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” HARRY LYNN MUSIC ” – THE SITE FOR HARRY AS A SOLO PIANO and VOCAL PERFORMER, OR AS PART OF A DUO, TRIO, QUARTET or QUINTET

FOR BOOKINGS, ENQUIRIES OR QUOTES PLEASE USE THE CONTACT FORM OR PHONE 07 5533 9584 OR 0418 886 229

HARRY LYNN PIANO / KEYBOARDS and VOCAL.

At QPAC Jazz festival 2008

At QPAC Jazz festival 2008

Harry’s musical education started at 9 years of age with classical piano lessons from local teachers in his home town in the country. At the age of 15 a friend played him a recording of the Nat King Cole Trio and he was converted to a love of swinging jazz music from that point onwards. Further studies for 2 years with a local jazz pianist found him thirsting for further knowledge of jazz, so he commenced a fortnightly pilgrimage of 300 kilometers for the next 3 years to study with one of Australia’s most respected jazz piano teachers, “ Chuck “ Yates. For a more detailed look at his piano learning history click Here.

PROFESSIONAL CAREER BEGINS

Moving from the country to commence his professional career he played in many varied jazz groups, all the while studying the works of the great jazz pianists like Oscar Peterson, Nat King Cole, George Shearing, Art Tatum, Red Garland, Bill Evans [ His favourite pianist ] and Keith Jarrett.

OVERSEAS INTERLUDE

In 1969 he went to Singapore and worked at the Equatorial hotel where in addition to playing dinner and show music, he instigated Monday night Jam Sessions for all the local musicians. Many visiting American, English and French players who were in town for a show were invited to play. At this time of his career he started composing and has written a total of 105 songs in many different styles.

HOME TO AUSTRALIA

Mo Award Best Accompanying Band

On returning to Australia in 1970, he spent 2 years in nightclubs [ one was working 7 nights per week from 8.00 pm until 3.00 am ] and 2 years touring the East Coast of Australia as accompanist to singer Matt Flinders. While touring he was offered the position of accompanist to a vocal group based in Sydney. In addition to working with the Claire Poole Singers over the next 20 years, he also worked in the Hans Martin Trio, and then 11 years with the multi “Mo” Award winning group, the Dave Bridge Showband at some of the major Sydney Clubs and Hotels . Also played on recording sessions for singers, dancers and jingles for commercials.

GOLD COAST – NEW HOME

He has been a resident of the Gold Coast area since 1990, and in addition to working as a jazz pianist has been recognized as being one of the most versatile players in Queensland. He is highly regarded as an accompanist for singers – he says it is one of his favourite musical pastimes – many singers comment on how comfortable it is to sing with him. Resident at prestigious Palm Meadows Golf Club for 7 years and Twin Towns Services Club since 1990. In 1991 Twin Towns Services Club asked him to do a three month trial as the 10.00 am to 12.00 midday Saturday morning singing pianist for ballroom dancing which included a large proportion of New Vogue dances, as well as Latin American. As of February 2012 the three month trial had grown to 21 years ! The regular dancers who attend almost every week are like a second family for Harry – some of them have been coming there for the whole 21 years !

JAZZ IN THE BASEMENT

The Quartet ” Hair We Go ! “

Harry, Peter McLaughlin and Warren Whittaker had played together since 1990 as a trio and when they started at ” Jazz in the Basement ” at the Arts Centre in June 2004 it was considered to be one of the most prestigious jobs on the Gold Coast. They recruited Malcolm Wood to join the trio after a short while. The engagement continued until the end of 2009, and with a change of management it was concluded. Five and a half years of great delight, wonderful relationships with their dedicated customers, and some great jazz ! One of many highlights was the quartet’s invitation to the QPAC Giants of Jazz festival in 2008. During the time at the Basement the band had a mentoring program for young players – click HERE for the Apprentices Story. Their philosophy was to be an entertaining band where they play their music seriously, but have lots of fun doing it. Harry is carrying on that philosophy and hopes you will enjoy the combination of good singing and playing with great entertainment.

NEW MUSICAL VENTURES

In recent times Harry has joined up with singer and comedienne Beth Hamilton to form a duo of two voices with piano. They are available for all functions and can provide many musical genres with a full on “show business ” show to quiet background music more suited to restaurants. Trio and Quartet / Quintet engagements are very much a part of his musical life, regularly working with bassist Peter McLaughlin from the Basement days, drummers Owen Smith, Howard Carroll and Warren Whittaker, tenor saxophonist Bruce Johnston, alto saxophonist Willi Qua, and trumpeter Colin Jones.

