By Eric Hope
Whilst I observed this "pamphlet" (hardly justifies being referred to as a ebook) ranging in rate from approximately $22 to $40+ being provided from Amazon, i used to be anticipating whatever helpful of that prime expense. while I ordered it, i presumed it'd be a fairly large publication, jam-packed with priceless info, and that i anticipated that i might be moving into go back what I paid for it. What an important surprise and unhappiness I obtained while the ebook arrived! i would not name it a booklet yet fairly a skinny pamphlet of in simple terms seventy two pages (the first web page starts on web page nine . . . so truly, there is merely sixty three pages). I learn via it fullyyt in lower than forty five mins (average examining speed). there has been little or no beneficial details during this pamphlet, such a lot of that is abundantly on hand in different books. If I had the chance to preview this pamphlet prior to paying for it, i'd have anticipated to pay just a couple of funds for it. yet, on the expense I paid for it ($26.45), it really is an "OUTRAGEOUS RIPOFF". CAVEAT EMPTOR (buyer beware).
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Additional info for A Handbook Of Piano Playing
Do you not feel tone requires a different mental preparation, giving a different We have insisted upon a feeling of anticipation in the fingers? of the fingers, hands and muscles the of condition relaxed aims during preparation. But it may be that the muscles, Play it the keys first after forte less a very particularly those of the fingers, adopt slightly^ for than for piano. forte relaxed condition when preparing However much it may interest scientists to investigate and measure such is of slight degrees of tension, it much greater of his advantage to the pianist to consider the condition relaxaof one as descent, to key muscles, immediately prior differences in the sensations for a sort of mental magnetising as tone of kinds being varying of the fingers.
It involves the act of remembering; there can be no learning without remembering without, in fact, memorising. This statement holds good whether we wish ultimately to play 'from memory' or with the book before us. It is true even in the apparently physical consists process of learning the movements of technique, for only by remembering by memorising the sensations associated with any movement are we able to reproduce that movement. And, be it noted, if mental image we have memorised, have of such associated established a clear sensations, we can provided the body is in good condition and not hampered by excessive cold, poor circulation, fatigue and so on reproduce the movement at will.
Our ears and our acquired muscular sensations will prove more reliable guides to correct action in this case than will far We shall find that by feeling a sensation of the fourth finger than in the second, by in greater strength aiming more deeply into the keybed with the fourth finger, logical thought and by having, in advance, a perfect mental conception of the required sounds, we shall, after some practice, be able to obtain the effect with certainty. In point of fact it has been experimentally shown 1 that, in such cases as this, the louder note usually sounds a few thousandths of a second beforfc the softer.
A Handbook Of Piano Playing by Eric Hope