We can say that learning to techniques to play piano is must because not understanding technique leads to incorrect practice methods. More importantly proper understanding can help technique leads to incorrect practice methods. More importantly proper understanding can help is some inherited finger dexterity.
This means that practically anyone can learn to play the piano well. There are numerous examples of metally handicapped people with limited coordination that exhibit incredible talent.
Technique is the ability to execute a zilion different piano passages therefore it is not dextenrity, but an aggregate of many skills. The wondrous thing about piano technique. These skills are acquired in two stages: 1. discovering how the fingers, hands, arms, etc., are to be moved, and 2 conditioning the brain nerves, and muscles to execute these with ease and control. Many of them think of piano practice as hours of finger calithenics because they were never taught the proper definition of technique.
Piano technique is the ability to get the right sound at the right time out of the piano. It is the ability to realize music, how we interact with our instrument. It is the ability to say what we went to say, to speak through music. Like our instruments themselves, technique is but a means to an end; As means not an end, technique implies a musical object. When ever we play any notes in succession we express a musical thought. Whether that thought is a coherent musical idea depends on the notes themselves and on their delivery. This latter is technique.
Piano technique is our control over our instrument. it would see to be the case that, ideally, we would eliminate this link in the musical chain altogether, and that ought to get us one step closer to the music. There have indeed been attempts to reliaze pieces of music on mechanically or electronically controlled pianos, and even whole pieces composed for them. There is great irony, however, in this approach: Machines sound mechanical, and music seems to need the human.
It is tragic that piano technique gradually has tended to become more and more mechanical. It seems that as machines were invented to do the work of humans, in turn aspired to become machines.
Technique is a necessary concomitant of art, for art without technique, as the past cnetury of art has prove, is limited in its communicative power at best, and empty at worst. Part of the beauty of great music lies in the synthesis of brain, feeling and fingers in executing demanding music with seeming ease.
This means that practically anyone can learn to play the piano well. There are numerous examples of metally handicapped people with limited coordination that exhibit incredible talent.
Technique is the ability to execute a zilion different piano passages therefore it is not dextenrity, but an aggregate of many skills. The wondrous thing about piano technique. These skills are acquired in two stages: 1. discovering how the fingers, hands, arms, etc., are to be moved, and 2 conditioning the brain nerves, and muscles to execute these with ease and control. Many of them think of piano practice as hours of finger calithenics because they were never taught the proper definition of technique.
Piano technique is the ability to get the right sound at the right time out of the piano. It is the ability to realize music, how we interact with our instrument. It is the ability to say what we went to say, to speak through music. Like our instruments themselves, technique is but a means to an end; As means not an end, technique implies a musical object. When ever we play any notes in succession we express a musical thought. Whether that thought is a coherent musical idea depends on the notes themselves and on their delivery. This latter is technique.
Piano technique is our control over our instrument. it would see to be the case that, ideally, we would eliminate this link in the musical chain altogether, and that ought to get us one step closer to the music. There have indeed been attempts to reliaze pieces of music on mechanically or electronically controlled pianos, and even whole pieces composed for them. There is great irony, however, in this approach: Machines sound mechanical, and music seems to need the human.
It is tragic that piano technique gradually has tended to become more and more mechanical. It seems that as machines were invented to do the work of humans, in turn aspired to become machines.
Technique is a necessary concomitant of art, for art without technique, as the past cnetury of art has prove, is limited in its communicative power at best, and empty at worst. Part of the beauty of great music lies in the synthesis of brain, feeling and fingers in executing demanding music with seeming ease.
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