The Principles of Expression in Pianoforte Playing
In writing this work, I had not only the object in view of providing for those interested in the subject a book of reference, containing a systematic exposition of the principles of expression in pianoforte playing, but I also wished to dispel the erroneous popular belief, that expression is a manifestation of feeling only, or that feeling is the sole basis of expression. I shall endeavor to prove that intelligence, not feeling, is the chief requirement in expression. - Preface.
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The Principles of Expression in Pianoforte Playing
Adolph Friedrich Christiani
No preview available - 2015
accelerando accessory note accidental accompaniment Altered Notation appoggiatura artistic ascending bass beautiful Beethoven BEETHOVEN—SONATA beginning Breitkopf and Hartel characteristic accents Chopin chord chromatic composer composer's composition consonance CONSONANCE AND DISSONANCE crescendo dances denote descending Diatonic dissonance diminuendo dual dynamic effect emotion example expression final note finger give gradation grammatical accents Gregorian chant groups harmonic Hence iambus indicated intellectual intelligence interpunction intervals inverted irregular kind latter mazurka measure mechanical melody metrical mezzoforte modulating motion movement MOZART—SONATA musician natural negative accents neighboring notes nuendo occur organ-points pair passages passing notes period Period—Regular phrase pianist piano pianoforte pianoforte playing polonaise positive principle rallentando removed requires retardation rhythm rhythmical accents rhythmical division ritardando rubato rule Schumann Sections shortened simple slur SONATA strong time-part suspensions sustained syllable syncope technique tempo termination thematic theme tone touch triple triplet trochee unaccented voice waltz weak
Page 186 - ... forming with the fundamental stops a union of sound decidedly consonant, and producing a remarkably brilliant effect. The exact limit of C., or the point where dissonance begins, seems not definitely fixed, if fixed it can be. To define C. to be agreeable sounds, and dissonance to be the reverse, as some do, is clearly absurd, because they both essentially belong to harmony or concord, or, as the Germans more properly call it, Die Kunst deĢ Wohlidangs, in which there can be nothing absolutely...
Page 45 - ... feet, each foot having a distinctive name. The same names are sometimes applied to English measures, an accented syllable in English being held to be equivalent to a long syllable in Latin or Greek, and an unaccented syllable to a short. Every metre in English contains one accented syllable and either one or two unaccented syllables. As the accent may be on the first, second, or third syllable of the group, there thus arrive five distinct measures, two dissyllabic and three trisyllabic, as seen...
Page 188 - ... and produce a degree of disquietude. In a special sense, the term dissonance is applied to the interval causing the unpleasant effect; which sound is not always, as some think, the upper note, but may be the middle or the lowest note. Many believe that the feeling of dissatisfaction produced by the dissonances of music, arises from the mind not being able without difficulty to comprehend at once the arithmetical proportions of the vibrations. The foundation of dissonance, however, is generally...
Page 50 - ... defined as measured or timed movement, regulated succession. It seems to be a necessity for man, if movements of any kind are to be sustained for a length of time, that some more or less strict law of interchange should regulate the succession of the parts. It is even believed that the ground of this necessity may be discovered in the structure an.
Page 12 - ... be attained. But, in a Work of this nature, where perfection is placed at so great a distance, I have thought it best to limit my ambition to that moderate share of merit which it may claim in its present form; trusting to the indulgence of those for whose benefit it is intended, and to the candour of critics who, while they find it easy to detect faults, can at the same time duly appreciate difficulties.
Page 100 - ... the sailor's fling," and the " double shuffle," the foot strikes the ground for every single note of the instrument. All good dancing is beautiful. But this articulate dancing, compared with the loose, lawless diffluence of motion that goes by that name, gives me (I must confess it) as much more pleasure as articulate singing is superior to tunes played on the voice by a young lady. Or the clean playing of...
Page 101 - The great masters who employed certain national danoe-furms for special compositions, or introduced them in their greater works, although describing the general distinctions of these dances, did not adhere strictly enough to the more detailed characteristics; and handled the form, with such individual freedom, that it became under their hands an artistic dance-form, but ceased to be a dance in the popular acceptation. Thus, the dances of Bach; the minuets of Haydn, Mozart, and Beethoven ; the waltzes...
Page 144 - Melody is the golden thread running through the maze of tones, by which the ear is guided and the heart reached.
Page 75 - Harmony, after discord, is a new pleasure; sunshine, after rain, gives fresh enjoyment. And so with rhythm. A break in the rhythmic form gives more real animation to a movement and stronger evidence of artistic spirit, than strict observance of uniformity, or of positive rules, could possibly do.