loo
SCO
R.
M.
BREITHAUPT
:<0
SCHOOL OF WEIGHT-TOUCH
NATURAL PIANO-TECHNIC vol.
m >o
'
42 1909 V. .
.
2 1
MUSI
C
F.
II
KAHNT NACHFOLOER,
LEIPZIG
INSTRUCTIVE WORKS FOR THE PIANOFORTE EDITED BY C. F. KAHNT NACHFOLGER, LEIPZIG. M.
Bach. Job. Seb.
Vicr OrgelChoralvorspiele. Bearbeitet von Tfc. Szaito 1. Aus der Tiefe nife ich.
—
— — —
—
Alexander von.
79.
Mazurka- Impromptu
X-
— 3. Jesu Leiden, Fein
und Tod. der Hoh'
— 4.
blatter
Orgel-Fantasie und Fuge. Bearbeitet von Tk. Szaato .
.
.
Praludium und Fuge, e-moll, furOrgel. Bearbeitet von August Stradal
2.50
Praludium und Fuge fur Orgel. Bearbeitet von Th. Szanto Beethoven, L. van. Leichte .
.
.
Nr. „
2.
„
3.
I.
—
Nr.
Op.
2.
Drei Albuni1.80
.
56. Drei Stiioke.
Humoreske
.
.
.
.
Praludium Nocturne
Klavierstiicke.
2.-
Op. Nr.
1.
8
g-moll n 2. b-moll „ 3. a-moll B-dur 4. .. Op. 91. Variationen und Fuge fiber ein eigenes Thema Op. 93. Fun? Capricen komplett Einzein Nr. 1. c-moll „ 2. A-dur d-moll 3. h-moll 4. c-moll 5. Chor der Berlioz, Hector. .
—
.
— —
«afnt Stradal Tanz der Irrlichter aus „Fausts Verdammung". Bearbeitet von
August Stradal Btuonl, F. B.
1.20
Landler.
Stadium
der
5.— 5.— 1.50 1.20 1.50 1.80 1.20
Stradal
„
.
.
.
.
.
Nymphen .
.
.
.
Drei Klavierstiicke.
3.—
Nr.
1.
-.80
„
2.
1.50
„
3.
Pianoforte.
und
I
II
a
.
1.50
—
August Stradal
2.50
— —
2.— 1.50 1.50
—
Bearbeitet von
...
Sturm und Gewitter. Bearbeitet von August Stradal Die Loreley. Fiir das Pianoforte ubertragen vom Komponisten Zwolf Klavierstiicke. Ausgewahit und revidiert von Eugen
....
d'Albert
Sechs
44.
Nr. Nr.
I.
netto Maria.
Heft
1.—
Die Loreley. 2. Ave 4. Ave Zweite Elegie. maris Stella. 5—7. GeharLieder: Vor der nischte Es Schlacht. Nicht gezagt. rufet Gott uns mahnend. 8. Un soir dans la montagne aus Troismorceauxsuisses 9. Schnitter-Chor aus „Der entfesselte Prometheus". 10. Einleitung aus „Die Legende von der heiligen Elisabeth". 11. Marsch der Kreuzritter aus „Die Legende von der .
1.50 1.50 1.50
—
„
3.
fiir
Rauschendes Bachlein
„
3.
Ewig Dein Im Mai
Sch&fer, Dirk. eine Sequenz
....
1.
Agitato.
3.
Gavotte.
Szanto,
Th
— —
1.— -.80
heiligen Elisabeth".! 2.Hirten-
Nr.
I.
„
2.
3.-
gesang an der Krippe aus dem Oratorium „Christus".
Op.
2.
2.— Mazurka
triste.
3.
Chant
5.
Airanglais. 6.Valsestupide.
fran(;ais. 4.
Serenade.
Op. 25. Lebenswogen. KonzertEtude Op. 26. Zwei Intermezzi. Nr.
1.
Nr.
—
— —
82. Orel
2.
II.
Intermezzo
.
1.—
Idylle
].Spanische Serenade Op. 28. Sturmmarsch. Studie 1.50 Op. 29. Variationen und Fuge 2.50 2.
„
.
Op.
32.
Nr.
1.
