An update to the former post of a digital drawing I’ve been working on today. Here’s a portion of the cover, somewhat finished. The glitchy effect was by accident, but I loved it so much I decided to keep it as a side piece to the original cover.
The title is withheld until the comic is published of course.
Photoshop CS6 was used, with a Wacom Intuos pro tablet. A whole lot of references via google, were also used.
It’s been a while since I’ve drawn, admittedly… in-between my other responsibilities I have been trying my best to fit it in. Not just drawing, but painting, as well!
I’m influenced from a lot of artists, truth be… if anyone can guess my influences in this piece. Feel free! Of course, I will admit this time around I didn’t consciously reference any particular artist. I focused on rendering values, and playing with colour instead.
No this isn’t me, my Nephew seems to think so. This is Stuart. His appearance is one I’d like to imagine what my future son would look like (all of my drawings are my children)… hypothetically-speaking of course. That is, if I ever do get around to having a son. IF.
Pianism and music has been put on hold for my other responsibilities. There isn’t a lot of time in day, sadly… or, I’m just terrible at time management. Here’s what I’ve been working on, in-between marking students’ work for my sessional job as a drawing instructor:
The cover for my PhD comic. Admittedly, it’s been a while since I’ve digitally painted anything therefore, with this drawing I’ve been doing studies here and there.
In review for the new year, here are some objectives of what I plan to achieve this year with pianism and music in general. That is, between other obligations of mine… ’til the closing of this year:
Memorize, and learn all 24 keys before the end of the year.
Advance to second grade repertoire on piano.
Advance to fifth grade theory.
In-between this, I’ve the intention of expanding more of my skillset in musicality, finger control, finger strength and so-fourth. I first began studying music some six months ago. Pianism was then studied three months after that. The journey has been a tremendous one, that I will indeed continue for many years to come. Progress may be delayed slightly, due to my PhD being due in early 2022. However, again, it doesn’t matter. The progress is of the utmost importance.
From my experience, when I first started taking lessons under my piano teacher… I was instructed to always practice scales–even she, at her level still practices with scales. I’ve found, in my practicing scales… they are perhaps the most beneficial way to acquire technical skill on the piano, past a sole reliance on repertoire. Many of the fundamental, and underlying skills (there are a lot of meta-skills–think, skills within skills, that a pianist must learn) can be acquired through scales.
Repertoire however, is still important for learning more micro-skills… just as well as articulation, rhythm, hand positions, different fingering, and so-fourth.
Scales have assisted in my becoming familiar with all 88 keys of the piano. Just as well: the amount of weight I ought to apply to register a better quality of sound (no thumping all the time); Finger independence, with finger switching; The position of hands on the keyboard, as well as the elevation of wrists above the keys–and my observation that the forearm, and wrists ought to be utilized past the fingers themselves. The fingers move to a minute degree, however, ‘power’ should not be sourced by the fingers alone.
As a pianist, economizing the use of energy throughout your playing is paramount. Especially since, there is more demanding repertoire to be learnt–and some pieces can extend over thirty minutes. With extensive octave leaps, and articulations… Rachmaninoff, I’ve heard is some of the most difficult repertoire to play. His, and of course… 20th century pieces.
LH & RH separate: C Major (1 8ve & 2 8ve) A Minor (1 8ve & 2 8ve) A Harmonic Minor (1 8ve & 2 8ve) G Major (1 8ve & 2 8ve) E Minor (1 8ve & 2 8ve) E Harmonic Minor (1 8ve & 2 8ve) F Major (1 8ve & 2 8ve) Chromatic G Major & C Major (1 8ve)
Contrary motion both LH & RH: C Major (1 8ve & 2 8ve) A Minor (1 8ve & 2 8ve) A Harmonic Minor (1 8ve & 2 8ve) G Major (1 8ve & 2 8ve) E Minor (1 8ve & 2 8ve) E Harmonic Minor (1 8ve & 2 8ve) F Major (1 8ve & 2 8ve)
Relative motion both LH & RH: C Major (1 8ve & 2 8ve) A Minor (1 8ve & 2 8ve) A Harmonic Minor (1 8ve & 2 8ve) G Major (1 8ve & 2 8ve) E Minor (1 8ve & 2 8ve) E Harmonic Minor (1 8ve & 2 8ve) F Major (1 8ve & 2 8ve)
Skachka – Bi 15 from Dvadtstat Chetire Legkiye p’esi Op. 39. Note: Micro-slurs. Dynamics. Piano. Forte. Articulated notes. Hands higher up on the keyboard.
Light blue from Piano Grooves I: Note: F Major. Dynamics. Deviations from key.
A little hush-song No. 5 from First Year Pieces: Note: Compound time signature. Dynamics. New Rhythm Pattern.
Some more practice composing:
The tonic is ‘Eb’, with the piece finishing on Eb–I made it more uniform by starting with Eb, also. Just a test really, with rhythm, articulations, and the sostenuto pedal. A piece truly doesn’t feel complete, unless one finishes a piece with the tonic… it appears to be an implicit rule within many compositions. The bass–or the left hand of the pianist with the triads reveals the time signature, also.