IN SUMMARY

As mentioned above, Harry has been recognized as being one of the most versatile players in Queensland. His musical genres include :-

1. Jazz – solo, duo, trio, quartet, quintet.

2. Dinner music – solo, duo with another singer, soft trio with bass and guitar.

3. As a multiple Mo Award winning accompanist for singers and instrumentalists

4. New Vogue & Ballroom Dance music – solo or duo with bass + electronic drums.

5. As a “roving” or “walkaround” keyboard player – see “LOTS MORE PHOTOGRAPHS”

6. Composing – over 100 songs composed.

7. Anything about pianos.

PLEASE CLICK HERE FOR LOTS MORE PHOTOGRAPHS

PLEASE CLICK HERE FOR THE APPRENTICES STORY

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FOR BOOKINGS, PHONE 07 5533 9584 OR 0418 886 229

 

 

Learning Piano – My Learning Journey Part 1

Our 1897 Thurmer Piano

As I look back at more than sixty years since I started learning piano, which eventually led to a career as a professional pianist and teacher, my mind keeps on bringing memories of where it all started in 1949. Most other musicians to whom I’ve spoken on the subject usually give credit to a recital or concert, whether it was in a theatre, hall or in the case of local brass bands, in a band rotunda at their local park. Dances in local halls and ballrooms where the future musician heard a dance band or orchestra often is the kick start to learning piano or another instrument of their, or their parent’s, choosing.

MY FAMILY MUSIC BACKGROUND

Pedal Organ – kept Dad fit !

Both of my parents were musical to a degree. My Mum played the piano by ear [ often with too much sustain pedal ] and Dad was a church organist on the old style “pump with the foot pedals” organ. Dad had been a church choir member since he was very young and had a very powerful baritone voice. Mum owned an 1896 Thurmer upright piano which had been part of our household for as long as I could remember. My sister still owns it, and it plays remarkably well.

A VERY DIFFERENT INSPIRATION.

From the time I was very young, about five, there were continuous, not very subtle hints from both of my parents about me learning piano. No way, said Harry, that is a game for sissies – I want to play cricket, football, cycling, fishing and exploring this wonderful world in which we live. Besides, the other kids at school would make fun of me.

The Beach Horse Ride

The real reason I started learning piano was because I was bribed into it while we were on our annual beachside holiday at Inverloch, Victoria, Australia, which was sixty miles from home. One of the attractions was horse rides which cost ten shillings [ about one dollar ] A horse ride at ten shillings was ten weeks of my one shilling per week pocket money, and I was captivated by the thought of mounting up and going for a ride of several hours duration. When I asked my folks to pay for the outing, that is when the bribe took place ! The contract / agreement was that I would begin learning piano when school resumed. Ha ! I thought – I’ll be able to wriggle out of that when we’re home and continue with my very boyish activities. How wrong can a boy be? The deal was set with no escape clause. Sixty two years later I’m still doing and loving it.

MY VERY FIRST TEACHER.

Mum and Dad found Miss Thirwell, a spinster lady with Batchelor of Music degree and years of experience helping people learning piano. She taught piano at her home in a room I vividly remember as being dark and dingy with deep red drapes over the one window in the music room, and a very nice upright piano.

Beautiful Steinway Upright

So began my efforts at learning piano. Miss Thirwell very particular about posture and technique, and I seemed to make OK progress. I clearly can bring to mind the first music book by John M Williams called“First Year at the Piano” STILL AVAILABLE ! Within weeks simple tunes were learnt, but by then football season beckoned and my concentration waned. One  afternoon after showing her that my ten fingers behaved like ten unsynchronized thumbs, in frustration she picked up a wooden ruler and gave me a hard whack across the back of my hand, and yelled at me. My reaction was to grab the ruler and break it across my knee. I stood up and with all the authority a nine year old could muster I told her there would be no more lessons. I escaped to Dad’s car waiting outside.   Football here I come……………

 Part Two – Click Here

My Learning Journey Part 2

Second Teacher.

Ornate Early Weber Upright

Oh No, said my parents ! You made a promise and we will stick to the contract. And with that they found a very nice lady teacher named [ would you believe it ? ]  Mrs. Finger, who lived about five minutes bicycle ride away from home. What a contrast she was – the lessons were FUN and progress was more rapid than before, in spite of my heart being set on football.  My mother reminded me years later about my practice routine. Mrs. Finger suggested a minimum of thirty minutes daily, so during that time I took one trip to the kitchen for a glass of water, one to the toilet, and one extra kitchen trip to make sure I hadn’t exceeded my thirty minutes. And still made progress ! Sadly, Mr. Finger had a work transfer after a happy year of learning, and they moved interstate. Ah-Ha I thought, no more piano lessons .  Wrong again, Harry………….

