Sonata without development K. Romanza Girdlestone puts the slow movements into five main groups: Third movement structure[ edit ] Mozart's third movements are generally in the form of a rondothe customary, rather light structure for the period.
January 15, at 7: Perhaps the challenge is adding more force without becoming tense. If the arm is perfectly relaxed, does more power automatically get channeled into the key?
Or is relaxation only the first step in achieving a big sound, the second being the release of more power? Perhaps when you are relaxed, it is very easy to apply more power without forcing.
I have noticed that when pianists noticeably tense their arms, write a letter in the wind piano often prevents them from playing loud, as the tension slows the arm down and prevents it from quickly transferring force into the key.
Some pedagogues have argued that loud playing demands greater relaxation than soft playing. The logic behind that is that to play loud, you release the full weight of the arm into the key, which relieves the musculature of all pressure- as all the weight is resting on the key.
However, if you want to play softly, you have to release less weight, which means that the musculature has to exert a certain amount of pressure to prevent the full weight of the arm from releasing into the key.
Do you feel that it is difficult to apply more force from the arm without becoming tight? Perhaps that is what the muscles of the back are for. If you use the back as the source of power, the arms can remain relaxed.
If you want to release more power from the back, what should that feel like? Should it feel like a relaxed back or a muscularly active back which some people may equate with tension? As to the key speed, perhaps the speed of the key descent has to be fast enough to create a loud sound, but not so fast that it creates a harsh sound.
The balance is something that perhaps can only be found through experimentation.
When you talk about the fingertips being crisp and precise, is it difficult to achieve that without pushing too hard with the fingers? I think that many pianists have the habit of pushing too hard with their fingers, instead of using the arm.
Perhaps firm fingers are an issue of being able to securely feel the keys, without exerting any unnecessary pressure. Exponents of the Taubman method have suggested that you should play lightly with the fingers, but use a lot of arm weight. Do you think that light fingers can obtain the necessary crispness?
Relaxation may only serve to prevent unnecessary tension from getting in your way. Even without the tension, there are certain things that you must do on your own to achieve the best sound, such as releasing more power for a fortissimo.
Presumably, if you are relaxed to begin with, it becomes very easy to apply more or less power. Ilinca January 15, at 9: As I already said, for achieving a powerful forte we have to press not hit!!!
Then, just as I described in my previous answer, when our fingers meet the keyboard, we have to compensate and soften this pressure by making sure that all our joints are completely relaxed and flexible.
A flexible joint acts like the buffer of a good car, or like the paws of a cat: So this is how we can add force to our playing without becoming tense. I can also give you an example from martial arts: In fact, there is no force in the classical sense involved.
It functions like a whip — the hip gives the impulse and the leg is literally shot forward or backwards. The same can be said about piano playing! You can be totally relaxed and play very soft. Relaxation is the foundation of correct piano playing. For creating a big sound, just as I explained, we have to make good use of the laws of physics: Again, just like in martial arts, we have to use smartly the energies of our body and the surrounding universe instead of applying tiring and detrimental effort!
Why apply muscular effort when the force of gravity can naturally attract your relaxed arms towards the keys? Now I simply have to figure out all the site-building features that will allow me to create the community — I describe this project in the article which I posted yesterday click here to check it out and tell me what you think!
I agree that you have to be relaxed for creating a big sound. No, there should be no pressure involved in soft playing! You simply have to channel less force into the keyboard, but you should keep your arms totally relaxed as well. Of course, we should never allow our arms to be totally limp and without tonus — this way they will simply hang by our sides!
By the way, have you ever seen how a cat kneads? Even better, have you ever felt how a cat kneads for example, many cats like to knead on the knees of their owners LOL?This cover letter is aimed at a recruited that can put into contact with various employers in your f. Discovery Education helps incorporate game-based learning into the classroom with puzzlemaker.
Create a new puzzle now! The piano/keyboard I use is a Casio CTK Electric keyboard which is very basic but works brilliantly for beginners. All of my posts are of the letter/alphabetical notes for many popular songs including current pop, rock, nursery rhymes, Disney and classical pieces.
Want the letter notes for a song and want to play it on the piano / keyboard, this is the place. Got letter notes?
Yes - letter notes, keys, piano chords, bass, and lyrics. Educational site for musicians and music lovers. LetterNote notation. This page will show you all of the songs available on this ashio-midori.com website, the songs are .
Bach—Piano, Harpsichord or Clavichord? By: Rosalyn Tureck From the Rosalyn Tureck Collection, Howard Gotlieb Archival Research Center at Boston University.
Some people maintain that Bach must be played on instruments of his time, others say he must be played on modern instruments. Video highlights: 1.
The piano and its ‘magic’ properties. 2. What makes string or wind instruments so expressive? 3. What is legato? 4. The hammer-and-string construction of the piano and its ‘fading sound’ particularity.