By Peter Gelling
In particular designed for college kids who desire to play Blues Harmonica, both in a bunch or for enjoyable. The emphasis is on making tune instantly. comprises notice bending, educate whistle and rhythm sounds, vibrato and improvisation.
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The piece was deeply enough embedded within me, and I’m glad to have gone ahead and performed it par coeur, I like that phrase ‘by heart’. It is an apt and poetic description of playing music without the book. Like most pianists, I give my solo recitals by memory. There’s a very simple reason why pianists play by memory – freedom. For once music is committed to memory, the musician is set free to concentrate solely on its beauty and meaning. No question remains as to what notes to play. A pianist may now lose himself more completely in the music, and liberated from reading a written page, he may soar high into the ether.
We’ll pick something new today. I’ll give you three choices and you pick,” I say. With most students, I simply assign the piece I think best for them. When I was a boy, neither Mr. Brent nor Mr. Chiapinelli, my teachers, would have ever let me choose my repertoire. But I have found that this approach really pays off with Tia. I know that if she has a say in the choice of music, she’ll be more motivated. She has to like it. I play a short work by Bartok, a toccatina by Kabalevsky, and a piece by Tchaikovsky.
Herr Kuhlau wrote his sonatinas in the early eighteen hundreds. Would he be surprised that they continue to be studied and brought to life in the twenty first century? I wonder. Since I was a teenager, predictions of the piano’s demise have been made. It would be replaced by electric keyboards. Classical music would meekly fade away under the onslaught of rock and roll. Mozart and Beethoven didn’t stand a chance. I still hear similar prophecies of doom from time to time. But the piano hasn’t gone away.