Eng Course- Beginner Piano Course- Download Free PDF

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Piano Lesson 1
1. Introduction
2. Hand position and fingering
3. Musical notation
4. Rhythm and rhythmic patterns; time signature

1. I am pleased to offer you a unique series of piano lessons for beginners of any age who love
music and want to learn how to play the piano. The lessons are designed and based upon my over
35 years of piano teaching experience, well-developed, proven methods of learning musical
pieces, that result in quicker learning of the piano. They will help you improve your musical
hearing, musical memory, motor skills, and logical thinking. With persistence, you will learn
music theory and acquire sufficient practical skills within a few weeks.

ES Curso- CURSO BÁSICO PARA TOCAR EL PIANO- Descargar Gratis en PDF

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Aunque tenemos dos manos, existe solo un juego de teclas. Si tocamos de izquierda a
derecha estas teclas, notaremos que los sonidos graves o bajos están en la izquierda y
que a medida que vamos hacia la derecha se convierten en más agudos o altos. Si
trazamos un gráfico de líneas y ponemos en las líneas y los espacios que hay entre ellas
un punto negro que represente cada tecla del piano, de izquierda a derecha, se vería de
esta manera.

Eng Course- Fundamentals of Piano Practice- Download Free PDF

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Table of Contents 
Testimonials.................................................................................................................................................... 6
Abbreviations and Frequently Used Phrases................................................................................................. 14
Preface........................................................................................................................................................... 16
CHAPTER ONE: PIANO TECHNIQUE ......................................................................................................... 24
I. INTRODUCTION ..................................................................................................................................... 24
1. Objective ........................................................................................................................................... 24
2. What is Piano Technique?................................................................................................................. 25
3. Technique, Music, Mental Play ........................................................................................................ 26
4. Basic Approach, Interpretation, Musical Training, Absolute Pitch .................................................. 26
II. BASIC PROCEDURES FOR PIANO PRACTICE ................................................................................. 28
1. The Practice Routine......................................................................................................................... 28
2. Finger Positions................................................................................................................................. 29
3. Bench Height and Distance from Piano ............................................................................................ 30
4. Starting a Piece: Listening and Analysis (Fur Elise)......................................................................... 30
5. Practice the Difficult Sections First .................................................................................................. 31
6. Shortening Difficult Passages: Segmental (Bar-by-Bar) Practice..................................................... 31
7. Hands Separate Practice: Acquiring Technique................................................................................ 31
8. Continuity Rule................................................................................................................................. 32
9. Chord Attack..................................................................................................................................... 33
10. Gravity Drop, Chord Practice, and Relaxation............................................................................ 33
11. Parallel Sets................................................................................................................................. 35
12. Learning, Memorizing, and Mental Play..................................................................................... 36
13. Velocity, Choice of Practice Speed............................................................................................. 38
14. How to Relax............................................................................................................................... 39
15. Post Practice Improvement (PPI) ................................................................................................ 41
16. Dangers of Slow Play - Pitfalls of the Intuitive Method ............................................................. 42
17. Importance of Slow Play............................................................................................................. 43
18. Fingering ..................................................................................................................................... 44
19. Accurate Tempo and the Metronome.......................................................................................... 45
20. Weak Left Hand; Using One Hand to Teach the Other............................................................... 46
21. Building Endurance, Breathing ................................................................................................... 47
22. Bad Habits: A Pianist's Worst Enemy......................................................................................... 49
23. Damper Pedal .............................................................................................................................. 51
24. Soft Pedal: Hammer Voicing, Physics of the Piano Sound......................................................... 52
25. Hands Together and Mental Play ................................................................................................ 55
                Beehoven’s Moonlight, 1st Movement, Op. 27, No. 2 ......................................................... 56
                Mozart’s Rondo Alla Turca, from Sonata K300 (K331). ..................................................... 59
                Chopin's Fantaisie-Impromptu, Op. 66, Fast Play Degradation (FPD)................................. 61
26. Summary ..................................................................................................................................... 64
III. SELECTED TOPICS IN PIANO PRACTICE ....................................................................................... 64
1.  Tone, Rhythm, Legato, staccato........................................................................................................... 64
           a.       What is "Good Tone"?
                              The Basic Keystroke. .......................................................................................................... 64
              Tone: Single versus Multiple Notes, Pianissimo, Fortissimo. ............................................ 65
b. What is Rhythm? (Beethoven’s Tempest, Op. 31, #2, Appassionata, Op. 57) ........................... 69
