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The richness of ideas and specificity of means of expression of bakhovsky creativity set tasks of huge complexity for its interpreters. Any musician seeking to become by truthful and deep interpretation of essence of bakhovsky art, but not its external form has to study long and persistently compositions of the great musician, - not only klavirny, but also vocal and choral, organ and others.

The teacher who is engaged with pupils of any degree of readiness is always faced by a serious problem: to teach to love polyphonic music, to understand it, with pleasure to work on polyphonic work. The polyphonic way of a statement, artistic images of polyphonic works, their musical language have to become for the pupil habitual and clear.

It is necessary to understand that if in the musical text which we give to the pupil, there are executive instructions, their vast majority does not belong to Bach, and is brought in the text by the editor, and there is a number of the editions contradicting each other.

As for dynamics, it is known that Bach used only three designations in the compositions, namely: forte, piano and in rare instances pianissimo. Bach did not accept the expressions designating strengthening and easing of sonority, aktsentirovka signs.