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
Tabla de Contenidos:
  • 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
  • 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
  • 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.

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