Romanze
1.-
„ „ „ „
2.
4.
Legende Menuett Serenade des Pierrots
1.— I.—
5.
Etiide (iiber einWalzer-
3.
Fiinf Klavierstiicke.
Etudes
.
.
.
....
Ballade
fiir
Piano
1.20 1.80
3.-
—
1.20
1.20
thema)
Wleniavi'sky, Joseph. Op.
Ges-dur. C-dur
1.— .1.20
.
Zwei Charakterstiioke.
27. I.
i.50
Interrmezzo (Marien-
I.
kapelle)
Menuett.
I.
3.—
Fantasia
(
Klavierstiicke 1. Arietta. 2.
2.—
Op.
1.20
NachgelassenesWerk.) 3.— Auflage WelB, Josef. Op. 23. 8 kleinere
— Op.
Orientales.
1.50
.
II.
1.80
2.
2.50 1.50
1.1.—
.
.
Richard.
f is-moll.
Variationen auf
Klavierstiicke
.
.... .
Wagner,
1.20
Speldel, Wilhelm. Op.
.
Dr. W. Niemann. Komplett netto
1.—
Albumblatter.
1.
.
Capriccio Wichtige Vorsohule angehende Klavier-Virtuosen.
Nr.
2.
1.50
Vlole- Liszt. 35 ausgewahlte Etiiden. Neu bearbeitet von
Situations.
„
.
Klavierstiicke.
leichte Spezial-Etuden fiir das geteilte Passagenspiel auf dem
Nr.
-
33. Drei
Thullle, Ludwig. Op.
....
—
Nr. 4. Impromptu Nr.5. Nocturne. Nr. 6. Appassionato Op. 50. Nr. 3. Barcarolle
Vorfriihling
7.
2.
III.
Reigen
Op.
.
1.50
1.
C. Op. 6. Les 3.- Rflbner, 8 petits morceaux
.
I.-
Preghiera.
2.
.
.
.
sehen von R. Teichmiiller. Heft I. Romanze in Es-dur. Scherzo 2.Heft II. Preghiera. Impromptu 1.50 Heft III.Nocturne.Appassionato 2.50 1.50 Nr. 1. Romanze in Es-dur einzein 1.50 •— Op. 50. Nr. 3. Barcarolle in 1.50 g-moll Neue Ausgabe mit Fingersatz usw. versehen von R Teich2.— miiller. (Eingefiihrt am Konservatorium zu Leipzig) 1.50
—
Romanze. Scherzo
Nr.3.
II.
Heft
Melodies.
3.
I.
2.
„
.
.
Romanze Es-dur
Pianoforte
—
.
Daraus einzein:
Rubinstein, Anton. Op. 3. Deux
1.50
.
Stiicke.
Nr.
Neue revidierte Ausgabe von Rob. Teichmiiller Op. 44. Soirees a St. PetersSechs Stiicke. Neue bourg. Ausgabe niit Fingersatz usw. ver-
.
Deux Melodies.
3.
Op. Op. Heft
6S.
.
1.50 1.50 1.50
(Eingefiihrt am zu Leipzig.)
15
Op.
.
...
am Konservatoriiim
fOr
Scherzo
Riemann, Hugo.
1.50
Die Legende von der heiligen Elisabeth. Oratorium. Daraus einzein:
1.
.
—
.
.
Scherzo Es-dur
Rubinstein.
CracoPolnische Lieder und
fiir
Walzer Es-dur Walzer g-moll
-.80 Telchmflller, Robert. Neue 1.50 revidierte Ausgahen von Anton
2.
Harmonielehre fiir KoiiserMusikschulen und vatorien, Lehrerbildungs-Anstalten. Heft I, II, 111 a netto
:
—
2.
.
.
Einzug in Jerusalem. Bearbeitet von August Stradal Das Wunder. Bearbeitet von
1.50
MSIIer-
.
.
Reger, Max. Perpetuum mobile
Ll8zt,Franz. Christus.Oratorium. Daraus einzein
August Stradal
fiber
Eriauterader Teil, netto Praktischer Teil mit 17 netto Ftuden-Beilagen 1
.
Rosenwunder.
Reater.
Nr.
.
