Bøger af Giovannni Andreani

Piano Development (PD) is, throughout the PMP Development Areas, the main framework around which all other Development Areas orbit; it has been conceived to help piano teachers achieve a profound view of their student's improvements while guiding them throughout the higher levels of piano playing.PD is divided into a first set of 20 levels and the student should be working on two different and consecutive levels at the same time.The general complexity expressed at each level of PD does not have to be comparable to the difficulty of other areas simultaneously studied, especially if related to repertoire. Indeed, the student may find him/herself studying a repertoire piece that is much more difficult than is expressed by the level required in PD.At this level all melodic lines are played by one hand at the time with no superimposition of a second melody or any other kind of melodic structure. Very rarely a second voice is added, like in no. 42, or at the endings of nos. 10, 11, 14, 17, 22, 28, 30, 32, 34, 38, 39, 44 and 47; nos. 27 and 50 require playing two voices within one hand. When the second voice is written with smaller notes it may not be played at all.Some piecese will be played exclusevely with one hand while others will require the use of both hands: in this case the melody will pass from one hand to the other; a dotted line connecting the melody through the two staves will help visualizing the correct melodic outline. A melodic line passing from one hand to the other can be found in many cases in the keyboard literature; as an example, the inner voice (or voices) from a fugue, generally with more than two parts, may be performed alternately by the two hands.When playing a melody without a contrapunctual line the student's inner hearing and sense of rhythm and duration will consistently develope; consequentely a sense of metre will strongly improve.By following the PMP principles the student will be working on PD L5 or PD L7 together with this level; in such a case the student will be dealing with a mixed set of pieces composed for two hands playing simultaneously as well as pieces for two hands performing one only melody.The introduction comprises directions for using this book, a description of all rhythmic patterns and time signatures found in the pieces and a description of the minimum prerequisites eventually needed for effectively starting this book. More specific direction for the teacher, related to a methodological approach to the pieces are also included; topics taken into consideration are:AccidentalsHand positionsMetronomeFinding hand positions and improvising prior to practicing each pieceImprovising chamber musicKey signaturesMoving to a new pieceMoving to a new levelMonitoring

Snare Drum Development (SDD) and Drumset Development (DD) are, throughout the PercMP Development Areas, the main framework around which all other Development Areas orbit; these areas have been conceived to help percussion and drum teachers achieve a profound view of their student''s improvements while guiding them throughout the higher levels of drum playing.The student, while studying SDD, should be simultaneously working on DD: the level of DD should be one less than SDD''s, thus, when beginning the second level of SDD the first level of DD can be introduced.As progress is made, a new Development Area may be added: the more areas the student manages, the more profoundly competence and skills will grow; nonetheless, SDD and DD should be the only Development Areas on which the student will be working constantly.SDD consists of short pieces that the student will have to prepare for the following lesson; how these pieces will be mastered is an issue to be pre-emptively clarified in order to positively monitor the student''s progress. Therefore, the teacher will have to determine in advance which criteria to adopt when evaluating each piece and assigning a new one in its place.The general complexity expressed at each level of SDD does not have to be comparable to the difficulty of other areas simultaneously studied, especially if related to repertoire. Indeed, the student may find him/herself studying a repertoire piece that is much more difficult than is expressed by the level required in SDD: this would be perfectly appropriate while the contrary would surely be unfitting. The time term of SDD is classified as VST while a repertoire piece may be classified from MT to VLT; therefore, the latter can be more complex.In the pieces throughout all levels of SDD, rhythmic patterns and time signatures are gradually introduced: technical skills, rhythmic skills and a sense of meter will therefore gradually improve.When composing these works, one of the main objectives was to supply both students and teachers with pieces in which the formal structures would well be identifiable, thus stimulating an attitude to analysing the pieces before studying them. Developing the ability to identify periods, phrases and motifs will surely allow the student to achieve a higher level of awareness; consequently, a higher degree of motivation for increasing one''s technical skills will strongly improve. While performing these pieces the student will therefore not find him/herself playing a series of grooves, where a rhythmic motif or phrase is constantly repeated throughout the piece, but will be required to interpret, by considering the drum as a solo instrument, pieces with a musical meaning in their whole, even though they may, at a very first level, be only of eight measures long.