Third Teacher.

Guidance for a Small Hand

My Malvern Star Bicycle

Mrs. Alice and Mr. Hugh Ross were my next teachers, located  five miles away.
This meant my Dad had to drive me, but only in inclement weather as they figured a five mile [ 8 kilometre ] bicycle ride in fine weather would be a good amount of exercise before and after the lesson. The Ross method of teaching was very disciplined and more professional than the previous teachers, and I had my first experience of setting goals – they put time limits on the amount of time I studied and practiced a classical composition to an acceptable standard. Then move on to the next piece. They had two excellent German upright pianos,  a Ronisch and a Lipp.    So far I had never seen a grand piano except in the movies.

Music Examinations.

LCM Logo

After several months they proposed I undertake biannual examinations with the London College of Music and work towards this goal. Because they had such positive attitudes to teaching and made all the lessons very interesting and challenging, I thrived on their program. For the next two years my routine was to have my regular lessons for two months, and then commence a four month period of preparing a series of finger exercises and fairly major classical pieces for the examination by an external examiner. As a thirteen year old, like many of my contemporaries, I was subject to pressure and some nerves in the final weeks.

Examination Statistics

London College of Music Certificate Similar to Mine

A Pass With Honours was 85%, and all we students aspired to that or a higher score. I regret that I didn’t quite get there – my best effort was 84 % twice and an 81% and 82 %. After two years, this pressure and the constant attraction to do more sporting and teenage boy pastimes helped me reach the decision to quit classical piano lessons.

Nowhere Land Musically. In Limbo !

For the next few months our piano and any form of learning of it was ignored by me, and I concentrated on anything but music. Yippee ! I got to play football and almost did serious permanent damage to my right thumb in the process.

 

Part 3 –  Click Here

My Learning Journey Part 3

Lightglobe Moment !

Nat King Cole Trio

Then two things happened in rapid succession.
Firstly, a new neighbour played me a recording [ a 78 RPM ] of the King Cole Trio which comprised Nat King Cole piano and vocal, Wesley Prince bass and vocal, and Oscar Moore guitar and vocal. It was the most exciting and thrilling music I’d ever heard in my short life.

The subtleties of their playing and their innate sense of rhythm spurred me on to learn more. I really wish the name of that particular album could be remembered as I have quite a few of the trio on CD and would love to create a shrine to the original. It was an intense life changing experience.

 Marilyn Monroe

Marilyn Monroe

Secondly, like most boys of the era, I had a big crush on Marilyn Monroe who had just starred in The River Of No Return. The local music store had a sheet music department where I found and bought the theme song of the movie. Then, whenever Dad was at work on afternoon shift I practiced that song until it was a polished piece. My Mum was delighted at my renewed interest, and encouraged me to learn other popular songs, until we decided to show Dad what I’d been doing. The evening recital of River Of No Return and others, was received most enthusiastically and with approval. My Dad said ” If that’s the sort of music you like, I’ll see if I can find you a teacher of that style.” An engineer where he worked played in local dance bands and hotels. Enter teacher number four.

Hello the Shefte Rapid Method and Joe Rea.

Joe was a rotund Irishman with a fabulous sense of humor, wonderful swinging style, and an extremely loud left foot which he used to keep time. The whole house shook when Joe played [ or kept time when I played ] The Shefte Rapid  Method he used as a teaching manual demonstrated what was called “ STRIDE “ piano in the style of the great ragtime pianists such as James P Johnston, Thomas “ Fats “ Waller, Teddy Wilson, and the genius of all of them Art Tatum. My excitement at being able to play in this style was beyond my wildest dreams, and within two years I’d developed enough technique, endurance and repertoire to be asked to play in a local dance band “ Paddy O’ Dowd’s Millionaires “ where we played arrangements with the five piece band. Learnt to sight read charts ! I was now competing with Joe for gigs !

Learning by Listening to Recordings

Miles Davis – Round About Midnight

Joe introduced me to something my classical teachers had neglected – by listening to other players such as I had with the King Cole Trio in my introduction to swinging music, my musical education was stimulated to a high degree. To this end I bought my first Jazz LP album which was the Miles Davis Quintet’s “ Round Midnight “ with wonderful Red Garland on piano. Many others followed.

