Sandor, Gyorgy. On Piano Playing. Schirmer Books, 1981. One of the most interesting aspects found in this book is the practical program that the author explores. His goal is to teach how a pianist can perform better by combining techniques and interpretation issues. The book can be divided into three sections: Piano technique, performing, and basic technical issues.
Bernstein, Seymour. 20 Lessons in Keyboard Choreography Publisher: Hal Leonard Publishing Corporation, 1991.
The author presents the main piano mechanisms by explaining how it works. His purpose is to convey the knowledge of the piano mechanism combining what he calls choreography, which is the correct use of the movements to express the dynamics marks in the music. The
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The main questions answered in this book are: How to warm up? How to become a pianist or musician? She gives a sort of guide for real situations faced during the development of a pianistic career.
Duke, Robert. Essays on the Core Principles of Effective Instruction. Learning and Behavior Resources,
Robert Duke explains the main issues that involve the process of teaching and learning. The book can be described as a collection of essays that point out the teachers and student responsibilities during the process of learning. The main questions are: How students learn? How teachers should teach? Robert Duke answers those questions by analyzing the meaning of the precision in language, feedback, and musicianship.
Westney William. The Perfect Wrong Note: Learning to Trust Your Musical Self. Amadeus Press,
Westney begins his book explaining the importance of the musical experience during the childhood. At the same chapter, he explains the impact of the musicality, creativity, and cognition as important tools to the children musical development. He also emphasizes the meaning of vitality by showing how young musicians develop musical skills. The author also explains the real situations faced by musicians during the performance and the role of teachers and students during the process of learning a new
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Hinson offers a meticulous analysis of several piano pieces in this book. It is a very well organized list of compositions that could help pianists to shape and understand their repertoire.
Uszler, Marienne, Gordon Stewart, and Smith, Scott MCBride. The Well-Tempered Keyboard Teacher. Belmont, CA: Schirmer Thomson Learning, 2000.
The Well-Tempered Keyboard Teacher is a substantial tool to teach piano pedagogy nowadays. Uszler points out a list of elements that are fundamental in the formation of a piano teacher. The author explores piano methods and techniques that could be useful in piano teaching currently. Uszler also offers a list of advantages and disadvantages in using some specific piano methods.
Bastien, James. How to Teach Piano Successfully. San Diego, CA: Neil A. Kjos Music Company, 1998.
How to Teach Piano Successfully is a practical guide to teach piano. In this work, Bastien presents step by step all the elements involved in piano teaching, such as posture, hand position, piano technique, and how to study and teach piano correctly. The way that he presents his ideas are quite clear and easy to follow, which facilitated teachers’ understanding of the main principles involved in piano
The video Marsalis on Music; Tackling the Monster is a very instructional video featuring Wynton Marsalis and Yo Yo Ma, which gives the viewer twelve efficient ways to practice and get better at any instrument. The twelve ways to practice are easy to understand, and if they are followed correctly they can greatly improve anyone’s playing ability. I was able to benefit from the Marsalis on Music video by applying the twelve ways to practice while playing the piano.
As duke’s piano lessons faded into the past, Duke began to show an interest for the artistic. Duke went to Armstrong Manual Tra...
3 While concentrating primarily on Ada, this essay will discuss the symbolism of the piano in The Piano, expressed through the relationship with each of the four main characters of the film. I will also comment on the piano as a colonial representation of conquest. In one of the earliest scenes in The Piano, Ada waits with her young daughter for the arrival of her new husband and a party of Maori workers who will carry the their baggage to the house. On the empty beach in a new land, and alone with her daughter asleep beside her, she consoles herself by fingering her piano, still trapped within its wooden house. On Stewart's arrival the next day, he quickly rejects her plea to have the piano carried to Ada's new home or even to return to collect it.
Not to be short-sided this method book does have redeeming qualities that the band instructor could take advantage of. As mentioned before, the variety of music used in this text is quite extensive. Music of all different styles from the United States is used, as is music from other countries in North and South America, Europe, and Asia. Within these different musical styles, the variety of musical forms incorporated is also good, as ethnic styles, such as polka, as well as other standard musical forms like waltzes and ballads are used. In addition, many of the exercises – such as the “Listen and play” tunes – throughout the book encourage students to use the accompanying CD, which contains quality sound models for the students to hear, reinforcing ideas for good tone production. Other helpful elements included towards the beginning of the book include a simple practice journal and illustrations and instructions on developing the basics of proper embouchure, posture, and hand position. As an added bonus, the represen...
This piano concerto adheres to the tradition way of composing a piece in this genre as it consists of three movements:
This instrumental consisted of small packets of sound played softly then fiercely. The ensemble began the piece slowly and worked its way to climactic units of music throughout the set. The violin’s sound danced along the piano’s ground. The piano set the rhythm, while the clarinet and violin built on top of it.
Akins, M. L. 1982 An analysis and Evaluation of selected methods for the beginning Private Piano student. PhD, Peabody College for Teachers, Vanderbilt University, USA.
There are two main rhythmic ideas that are present in this piece. The first is the regular rhythmic pulse in the pianos and mallet instruments
MUS 404: Keyboard Literature June 22, 2010 Piano Sonata No. 2. 3 in B minor, Op. 58 by Frédéric Chopin Chopin’s third sonata is a masterwork filled with pianistic elements, daring harmonies, experimental form, and a wealth of expressivity. In this four-movement work, references to other Chopin compositions and influences from fellow composers are found. At the same time, there is a progressive element; it looks forward to the heights which would be achieved by Chopin and later composers.
when you first sit down at a piano, it can be quite overwhelming. It is not an easy instrument to learn, especially if you want to achieve an advanced level. The piano takes a lot of time and effort to master, but if you do, it is more than worth it. The piano is one of the most beautiful sounding, and versatile instruments ever created.
Even as the dynamics change to piano, the listener can still hear individual instruments, dissonant, yet sweetly performing.
A summary of Piano concerto no. 2’s form and modulation can be seen in the table
Edvard Grieg’s Piano Concerto in A Minor is a shining example of Edvard Grieg’s excellence and why he’s considered highly for his influence during the Romantic period. In the same breath, Arthur Rubinstein’s interpretation should be similarly lauded for a wonderful arrangement of said piece. It is performed in an active B theme, with a rhythm of 4/4. The harmony is in A minor and C major, proven homophonic and in sonata allegro form.
In this she has the interest on mind and music (1). “A prodigy is a child who, before the age of 10, performs at the level of a trained adult” (Heller, 2000). Pratt. C reviews an experiment done on Eriwin Nyiregyhazi who is considered a prodigy (1). Nyiregyhazi, and his “musical achievements were very similar in many aspects to those of the child Mozart” (Pratt, 1925).
Collaborative pianists agree that useful skills for the pianist include good sight-reading and transposition. However, the ability to sight-read is usually only needed in contexts like auditions, where the pianist aims to make the performance work rather