William Hamper Vidéos
écrivain ou écrivaine
- Angleterre
Dernière mise à jour
2024-06-17
Actualiser
Charles Louis Hanon Hamper 1873
Learn how to play or a lesson on playing Hanon Virtuoso Pianist Exercise .No 1. The Virtuoso Pianist (Le Piano virtuose) by Charles-Louis Hanon, is a compilation of sixty exercises meant to train the pianist in speed, precision, agility, and strength of all of the fingers and flexibility in the wrists. First published in Boulogne, in 1873, The Virtuoso Pianist is Hanon's most well-known work, and is still widely used by piano instructors and pupils. Overview The exercises address common problems which could hamper the performance abilities of a student. These include "crossing of the thumb," strengthening of the fourth and fifth fingers, and quadruple- and triple-trills. The exercises are meant to be individually mastered and then played consecutively in the sections they are placed in. Apart from increasing technical abilities of the student, when played in groups at higher speeds, the exercises will also help to increase endurance. The exercises are divided in three parts. The first part, consisting of exercises 1 - 20, is labeled "preparatory exercises." These are also the most famous exercises, and are used to develop finger strength and independence. Each exercise contains a sequence of 8 semiquavers, beginning on C, which is then repeated starting on D, and so on across two octaves. The exercise is then repeated in reverse down two octaves to the starting C. The exercises are intended to be practiced in groups of three, except for the first two which are practiced together. The second part, consisting of exercises 21 - 43, is labeled "further exercises for the development of a virtuoso technique." This more difficult section is meant to be played after the pianist has fully mastered Part 1. Part 2 includes scales and arpeggios. The third part, consisting of exercises 44 - 60, is labeled "virtuoso exercises for mastering the greatest technical difficulties." Since this section is considerably more difficult, Hanon recommends the mastery of both previous parts before proceeding to this one. This part includes repeated notes, repeated double notes, scales in thirds and octaves, tremolos, and more. After all three parts are mastered; Hanon recommends all exercises be played through daily to retain technique. Why they are so important to you: Play faster and cleaner than you've ever played before... It's not JUST what you play; it's how you play it! A "major scale" played slow may sound basic and elementary sure enough. But do you know if you speed up a major scale by 3 or 4 times, that it will sound amazingly beautiful. Improve both finger coordination and hand control in virtually minutes after the first exercise! Perfect tons of finger movements and improve your hand positioning so you never feel out of place or out of bounds when you're playing!
Here is an offering entitled “A Vintage Tyāgarāja Arādhana” to commemorate the 89th birthday of Dr Mangalampalli Balamuralikrishna (BMK). This is an undated and undocumented vintage concert comprising the glory of Saint Tyāgarāja’s compositions as only BMK could render. It must be recalled here that BMK belonged to the direct lineage from Saint Tyāgarāja through Manambuchavadi Venkatasubbiah, Susarla Dakshinamurthi and Parupalli Ramakrishnayya Pantulu. The distinctness of this lineage has been in the interpretation and rendition of the Saint’s outpourings in the form of kritis and kīrtanas. BMK’s USP is his idiom of presentation of Tyāgarāja’s compositions. His ability and mastery in mirroring the mood of the composer by singing with perfect diction and intonation, leading the listeners to experience what the original composer really intended to convey at the time of the creation of a given composition. BMK took Tyāgarāja’s music lovers to the altar of Saint Tyāgarāja and thus seemed to have become a gateway to Saint Tyāgarāja. The evidence of this is in this offering unerringly. Before diving into the listening mode, it helps to see what is in the album that can enhance our understanding and help us to get into the realm of wholesome listening experience. To facilitate an exclusive listening session, the concert is presented in two parts. It is hoped that this approach would help you enjoy listening to the entire concert at your convenience. This is based on the feedback and suggestion of quite many among you, esteemed listeners, and for now this is experimental. That is, we will offer in this mode (of presenting in parts) for a while and see the impact on the overall impact on one’s listening experience. The audio has been restored and remastered from the available tape. Unfortunately, it has suffered some deterioration owing to aging. Consequently, in some tracks, you would observe the need for a better quality of audio. We hope this would not hamper your overall listening experience of the concert. PART 1 of 2 Balamuralikrishna begins his concert with a composition of his own “Gāna sudhārasa pāna niratam” in praise of Tyāgarāja for his distinct contribution to Carnatic music. This composition is in the rāga Nāta, set to Adi tāla. We all know that, Saint Tyāgarāja brought innovation into the rāga Nāta by using it without the ‘Daivata’(D3), in his immortal composition ‘Jagadānanda kāraka’. BMK, following the same approach of St. Tyāgarāja in his composition “Gāna sudhārasa pāna niratam” (i.e., a composition in Nāta sans D3, excepting for the line of lyrics containing the name of the seven notes) sings His praise and highlights Tyāgarāja’s contribution to redefining and establishing the grammar and practice of Indian music, by bringing out the essence of euphony. Then, BMK renders Jayamanóhari, a derivative of Kharaharapriya, a rāga created by St.Tyāgarāja. A brisk rendition of “Sri Ramya chittālankāra swaroopa” consolidates the mood that longs for serious listening of this concert. A brief rendition of “Palukavémi nā daivamā” in the rāga Pūrnachandrika precedes the main item of the concert “Appā Rāma bhakti entó goppara” in the rāga Pantuvarāli. A masterpiece of St.Tyāgarāja which is masterfully presented here for about 45 minutes. It was mentioned earlier that BMK took Tyāgarāja’s music lovers to the altar of Saint Tyāgarāja and he thus seemed to have become a gateway to Saint Tyāgarāja. Please listen to the renditions consciously and affirm for yourself the veracity of this. Come, let’s listen to enjoy the music, learn something new and discuss our reflections with others to facilitate the process of music for posterity by sharing and listening with the younger generation. Here is a link to Part 2 of 2 of this concert: (http•••)
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