Thinta |

Thinta (I-French touche, kusukela ku-toucher - touch, touch) - imvelo yokusebenzisana kwengxenye yenyama ye-nail phalanx yomunwe (okuthiwa ama-pads) ngokhiye we-FP. Kunqunywa indawo yomunwe maqondana nokhiye, isivinini sokunyakaza kwawo, ubukhulu, ukujula kokucindezela, nezinye izici. Ngokombono wabadlali abaningi bopiyano, izinga nohlobo lomsindo wensimbi (“owomile,” “oqinile,” noma “othambile,” noma “omnandi”) kuncike ezicini ezihlukahlukene ze-timbre.

Ngokwesibonelo, u-J. Field, u-Z. Talberg, u-AG Rubinshtein, no-AN Esipova babedume ngemibala yabo “ye-velvet” “nojusi,” no-F. Liszt no-F. Busoni ngemibala yabo ehlukahlukene. Kodwa-ke, amanye ama-theorists of upiyano abheka lokhu kuncika njengenkohliso, bephikisana ngokuthi umsindo wepiyano. ayiziboleki ekushintsheni kwe-timbre futhi incike kuphela emandleni okushaywa.

References: I-Gat I., I-Technique yokudlala upiyano, M.-Budapest, 1957, 1973; Kogan G., umsebenzi wopiyano, M., 1963, 1969; Abadlali bopiyano abavelele-othisha mayelana nobuciko bepiyano, M.-L., 1966; U-Alekseev A., Kusukela emlandweni we-piano pedagogy. Umfundi, K., 1974; UMilshtein Ya., KN Igumnov, eMoscow, ngo-1975; Hummel JN, Ausführliche theoretisch-practische Anweisung zum Piano-Forte-Spiel, W., 1828; Thalberg S., L'art du chant appliqué au Piano, Brux., 1830; Kullak A., Die Dsthetik des Klavierspiels, B., 1861, Lpz., 1905; Leimer K., Modernes Klavierspiel nach Leimer-Giese-king, Mainz-Lpz., 1931; Mallhay T., Okubonakalayo nokungabonakali kumasu wepianoforte, L.-NY, 1960; Gieseking W., So wurde ich Pianist, Wiesbaden, 1963.

GM Kogan