By Alan Hersh
This e-book explores the realm of the classical pianist and piano professor, deconstructing many standard phrases that describe this surroundings. dependent upon the author's event as a live performance artist and faculty professor, this booklet resonates with either earlier and present scholars of the piano in addition to track fans.
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Additional resources for A Pianist's Dictionary: Reflections on a Life
Exclaims the voice of authority: parent or conscience. The moments of truth, the moments for which one has practiced—or not— since the last LESSON. We actually learn to play the piano by PRACTICING the piano. Lessons are those places where we get direction for what and how to practice. We hope the giver of the lesson is a voice of wisdom who guides us wisely and with direction. But whatever the skills of the teacher, the lesson is centered about us, what we know, what we’ve learned, what we need to learn.
It is often necessary to rearrange or omit notes for smaller hands. In my opinion, it is far preferable to omit notes than to consistently play incorrectly because the hand is too small—or too large. Surprisingly, pianists with large hands often have as much problem with fingering as do those with small. Try to find a fingering that keeps the hand in balance, with the weight of the hand leaning slightly toward the outside or weak fingers. Some fingerings initially may seem bizarre but ultimately are much easier than conventional choices.
Woe be the accompanist or church musician who does not, at least through experience, develop sight-reading facility. Music reading at the piano is a skill that is highly rewarded. Conversely, poor readers have far fewer opportunities as collaborative pianists. There are a few tactics that a pianist can employ to improve their sightreading. A metronome is essential, as is a variety of music scores and styles. It’s also a good idea to choose sight-reading music somewhat easier than your level of performance.
A Pianist's Dictionary: Reflections on a Life by Alan Hersh