By Abby Whiteside
Abby Whiteside (1881-1956) constructed a innovative method of piano strategy, the belief of a "basic rhythm" related to the complete physique that permits scholars to specific the basic emotional rhythm of the track, in addition to to play with no the chance of the wounds that often afflict pianists. Her rules on piano pedagogy stay crucial at the present time.
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Extra resources for Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays
For the pianist the muscles under these ischial bones create activity in the torso, much as manipulation of the feet against the floor resistance creates activity in the entire body as we stand. It is easy to feel the rhythm of skating and dancing when movement is not restricted. It is less easy to feel the same rhythmic exhilaration when the sitting posture limits movement. But it is exactly the same rhythmic response to the music which is so natural in dancing and skating that is needed for a thrilling performance at the pianoa response throughout the body.
111, if the player lacks the capacity for creative ideas and emotional intensity. But the fact remains that only the follow-through of a basic rhythm can channel the ideas and emotions so that there can be the subtlety in the use of dynamics and rhythmic nuance necessary for a great performance of Beethoven. Not only does it channel ideas. When it permeates the entire being of a musician, then and then only is there growth and output in ideas which fulfill the early indications of talent. Other than ears, this rhythm is almost the sole arbiter of what is called "musical maturity" in performance.
If only we could absorb that very fundamental and revealing truth we would constantly use the only productive technical means for learning to read music and play our instrument. Put a rhythm in your body and keep it going. There is nothing vague or complicated in that statement. There is nothing vague or complicated in the activity which puts the rhythm in the body for the pianist, any more than for the flutist or the skater. The activity of the top arm, augmented by the activity against the chair seatand both related to the important tones of the music, like the push-offs of the skater related to the musical push-offscreate the swaying, the follow-through, the feeling of rhythm in the body.
Abby Whiteside on Piano Playing : Indispensables of Piano Playing - Mastering the Chopin Etudes and Other Essays by Abby Whiteside