The craft of piano playing : a new approach to piano technique /

La presentación de un nuevo enfoque integral y original de la técnica pianística, con una una serie de ejercicios para ayudar al lector a poner en práctica este enfoque, esta guía utiliza numerosos ejemplos musicales y dibujos, para mostrar hábitos comunes de movimiento en el teclado. Fraser, ofrece...

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Detalles Bibliográficos
Autor principal: Fraser, Alan, 1955-
Formato: Libro
Lenguaje:English
Publicado: Lanham, Md. : Scarecrow Press, 2003.
Materias:
Piano

MARC

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245 1 4 |a The craft of piano playing :  |b a new approach to piano technique /  |c Alan Fraser ; illustrations by Sonya Ardan. 
260 |a Lanham, Md. :  |b Scarecrow Press,  |c 2003. 
300 |a xvii, 431 p. :  |b il., música ;  |c 22 cm. 
504 |a Incluye bibliografía (p. 418) e índice. 
505 0 |a section I. The foreground : pianistic problems in musical craft -- pt. I. Getting started -- 1. Introduction -- 2. How to use this book -- 3. Background, middleground and foreground : a plan for work -- 4. Where to start? -- pt. II. General principles of movement at the piano -- 5. A meditation on some inner workings of movement -- 6. Slowing the key down -- 7. Form follows function -- 8. Arm weight -- 9. Matthay, Moshe and movement -- pt. III. Hand strength and function A : perfecting legato -- 10. Physical legato is the foundation of piano technique -- 11. A capable hand can free your arm -- pt. IV. Hand strength and function B : the special role of the thumb and its relationship to the forefinger -- 12. The thumb and grasping -- 13. Thumb pushups : the hand as suspension spring -- 14. Clarification of the thumb-forefinger relationship -- 15. Quality of movement in thumb pushups -- 16. Forefinger arc swings for thumb function -- pt. V. Hand strength and function C : octaves to synthesize hand and arm function -- 17. From the thumb across to the fifth finger : hand structure and function in octave playing -- 18. Fortissimo octaves -- 19. Replacing arm swoop with cobra strike -- 20. Big sound from a small hand -- 21. Tremolando octaves -- 22. Teutonic beef -- 23. The octave arm-sweep -- pt. VI. Hand strength and function D : maximal articulation of the fingers -- 24. On fingertapping -- 25. The structure-supported slap -- 26. The sound of one hand clapping -- 27. Legato vs. finger articulation : the cooperation of two antithetical activities -- pt. VII. Above the hand : the role of the wrist and arm in legato -- 28. Active hand, passive arm? -- 29. Three aspects of the arm's relationship to hand function -- 30. Functionally supported movement : the whole arm as finger -- 31. Efficient functionality : the forearm as lever -- 32. The underlying musical purpose of arm movement -- 33. Minimize auxiliary movements to maximize efficiency -- 34. Further musical implications of proper arm-hand cooperation in legato -- pt. VIII. Rotation -- 35. Forearm rotation in Liszt -- pt. IX. Natural finger shape -- 36. The natural hand in passagework -- 37. Using the Yin/Yang finger phenomenon in orchestration -- 38. Natural finger shape and tonus in chords -- 39. Maintaining natural finger shape in scales -- pt. X. Some other touch strategies and combinations -- 40. Synthesis of various strands of thought -- 41. Pressing and holding in legato -- 42. The hidden problem in double notes : Feux Follets -- 43. Chopin's B flat minor Scherzo : two fundamental principles reviewed -- 44. Mutual aid between thumb and forefinger in the Scriabin concerto -- 45. Articulations -- 46. The Feldenkrais-Horowitz connection -- 47. Flat fingers -- 48. Pedaling -- 49. Together! -- 50. Questionable contradictions -- 
505 0 |a section II. The middleground : some general aspects of musical craft -- pt. XI. Rhythm -- 51. Hierarchy of rhythmic values is a practical reality -- 52. A practical exercise in rhythm -- 53. Creative work with the metronome : pulse -- pt. XII. Phrasing -- 54. Creative work with the metronome : melodic inflection -- 55. Plasticity in phrasing : expression without bombast -- 56. Gesture in phrasing : a detailed examination -- 57. Towards a new mode of awareness in playing -- pt. XIII. Orchestration -- 58. Orchestration : the heart of the pianist's art -- 
505 0 |a section III. The background : tell a story -- pt. XIV. Emotional content -- 59. Emotional content in counterpoint? : you bet! -- 60. You must be willing and able to live emotionally when you play -- 61. The masterworks as expressions of objective knowledge -- 62. Real piano sound can generate emotional content -- pt. XV. A few last thoughts -- 63. Talent and craftsmanship -- 64. Professional deformations -- 65. Recording -- 66. Playing an acoustic -- 67. Feeling emotion in performance -- Appendixes -- Appendix I. Excerpts from awareness through movement : a theoretical framework -- Appendix II. Feldenkrais and the musician -- Appendix III. The pianist's progress : a mini-autobiography. 
520 |a La presentación de un nuevo enfoque integral y original de la técnica pianística, con una una serie de ejercicios para ayudar al lector a poner en práctica este enfoque, esta guía utiliza numerosos ejemplos musicales y dibujos, para mostrar hábitos comunes de movimiento en el teclado. Fraser, ofrece una nueva forma de manipular la estructura de la mano para producir asombrosos resultados del sonido. 
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