By Eric Hope
While I observed this "pamphlet" (hardly justifies being referred to as a e-book) ranging in cost from approximately $22 to $40+ being provided from Amazon, i used to be waiting for anything useful of that top cost. while I ordered it, i assumed it might be a fairly large booklet, full of worthwhile info, and that i anticipated that i might be entering into go back what I paid for it. What a big surprise and unhappiness I acquired whilst the e-book arrived! i would not name it a booklet yet quite a skinny pamphlet of in simple terms seventy two pages (the first web page starts on web page nine . . . so really, there is merely sixty three pages). I learn via it completely in lower than forty five mins (average examining speed). there has been little or no invaluable info during this pamphlet, so much of that is abundantly on hand in different books. If I had the chance to preview this pamphlet ahead of purchasing it, i'd have anticipated to pay just a couple of funds for it. yet, on the cost I paid for it ($26.45), it truly is an "OUTRAGEOUS RIPOFF". CAVEAT EMPTOR (buyer beware).
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Movements learned in this way will be under our control. Then we to produce, we by means shall have technique the ability of physical movements, the exact sounds require. When we are learning a new movement or are applying our existing technique to unfamiliar passages (as in the learning of a new piece), our actions must be made as deliberately and consciously as possible. With repetition, movements tend to become automatic, to need less conscious thought for their direction, until, after a prolonged period of repetition, they may, if we allow it, seem almost to 'perform themselves' with- out conscious thought.
Usually the composition which is to be learned through at the keyboard played at sight 'to see how is it read goes'. Almost inevitably some wrong notes occur, and the fingering is bound to be haphazard. Then, perhaps, the more employed complicated passages are repeated, probably with various fingerings, until a degree of comfort in their execution is reached. There may be some slow practising, but as soon as the fingers can run a little faster this is abandoned. And nearly always there is the desire to 'make the piece go* to bring about a condition in which the fingers, with as little help from the mind as possible, can play the right notes at the right speed and so produce a general impression of the music like usually an impression approximating to 'what it sounds plays it*.
Take the following : M0zorf* irona* i ff r A m string or wind player would, as a matter of course, give precisely the correct duration to each note and rest, but how many pianists take this trouble? Usually one hears the quaver chords played with a more or less indefinite staccato, and the final crotchet may be given the value of anything from a quaver to a minim. If we use the type of finger pressure described above, not only can we feel physically the prolonging of the sounds for the required length of time, but we can accurately time the cessation of such pressure, and with it the cessation of the sound, to coincide exactly with our preconceived intentions.