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(Amadeus). This holistic approach to the keyboard, based on a sound understanding of the relationship between physical function and musical purpose, is an invaluable resource for pianists and teachers. Professor Fink explains his ideas and demonstrates his innovative developmental exercises that set the pianist free to express the most profound musical ideas. HARDCOVER.
Berman addresses virtually every aspect of musical artistry and pedagogy. Ranging from such practical matters as sound, touch, and pedaling to the psychology of performing and teaching, this volume provides a master class for the performer, instructor, and student alike.
So many of the great pianists and teachers have come out of Poland and Russia (Rubinstein, Anton as well as Arthur, Leschetizky, Paderewski, the Lhevinnes, Gilels, Richter, and others), yet we know little about their methods of learning and teaching. George Kochevitsky in The Art of Piano Playing supplies some important sources of information previously unavailable in the United States. From these sources, tempered by this own thinking, Kochevitsky formulated a scientific approach that can solve most problems of piano playing and teaching. George Kochevitsky graduated in 1930 from Leningrad Conservatory and did post-graduate work at Moscow Conservatory. After coming to the U.S., he taught privately in New York City, gave a number of lectures, and wrote for various music periodicals.
Essays on the film "The Piano".
Honing the pianistic self-image takes up where The Craft of Piano Playing left off in the development of Alan Fraser's comprehensive piano technique. Where Craft focused on the foundational security of the hand's innate structure and function, Honing shows you how to take that structure up into a new, sophisticated state--unstable equilibrium--to gain an even finer control over the colours and emotion you produce at the piano. --from publisher description.
A comprehensive course in piano pedagogy and theory, from day one to advanced. Integrates theoretical concepts into piano pedagogy, introducing concepts logically, then examining practically at the piano in exercises and etudes. Complete reference materials included in appendices. Should be supplemented with literature from the Western Classical Canon.
Eleven units organized to progress in difficulty; featuring arrangements of classical music, traditional pieces, and popular and jazz pieces, by various composers.
ON PIANO PLAYING begins with a revealing introduction to the fundamental relationships among motions and emotions, the keyboard itself and the human performing mechanism - the physical equipment that is used to make music. Here Sandor explains the role each plays in performance, pointing out typical mistakes and misconceptions that get in the way of virtually every pianist. He then discusses the basic technical patterns: free fall, scales and arpeggios, rotation, staccato, and thrust. Aided by carefully designed exercises, he shows how to execute physical movements to build muscle tone, sharpen coordination, and increase strength and flexibility. The exercises are based on common-sense principles of anatomy and physiology. Sandor next applies these patterns to the classic repertoire, showing how to play the exposition of Beethoven's WALDSTEIN sonata, for example. The emphasis in this section is on simplicity of motion and movement, and on ways to integrate motions to optimal effect - how to identify the technical patterns of a score and put them in the service of musical interpretation. No pianist, Sandor demonstrates, need suffer fatigue or exhaustion from playing a difficult piece. He shows that strength alone is not enough; the ability to use different muscles of the upper arm - is essential if practice is to be something more than a mechanical warming-up exercise. Special attention is given to problems of interpretation and performance as well: pedalling, variants, the development of precise musical diction and a singing piano tone, and much more. And he explores the common psychological challenges of public performance as well. Complete with line drawings, photographs, and many musical examples, ON PIANO PLAYING provides the means for mastering the complexities and intricacies of good musicianship. It offers an accessible, intriguing, and effective program for developing the fundamental skills that are the building blocks of good music-making.