c. Legato, Staccato .......................................................................................................................... 71
2. Cycling (Chopin's Fantaisie Impromptu).............................................................................................. 72
3. Trills & Tremolos ................................................................................................................................. 76
a. Trills ............................................................................................................................................ 76
b. Tremolos (Beethoven's Pathetique, 1st Movement).................................................................... 77
2 4. Hand, Finger, Body Motions for Technique..........................................................................................79
a. Hand Motions (Pronation, Supination, Thrust, Pull, Claw, Throw, Flick, Wrist).......................79
b. Playing with Flat Fingers (FFP, Spider, Pyramid Positions).......................................................80
c. Body Motions ..............................................................................................................................88
5. Playing Fast: Scales, Arpeggios, and Chromatic Scales........................................................................89
a. Scales: Thumb Under, Thumb Over (TU, TO)............................................................................89
b. The TO Motion, Explanation and Video .....................................................................................91
c. Practicing TO: Speed, Glissando Motion ....................................................................................92
d. Scales: Origin, Nomenclature and Fingerings .............................................................................96
e. Arpeggios (Chopin’s Fantaisie Impromptu, Cartwheel Motion, Finger Splits) ..........................98
f. Thrust and Pull, Beethoven's Moonlight, 3rd Movement..........................................................100
g. Thumb: the Most Versatile Finger.............................................................................................103
h. Fast Chromatic Scales................................................................................................................103
6. Memorizing .........................................................................................................................................104
a. Why Memorize? ........................................................................................................................104
b. Who can, What to, and When to, Memorize. ............................................................................106
c. Memorizing and Maintenance ...................................................................................................106
d. Hand Memory............................................................................................................................107
e. Starting the Memorizing Process...............................................................................................107
f. Reinforcing the Memory............................................................................................................108
g. Practicing Cold ..........................................................................................................................109
h. Slow Play...................................................................................................................................109
i. Mental Timing ...........................................................................................................................110
j. Establishing Permanent Memory, Mental Play .........................................................................110
            Music memory.....................................................................................................................111
            Photographic memory..........................................................................................................111
            Keyboard memory and mental play.....................................................................................112
            Theoretical memory.............................................................................................................114
k. Maintenance...............................................................................................................................114
l. Sight Readers versus Memorizers..............................................................................................115
             Bach's 2-part Inventions: #1, #8, and #13. .........................................................................116
             Quiet hands.........................................................................................................................120
             Sinfonia  #15.......................................................................................................................121
m. Human Memory Function; Music = Memory Algorithm..........................................................122
n. How to Become a Good Memorizer ..........................................................................................124
o. Summary....................................................................................................................................125
7. Exercises..............................................................................................................................................126
a. Introduction: Intrinsic, Limbering, and Conditioning Exercises ...............................................126
              Fast vs. Slow Muscles .......................................................................................................127
b. Parallel Set Exercises for Intrinsic Technical Development......................................................128
c. How To Use The Parallel Set Exercises (Beethoven’s Appassionata, 3rd Movement) ............134
d. Scales, Arpeggios, Finger Independence and Finger Lifting Exercises ....................................135
e. Playing (Wide) Chords, Finger/Palm Spreading Exercises .......................................................136
f. Practicing Jumps........................................................................................................................138
g. Stretching and Other Exercises..................................................................................................139
h. Problems with Hanon Exercises ................................................................................................139
i.        Practicing for Speed ..................................................................................................................142
              Speed Stroke, Relaxation...................................................................................................142
              Other Speed Methods ........................................................................................................143
              Speed Walls .......................................................................................................................143
8. Outlining (Beethoven's Sonata #1)......................................................................................................145
9. Polishing a Piece - Eliminating Flubs..................................................................................................146
