Keyboard and Piano Education Conclusion
The desired ends of pianoforte education are hence best attained, by the teacher first realizing what is the nature of the habits to be acquired.
The end result will not be attained by the continuous and senseless repetition of scales and technical exercises. In the past, these exercises were given to the student without paying attention to correct methods of tone-production. Such a methodology cannot constitute a correct method of practice. By possessing the requisite knowledge of what states and conditions to strive for, we shall then be able to begin by producing one sound at a time correctly.
The objective is to form the correct habit of mind, that perceives the correct treatment of the key during descent. This is the only possible means of obtaining any desired sound from the piano. We shall then proceed to apply tone-production, to the various passage-forms from which the music is constructed.
In this particular case, the practice of
In addition, we then require the practice of studies, to give us endurance of mind and muscle. The study and playing of much real music should moreover be simultaneous with the study of musical expression, so that the supreme necessity may infallibly be fulfilled.
The objective is to form the correct habit of mind, that perceives the correct treatment of the key during descent. This is the only possible means of obtaining any desired sound from the piano. We shall then proceed to apply tone-production, to the various passage-forms from which the music is constructed.
In this particular case, the practice of
- scales and arpeggios,
- thirds,
- sixths
In addition, we then require the practice of studies, to give us endurance of mind and muscle. The study and playing of much real music should moreover be simultaneous with the study of musical expression, so that the supreme necessity may infallibly be fulfilled.
The Study and Playing of much Real Music
The intricate relationship between the study of piano technique and musical expression is foundational to the development of a proficient pianist. The assertion that the exploration and performance of a substantial repertoire of authentic music should coincide with the mastery of musical expressiveness is paramount, ensuring the fulfillment of an essential objective in piano pedagogy. This concurrent approach to learning not only hones technical skills but also cultivates a deep, intuitive understanding of musicality, thereby fulfilling the supreme necessity of creating emotionally resonant and technically sound performances.
In the realm of piano technique, mastering the mechanical aspects—such as finger strength, agility, and independence—is merely the groundwork upon which the edifice of musical expression is built. Technical proficiency enables pianists to navigate complex compositions with ease, but it is the infusion of expression that breathes life into the notes, transforming them from mere sequences of sound into compelling musical narratives. Thus, the study of real music, in its diverse and rich forms, serves as the practical application of technique, offering pianists a canvas to paint their emotional interpretations.
Moreover, the simultaneous study of musical expression alongside technique encourages a holistic approach to piano playing. This involves understanding the emotional and historical context of pieces, the composer’s intentions, and the stylistic nuances of different musical periods. Such knowledge enriches the pianist’s interpretative palette, allowing for performances that are not only technically accurate but also emotionally engaging and stylistically appropriate. The integration of expression into the study of piano technique from an early stage ensures that expressiveness becomes an intrinsic part of a pianist’s playing, rather than an afterthought or a layer superficially added to technically polished pieces. It fosters an environment where technical exercises and etudes are not seen as mere mechanical drills, but as opportunities to explore expressive possibilities, phrasing, dynamics, and articulation.
In essence, the confluence of the study of real music and musical expression with the development of piano technique is indispensable. It ensures that pianists are not merely technicians of their instrument but are also sensitive and expressive musicians. This dual focus on technical mastery and expressive depth is what fulfills the supreme necessity in piano pedagogy, bridging the gap between mechanical proficiency and artistic expression to achieve performances of the highest calibre.
Moreover, the simultaneous study of musical expression alongside technique encourages a holistic approach to piano playing. This involves understanding the emotional and historical context of pieces, the composer’s intentions, and the stylistic nuances of different musical periods. Such knowledge enriches the pianist’s interpretative palette, allowing for performances that are not only technically accurate but also emotionally engaging and stylistically appropriate. The integration of expression into the study of piano technique from an early stage ensures that expressiveness becomes an intrinsic part of a pianist’s playing, rather than an afterthought or a layer superficially added to technically polished pieces. It fosters an environment where technical exercises and etudes are not seen as mere mechanical drills, but as opportunities to explore expressive possibilities, phrasing, dynamics, and articulation.
In essence, the confluence of the study of real music and musical expression with the development of piano technique is indispensable. It ensures that pianists are not merely technicians of their instrument but are also sensitive and expressive musicians. This dual focus on technical mastery and expressive depth is what fulfills the supreme necessity in piano pedagogy, bridging the gap between mechanical proficiency and artistic expression to achieve performances of the highest calibre.
We now realize how expedient it is, to first thoroughly understand the nature of the very elements of pianoforte-education,
before going further, and proceeding to form habits. Earnest study of the preceding information is therefore required, before attempting to master the theory concerning the details of tone-production itself, which will be presented in the succeeding modules.