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

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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

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The fingering given in the C major example is similar in the keys of D, E, F, G, A, and B. For the E flat and B flat scales the fingering is the same as that given below.

Piano scales in B flat and Arpeggio Right hand.

Scales in B flat and Arpeggi. Left hand.

Tips about how to use the pedal on a piano

The piano pedal can also be used in passages to give a more sustaining quality to the tone, though here care must be taken not to impair distinctness, but a great deal more pedal can be applied without causing any blur if an accent is given on the bass note on which the passage is built. The pedal may be applied in a greater degree in the higher than in the lower registers of the instrument, as the higher tones can stand, and also need, more sustaining than the lower ones, whilst these last possess of themselves a certain sustenance of tone, and therefore blur more quickly. When applying the pedal it should never be banged on, but pressed down gently and gradually.

It is essential to possess a good knowledge of harmony in order to be able to apply the pedal correctly, for it is necessary when using it to understand something about the structure of chords. All blurring over of tone by the pedal produces a most unpleasant impression upon the ear, and must be rigorously guarded against, except when, in some particular passage, a special effect is required. such as in the F minor Ballade of Chopin, in the example given below. But this is only an outlying instance which really appertains to the most elaborate study of tone-color. The general elementary

FIG. 33. Prelude in D flat (Chopin). Read more

This acquiring of the cup-like position of the hand will be found enormously useful later on, in the playing of scales and arpeggios , as it allows easy passage of the thumb under the other fingers. In connection with the striking of the keys by the fingers, I would further say that merely putting down the finger and letting it strike with its own weight, is no good, as the sound produced thereby is inadequate and uncontrolled. My idea is that when lifted, the finger must be brought down with a certain amount of pressure upon the note which is struck.

This pressure should be produced from the forearm and transmitted through the fingers to the key, the wrist being all the time absolutely relaxed. Later on, as the student arrives at a higher development of finger technique, the articulation can be exercised purely from Read more