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Updated: May 31, 2025
Wild strains from the Hungarian orchestra, rhapsodical twankings of violins, and the runaway arpeggios of a zither crazed with speed-mania, skipped along the corridors and lightly through Mellin's door. In his mind's eye he saw the gay crowd in the watery light, the little tables where only five days ago he had sat with the loveliest of all the anemone-like ladies....
One player may have difficulty in playing trills, while to another player of equal general musical ability trills may be perfectly easy. In playing arpeggios, however, the difficulties which prove obstacles to the players may be entirely reversed.
And the treasure was veiled in a mist of arpeggios, but one by one these were torn away, and there was a hush, a pause, and a preparation; and the soul of man broke into a new song of what it had found on earth the magic of the tenderness of love an air so caressing and so sweet, so calmly happy and so mournfully sane, so bereft of illusions and so naïve, that it seemed to reveal in a few miraculous phrases the secret intentions of God.
The exercise should be practised with such musical variations as the student can learn to execute the scale, arpeggios, etc., both sustained tone and light touches, broad tones and shaded tones. Other vowels may also be practised thus.
He saw the Saracen, and trembling with aspiration, he heard the great theme of salvation to the Saviour sung by the basses, by the tenors, by the altos; it was held by a divine boy's voice for four bars high up in the cupola, and the belief theme in harp arpeggios rained down like manna on the bent heads of the knights.
Her lips were parted, the bosom of her dress rising and falling; her small hands clasped. Velasco gazed steadily for a moment; then he dropped his head again, and swaying slightly played on. The bow seemed fairly to rend the strings. He toyed with the difficulties; his scales, his arpeggios were as a flash, a ripple of notes tumbling over one another, each one a pearl.
Then there must be a thorough drill in scales, arpeggios, chords, and a variety of finger exercises, before any kind of pieces are taken up. The young student in early years, is expected to play various études, as well as the technic studies I have mentioned Czerny, Cramer, Clementi, and always Bach.
On the violin these cannot be played solidly, as on the piano; but must be studied as arpeggios, in the most exhaustive way, harmonically and technically.
This works out in scales and arpeggios with a variety of touches one hand playing a passage or scale staccato while the other plays legato, and vice versa." Asked if he taught technical material without a book, Mr. Heffley replied: "No, I generally use the Heinrich Germer work, as it covers the ground very satisfactorily; it is compact, concise, and complete in one volume.
First some finger movements, perhaps with fingers in an extended chord position; then some scales and arpeggios; then a Chopin étude, and so on. When practising regularly, I do not generally work at the piano more than four hours a day; it seems to me that amount is sufficient, if used with absolute concentration."
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