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acquire America arched hand arm weight artist Bach Bachaus beautiful Beethoven begin Biilow Brahms Busoni Chopin chords Clarence Adler coloratura composer composition concerto course difficult Edwin Hughes effects Ernest Schelling etudes everything expression FANNIE BLOOMFIELD ZEISLER feel finger action firm Fugue give Hamburg master hand position Harold Bauer hear idea instrument interpretation keyboard keys legato Leschetizky lessons listen Liszt Mark Hambourg master Matthay means melody memorizing mental method metronome movement musician nail joint never notes octaves orchestra Paderewski passage pedal phrase pianist and teacher piano playing piano study piano teachers piano technic piece player principles of piano Pugno pupil quality of tone Raoul Pugno recital relaxation repertoire rhythm Rubinstein scales and arpeggios sonata sound staccato teaching technic practise technical exercises things thought tion Tobias Matthay tonal tone color touch variety velocity William Mason wonderful
Page 219 - Back, one hundred boys are clothed, boarded, and educated, and in many instances apprenticed at a suitable age to some creditable trade or profession. The rules are very strict: the hours in summer are, from seven o'clock till twelve in the morning, and from one to five in the afternoon ; in winter they assemble from eight till twelve, and from one to four. Throughout the year they are obliged to be in bed by eight o'clock, and are never permitted to be absent from school, except on Saturdays and...
Page 85 - You must never hit a key down, nor hit at it. The finger-tip may fall on the key, and in gently reaching the key you may follow up such fall by acting against the key.
Page 44 - ... be studied with the constant idea of improvement in mind, and it is seldom, working in this way, that I do not find that I can improve some one or another detail" (Casals, 1923, p. 234). Working out the intended music experience in detail allows the musician to carefully monitor their performance. "I try to form an ideal conception of the piece, work this out in every detail, then always endeavor to render it as closely like the ideal as possible
Page 223 - I cannot say that I always produce a beautiful tone; I try to produce a characteristic tone, but sometimes it may not be beautiful: there are many times when it may be anything but that. I do not think there can be any fixed rule or method in tone production, because people and hands are so different.