Karl. Aufgabenbuch —.80 Pleper, 1.50
....
Klavier-
Etfiden, verfaBt von Th.
4.
Tanze
fur
Genrestiicke
—
Motive aus „Der Barbier von Bagdad" von Peter Cornelius 1.50 Chopin, Pr. Technische Studien (Vorubungen) zu den KlavierEtuden, verfaBt von Carl Pleper. 2 Hehe a 2.ComelliM, Peter. Der Barbier von Bagdad. Komische Oper. Ouverture von H. Behn. 1.Cramer, J. B. Beltrife zum .
Traumerei Dryadentanz
.
die
1.— I.— Kwast, James. Op. II. Capricclo Op. 12. 2 me. Gavotte 1.20
1.50
Fantasie
Spiel der
3.
.
Taubert, Ernst Eduard. Op. 56.
.
:
Sylphen u. Onomen u. Sylphentanz aus „FaustsV'erdammung". Bearbeitet von August Stradal Die Hollenfahrf aus ..Fausts Verdammung". Bearbeitet von
2.
.
Heftl.Waldvogelein. FriihlingsJoachim. Die Miihie, fiir lied. Bachlein im Tale .1.50 Raff, Pianoferte aus dem StreichHeft II. Freudvoll und leidvoll. quartett „Die schone Miillerin" Air Suisse 1.30
,
1.
„
„ „
Heft
Sonaten herausgegeben von 1.— Walter Niemann Bergcr, Wilhelm. Op. 89. Vier Krebs, Job. Ludwig. QroBe Fugen, koniplett Fantasie und Fuge in Q-dur fur Einzein: Bearbeitet von August Orgel. Nr.
19. fiir
vlennes.
Nstur- und Stimmungsbllder.
2.-
Op.
Noskovk-ski, Sieg. Op.
1.—
Tyrolienne
140.
1.50 1.20
A.
E.
Vier Stucke Wald-ldyllen. Pianoforte, komplett Nr. 1. Waldesstille
Zwei
139.
Klavier
1.50
Strmtel
.
Klrchner, Fr.
Praludium und Fuge, G-dur, fur Bearbeitet von Ai|Mt Oirgel.
fur
1.50
Kaun, Hugo. Op.
Allein Oott in
sei Ehr".
MacDowell,
Op.
Klavier
Gade, Niels W.
X Ach bleib' bei uns, Herrjesu Christ.
Flelitz,
18.
Souvenir d'une Valse pour le Piano 2.— Op. 27. 3. Polonaise. A-dur 2.—
Wilm, Nlcolal von. Kleine Suite (G-dur.
Op. 207. Nr. 5)
.
2.—
r
=
NATURAL PIANO-TECHNIC vol. II
^=
SCHOOL OF WEIGHT-TOUCH A
practical
preliminary School
by
of
Technic teaching the natural manner of playing weight of the arm
utilizing the
Preliminary to Intermediate
Grade
by
RUDOLF
BREITHAUPT
M.
With numerous photographic
illustrations,
drawings and musical examples
ENGLISH TRANSLATION BY JOHN BERNHOFF
ORIGINAL EDITION
IN
GERMAN
R.
Die naturliche Klaviertechnik
*
translated by
f^^Sl
M. BREITHAUPT
Band
EDITION IN FRENCH /^IP^^^lV
by
E.
Technique naturelle du Piano
vUl^J \ÂąS3^
11
vol. II
La technique de
Schule des Gewichtspiels All rights reserved Property of the publisher for
all
countries
Presented to the
PUBLISHED BY
UBRARYqftte uNivERSFTY OF TORONTO from the
ARTHUR PLETTNER ISA
McILWRAFTH
COLLECTION
C. F.
CLOSSON
KAHNT NACHFOLGER, Copyright 1909 by C.
F.
LEIPZIG
Kahnt Nachfolger, Leipzig
la
pesanteur
References,
notes, etc.
to the
new
facts treated
are not allowed in instruction-books, methods
by
special
in
this
"School"
and hand-books, except
permission of the author and publisher.
Rudolf M. Breithaupt.
C. F.
Kahnt Nachfolger.
CONTENTS. PART
I.
