Relaxation Studies In The Muscular Discriminations Required For Touch, Agility And Expression In Pianoforte Playing - Couverture souple

Matthay, Tobias

Couverture souple

ISBN 10 : 144609555X ISBN 13 : 9781446095553

Editeur : Read Books, 2011

Synopsis

"Relaxation Studies" is a 1908 work by English pianist Tobias Matthay. It concentrates on some of the fundamental aspects of playing the piano, namely fingering techniques and muscular training, making it suitable for beginners and those looking to hone their existing skills. This volume is highly recommended for anyone with an interest in learning the piano, and it would make for a great addition to collections of allied literature. Contents include: "The Chief Muscular Tests and Other Permanent Daily Studies", "Feeling or 'Balancing' exercises", "Hand and Finger", "Additional Hints as to Acquiring the Required Freedom", "The aiming Exercises", "Description", "The Throw-off Exercises", "The Preliminary Study of the Throw-Off Exercises", etc. Tobias Augustus Matthay (1858 - 1945) was an English pianist, composer, and teacher. He was taught composition while at the Royal Academy of Music by Arthur Sullivan and Sir William Sterndale Bennett, and he was instructed in the piano by William Dorrell and Walter Macfarren. Other notable works by this author include: "The Act Of Touch In All Its Diversity: An Analysis And Synthesis Of Pianoforte Tone Production" (1903), "The First Principles of Pianoforte Playing (1905)" and "Relaxation Studies" (1908). Many vintage books such as this are increasingly scarce and expensive. It is with this in mind that we are republishing this volume now in an affordable, modern, high-quality edition complete with a specially-commissioned new biography of the author.

A propos du livre

Présentation de l'éditeur

Relaxation Studies in the Muscular Discriminations Required for Touch, Agility, and Expression in Pianoforte Playing
By Tobias Matthay

Contents

Part I--The Chief Muscular Tests and other Permanent Daily Studies
-Set I-Freeing or "Balancing" exercises
-Set II-The "Aiming" exercises
-Set III-The "Throw-off" exercises
-Set IV-Rotation exercises

Part II--Preparatory Exercises
-Set V-For the study of Hand-release
-Set VI-For the study of Fore-arm release
-Set VII-For the study of Upper-arm release
-Set VIII-For the study of Shoulder-release
-Set IX-For the study of Fore-arm action, in conjunction with Upper-arm inaction

Part III--Special Exercises
-Set X-For the study of Finger-action and its cessation
-Set XI-For Hand-action and its cessation
-Set XII-For the further study of Fore-arm action
-Set XIII-Agility Training Exercises
-Set XIV-For the study of Hand-force elimination
-Set XV-For the study of Octave-playing
-Set XVI-For the study of Finger-individualization
-Set XVII-For the study of horizontal freedom of thumb and hand
-Set XVIII-For attuning Finger, Hand and Arm vibrations
-Set XIX-For the study of tonal individualization between the fingers
-Set XX-For some subsidiary actions
-Set XXI-For the study of Pedalling

Preface

At last I am able to offer my readers the exercise-material for the study, retention and direct teaching of the muscular expertnesses required in Piano Technique, as promised in my **Act of Touch" and **First Principles of Piano-playing."

Here I must once again insist that no special exercises are required in making use of those teachings. My * 'Method" — of teaching — does not consist in the use of any special exercises, nor even of mere explanation of and attention to ''rules." It consists in giving properly selected pieces of actual music, to the student, and while making clear to him the interpretative requirements of such actual music, it consists in showing him at the same time how to conquer the difficulties of its performance — the technical and interpretative difficulties therein met with. Studies and Exercises are then given to serve as concentrated material for the study of the difficulties found to be barring the way, the nature of which difficulties having been previously fully explained to the student.

I do not approve of any "method" which separates the study of Execution from the study of Music. The two things, although quite distinct, should nevertheless be always studied conjointly as far as possible. Since we must acquire such habits that our musical sense will in the end serve to prompt the requisite technique, it is necessary that we...

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Présentation de l'éditeur

This book was originally published prior to 1923, and represents a reproduction of an important historical work, maintaining the same format as the original work. While some publishers have opted to apply OCR (optical character recognition) technology to the process, we believe this leads to sub-optimal results (frequent typographical errors, strange characters and confusing formatting) and does not adequately preserve the historical character of the original artifact. We believe this work is culturally important in its original archival form. While we strive to adequately clean and digitally enhance the original work, there are occasionally instances where imperfections such as blurred or missing pages, poor pictures or errant marks may have been introduced due to either the quality of the original work or the scanning process itself. Despite these occasional imperfections, we have brought it back into print as part of our ongoing global book preservation commitment, providing customers with access to the best possible historical reprints. We appreciate your understanding of these occasional imperfections, and sincerely hope you enjoy seeing the book in a format as close as possible to that intended by the original publisher.

Détails de l'édition

• Éditeur: Read Books
• Date d'édition: 2011
• Langue: anglais
• ISBN 10: 144609555X
• ISBN 13: 9781446095553
• Reliure: Broché
• Nombre de pages: 154
• Coordonnées du fabricant: non disponible
• Personne responsable: KreGa Onlinehandel GmbH; 4950000000000; info@krega-onlinehandel.de; ; Birkenweg 31; Brakel; 33034; Allemagne