A Handbook Of Piano Playing by Eric Hope

By Eric Hope

Whilst I observed this "pamphlet" (hardly justifies being known as a e-book) ranging in cost from approximately $22 to $40+ being provided from Amazon, i used to be watching for whatever invaluable of that top cost. whilst I ordered it, i assumed it might be a pretty big ebook, choked with invaluable details, and that i anticipated that i might be stepping into go back what I paid for it. What an incredible surprise and sadness I received whilst the e-book arrived! i would not name it a e-book yet relatively a skinny pamphlet of in basic terms seventy two pages (the first web page starts on web page nine . . . so really, there is simply sixty three pages). I learn via it totally in under forty five mins (average interpreting speed). there has been little or no invaluable info during this pamphlet, such a lot of that's abundantly on hand in different books. If I had the chance to preview this pamphlet ahead of 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's an "OUTRAGEOUS RIPOFF". CAVEAT EMPTOR (buyer beware).

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In some cases he must choose the precise duration of a staccato; in others, he must decide between a real legato and a somewhat less legato touch. It will have been noticed in the when performance of the Chopin Valse quoted above that, touch of second the the type necessary speed, played with does not sound staccato: so far as the ear can tell, the somewhat staccato touch merely imparts an added brilliancy to the all scales and passage. This non-legato touch can be used for is desired. Many tone a where bright, sparkling arpeggios characteristic eighteenth-century semiquaver passages, such as are found in nearly all the quicker movements of Mozart, need it In the playing of Bach we often require a slightly heavier tone, less sparkling, but with every note well articulated.

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 performing to others, it is 'emotion The time recollected in tranquillity' that counts. Not, indeed, necessome music calls, at sarily in outwardly apparent tranquillity least physically, for anything but that; but in an inward 59 A HANDBOOK OF PIANO PLAYING tranquillity or serenity which enables us calmly and deliberately to sound the notes as we, at that very moment, desire. For the 'how* and the 'when* of each note must be controlled if the sounds are to be intelligible and eloquent, however impassioned the music may be.

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