THE ELEMENTARY FORMS OF WEIGHT-TECHNIC. CHAPTER
I:
EXTERNAL CONDITIONS. 1.
2.
3.
CHAPTER
II:
2. III:
ARM.
Releasing the Weight
16
THE LONGITUDINAL LATION OF THE ARM. ACTION
I.
TRANSFERENCE
1.
The supported swing
2.
Lateral transference (shifting).
High 1.
OSCIL-
OF
Deep
fail
I.
CHAPTER
VI:
20
EXTENSION OF FORE-ARM.
Participation of the Fore-arm
Alternate rise
and
fall
—
The
4.
Extended Scales (Passage-work and Ar-
42
Scale
46
ROTARY MOTION OF FORE-ARM AND UPPER-ARM COMBINED
47
COMBINATION OF THE WEIGHTS (TONE TO TONE). LEGATO
49
THE NATURAL REBOUND OF THE WEIGHT (ARM OR HAND). STACCATO
52
B.
and
25
...... ACTION III. ROLLING OF FORE-ARM. LATERAL ROLLING OF THE WEIGHT. 2.
3.
.... 37
19
fall II.
Preliminary Studies Exercises preparatory to the Scale
peggi)
THE
arm
of the
36
2.
1.
13
CHAPTER IV: ACTION
V:
8
p»«* Combined rotary motions. A. ROTARY MOTION OF FORE-ARM COMBINED WITH EXTENSION OF FORE-
1 1
Testing the Weight, weight-bearing
LATERAL WEIGHT.
CHAPTER
II.
7
TRANSMISSION OF THE WEIGHT. 1.
CHAPTER
P^g^
The seat The hand-bridge The weight of the arm
vibrato
CHAPTER
VII:
.
28
CHAPTERVIII: ACTION IV. FREE OSCILLATION FINGERS.
Absolute rolling motion.
Finger-action with weight
54 55
III.
Various methods of weighting
56
III.
Touch
67
IV.
Rhythm
I.
ROTATION OF THE CUBITAL (ELBOW) JOINT
II.
31
PART
OF THE
Finger-oscillation
11.
FORMS APPLIED. CHAPTER
IX:
PLAYING WITH BOTH HANDS SIMULTANEOUSLY: POLYPHONIC AND FIGURAL PLAYING. I.
II.
III.
The "independence" of the hands Melody (Cantilena) with accompaniment. Sustaining the tones, leaving the keys
IV. Figurai
CHAPTER
X:
DYNAMICS.
RHYTHM.
57
CHAPTER
XI:
HOW TO
PRACTISE.
58
1.
Object and
down 60
2.
Impediments and
63
3.
Various kinds of exercises
92
Technic
AESTHETICS. FINGERING.
87
89
V. Fingering
.
TOUCH.
I.
Dynamics
65
II.
Aesthetics
66
art in
91
practising
how
to
overcome them
.
91
4.
Daily Exercises
5.
How
to breathe correctly
94 97
6.
Fundamental works for studies
98
CHAPTERXII: CONCLUSION
99
TECHNICAL TERMS Terms and names
to convey the ideas of weight-technic, translated from the
German
by
JOHN BERNHOFF. transmission
Ubertragung
lateral transference,
Fortruckung
des Gewichtes
shifting
Ruckwurf
rebound
Fortrollung
lateral
Bindung der Gewichte
combination of weights
Fingerschwung
oscillation of the fingers
rolling
playing
figural
Figuriiches Spiel - Langsschwingung des Armes Grundfoimen des Gewichtsspieles
of the weight
arm
-
longitudinal oscillation of the
-
elementary forms of weight-technic
stumme Ubungen
silent exercises
Nullbelastung
discharged weight or zero-weight
Mittelstellung
intermediate position,
flachgestreckt
flat-straightened
Spielbelastung
playing-weight
medium pose
pose curved fingers
parallele Handstellung
parallel -
-
eingezogene (gestreckte) Gelenke-
-
gebeugte, gekrummte Finger-
-
depressed, sunk (stretched) joints
Kn6chel-(Haupt-)Gelenke
knuckle-joints
Handbook Rundform (Hohlmuschel) der Hand)
handbridge, arch-set hand
Hohl-{Schirm-)Hand
hollowed palm, umbrella hand
1
Boden der Taste
bed of the key
Beugung der Hand
flexion of the
Buckel
humps
Innendrehung
inward position: pronation outward position: supination
AuBendrehung Gespannter Buchsenhahn tiefgestellte
cocked-gun pose
low
Hand
hand (hand sunk, with depressed
curve of the extended finger
gebeugt-gestreckter Finger
vom geschwungener
set
relaxation
Ausi5sung nach
hand
Finger
-
finger
hand
Kugelhand
thrown forwards if closing on a
as
ball
(ball-hand)
to steady
festigen
thumb pose
Daumenstand den Akkord greifen
erect
Aufhebung des Gewichts der Stutzschwung des Armes
releasing the weight
to grasp (sound) a
-
-
-
the supported
chord
swing of the arm
wrist,
below the key-board)
Immediate causes are tangible, and, therefore, most easy of hence we are apt to confound the sublime with
PREFACE. In
made
publishing this volume, the
in
first
volume of
I
am
fulfilling a
merely
my work
promise
entitled: "Natural Piano-
Technic".