Listening to Live Bands

Visited the local two-band continuous-music Shaw’s Ballroom where I saw my first Grand Piano at one end and an upright at the other. I quickly made friends with Steve Hicks who played the grand and was honoured at being asked to be his page turner and sit with him on the piano bench. It was the first band I’d heard where the drummer actually read the arrangements. What an education !  I talked at length with Dick Winter who played the upright piano in the other band and learned great tips about playing by ear. All wonderful information for an enthusiastic young player.

A Special Treat – The Nat King Cole Trio playing Dream a Little Dream of Me.

Part Four – Click Here

Duet Malcolm and Harry – I Don’t Stand A Ghost of a Chance With You.

Duet –  Malcolm and Harry – I Don’t Stand A Ghost of a Chance With You.

My Learning Journey Part Four

 School Mate’s Influence.

During this time of intense application of learning piano, I became aware of a school mate from our class who was to have a profound effect on my musical future. Because I was interested in Jazz, Terry Lynch asked me to be part of a trio [ piano, bass and drums.] We found a bassist, Eddie Calleja, who was happy to join, and we had lots of fun rehearsing – sometimes at home when Dad wasn’t on afternoon shift. What a delight it was. Probably crude and rough by my current standards, but we didn’t care as we were having fun.

Terry’s Amazing Improvement

Terry Swings !

After a few months Terry suddenly seemed to be making extremely rapid progress in his playing – almost like he was turbocharged ! This is where his profound effect started. When quizzed as to why he was improving so rapidly he revealed he had been travelling to Melbourne, a round trip of 180 miles, and having lessons from Brian Czempinski one of the leading drum teachers. I was green with envy about his progress and asked him to ask Brian to find me a jazz piano teacher. The rest is history. Brian was working with Chuck Yates who had a wonderful reputation as a player and teacher and Chuck accepted me on a three month trial. “ If you don’t practice and work hard, don’t come back “

Intimidation. ??

Chuck Yates Jazz Master

Chuck was rated highly among the jazz pianists in Melbourne and it was with trepidation I knocked on his door. Even more intimidating was his nine foot long black Wertheim Concert Grand Piano which I bought years later.  He put me at ease rapidly and work began. Lessons were one hour for a cost of one pound [ two dollars ] and the value and knowledge gained was incredible. Our first study piece was “ Blue Moon “ He must have been happy with my progress as our student / teacher relationship went on for three years – I became a practice fanatic, finishing work at 5.00 pm and being home at the piano by 5.20 pm. My average practice time was SIX hours daily with up to ten hours on the weekends except when Terry and I did our five to six hours of travel for our one hour lessons. A once a fortnight learning expedition !

Sweat Shop Blues !

Sweat Shop Blues

Talk about work hard ! I had great callouses on both my fingertips, and where I sat. Chuck’s reaction to the amount of effort I’d put in was to maintain the price but gradually extend the length of the lessons until they lasted for half a day with coffee breaks included, at which time we sat, listened and discussed the records. Many years later I had the most rewarding, and hardest working student of my teaching career. Guess What ? His lessons went from one hour to all afternoon, just like Chuck had done for me.

A Touch of The Classical

The Art of Finger Dexterity

The Vituoso Pianist

Lessons from Chuck concentrated on harmony, improvisation and rhythm. To improve my actual piano technique he sent me to a delightful classical piano teacher who had recently returned from Paris, Miss Robyn Wright. She had taught him years previously. It was back to Chopin Beethoven and Liszt with technique studies from the Czerny School of Velocity and Hanon the Virtuoso Pianist. These studies and practice set me up for life with good posture, and correct technique.

The Coda

Learning Piano is an ongoing process for as long as one plays. Right now after a fifty plus year career, I am still learning by listening to other recorded and live players and by working with accomplished players such as my best mate, bassist Peter McLaughlin who provides me with both rhythmic and harmonic inspiration every time we play.

Gratitude.

Thank you to all those who have generously shared their knowledge, friendship and inspiration for all these years, you have my eternal gratitude.

Miss Thirwell
Mrs. Finger.
Mrs. Alice Ross
Mr. Hugh Ross
Mr. Joe Rea
Mr. Steve Hicks
Mr. Dick Winter
Mr. Terry Lynch
Mr. Eddie Calleja
Mr. Brian Czempinski
Mr. Chuck Yates
Miss Robyn Wright
Mr. Peter McLaughlin
PLUS – All the musicians with whom I’ve worked and learned from simply by the act of playing music together.

