For C try starting on a different finger each day (and in each hand - that'll ke
ep you on your toes!).
If scales and arpeggios occur frequently in music it can be argued that practisi
ng the music should give sufficient exercise in scale and arpeggio playing and,
what is more, the exercises have a musical goal, a musical context and frequentl
y a unique fingering.
________________________
It's not what you practise that makes you a better pianist, it's HOW you practis
e. So pick music you like and play it with all the emotion and intelligence you
can muster. The more styles and genres you listen to the more you'll learn to ap
preciate and want to try. Leave the mechanical and technical drills for those wi
th the concert platform on their horizon and sufficient teachers and time to mak
e it happen.
_________________________
Richard

Succeeding with the Masters (Helen Marlais)

As for theory, there are very many sources available online:
http://www.musictheory.net/
http://www.8notes.com/theory/
A little more advanced: http://www.teoria.com/
More of a reference: http://www.dolmetsch.com/theoryintro.htm
(Ajeeb daastaan hai yeh
Kahan shuru kahan khatam
Yeh manzile hai kaunsi
Na voh samajh sake na hum) - 2
(Yeh roshni ke saath kyoon
Dhuaan utha chiraag se) - 2
Yeh khwaab dekhti hoon main
Ke jag padi hoon khwaab se
Ajeeb daastaan hai yeh
Kahan shuru kahan khatam
Yeh manzile hai kaunsi
Na voh samajh sake na hum
(Mubaarakein tumhe ke tum
Kisi ke noor ho gaye) - 2

Suhaan
Naa jaane tum kab aaoge
Jahaan ki rut badal chookee
Naa jaane tum kab aaoge
Nazare apanee mastiyaan
Dikhaa dikhaa ke so gaye
Sitaare apanee roshanee
lootaa lootaa ke so gaye
Har yek shammaa jal chookee
Naa jaane tum kab aaoge

Tadap rahe hain hum yahaa

Tumhaare intajaar me
Fizaa kaa rang aa chalaa hain
mausama-ye-bahaar me
Hawaa bhee rukh badal chookee
Naa jaane tum kab aaoge
Meri Bheegi Bheegi Si Palkon Pe Reh Gaye
Jaise Mere Sapne Bikhar Ke
Jale Man Tera Bhi Kisike Milanko
Anamika Tu Bhi Tarse
Tujhe Bin Jaane Bin Pehchane
Maine Hrudayse Lagaya
Par Mere Pyar Ke Badle Mein Toone
Mujhko Yeh Din Dikhlaya
Jaise Birha Ki Rut Maine Kaati
Tadapke Aahen Bhar Bharke
Jale Man Tera Bhi...
Aag Se Naata Naari Se Rishta
Kaahe Man Samajh Na Paaya
Mujhe Kya Hua Tha Ek Bewafaa Pe
Hai Mujhe Kyon Pyaar Aaya
Teri Bewafaai Pe Hanse Jag Saara
Gali Gali Guzre Jidharse
Jale Man Tera Bhi...
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