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10. Cold Hands, Slippery (Dry/Sweaty) Fingers, Illness, Hand Injury (Carpal Tunnel), Ear Damage
(Tinnitus) .................................................................................................................................................14711. Sight Reading.................................................................................................................................... 153
12. Learning Relative Pitch and Absolute Pitch (Sight Singing, Composing) ....................................... 155
13. Video Recording and Audio Recording Your Own Playing............................................................. 159
14. Preparing for Performances and Recitals.......................................................................................... 160
a. Benefits and Pitfalls of Performances/Recitals. .............................................................................. 160
b. Basics of Flawless Performances.................................................................................................... 161
c. Practicing for Performances. ........................................................................................................... 161
d. Practicing Musically. ...................................................................................................................... 162
e. Casual Performances. ...................................................................................................................... 163
f. Performance Preparation Routines. ................................................................................................. 164
g. During the Recital. .......................................................................................................................... 166
h. That Unfamiliar Piano..................................................................................................................... 166
i. After the Recital............................................................................................................................... 167
15. Origin and Control of Nervousness................................................................................................... 167
16. Teaching............................................................................................................................................ 170
a. Types of Teachers. .......................................................................................................................... 170
b. Teaching Youngsters, Parental Involvement, Mental Play, Absolute Pitch. .................................. 170
     How to teach your child. ............................................................................................................ 172
c. Memorizing, Reading, Theory. ....................................................................................................... 174
d. Some Elements of Piano Lessons and performance skills. ............................................................. 175
e. Why the Greatest Pianists Could Not Teach. .................................................................................. 178
17. Upright, Grand & Electronic Pianos; Purchasing and Care.............................................................. 179
a. Grand, Upright, or Electronic?........................................................................................................ 179
b. Electronic Pianos............................................................................................................................. 180
c. Uprights........................................................................................................................................... 183
d. Grands. ............................................................................................................................................ 183
e. Purchasing an Acoustic Piano. ........................................................................................................ 184
f. Piano Care........................................................................................................................................ 185
18. How to Start Learning Piano: Youngest Children to Old Adults...................................................... 187
a. Do You Need a Teacher?. ............................................................................................................... 187
b. Starter Books and Keyboards.......................................................................................................... 188
c. Beginners: Age 0 to 65+.................................................................................................................. 188
19. The “Ideal” Practice Routine (Bach’s Teachings and Invention #4) ................................................ 191
a. Learning the Rules. ......................................................................................................................... 191
b. Routine for Learning a New Piece.................................................................................................. 191
c. “Normal” Practice Routines and Bach’s Teachings........................................................................ 191
20. Bach: the Greatest Composer and Teacher (15 Inventions and their Parallel Sets).......................... 197
21. The Psychology of Piano .................................................................................................................. 199
22. Summary of Method ......................................................................................................................... 201
IV. MUSIC, MATHEMATICS, AND RESEARCH .................................................................................. 202
1. Can We All Be Mozarts? .................................................................................................................... 202
2. Scientific Approach to Piano Practice................................................................................................. 203
a. The Scientific Method..................................................................................................................... 203
b. Principles of Learning..................................................................................................................... 204
3. Why Is Intuition So Often Wrong? ..................................................................................................... 206
4. Mozart's Formula, Beethoven and Group Theory............................................................................... 206
Mozart (Eine Kleine Nachtmusik, Sonata K300)............................................................................ 206
Beethoven (5th Symphony, Appassionata, Waldstein)................................................................... 209
5. Learning Rate Calculation (1000 Times Faster!)................................................................................ 212
6. Future Research Topics....................................................................................................................... 215
a. Momentum Theory of Piano Playing. ............................................................................................. 215
b. The Physiology of Technique. ........................................................................................................ 215
