The University Course of Music Study, Piano Series: A Standardized Text-Work on Music for Conservatories, Colleges, Private Teachers and Schools; A Scientific Basis for the Granting of School Credit for Music Study, Artists' Division (Grade Six), Chapter
The University Course of Music Study, Piano Series: A Standardized Text-Work on Music for Conservatories, Colleges, Private Teachers and Schools; A Scientific Basis for the Granting of School Credit for Music Study, Artists' Division (Grade Six), Chapter
Excerpt from The University Course of Music Study, Piano Series: A Standardized Text-Work on Music for Conservatories, Colleges, Private Teachers and Schools, a Scientific Basis for the Granting of School Credit for Music Study; Artists' Division (Grade Six) Chapter XIV D11 is the principal melodic, even thematic, tone of the piece, and it must color the Trill through out its entire duration, as is amply emphasized in the notation of the Trill throughout ensuing meas ures. The fingerings are not always selected with a view ...
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Excerpt from The University Course of Music Study, Piano Series: A Standardized Text-Work on Music for Conservatories, Colleges, Private Teachers and Schools, a Scientific Basis for the Granting of School Credit for Music Study; Artists' Division (Grade Six) Chapter XIV D11 is the principal melodic, even thematic, tone of the piece, and it must color the Trill through out its entire duration, as is amply emphasized in the notation of the Trill throughout ensuing meas ures. The fingerings are not always selected with a view to making the playing easier; but rather to clarify the interpretation. All notes preceded by the half-bracket can with advantage be played with the left hand. This will enable the student to add greater clear ness to his reading, and will also lessen the re quired endurance - both of which will make the performance more. Agreeable to the listener. Bu soni, one of the greatest authorities on the Paga nini-liszt caprices, plays with 'an interlocking execution many Of the passages which are 'written for one hand. This is not because he wants to: make it easier to play, but because he wants it to sound as if it were easy. Liszt himself played few, if any, of his virtuoso transcriptions in the Way he wrote them. Nearly every Liszt pupil has modifications made by the master, and which he wrote in on their copies. Many-of these modifications difler from each other, in the Copies of difierent pupils, even-as concerns the same passage. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at ... This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.
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