Yamaha Concert Grand

Our “Jazz Apprentices” Mentoring Program


After we had been at the Basement for about two years there was an event which was to have profound effect on us. A group of fifteen young people whom we found were members of the Gold Coast Youth Orchestra Big Band [ average age 15 ] had been playing a concert in a different part of the Arts Centre and decided to call in to listen to our quartet. We invited them in groups of three to partake of a noble tradition in jazz of sitting in with the band.There was a rapid exit from the majority of the GCYOBB members, but we ended up with three, Alex [ tenor saxophone ], James [ guitar ] and Cain [ trumpet ] on stage playing three songs. That was how the APPRENTICES came into being. These young men decided they wanted to do a lot more playing with us, listened to our suggestions and implemented them and not surprisingly, made great progress. These three went on to study at the Griffith University Conservatorium of Music and have since graduated with high distinctions.

In the following years we were blessed with having quite a few more apprentices with most of them going on to the Conservatorium, including, Cassie [alto saxophone ], Jesse [ alto saxophone ], Sam [ trombone and bass ], Tristan [ trumpet ], Julian [ alto and tenor saxophones ], James [ alto saxophone ]. The youngest ever on stage was an eight year old girl who played C Jam Blues. To the best of our knowledge, this was the only venue in Australia where very young musicians were invited to sit in with a professional band on a regular basis. It was good for the venue too, as each apprentice had parents, aunts, uncles and grandparents who patronised the Basement to hear their musical efforts.

Due to my enthusiasm for all these talented youngsters and having learned quite a lot about Social Media, my next move was to use Facebook and Twitter vigorously to promote our program. I was blown away when contacted by the head of the music program at the Idaho College in the USA, Mike Allen, offering a scholarship for two of the apprentices for the next ten day Music Camp ! Idaho was providing the ten day course and accommodation at no cost, with the attendee finding their air fare. What an opportunity it was ! The lecturers and teachers were the absolute top of their profession so our guys really had a huge kick along with their playing. Our Aussies were extremely popular in Idaho, with Mike Allen singing their praises, and inviting me to find more players for the following years. This opportunity has helped round out the playing and musicianship of all who attended for the last four years..Following YouTube is our goodnight song on one of our very successful Dixieland nights using extra players and being joined by the apprentices for Please Don’t Talk About Us When We’re Gone.

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My Instruments – Digital Keyboards

Start of the Digital Piano Age For Me

Starting with a Fender Rhodes ” Suitcase” model which was loaned to me on a regular basis by another Sydney musician in the late 1970’s I have always had a portable digital / electronic / electric keyboard in addition to the regular pianos mentioned in the previous article. The Rhodes had a large speaker system shaped like a box or suitcase which doubled as a stand for the keyboard part of the instrument and weighed what seemed like a ton !  I had to remove the passenger seat in my car to fit it all in. In changing times, the age of the well maintained pianos in various venues was in decline and a large part of we professional musicians made our earnings from jobs [ AKA “gigs” ] where we had to arrive with our own keyboard instrument. At least we knew what the instrument we were about to play, was like.

First Digital Piano

My first electric piano was a somewhat forgettable Roland model [ forgotten the model !] which was durable and heavy at 26 Kilograms, but it certainly earned its’ keep, even though it was never a great instrument to play compared to my home piano or the Yamaha C3 grand at the club where I worked. A side benefit of owning this one was the almost gymnasium style exercise I got by moving it. At this stage I owned an excellent Roland Jazz Chorus 80 amplifier and an even better and lighter Roland Keyboard Cube amplifier which has been a totally dependable quality instrument since the mid 1980’s to today [2012]  a run of over 25 years.  This Roland electric piano served me well until I heard about a newer and lighter Roland EP9E model  which had a good selection of sounds and at 15 Kilograms was a huge step up. Roland products are famous for their reliability and endurance, and I highly reccommend them for all levels of playing.

Korg M1 above Piano

As well as digital / electric pianos an important part of an instrument “arsenal” was to have a synthesiser for a variety of sounds. A family member in the music industry sold me an excellent quality and almost unused Korg M1 which I’ve had for about 25 years – it doesn’t get much use these days as my latest digital piano has a wide selection of sounds available, but when I use it, there is a bracket attached to the keyboard stand and the M1 sits above the piano as shown.

