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Education » Literary
Touch and Expression in Piano Playing screenshot
2012 | ISBN: 0486488284 | English | 80 pages | 4.57 MB
This brief yet comprehensive guide shows pianists how to produce every possible variety of tone, including note values, pulsation, phrases and their combination, dynamic contrasts and shadings, tempo, color, and style. The two-part treatment addresses kinds of touch and the application of touch to expression, offering methods for achieving more sensitive execution in practice and performance.

An essential volume for all piano students and teachers, this book emphasizes the relationship between techniques of touch and the expression of the composer's intention. The author excerpts and analyzes portions of famous piano works and explains the uses of distinctive musical styles — repeats and irregular measures, rhythms, and accents — to assist students in their interpretation. He also includes hand and finger techniques for varied effects.


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I never knew of an autodidact who became a pianist, Rubinstein found himself on piano keys for the first time in his 16 years old and Chopin only had 2 years of piano studies and music.

The purpose of this book is achieved through weekly contact with a teacher, even so, not every student has the brain to understand the teacher and sometimes the teacher is not a good instructor.

The long initial pages of this book deal with the subjects: hand position and forearm rotation, which has nothing directly to do with the beauty of sound, but with the mechanics of the hands, wrist, arm, forearm extended to the whole body and relaxation.
It is clear that the result of sound is linked to rotation, for without it there is no way to gain speed in many melodic passages, without rotation no one touches Liszt's trancedental studies, Chopin's Revolutionary Study, and any rapid scale.

In the following pages he deals with the basic things of the score that every musician should know, one of them is the dynamics, when those signals mean only increase or decrease the volume, it is like turning the dial up and down of your amplifier, so if you respect the marks and warnings of the score, the music will sound very good.

The book brings some hints: built-in articulations so that the contralto voice of the Bach's fugues appears.
It's a very interesting book with very important tips.

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