Myself an opponent of all so-called "methods", undertook the present work very unwillingly, knowing from
I
how
difficult
to formulate these appar-
experience ently simple fundamental principles of technic without the aid of practical demonstrations. Besides, am 1 not adding one more to the already stupendous number of Methods? The Fundamental Principles of weight-produced touch having, however, been practical
laid
down
theoretically,
those
develop
it
wish
Also, yielding
its
in
order to render the ideas clear to
universal,
I
to
the
repeatedly
have the substance of my work divested encumbrance and reduced to its simplest form, to
of
scientific
is
became more and more necessary to in a gradual manner from practical
principles experience for practical use.
expressed
it
have
now condensed
volume, which contains all the elementary development
and the "neiv theories"
work
to
the
present
and important a natural manner of playing.
that
of
all,
the
is
essential
for
The present volume, entitled: "School of Weight-Touch" \s intended and must be treated, as a practical supplement to my theoretical work, its object being to serve in public and private instruction as a sort of preliminary School of Technic for the intermediate grade. Any of the existing good Schools may be used in their part for the elementary grades, the easier works of Bach being selected for the intermediate grades. With such a foundation laid, one may go on building up the structure. would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by "psycho-physiology". Our aim is to do away with wrong ideas and to trace back to their real and natural sources the action of our playing members and the effect produced by them. What we purpose to teach is in itself nothing new: we would disencumber the body and thus assist the playing-members in their action, and teach them to play. Our young musicians shall no longer be tormented unnecessarily with five-finger-exercises, their little hands lamed, stiffened and ruined by performing impossible stretches and exaggerated extensions. Moreover, we must not forget that "technic" is not all that practical
I
required, but that now-a-days, as ever, the chief condition Where that is wanting, still remains, viz. natural musical talent.
is
i.
e.
where nature has denied the rudiments Berlin.
of physical dexterity
comprehension tlie
;
mechanical.
(Goethe.
and musical comprehension, it is hopeless to look for success. Let us be candid and confess that all we can do is to train and educate carefully such natural talent as the pupil is gifted with.
Our
task, in short,
and
way,
is
to foster the
mind and body by
to cultivate
germs implanted by means and in a
natural
nature,
natural
thus
assist in developing the personality (soul, general education, habits of life, all that goes a human being), in the manner and towards
spirit, intellect,
make up
to
the
destined
goal
the
natural
pupil's
extremely
simple,
and
will
the
found
free
the
adaptation of solution so
so
yet
mastery over,
involving
We
In
be
nature.
by
abilities
and
complicated, of all problems success in, any branch of art.
carefully watching and tending the them day by day, and pruning where it We may prepare the soil, delve and weed, but we is needed. must trust to nature to furnish the sap, draw forth the bud, and Cultivation can do a great deal, but ripen the swelling fruit.
young
it
the
are
gardeners,
plants, watering
cannot
replace
nature.
The genius
Talent
is
innate,
not the
result
of
born, not made. As regards the technical terms and the names adopted to convey certain ideas, they are either borrowed from the latest investigations of our subject or are dictated by practical experience. education.
