These videos didn't get a lot of views, but I'd love to continue making tutorials for all 25 pieces.

You can still learn how to play it!

Yes. It all depends on your current evel/previous training.

It only works if you happen to have the right body proportion for that particular bench/piano combination and never change your technical approach :) You'll be surprised to see how much difference a tiny bit of bench height change makes.

I haven't played it, so I can't say for sure, but for the same price, I would imagine Clavinova would have fancier features than NU1XA. In our case, real touch was far more important than different tone, connectivity, etc. It's not better or worse, but it's all about what you are looking for in your instrument.

@@AkiraIkegamiChannelI care more about the touch! Thanks

I tried the built-in Files scan, but I find that an app called Genius scan produces a more accurate pdf file. It’s free.

Wow. I'll keep that in mind!

Check out my other tutorial videos!

Thank you very much!

It really depends on what kind of sound and touch you like. Even for the same make, quality varies.

I have to try them to answer that question

These are torturous for teachers too :) It's much easier if we can teach fun pieces all the time, but that won't develop lasting skills. So I work on and tell my students to do these first thing everyday so they are out of the way!

Thank you!

I don't have that video yet, but thinking of making it eventually.

It's usually the angle of the fingers. It's possible, but I've never seen anyone who truly couldn't play between black keys yet.

Thank you!

@@AkiraIkegamiChannel Just a question: didn't I see it well, or did you change the page of the sheet with a head move??

I'm using Airturn pedals to turn pages.

@angeldust9090 The Czech Republic has 50% foam.

That is my goal, but I'm not getting lots of views on these, so it's slowing down right now...

I'm not a great sight reader either, but sight reading is a combination of good understanding of theory and lots of lots of practice. Sometimes you have to drop some notes or make things up to keep going.

I'm not familiar with RCM books. In general, all method books are meant to teach all the concepts you need in systematic order. It's up to the teacher to choose the one that makes most sense. Every series has pros and cons, so you'll still have to tweak or supplement as you go.

You can buy pretty much anything about music there

You don't need much strength to play the piano, although it doesn't hurt to be strong. I'm more worried about hand injury from volleyball :)

Glad to hear that. This was one of the difficult topic to explain, so it took me a while to make this video.

Are you in Southern hemisphere?

Those are very good examples!

He's already made a video about him

That was one of the first video that got this channel going. Totally unexpected :)

@@AkiraIkegamiChannel no, i dont mean Hanon but Canons, the finger independent exercises. I have kunz canons but they are too tough. Edit: I think Schaffer's Sight reading book does contain good mind jumbling practice that I am looking for hand independence. It's amazing. I shouldnt have jumped directly to Kunz canons, it was too much for me. I am always too impatient, this is why i couldnt improve

I'm familiar with Taubman, but not never really learned it deeply. If any of those is working for you and you are happy with your current technique, this video is not helpful to you. If you clicked on this video because you want to explore other methods, that's a different story :)

His method is equivalent to Taubman and Leschetizky. If you review what both men actual wrote.

​@@AkiraIkegamiChannel I see -- thank you for clarifying. I clicked on it because I usually find many of your videos very helpful - :-) But this one seems very strange -- unlike anything I've seen or heard from any of the other main piano channels or actual teachers I have had; I have not seen this before. I think in the final analysis, the entire playing mechanism -- fingers, hand, wrists, arms, shoulders, torso, back, legs, feet -- are required to make many different adaptations (rotations, flexing, etc.) to accomodate rendering the music, so each isolated technic is only part of the entire spectrum of actions needed. No single movement is "THE" correct movement.

That's a very good way to put it. All the techniques I've heard of seem to be pointing to the same goal: most natural technique that'll allow you to play beautifully. I'm probably just seeing and explaining it differently.

@@velcroman11 If you could please refer me to the sections where they wrote that I would love to see it (and Dorothy Taubman was not a man ...) . I've not seen anywhere in either Taubman or Leschetizky where the wrist is raised as Akira is showing. Taubman is more about rotation along the axis of the arm, and Leschetizky is just about the opposite -- start from level wrist, drop wrist, catch and transfer the arm weight into the fingers, and return wrist to level -- not higher than.

Thank you, and good luck!

Thank you!