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In addition to instrumentation techniques, performers are asked to wear half black masks. [1] It is highly suggested that whenever possible the performance be done under blue lighting. [ 1 ] The cello is tuned scordatura , [ 2 ] and the piece requires the use of a grand piano as the techniques required would not be possible on an upright model.
Exercises 21 - 43: 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. Exercises 44 - 60: Labeled "virtuoso exercises for mastering the greatest technical difficulties."
It largely follows the organizational scheme of the first volume, bears the same subtitle (i.e. Twelve Fantasy-Pieces after the Zodiac) and is also scored for amplified piano. Crumb has stated that the two volumes form a sequence of 24 fantasy-pieces. Volume II comprises the following works: Part 1:
Instead it assumes the student has mastered standard piano technique and has reached a virtuoso level. Busoni proceeds by adding refinements, short cuts, and unusual solutions for pianistic problems encountered in a performing artist's repertoire. The included exercises and examples reflect Busoni's own special, but diverse, interests and ...
Advanced piano pedagogy is known as "ARCT" (Associate of Royal Conservatory of Toronto), which enables teachers to teach up to grade 10. There are also a number of theory and history examinations that accompany each certificate program which must be completed. There is also a Piano Teachers Federation based in Vancouver, British Columbia.
Lister-Sink has published articles about injury-preventive keyboard technique in Piano & Keyboard, Clavier, American Music Teacher, Keyboard Companion, Southern Medical Journal, and Current Research in Arts Medicine. She was cited in the 2000 Centennial Edition of Piano & Keyboard as one of the pedagogical leaders of the 20th century. [3]
Perhaps the most original of these is produced by the soprano singing a kind of fantastic vocalise (based on purely phonetic sounds) into an amplified piano. The singer's voice echoes as the piano strings reverberate sympathetically with the singer. In the last movement, a boy soprano joins the soprano.
Composed in 1939–40. This piece is scored for various percussion instruments and piano. The score instructs the performer to insert a screw and a strip of cardboard between several strings, [37] but the piano part is written essentially for the string piano technique. The rhythmic proportions — 16 groups of 16 bars divided 4, 3, 4, 5 ...
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