Editorial Reviews. brozokpulepsmen.ml Review. Two of piano pedagogue Abby Whiteside's most $ eBook features: Highlight, take notes, and search in the book. E.B.O.O.K Abby Whiteside on Piano Playing: Indispensables of Piano Playing - Mastering the. Chopin Etudes and Other Essays by by Abby Whiteside. new PDF Abby Whiteside on Piano Playing: Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays Full.
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Get this from a library! Indispensables of piano playing. [Abby Whiteside]. Scopri Abby Whiteside on Piano Playing: Indispensables of Piano Playing - Mastering the Chopin Estudes and Other Essays di Abby Whiteside: spedizione. This content was uploaded by our users and we assume good faith they have the permission to share this book. If you own the copyright to this book and it is.
In her view, fingers are almost useless as agents of either direction or force. Although they might be tutored with much patience to achieve a certain level of dexterity, they possess only limited strength and movement. Indeed, the fourth finger in particular possesses very little of either. Instead, Whiteside advocated the use of the humerus as the principal force for producing a tone at the piano—the shoulder joint, being simultaneously powerful and subtle, is more than capable of doing all the work of any individual finger, and moreover is capable of maneuvering any finger into the optimum position such that a simple downward arm movement is required to sound a note.
Thus "weak" fingers i. More than even the arm, however, Whiteside advocated the concept of a basic rhythm —a somewhat specialized term in her writings which indicated an innate sense of phrasing present in all but the most unmusical humans.
This rhythm informs every action involved in producing a musical phrase, with the torso , humerus, forearm, wrist and fingers forming a single mechanism to express it.
Thus, trying to create a completely independent finger technique is inhibitive to the unified expression of a musical phrase and only encourages what she called "note-wise procedure"—conceiving music as a sequence of unconnected pitches rather than as a whole. She was utterly dismissive of the exercises of Czerny and Hanon , writing: "Hanon is used for developing independent fingers with equal hitting power. Obviously this cannot be accomplished.
Each finger may gain more power, but there will still be inequality in the fingers. Fingers need to be only expert in transmitting the power of the arm. The same charge could be levelled at an influential contemporary in England, Tobias Matthay , whose only single noted pupil was Myra Hess actually not true, there were plenty more, like Moura Lympani amongst others. FAQs Do I have to cough up to try it out? Piano Portals is accessible and transparent - you can begin to transform your playing right now without investing a penny by exploring the Piano Portals Free Taster and signing up with your email address for occasional freebies and news.
They can be more of a barometer of technical proficiency than a failsafe means of cultivating it. Is anyone else doing it? Piano Portals Founder, Stephen Marquiss, explains,"In all my experience of pedagogy - lessons, masterclasses, courses, books and videos - I've rarely known the fundamentals of Piano Portals to be explored in any detail, let alone afforded the transformational significance I've come to believe they deserve.
The only comprehensive precedent is the writing of Abby Whiteside , whose ground-breaking essays, 'Fundamentals of Piano Playing', expound fresh practice priorities, based on her tireless observations of how able players actually use their bodies versus what is often taught.
Driven by her determination that all should progress - not just the most naturally coordinated - she challenged conventional pedagogy and put forward radical alternatives.
Piano Portals is not the same as Whiteside, but owes a debt of gratitude to her pioneering work. Piano Portals has evolved over twenty years into a simple, practical, accessible approach. If this sounds like just another gimmick, please read on for a moment. They're secrets only in the sense that they've been all but overlooked by conventional pedagogy.
[PDF Download] Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering
The latter has skated over their fundamental role in able players' techniques and overlooked their vast potential for transformation. Thus generations of pianists have been sold short and failed to play to their potential.
Or rather, only the most instinctively coordinated ones have, since they've intuited what they've needed and discarded the rest. Each Secret represents layer upon layer of discovery for the willing adventurer. The 7 Secrets of Piano Playing Connect deeply and personally with the music throughout all activities and explorations of technique. Without this, there's no corresponding response in the torso, and technical practice is of little value. Play by ear Not necessarily discarding the score but reorienting all learning towards the aural for direct, efficient coordination.
Balance freely against your sitting bones Connecting the fingertips with the sitting bones - via every element in between - is the single most overlooked and transformational element in fluent, expressive technique. Bring fingers closer together, but not touching. The fingers will curve naturally. Feel the energy inside the palms. Do palms feel ready to play and not tight?
