By Abby Whiteside
Abby Whiteside (1881-1956) built a progressive method of piano strategy, the assumption of a "basic rhythm" related to the full physique that permits scholars to precise the fundamental emotional rhythm of the song, in addition to to play with no the chance of the wounds that regularly afflict pianists. Her principles on piano pedagogy stay crucial this day.
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Additional info for Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays
11. " (Webster) Used for the piano as the manipulation of the key-drop: the vertical action which contacts tone. 12. The center of the radius of activityFor the full arm (the playing mechanism), it is the shoulder joint. For the movements of fast articulation, it is the elbow joint. For the finger, it is the hand knuckle joint; for the thumb, the wrist joint. 13. Pullthe word is accurate to connote the manner in which the energy of the top arm is applied to the key. It is also a word full of good imagery for the application of power to our percussive instrument, for "pull" helps to avoid a bearing-down action with the shoulder girdle.
He was failing in it and in dictation. One day his clever teacher asked him if he could play any jazz. " Yet, when he sat in a class and was asked to take dictation he failed. When he tried to learn a simple Bach Minuet it was a baffling ordeal. His applied learning had no relation to his natural use of ears and rhythm. When it was suggested that the process should be identical, that Bach should be as rhythmic as jazz, he lost his halting procedure and passed his examinations without difficulty.
Use it with precision at the level for tone. 16. Staying downSome part of the mechanism should control the level consistently for fast efficient playing. It should be the top arm. "Staying down" is consciously related to the pull of the top arm. It is the natural relation of top arm to hand in playing a glissando. It is the action which makes the top arm a fulcrum for fast articulation with the forearm. 17. Horizontal progressionneeds no explanation as it stands. However, because it vividly opposes the vertical key action, it is related to the physical action of continuitythe counterpart of formas opposed to the action for hitting single tones.
Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays by Abby Whiteside