piano lesson : five finger exercises
An important piano lesson about five finger exercises. I strongly advise the student, as he advances, to play through some of the Exercises every day, increasing the Tempo gradually but never playing them too rapidly, and paying careful attention to the articulation of the fingers. It is also advisable to play the scales and Arpeggio Exercises straight through without a break in each key. All the Exercises given here should always be played by each hand separately. The following Exercises can be played either Forte or Piano, and may be repeated three or four times, but without fatiguing the hand. Each bar to be repeated four times.
Description of the five finger exercises : piano lesson
The semibreves to be kept pressed down, and the crotchets to be played with the fingers marked under them, while counting aloud and lifting the different fingers about an inch from the keyboard.
Right Hand:
Five finger piano exercises
piano scales and arpeggios : exercises I
These piano scales and arpeggios should be practiced every day with the accompanying arpeggio exercises in four different keys. Thus every scale and arpeggio in all the tonalities will be gone through twice during the week; practice also this pentatonic scale chart on piano.
Arpeggios and piano scales : exercises
Musical Style : interpretation of music
Considerations about the interpretation of music and the music style.
And what is musical style? I think it can be explained as the impression reflected upon the music by the manners, customs, and modes of thought which were characteristic of the epoch when it was written. For, after all, people lived, loved and suffered every kind of emotion in former centuries just as we do now, only each period has had its diverse ways of expressing these things in the arts.
What, then, do we mean by the interpretation of music itself for the purpose of performance? Is it not the employing of all possible technical means to infuse the spirit of life into the inanimate musical form, and cause it to be kindled into a definite sound-picture for the mind of the listener? On the pianoforte this is done by means of accents, variations of tone-values (crescendo and diminuendo), variations of rhythm (accelerando and ritardando), variety of touch, and manipulation of the pedals. Accents enable the pianist to bring into prominence certain notes, or groups of notes, which might be comparable to cries, exclamations, interjections in the elocutionary art, or to sudden bursts of colour in painting.
These and other similes could be followed up through the whole scale of human emotions, for the well-trained hand of the pianist, being the pliant tool of his imagination, represents to him what the brush does to the painter, or the voice to the actor. And many of the same aesthetic laws govern all these in their work as far as is possible, when the difference of circumstance and material is taken into account.
Comments are off for this postRules of piano music interpretation
Tips and piano interpretation rules for students.
As far as the general rules of interpretation are concerned, I will give a few which appertain to what might be called the syntax of music. Such are the following. An ascending passage should be played with a crescendo, a descending passage with a diminuendo. The pedal must be changed according to the harmonies, in order to blend the tones, and to enable notes to be held on which the fingers could not manage without its assistance. Rhythm, too, as distinct from time, must be clearly marked, so as to indicate where accents ought to fall, and to create atmosphere. Music played without true rhythm will always sound colorless and insipid.
I remember you that some piano youtube music videos can show you some tips about the rules of interpretation.
Time should also be well defined, that it may preserve the general form of the composition. Skillful use of all these means makes up the art of interpreting, and it is for the mentality of the pianist to employ them in their varying degrees, to moud them, combine them, and dispose of them, and thus invest the whole work with the pulsating breath of actuality. No doubt there must exist in the interpreter a natural good taste which will govern his outlook, and this can only spring from a sound musical instinct trained by education, and by hearing great artists perform. For it goes without saying that there are no absolute rules about interpretation. There can but be some broad outlines of style and taste to stimulate the imagination of the student, and help him in his task.
As I have already pointed out, the)interpretations of the masterpieces of music by great artists become established as traditions. Still the personal thought of the performer should make its influence felt in the rendering of all music, even of the most classical type, if that rendering is to be of any -real value and interest, only this personality has to conform to the general dicta of the style. Thus it will be found that no two fine artists will interpret a piece in the same way. There may be a thousan
Online piano lesson : how to play and practice octaves : technique for pianist
Here is another online piano lesson on how to play the octaves ; learn new techniques and tips for playing piano better. I now come to Octave Technique for which every sort of studies have been and continue to be written. Now the real octave wrist, combining great strength with high nervous tension and suppleness, is a gift of nature, like the capacity for playing staccato bowing on the violin.
How to play piano octaves : online piano lesson