By Eric Hope
While I observed this "pamphlet" (hardly justifies being known as a ebook) ranging in fee from approximately $22 to $40+ being provided from Amazon, i used to be looking forward to anything worthwhile of that top expense. whilst I ordered it, i presumed it'd be a pretty big booklet, packed with important info, and that i anticipated that i'd be getting into go back what I paid for it. What an enormous surprise and sadness I acquired whilst the booklet arrived! i would not name it a e-book yet quite a skinny pamphlet of in simple terms seventy two pages (the first web page starts off on web page nine . . . so truly, there is in basic terms sixty three pages). I learn via it totally in under forty five mins (average studying speed). there has been little or no helpful details during this pamphlet, such a lot of that's abundantly on hand in different books. If I had the chance to preview this pamphlet ahead of purchasing it, i'd have anticipated to pay just a couple of funds for it. yet, on the expense I paid for it ($26.45), it really is an "OUTRAGEOUS RIPOFF". CAVEAT EMPTOR (buyer beware).
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Additional resources for A Handbook Of Piano Playing
But would seem to be an after years of so-called practice the student finds, more often than not, that perfection still seems as far away as ever. Why is this? A good deal of what passes for 'practice* does not achieve anything like perfection does not, in fact, even lead in that direction but in precisely the opposite one. The more I practise the worse I play' is a remark which sounds ominously familiar to anyone who has taught students in the more advanced stages of piano playing. What has so often happened to bring about this unhappy state of affairs is that physical effort has been substituted for mental effort.
In pianissimo passages of music written since the beginning of the nineteenth century say from the time of the middle-period sonatas of Beethoven onwards pedal may often be used with good effect. Its use the soft is usually inappropriate in eighteenth and'pre-eighteenth century music* where a bright quality of tone is needed even in softer passages; but here, as in most cases, the discretion of the performer and the tone quality of the actual instrument being played are the deciding factors. When playing on an instrument with a particularly hard or bright tone, the soft pedal may sometimes be used with advantage in the playing of cantabile melodies, even if tfrese need so loud a tone as mezzo-forte.
In point of fact it has been experimentally shown 1 that, in such cases as this, the louder note usually sounds a few thousandths of a second beforfc the softer. But this slight difference in timing is quite inaudible, and such investigations, though full of interest for the theorist, are of little practical help to the performer. x See Otto Ortmann: The Technique (Kegan Paul). 36 Physiological Mechanics of Piano TOUCH CONSIDERED AS A WHOLE In playing chords, their harmonic flavour and therefore the tone colour of the music can be greatly influenced by the relative loudness of the component sounds.
A Handbook Of Piano Playing by Eric Hope