Piano Teaching Its Principles And Problems

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Piano Teaching Its Principles And Problems
Clarence G Clarence Grant Hamilton
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Spmdler, Staccato Etude, Op. 221, No. 2.
IV. Chaminade, Calhrhoe, Air de Ballet in G major. Lack, Th. , Pizzicato-Bluette, Op. 152. Delahaye, Menuet Columbine.
Huss, H. H, Etude Mclodique (for wrist movement).
V. Moszkowski, Scherzino, Op. 18, No. 2. Mendelssohn, Fantasie, Op. 16, No. 2.
VI. Nevin, E. , Arlecchino, Op. 21, No. 1. Mendelssohn, Rondo Capriccioso.
VI-VII. Raff, Rigaudon, Op. 204, No. 3.
VII. Moszkowski, Etincelles, Op. 36, No. 6. Brahms, J. , Capriccio, Op. 76, No. 2.
When the ele
...ments of interpretation are reached, the task of finding pieces which emphasize only one phase of the subject Grouping of pieces bccomcs more difficult, and you will be obliged S^mentfci'intl somctimcs to assigu to a given list a piece of pretation. Which important parts belong logically to other groups. If, however, a factor like that of rhythm stands out PIANO TEACHING 157 prominently, you will not hesitate to classify the piece upon this basis.
There are two varieties of rhythmic pieces, namely, those in which the metric accent is strong with few complicated time- divisions, and those in which such complications are numerous.


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