By Silvio Scionti
Silvio Scionti (1882–1973), the prestigious Italian-American pianist and instructor, was once a prolific author. This e-book, approximately artistry in piano enjoying, includes heretofore unpublished essays that Scionti wrote over a interval of a long time. the subjects diversity from “Basic issues in high-quality Piano enjoying” and “The paintings of Pedaling” (both richly illustrated with musical examples) to “Memorizing Piano Music,” “Silence—Its Use and Misuse,” and “The Metronome—Its valuable or damaging Side.
Silvio Scionti used to be a zestful, colourful determine, in addition to a grasp pianist and instructor. His “buoyant spirit,” enthusiasm, expertise, and attractiveness introduced scholars to Denton from round the nation. tales approximately him, rather approximately his greater than ten-year occupation on the collage of North Texas, are legion, and writer Jack Guerry—a former Scionti student—has amassed lots of them during this remembrance and biography.
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Additional info for Essays on artistic piano playing and other topics
55/1. Page 17 Example 22. Bach, Toccata in D Major, Adagio. Chapter VI The Musical Significance of Portato Touch as Compared to Staccato Touch The musical significance of portato () is as important as it is misinterpreted. Often it is given little importance, or is at times wrongly used. The emotive difference between portato and staccato is enormous. The sound of a portato touch is best suited to express a serious, solemn, religious, elegiac feeling; it can even express anguish. On the other hand, the sound of staccato arouses a feeling of gaiety and gladness.
10/3, mvt. 2 12 Example 16: Beethoven, Sonata in C Major, Op. 53 ("Waldstein"), mvt. 1 13 Example 17: Beethoven, Sonata in G Major, Op. 49/2, mvt. 1 14 Example 18: Franck, "Chorale," from Prelude, Chorale and Fugue 15 Example 19: Franck, "Fugue," from Prelude, Chorale and Fugue 15 Example 20: Beethoven, Sonata in A Major, Op. 2/2, mvt. 2 16 Example 21: Chopin, Nocturne in F Minor, Op. 55/1 16 Example 22: Bach, Toccata in D Major, Adagio 17 Page viii Example 23: Chopin, Nocturne in F-sharp Major, Op.
For instance, if the first note is mezzo forte, the second must be piano. If the first is forte, the second must be mezzo piano. Twice-lowering the wrist assures the necessary weight to make the second note speak. The chances of making a sound with the proper touch becomes positive nine times out of ten. A mere gentle pressing of the key finds it at its very bottom without having made a sound. How embarrassing! Consequently, this kind of approach spells disaster and must be avoided in piano playing.