Hello, I am Paolo. I joined this forum because I have decided to reconnect with the world of music. Let me explain. I took piano lessons for 4 years, then for various reasons I decided to quit and, along with the lessons, also my desire to play. After 4/5 years (marked by various strumming), I decided to get back into it and start playing again. I have noticed that my musical knowledge has remained completely unchanged, as has my technique. As a self-taught student, I would like to deepen my skills. So far, to regain strength and improve, I am using "Hanon" with Schotte's studies, but the exercises are quite monotonous and playing them constantly is truly demoralizing. Could you recommend some technique books (even slightly more advanced ones, perhaps more "colorful") that allow for multifaceted development? Thank you in advance, I look forward to hearing from you?
I agree with Pierpier! Rossomandi is an excellent course. The important thing is HOW to use the technique book. One must not misunderstand the objective, which should be to identify and resolve technical difficulties as if using a manual. Once the formula is resolved, it must be mastered once and for all, by trying to acquire the necessary fundamental gestures (articulation, rotation, etc.) and the micro-movements that, for one's own hand, resolve the passage. It is also important to observe and resolve the difficulty both slowly (or rather in slow motion) and at speed. Everything changes at speed. The accents first of all, and also the small supports and references that the hand creates to resolve the passage. Technical resolution must not be devoid of musical context. It must be immediately inserted into the Music. There is a profound difference between performing scales by octave and by tenth in G minor and performing the final scales of Chopin's Ballade in G minor. Therefore, one must actualize everything that is prepared and resolved during "technical study." I always remember that in Greek "Techné" means Art, the art of doing. Technique is Music, and often the latter suggests the solution to certain passages. I remember, near my diploma, I was studying Beethoven's Appassionata, which I was going to perform for the exam as the first group. I couldn't resolve that passage in the third movement where the hands chase each other in canon before finally playing in octaves. Even today, I keep the score "tortured" by numerous erasures. I was on a bus listening to that passage inside me. You won't believe it, but suddenly the right idea came to me. A strange fingering that, however, makes the hands meet—at least mine—synchronously well, at speed (even if "allegro ma non troppo") on the strong accents. I had a piece of paper in my pocket and immediately jotted down a rough note, scribbling.... I looked up and saw a gentleman next to me with a somewhat frightened look..... his astonishment increased when he saw me running to get off at a stop... which was already much later than mine....
I thank you both for the advice. I am looking on the internet for some PDFs or examples to evaluate the purchase, since being 5 volumes that would need to be studied simultaneously, it would be a significant expense. As for incorporating technique into the musical context, it seems like something difficult to assess. Given my limited knowledge, it would be difficult for me to pair an exercise with a piece that contains the latter. The only thing I could do is pair technical study with pieces that are powerful (for my abilities) and deepen their development. It would probably make more sense the other way around: studying a piece and, when encountering a difficulty, analyzing it from a technical point of view; however, I believe this type of study requires a lot of time, something I don't think I can afford. Usually, I allow myself one hour a day to practice and strum. For this reason, I would prefer purely technical study to develop ear and agility.
Returning to the initial discussion, I was also [given/mentioned] Czerny's op 299 and 849, Clementi's Gradus ad Parnassum, and Heller's op 45/47; could you give me some opinions?
The Rossomandi booklets should not be studied simultaneously, careful! I said that the sections inside each individual Rossomandi booklet recommend working simultaneously because each one is dedicated to a different type of technique.
Regarding the studies, I would approach Czerny's 849 first, which is more elementary, along with those by Heller, then op. 299, and after that the Gradus.
That said, studying as a self-taught musician is a crapshoot... you risk running into defects, errors of various musical kinds and instrument posture/setting that are then difficult to get rid of.... it's true that many times even studying with someone is a crapshoot... if you don't have the luck of meeting a competent teacher who harmonizes with your personality... good luck!
Yes you are right, I got confused. I saw on Amazon that there were various volumes of Rossomandi and I thought you were referring to these and not to an internal division.
As far as self-taught study is concerned, I can't fault you; it's an option I have considered, [namely] the errors that only a teacher who follows you can correct. However, since my goal is not virtuosity, I think I can overlook it; then with YouTube at hand, I can save myself from certain points of view.
Thank you again, I will take into consideration the order you gave me?
"When the student is ready, the Master appears" (Confucius)
beautiful
I can't find information on how to set the metronome speed for the Mannino arpeggios, can anyone help me? At what speed should I start and at what speed should one at least reach. I am talking about the very first exercises, at least. Thanks!
Once the position is established, you should practice with a pause that must occur immediately after the thumb passage. It is necessary to remember the difference between "thumb under" and "thumb to the side." At speed, the thumb does not have time to pass under. Therefore, study fast DO- domisolDO Do domisol do etc.. Observe how the hand moves and how the thumb stops on the Do by passing to the side of the other fingers. See G. Sandor's book "The Art of Piano Playing"
The metronome is not very useful. The Maestro will observe your movement and correct it
