Aphrodita Triumphans: Studies for Transcendental Piano Technique for All Levels · Levels 7&8 / 10 ·

Piano score. Piano series for the study of transcendental piano technique, at all levels. By the pianist, composer and writer SYDNEY D'AGVILO, discoverer of the INTERVALIC THEORY in Music and Physics. This series is the only method of piano, for beginners and at all levels, that teaches to play the piano with the free position of the hand on the keyboard, instead of the stagnant fixed position that inevitably leads to the touch by pressure and muscle stiffness. To begin to learn correctly the technique of relaxation and weight control from the first day and then be able to access the transcendental technique of the piano. The series of STUDIES FOR TRANSCENDENTAL PIANO TECHNIQUE, at all levels, is composed of ten volumes, one for each level of difficulty, arranged in ten levels, from one to ten, which from lower to higher are the following: “Intervalic Little Fingers”, “Intervalic Drawings”, “Intervalic Games”, "Inanna Aeterna", "Cytherea Imperatrix", "Ishtar Magna", "Venus Splendens", "Aphrodita Triumphans", "Sarpanit Luxurians" and "Marilyn For Ever". —————————————————————————————————————————–The transcendental technique of the piano, invented by Franz Liszt (1811-1886), of whom I am honored to be an indirect student by way of Claudio Arrau, has until now only been within the reach of those few students who have had the fortune of reaching the higher levels of piano teaching. Trying to summarize the unsummarized, we can say that the essential difference between the transcendental technique and its absence (which I hyperbolically call the counter-technique), is that the first uses the controlled weight of the arm to sink the keys of the piano, which produces a round, deep and velvety sound, covering thousands of shades. On the contrary, the counter-technique uses the muscular force of the fingers to strike the keys —the so-called touch by pressure— which invariably produces a stiff, strident and bodiless sound.Although it seems incredible, for reasons arising from ignorance and/or inertia, the pedagogy of the piano taught to the suffering students of half the world is still based on the counter-technique. As Arnold Schoenberg warned in his Treatise of Harmony: "No art is so hampered by its own teachers as music", which is true to an unsuspected extreme. Interestingly, those piano teachers who instead of teaching children should receive classes, are the most fanatical and belligerent defenders of the counter-technique, deplorable situation that again and again challenges common sense for the obviousness of the matter.The beloved Bible of the counter-technique are rancid mechanical studies of Czerny, Hanon et alia, pieces musically vacuous and technically nefarious, which are the surest way to prevent the student from developing naturally the fundamentals of piano technique, which often ends up in muscle stiffness over the years. It is difficult to understand the almost pathological fixation of the expired teaching institutions by these tedious pieces that do not contain a single pianistic game of the transcendental technique for the simple reason that their authors did not know it (either because they are composers chronologically prior to its discovery or for not being virtuous of the piano). Therefore, it is of the utmost importance to replace these pieces with others, created by composers-pianists, in which the complex and marvelous pianistic games of the transcendental technique are adapted, used mainly in virtuoso writing, at all levels of the instrument, and especially the initials and intermediates. It is a complex and difficult but exciting task, which I believe has tried to reach for the first time in history, if I'm not mistaken, with the publication of the series of Studies for the Transcendental Piano Technique, at All Levels, in 10 volumes, series of which the present book is part. (Sydney d'Agvilo).