Author: Publisher:
ISBN:
Category : Piano
Languages : en
Pages : 374
Book Description
The University Course of Music Study, Piano Series
Author: The University course of music study, piano series
Author: The University Course of Music Study, Piano Series
Author: The University Course of Music Study Piano Series, Vol. 5
Author: Rudolph GanzPublisher:
ISBN: 9781332518388
Category : History
Languages : en
Pages : 28
Book Description
Excerpt from The University Course of Music Study Piano Series, Vol. 5: A Standardized d104-Work on Music for Conservatories, Colleges, Private Teachers and Schools; A Scientific Basis for the Granting of School Credit for Music Study 1. The Etudes which were composed earlier than those of Chopin were intended solely to supply needed exercise in preparation for the playing of certain pieces. The method then in vogue entailed merely the taking of some difficult technical passages, perhaps from some particular work, and building upon it a series of passages of progressive difficulty. In this way the student was able more quickly to master a piece which abounded in this particular difficulty. These purely utilitarian studies were often made more interesting to the student by confining them within some musical form, such as the Song Form or the Rondo, though in only a very few instances were such studies of any musical value, except as preparatory technical studies. There were, of course, in such Etudes few opportunities for the exercise of any other element of musicianship than the purely technical. Therefore after the student had mastered the mechanical difficulties of the study it became of no further use to him. The time spent upon it resulted only in the benefit it gave through serving as a preparation for something else. Economy of time and the element of efficiency were not then thought of as much as they now are. It is to be regretted that Chopin did not also write other and easier Etudes for the earlier years of music study. But in the Etudes Chopin composed he was far in advance of the epoch in which he lived. He preceded his time in that he saw the necessity for conserving to the fullest extent the expenditure of effort, through combining elements of permanent musical value with those of passing or utilitarian worth. He was an "efficiency expert" in music study, in that he was not content to consider the technical element alone. In consequence, he gives us Etudes which not only contain problems for the fingers, but also embrace within them all the elements of musicianship, as well. Furthermore, at the conclusion of the study necessary to play one of these Etudes, the student has not only all the benefits resulting from the mastery of a study in technic, but he also has enlarged his repertoire by adding to it a recital piece. In his Etudes, Chopin left untouched scarcely a mood or color, at the same time exhausting the mechanical problems of the piano technic of his day. We therefore may well look upon the Chopin Etudes as studies in musicianship rather than studies only in technic. They were not written as preparatory studies to other pieces; they are the pieces themselves. 2. This Etude ranks as one of the finest of all Etudes in Double Thirds. Its performance requires a perfect legato and the greatest dynamic control, especially in the finger tips. Obviously a loose forearm is a requisite condition if one would secure the greatest value from its practice. In acquiring the necessary technical facility, time and energy may be saved by practising the groups of sixteenth notes with shifted accents - that is, with various placings of dynamic accents - beginning first with the accent on the second of the sixteenth notes, thus making it the first of a group of four tones, and so on; then on the third tone, then on the fourth; also in Triplets, then in Sextolets. While the tempo is fast, the tone must be susceptible to many shadings. In this, however, the student must follow the dictates of feeling rather than deliberate thinking. An academic rendition of this Etude would be altogether inappropriate. There should be no rubato, unless it be of the most subtle kind, and - in the words of Chopin himself - "like unto the flame of a candle, gently blown upon."
Musical Courier and Review of Recorded Music
Author: The Musician
Author: Universal Course of Graded Piano Study
Author: Newton SwiftThe Musician
Author: Mastering the Piano, Bk 1
Author: Carole BiglerPublisher: Alfred Music Publishing
ISBN: 9780739038161
Category : Music
Languages : en
Pages : 20
Book Description
This new series features carefully selected performance repertoire of the great masters from all eras. Each piece is accessible to students and creates a feeling of accomplishment. Diverse in style and expression, each selection features melodic, rhythmic, or harmonic patterning to allow for ease in teaching and memorization. The CD, performed by Valery Lloyd-Watts, provides a powerful auditory tool for musical interpretation. Valery Lloyd-Watts studied at the Conservatory of Music in Toronto and the Royal College of Music in London. She earned a Master of Music degree from the University of Wisconsin, where she studied with Paul Badura-Skoda. She co-authored the text Studying Suzuki Piano: More than Music, which was endorsed by Dr. Suzuki.
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