By Eric Hope
Whilst I observed this "pamphlet" (hardly justifies being known as a ebook) ranging in fee from approximately $22 to $40+ being provided from Amazon, i used to be looking ahead to whatever useful of that top fee. whilst I ordered it, i presumed it might be a pretty big ebook, packed with beneficial details, and that i anticipated that i'd be moving into go back what I paid for it. What an immense surprise and sadness I received while the ebook arrived! i would not name it a booklet yet quite a skinny pamphlet of merely seventy two pages (the first web page starts off on web page nine . . . so truly, there is purely sixty three pages). I learn via it solely in under forty five mins (average interpreting speed). there has been little or no priceless details during this pamphlet, such a lot of that's abundantly to be had in different books. If I had the chance to preview this pamphlet sooner than deciding to buy it, i might have anticipated to pay just a couple of money for it. yet, on the expense I paid for it ($26.45), it truly is an "OUTRAGEOUS RIPOFF". CAVEAT EMPTOR (buyer beware).
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Additional resources for A Handbook Of Piano Playing
In the first stages of learning the composition, accuracy of notes was our primary objective. Our approach now will be different. We must allow ourselves to respond emotionally, to enjoy the music, for now that we have overcome most of the mechanical difficulties of playing it, we are in a position to do so. We must allow ourselves to play with greater ease and fluency. At this stage a wrong note or two are of little moment; if our first impressions have been correct and have been strengthened and rather by thought no lasting harm repetition, will ensue.
But of course goes*. silent The reading best way to survey the away from the key- All who aspire to the name of musician should find this quite easy in the case of all but the most complicated works and in dealing with these (the last movement of Beethoven's Sonata Op. 106, for example) a run through at the keyboard not likely to make matters much clearer. If, however, one finds it impossible to obtain an adequate idea of the music by silent reading, or if the temptation to play it at sight proves quite irresistible, several days should be allowed to elapse between such sight-reading and the beginning of serious study of the piece at the keyboard.
In a grand piano the soft pedal mechanism opens up fascinating possibilities of tonal variation. So much, though, depends upon the tone-quality of individual instruments that it is impossible to give any but the most general suggestions for its use. In pianissimo passages of music written since the beginning of the nineteenth century say from the time of the middle-period sonatas of Beethoven onwards pedal may often be used with good effect. Its use the soft is usually inappropriate in eighteenth and'pre-eighteenth century music* where a bright quality of tone is needed even in softer passages; but here, as in most cases, the discretion of the performer and the tone quality of the actual instrument being played are the deciding factors.