La Méthode Rose dans sa version originale a été traduite en sept langues telles que l'arabe et le japonais. Elle a accompagné les débuts de plusieurs générations de pianistes amateurs ou professionnels et ses illustrations ont laissé des traces dans les souvenirs de la grande majorité des pianistes ayant commencés avec cette partition piano pour débutants.La Méthode Rose est plus que jamais d'actualité, toujours séduisante et le prouve par son ancrage dans le classicisme.
Namajunas has a brother named Nojus, who once operated a private piano studio. Namajunas herself has played the piano since the age of five.[109] Nojus also is a mixed martial artist, and made his professional debut in March 2021.[110]
La Methode Rose Piano Pdf 22
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Performance Guide: This etude has a feeling of melancholy. At times, it feels like it is wandering through keys trying to find a tonal center. Use this to inform your musical interpretation. While the etude should feel expansive and never rushed, it is important to establish a steady pulse. Subdivide through long notes and rests.This etude is in the key of b minor. It is important that the tuning of your B-naturals and F-sharps are accurate. The first b-natural of the etude can be difficult, especially since the etude begins at a piano dynamic. Prepare your voicing, air, and support before you begin. Your voicing should be low, think an "ahhh" syllable and start your support before you start the note.There are several high F-sharps throughout this etude. For this etude, I recommend using the fingering provided below. This fingering will provide accurate tuning and ease of response whether tongued or slurred.M 10 and m 12 contain some grace notes that are important to discuss. It is important to create space to execute these grace notes so that they don't feel rushed. The grace notes in m 12 will be started earlier than those in m 10, but in both cases be sure that beat three is not delayed. There are two trills in this etude, one in m 15 and one in m 40. The trill in m 15 should be started on the A-natural and trill down to G-sharp. The trill in m 40 should be started in the F-sharp and trill up to G-natural. In both cases, stop the trill in time for the grace notes to occur before the next beat.
Performance Guide: This etude is in A-flat major and stylistically provides a nice contrast to the other etudes. Application of the sostenuto style is especially important because of the cut-time marking set at the tempo of Allegro Moderato. The musical result should be dance-like and there should be maximum effort to maintain a connection of the musical lines. The forte-piano (fp)markings in mm. 18, 20, 42, and 44 should be treated as breath accents (>). Ensure there is a quick enough decay to hear a softening of the half-notes. One of the many benefits of the Grigoriev studies is their usage to work on and develop your loud playing skills with the eventual goal of using more wind flow with minimal exertion. Tension in the body will diminish your output. Forced effort will make this etude challenging. Perform mm. 25-40 daily as an excerpt to work on and enhance your ability to play loud, yet in a controlled manner. Continue to raise the performance level of your louder dynamics with this excerpt. Throughout the etude be sure to experiment with the phrasing and dynamics so that there is a continuous musical line represented by your performance. 2ff7e9595c
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