Piano and Song: How to Teach, how to Learn, and how to Form a Judgement of Musical Performances

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Lockwood, Brooks,, 1875 - Piano - 189 pages
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Contents

I
1
II
17
III
24
IV
31
V
59
VI
65
VII
72
VIII
85
IX
96
X
121
XI
128
XII
144
XIII
163
XV
173
XVI
186

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Page 72 - ... preparatory pause ; in melodies' which require to be lightly executed ; or in rapid passages which are to be played piano. This is especially to be noticed with players who are obliged to use instruments of a powerful tone and stiff, heavy action, on which it is difficult to insure a delicate shading in piano and forte.
Page 67 - I have • not heard of such a thing in a concert-room for a long time ! " When the foot-piece to the left on the piano is pressed down, the key-board is thereby moved to the right ; so that, in playing, the hammers strike only two of the three strings, in some pianos only one. In that way the tone is made weaker, thinner, but more singing and more tender. What follows from this ? Many performers, seized with a piano madness, play a...
Page 73 - The soft pedal may be used in an echo ; but should be preceded by a slight pause, and then should be employed throughout the period, because the ear must accustom itself gradually to this tender, maidenly, sentimental tone. There must again be a slight pause before the transition to the usual more masculine tone, with the three strings.
Page 62 - ... heavens ! Our piano performers must have lost their sense of hearing ! What is all this growling and buzzing ? Alas, it is only the groaning of the wretched piano-forte, upon which one of the modern virtuosos, with a heavy beard and long hanging locks, whose hearing has deserted him, is blustering away on a bravoura piece, with the pedal incessantly raised, — with inward satisfaction and vain self-assertion ! Truly time brings into use a great deal that is far from beautiful : does, then, this...
Page 95 - Three trifles are essential for a good piano or singing teacher: the finest taste, the deepest feeling, the most delicate ear," and in addition, "the requisite knowledge, energy, and some practice.
Page 66 - But who. is the frantic musician who is venting his rage or this piano ? It is a Parisian or other travelling composer, lately arrived with letters of recommendation, who has just been giving a little rehearsal of what we may expect to hear shortly in a concert at the
Page 67 - Many performers, seized with a piano madness, play a grand bravoura piece, excite themselves fearfully, clatter up and down through seven octaves of runs, with the pedal constantly raised, — bang away, put the best piano out of tune in the first twenty bars, — snap the strings, knock the hammers off their bearings, perspire, stroke the hair out of their eyes, ogle E the audience, and make love to themselves.
Page 68 - The ladies fall into tears, enraptured by the pale, long-haired young artist. I describe here the period of piano mania, which has just passed its crisis ; a period^ which it is necessary to have lived through, in order to believe in the possibility of such follies.
Page 61 - I mean the pedal which raises the dampers on the piano. A grand acquisition, indeed, for modern times ! Good heavens ! Our piano performers must have lost their sense of hearing ! What is all this growling and buzzing ? Alas, it is only the groaning of the wretched piano-forte, upon which one of the modern virtuosos, with a heavy beard and...

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