Roland EP 9e

I was about to replace the Roland EP9E  for our Jazz at the Basement gig as it was getting a little tired, when the Arts Centre asked me to test various models of electric / digital pianos for the Centre  to use for various areas there. Eventually I settled on a Yamaha P140 model which turned out to be a great choice for our jazz club room. The P140 has been superceded by the Yamaha P155 in recent times but is still rewarding to play. When the Arts Centre gig finished after 5 years, I continued with the Roland EP9E until quite recently, with some extra gigs in the book, it was time for a replacement.

My Latest Digital Piano

Roland RD 300 GX

Funny how decisions can be made from out of nowhere. I was booked to play an hour of solo piano at the Tweed Valley Jazz Club to be followed by a 10 piece blues band. The piano player  suggested I play his keyboard which was already set up for the band’s 2 sets to follow, rather than setup my own gear for one hour’s work. I willingly agreed and thus met what was to be my next instrument – I truly enjoyed Glenn’s Roland RD300 SX and was sorry to see my one hour disappear in what seemed like a few moments. I searched Ebay and other online markets for one, and settled on a Roland RD 300 GX the model after Glenn’s. It was part of a package deal with a 120 Watt amplifier and stand, and I’m delighted to say I’m having a passionate love affair with this model – a real quality instrument –  I love it.

 

My Instruments – Pianos

Family Piano

1896 Thurmer Upright

As a player who has been brought up on pianos from the age of 9, I have a preference for real pianos, especially grand pianos. Our first family piano was an 1896 German THURMER upright piano with an overdamper action. It was bought for my mother Helena, in the 1930’s and is still in our family’s possession residing in my sister’s home, and remarkably, it still plays quite well. Both my parents played a little, Mum strictly by ear, and Dad only by having music in front of him – he was also very good at playing the organ in our local church, and I have inherited both the ear playing and reading skills, plus a good memory for hundreds or possibly thousands of tunes.

Hello to my First Grand Piano

When I moved away from home in the country to live in Melbourne, Victoria, I shared a house with my teacher who owned an Australian made Werthiem Concert Grand Piano which measured over nine feet [ almost three metres ] in length with a majestic sound of awe inspiring power. I was able to buy it from my teacher who was heading overseas and do my practice on this monster of an instrument every day, and ever since there has been a total addiction on my part to have a grand in the family. Circumstances changed after 3 years and, very sadly I had to sell it – moving such an instrument from rented premises to rented premises is a logistical nightmare and very expensive, so an upright piano was the answer.

Hello to my First Upright

Staying with a quality Australian brand my next one was a Beale which had been a pianola, but had all the player mechanism removed thus making it a normal piano. Beales were revered for their durability, excellent actions and superb tone, and although it wasn’t the same quality of sound as the Werthiem it certainly was a great and more portable instrument.  It was sold when I moved interstate and after settling in to my new home, another Beale upright joined the family. After a year my gypsy spirit said I should return to the original home of Melbourne, and this Beale number two was sold. Next was a Lipp upright of German origin which I kept for several years and was sold when I moved to Singapore.

My C3 Love Affair Begins………. 

Yamaha C3 in Black / Ebony

Life was never the same after that as I was asked by the hotel management to go to the local Yamaha warehouse and choose any model of Grand Piano as long as it was white [ to suit the interior decorators taste ] The model I chose was a white Yamaha C3 which was a very nice instrument but not as  beautiful as a better playing black C3 next to it – the decorator won the argument but I started my lifelong love affair with black C3’s.  The letter “C” refers to the Conservatory Model which has a superior grade of materials and finish to the “G” models which play very well, but not to the “C” series excellent standard. The C3 is just over six feet in length and is about as big as most homes can comfortably accommodate. On my return to Australia, you guessed it, another Beale was bought, then sold as we had the chance to get an delightful August Forster upright which is still in the family.  Following this there was a bit more of the gypsy life when I went flying seaplanes and didn’t play for two years except for ” Happy Birthday ” occasionally on an electric piano, and a few months after settling on the Gold Coast and deciding to combine flying and piano playing, we found an auction advertisement which simply said Black Grand Piano – was it worth a look ?  Only rarely do general auctions have good pianos, but it was worth a look, perhaps ! You guessed it – a dusty black grand was up for auction.When I lifted the lid I was totally agog ! A Yamaha C3 ! It was a little older than the one in Singapore, but was just as good to play or even better, so we decided to bid for it. YES !!! We got it !  My love affair Black Yamaha C3 Grand has lived with us for eighteen glorious years and is still loved and played regularly.

Yamaha Concert Grand – the C3’s big brother.