c. Brain Research, Using the Subconscious........................................................................................ 215
4            d. The Future of Piano  … ……………………………………………………………………………217          
.          e. The Future of Education..……………………………………………….………………………….219
V. JAZZ, FAKE BOOKS, AND IMPROVISATION.................................................................................220
CHAPTER TWO: TUNING YOUR PIANO..................................................................................................222
1. Introduction .........................................................................................................................................222
2. Chromatic Scale and Temperament.....................................................................................................223
a. Mathematics of the Chromatic Scale and Intervals .........................................................................223
b. Temperament, Music, and the Circle of Fifths................................................................................225
c. Pythagorean, Equal, Meantone, and “Well” Temperaments. ..........................................................226
3. Tuning Tools .......................................................................................................................................228
4. Preparation...........................................................................................................................................228
5. Getting Started.....................................................................................................................................228
a. Engaging and Manipulating the Tuning Lever. ...............................................................................229
b. Setting the Pin..................................................................................................................................230
c. Tuning Unisons................................................................................................................................230
d. Sympathetic Vibrations. ..................................................................................................................232
e. Making that Final Infinitesimal Motion...........................................................................................232
f. Equalizing String Tension................................................................................................................233
g. Rocking It in the Treble...................................................................................................................233
h. Rumblings in the Bass. ....................................................................................................................233
i. Harmonic Tuning. ............................................................................................................................234
j. What is Stretch?................................................................................................................................234
k. Precision, Precision, Precision.........................................................................................................234
6. Tuning Procedures and Temperament.................................................................................................235
a. Tuning the Piano to the Tuning Fork...............................................................................................235
b. Kirnberger II....................................................................................................................................236
c. Equal Temperament.........................................................................................................................236
7. Making Minor Repairs (Voicing and Polishing the Capstans)............................................................237
a. Hammer Voicing. ............................................................................................................................237
b. Polishing the Capstans.....................................................................................................................239
REFERENCES............................................................................................................................................239
Book/Video Reviews...............................................................................................................................241
Reviewed Books: Classical Music ......................................................................................................241
General Conclusions from the Reviewed Books.............................................................................241
List of MUST READ Books & MUST VIEW Videos....................................................................242
Reviewed Books: Jazz, Fake Books and Improvisation......................................................................253
Reviewed Videos.................................................................................................................................254
Web Sites, Books, Videos .......................................................................................................................254
General ................................................................................................................................................254
Sites with Free Sheet Music and Other Goodies .................................................................................254
Piano Instruction (Classical), Teachers, Schools.................................................................................254
Books Not Referenced Above, by title................................................................................................255
Piano Technology, Tuning, Parts, Manufacturers ..............................................................................256
Injury from Piano Practice..................................................................................................................256
Jazz, Chords, Theory, Instruction (Popular Music) ............................................................................256
Sheet Music, Video, CD, Book, Stores.................................................................................................257
Notes for Translators:..............................................................................................................................257
    ABOUT THE AUTHOR.............................................................................................................................258
List of Tables, Equations, and Videos.........................................................................................................258
Index............................................................................................................................................................258

Eng Course- Beginner to Professional Piano- Dowload Free PDF

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Aunque tenemos dos manos, existe solo un juego de teclas. Si tocamos de izquierda a
derecha estas teclas, notaremos que los sonidos graves o bajos están en la izquierda y
que a medida que vamos hacia la derecha se convierten en más agudos o altos. Si
trazamos un gráfico de líneas y ponemos en las líneas y los espacios que hay entre ellas
un punto negro que represente cada tecla del piano, de izquierda a derecha, se vería de
esta manera.