Younger students might enjoy the following suggestion: 1. Turn forearms over in front of body. Cup hands as if holding a baby bird. Gently move the now alert hands over the keys. Notice the natural arch of the hand. Both exercises can be used multiple times in lessons and practice sessions.
It is important that they not be introduced until the pianist feels the movement of the larger muscles 21 in the back and upper torso. This may take many sessions. The act of playing always focuses attention rightfully on the music. Repetitions of this routine over time can gradually train the hand to maintain the integrity of the arch--a vital physical component for control, warm sound production, and ease in playing.
Full body work is an essential component to playing with a warm, rich tone without strain. Since the muscular system is a network of interconnections, the lower body, which includes the feet, is involved in playing. Knowing and feeling are often disconnected when becoming mentally involved in performance.
Rosoff developed another way to produce physical alertness by walking to the piano as a preparation for playing. Building a sitting position from a walk, Whiteside instructed students to walk to the piano with bent knees. Rosoff discovered that the pelvis must be slightly tilted forward when sitting, and envisioned incorporating the pelvic tilt with bent knees, e. Contrary to feeling silly and self-conscious, walking with knees bent and a forward pelvic tilt makes it possible for the pianist to feel energized and connected from the feet up.
Rosoff points out, that world-class tennis players frequently drop into a squat stance and lean forward slightly when waiting on the side court. Rosoff extended the connection of the center of gravity pelvic area.
She advises the pianist to stay with the walk until reaching the bench. She states, Music is in you before you sit down.
You need to be connected before you get to the piano. For the pianist, that balance can be found by lowering the body slowly to the bench and sitting directly on the sitting bones also known as sitz bones.
Rolling slightly forward over the sitting bones promotes a 26 Interview with Rosoff in October, Balance can also be tested by standing straight up from a sitting position on the bench. Rosoff remarks, If I said fire, could you run? True balance can only be maintained through the sitting bones. Figure 9: Proper distance from the keyboard and floor with arms hanging loosely by the pianists side and the hands placed comfortably on the keyboard.
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The pianist needs to sit with the arms hanging free on the side of the body so that freedom of movement of the hands and arms is easier to maintain. The proper bench height varies for each pianist. The bench position is optimal when the legs are comfortable and the arms hang freely from the shoulder. Care must be taken to avoid holding the forearms up in the air, or raising the shoulders in an effort to support the weight of the arms.
Indispensables of piano playing
Imagine the elbows pointing straight down. Taller pianists must create a delicate balance between upper body freedom and a comfortable position for long legs. Proper positioning at the piano allows the 27 Rosoff, October, Rosoff believes that sitting too high can interrupt the natural flow of weight and muscle movement. Equally important to bench height is the distance of the bench from the keyboard. Rosoff suggests that the knee-caps should be almost directly underneath the front of the piano.
This allows freedom for the body to move into the keyboard as arms move out and across the keys, offering the greatest fluidity in movement.
Hugging the piano is a visual aid Rosoff uses to encourage pianists to move forward as the arms swing outward. Moving the torso forward also promotes an ease in executing leaps. This motion cuts the distance of the leap, thus making it more secure.
Many concert pianists do this naturally.
Set-ups with Sound Play a glissando! Glissando practice encourages a feeling of sweeping across the keys. It is also a natural way to refresh the pianist's concept of the ease with which the keys can be played without tension.. Every piano responds differently, and pianists who play on many pianos must use aural and physical perception to find the optimal depth necessary to make the keys sound on each instrument.
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Rosoff often uses the term, staying in sound. This is achieved by staying close to the keys, and playing across the keys with continuous movement until the last note is sounded.
Pushing fingers down to the bottom of the keys and holding creates tension in the hand and can cause injuries such as carpal tunnel syndrome and tendonitis. Other helpful techniques for experiencing ease in depressing the keys are what Rosoff teaches as elbows in sound, fists in sound, and arms in sound.Beautiful music every step of the way.
Free your breath Permitting it to integrate and assist freely in technique. Note that she places the work of the fingers last. It avoids the impenetrable complexity of many methods and offers engaging, practical activities - always within the context of musical flow.
It avoids the impenetrable complexity of many methods and offers engaging, practical activities - always within the context of musical flow. If this sounds like just another gimmick, please read on for a moment. The pianist should be able to feel the muscular connection through the shoulder girdle and all the way down the back to the waist. And the end result
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