Wherever
was
F.
â&#x20AC;&#x201D;
and
order to secure greater scientific terminology has been correctly applied A. Steinhausen: Physiological Defects and Reform of
it
â&#x20AC;&#x201D; the uniformity (See Dr.
is
possible,
in
Piano-Technic, Leipzig 1905, Breitkopf & Hartel). strange and even objectionable the new vocabulary
However
may
at first
appear to the teacher, the new words will, I am convinced, very soon convey to the mind the sense intended, provided, of course, the reader
is
not bent upon maintaining an erroneous conception
of finger-technic, and confounding cause and effect, but is prepared to think for himself and reject antiquated notions and traditions. this "School of Technic" assist in shortening the mechanical with the art of piano-playing, and thus enable connected part us to devote our efforts to the culture of the soul and to enter
May
into the spirit of the compositions. 1
my
cannot conclude without expressing my gratitude towards friend and counsellor Dr. Paul Kraemer, for kindly
faithful
reading and correcting the work from the medical man's special point of view, and to the publishers C. F. Kahnt Nachfolger, Leipzig, for
all
the trouble they have taken
in
bringing
it
Rudolf M. Breithaupt.
out.
fig.
fig
la.
la.
Ideal type of a piano-hand of a little girl aged six, set in a gently rounded natural
fig.
The
pose, showing thick regular fingers with powerful knuckle-joints, the rounded knuckles pro-
massive wrist
Copyright 1909 by C. F. Kahnt Nachfolger, Leipzig.
hand,
lb.
hanging
in
a
natura
intermediate pose, the pendent fingers slightly curved.
truding naturally. Thumb and back of hand are broad, the short fore -arm terminating in a
same
fig.
lb.
PART
I.
THE ELEMENTARY FORMS OF WEIQHT-TECHNIC CHAPTER
I.
EXTERNAL CONDITIONS. I.
Silent'
exercises
The
seat.
upon the individual. and proportions of
The height
of the seat
depends
in
general
determined solely by the general size the physique, more especially by those of the upper body and the lower extremities. With regard to the It
is
fig.
The hand straightened out
The low
seat is indispensable only at the outset, i. e. as long ^d, a question of making the joints supple, of maintaining '"'^ relaxation of the muscles of the arm, of accustoming the arm
as
it
itself
is
to
scat
retain a position of passive
Ic.
flat in
fig.
natural intermediate pose
suspension and
Id.
Hand-bridge with protruding knuckle-joints (hollowed palm or umbrella-hand
â&#x20AC;&#x201D;
(discharged weight).
The
assume and
discharged weight.
fundamental principles of general technic, i. e. to the natural functions of all the muscles pertaining to the parts employed in pro-
of developing the shoulder- muscles. Later on, when all these desired conditions have been acquired, the height of the seat
ducing the tone, and to the relaxing of the muscles of the arm, the low seat is the one to be preferred in the beginning, as permitting of the wrist and elbow being held somewhat lower than
be dictated by the general physical proportions of the indiYet the low seat is to be recommended for those with vidual. large bodies and long arms, in order to accustom the arm to a
the level of the key-board.
passive
^
i.
e.
away from
the piano, or without sQundin|( the keys.
(Tr, n.)
will
pose of rest, i. e. to hang free from the shoulder; whereas for the short-bodied with short, thick-set arms, the 2
8 '«»
All depends upon the "perception of seat is preferable. the weight-transmission". Naturally, the greater the energy disthe more the body will straighten itself out. The played,
high
climax will be attained by direct transmission of shoulder-power, i. e by employing the key-board as a support for the arm fully extended, (p. 33, fig. F.) Sit in such manner that in grasping a chord with both hands '
arm: a firm, steady hattd-briage, on which the arm rests
I
more upon the thighs than upon the posteriors, the feet resting The muscles of the lower body and of firmly on the floor.
of the arm.
fig.
middle-fingers
by
We The
flexion, is
—
abdomen must be
relaxed,
in figs.
fingers
must
either
and
the
b, c.
