Ears Brain And Fingers a Text book for Piano Teachers And Pupils
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In our eReader you can find the full English version of the book. Read Ears Brain And Fingers a Text book for Piano Teachers And Pupils Online - link to read the book on full screen. Our eReader also allows you to upload and read Pdf, Txt, ePub and fb2 books. In the Mini eReder on the page below you can quickly view all pages of the book - Read Book Ears Brain And Fingers a Text book for Piano Teachers And Pupils
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To quickly assess the difficulty of the text, read a short excerpt:
Hardness of tone in chords is almost always traceable to stiffness in the arm, particularly in the shoulder.
A chord passage should be practised slowly enough for the arm to be relaxed at every chord. The impulse in chords comes usually from the upper arm. The arched hand rests on top of the keys over the chord, before the tone is sounded. There is an instant of tension in the upper arm which causes the tone, but the relaxed condition of the arm must be immediately resumed. The weight of the ar...m is added to the tone, but the wrist must EARS, BRAIN AND FINGERS 79 have as much elasticity as possible at the moment the chord is sounded. The addition of the weight of the arm gives sonority to the tone and prevents the hard "steely" quality which prevails if a chord is played with too much tension. A good example of such chords is found in the Chopin Prelude, No. 20. In a more advanced form, in the introduction to the Tchaikovsky Concerto in B flat minor.
In an isolated or staccato chord which is to be played both staccato and piano, the hand is prepared on the keys and then flies up from the wrist with as little "digging" into the keys as possible.
What to read after Ears Brain And Fingers a Text book for Piano Teachers And Pupils?
You can find similar books in the "Read Also" column, or choose other free books by Howard Wells to read onlineMoreLess
To quickly assess the difficulty of the text, read a short excerpt:
Hardness of tone in chords is almost always traceable to stiffness in the arm, particularly in the shoulder.
A chord passage should be practised slowly enough for the arm to be relaxed at every chord. The impulse in chords comes usually from the upper arm. The arched hand rests on top of the keys over the chord, before the tone is sounded. There is an instant of tension in the upper arm which causes the tone, but the relaxed condition of the arm must be immediately resumed. The weight of the ar...m is added to the tone, but the wrist must EARS, BRAIN AND FINGERS 79 have as much elasticity as possible at the moment the chord is sounded. The addition of the weight of the arm gives sonority to the tone and prevents the hard "steely" quality which prevails if a chord is played with too much tension. A good example of such chords is found in the Chopin Prelude, No. 20. In a more advanced form, in the introduction to the Tchaikovsky Concerto in B flat minor.
In an isolated or staccato chord which is to be played both staccato and piano, the hand is prepared on the keys and then flies up from the wrist with as little "digging" into the keys as possible.
What to read after Ears Brain And Fingers a Text book for Piano Teachers And Pupils?
You can find similar books in the "Read Also" column, or choose other free books by Howard Wells to read onlineMoreLess
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