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Pedals of the Piano-Forte and Their Relation to Piano-Forte Playing and the ...
No preview available - 2017
accelerando Adagio Allegro allowable Andante arpeggio artistic bass Beethoven's Sonata beginning broken chord change of harmony Chopin chord passages chromatic scale close positions composer compositions Concert crescendo damper pedal dissonances echo enharmonic equal temperament Etude executed extended chords F sharp fingers following example following passage foot fortissimo fundamental tone grand piano harmonic tones heard instrument interval isolated legato Liszt long tone low tones major major scales manner of writing measure melody Mendelssohn middle tones notation occur octave octave higher orchestral overtones particularly passage from Beethoven's pedal effects pedal point pianissimo pianist piano playing pitch played staccato player possess possible Presto produced prolonged pupils quick tempo rapid related strings related tones rest rhythm Rubinstein rule Schmitt Schumann's signs Silent sound staccatissimo staves strength of touch striking sustained tone tone be struck tone or chord Touch and Technic trill unrelated tones upright pianos virtuoso
Page 3 - It is not too much to say that the effect of almost all modern piano music (from the earliest compositions of Thalberg and Liszt,) depends upon its skillful use, and yet no question of technic has been so much neglected. While touch has been analyzed in the most minute manner, every movement of...
Page 84 - Possibly a greater familiarity with the Kunstpedal might have proved its limitations less irksome than they at first sight appeared, but all teachers united in agreeing that its management was too complicated.
Page 78 - As a matter of fact, the difference is not so great as might appear, for the insurance with reserved payments has also the element of mutuality in it.
Page 3 - ... at its best, the fault possibly lies in the fact that it has not been fully understood how to exhaust the capabilities of the pedal.
Page 86 - During its use care must be taken not to play forte, since the single string cannot bear as strong a blow as the three.
Page 87 - It has been repeatedly used in concerts with such success that no uninitiated hearer suspected the employment of any especial contrivance...
Page 5 - Thus far the question hardly seems to have gone beyond the standpoint of instinctive feeling on the part of the player...
Page 91 - If, in many cases, the pedal be used as they themselves have prescribed, the effect to the ear is like that to the eye when a wet sponge is passed over a pencil drawing or when one writes with ink on blotting paper.