I
or
d)
Fingers
II a.
pose (old school) with curved fingers and depressed knuckle-joints Kohler's "school"-hand cf. also Riemann, Deppe, Jaell and others ;
body
itself
to
free
—
The
umbreu«-hand
Parallel
playing-weight).
perform any movement.
II
be straightened out "^(fig.
fig.
and supported by, the
Experiment
thus obtain the arch-set metacarpus carrying the weight
(to
the
shown
le.
weigtit (the weight transmitted to,
H»nd-bridge
i.
a ball,
tlie
the
I
simultaneously, the key-board shall be so far below you, as to Sit Bend the body somewhat forward. afford a purchase.
Transmission of
like
on its arches and pillars. arm and hand relaxed, flat upon a table Explanation: Lay Then slide back with the fingers (i. e. draw them in a c). (fig. little), raising and hollowing the palm of the hand somewhat, thus obtaining a hollowed palm, the umbrella-hand (fig. d). The e. the form, it would assume in clutching "ball-shaped" hand,
superstructure of a bridge
to sit opposgeneral rules in the elementary stage ite the centre of the instrument, at arm's length from the wooden frame of the key-board, etc., remain the same.
—
be used only to get the
slightly curved, the knuckle-joints
effect of the "jeu perle").
protruding and forming
humps
Thus posed, the fingers become "stilts", "props" supporting the weight borne by the palm of the hand, arched to form a bridge. This
is
the
first
and most important
part devolving
upon
fingers.
The hand-arch must, of course, not be considered rigid hand-pose or one assumed for practising-purposes n. The arch-set hand (hand-bridge). There is no hard and fast rule to determine one special way of holding the arms, hands and fingers to suit all cases and answer ail purposes. All so-called normal positions are to be rejected. In the beginning one thing is required for weight-technic, e. for the transmission, supp>ort, and balance of the weight of the i.
the
as
a
only.
merely intended to assist in developing an energetically rounded form of the hand supported on firmly set fingers It
is
Later on, the technical difficulties having been hand mastered, the may do as it likes, provided the supports are strong enough and the tone be located in the bones For // is the hand that must suit itself to the (the knuckles).
and knuckles.
the
hanu
Theoretical figures
fig.
Rounded hand
as
if
Hb.
closing on a ball (ball-hand).
fig.
Ilia.
Over-tension of the fingers with stiffened knuckle-joints and wrist as taught by the old schools and methods: wrong.
fig.
lie.
Hollowed palm, by outward rotation (Supination).
fig.
Illb.
"Cocked-gun" pose with absolutely
stiffened knuckle-joint:
wrong. 2*
10 It musical or technical forms, not vice versa. adapts itself to the instrument, assuming such postures and forms as correspond
1.
its
its
build
and
its
for
shape and |x>se being modified or determined by the same,
fig.
i.
e.
The
there are as
many
play of
hands
the
many
of
In
besides,
the
bending-in
.
,
O
would
the
t
!•
and steady each joint, more especially the primary joints, and in such manner, that the fingers shall always be slightly curved and in such curved, contracted pose, each finger shall practise separately on single notes: exercises must
etc.
9.
fingers
When dealing with weak, too loosely jointed hands 1*11, i". With lobulated fmgers and unsteady jomts, preparatory •
the hand-arch as there are physical
.
the
Hid.
be practised,
1.
.
of
destroy the bridge and hand-arch, and thus, from outset, render transmission of weight impossible.
so ix>sing and shaping the hand, care must be taken:
9)
giurd
Natural curve of the extended fingers lightly thrown forward, the wrist being held high or low: good pose.
wrong.
peculiarities in the build of each indiindual hand,
to
against:
longer need such exaggerated tension of the
fig.
hand-poses as there are technical forms. is a constant interchange of contraction
modifications
we no
lllc.
and extension, of rise and fall, of tilting, twisting, turning (inward and outward flexions) and rolling, gliding motions in both directions (in and out) of parallel figures (similar and dissimilar), converging and diverging (of both hands), etc. So that there are as
What
Ilia).
fingers;
Finger raised, old method, with low-set hand and stiffened wrist: radically
in
Over-tension, i. e. the much praised "Jtdl-cock" of the fingers (fig. Ill b and c) is absolutely wrong, when setting viewed from the stand-point of free weight-produced touch, (fig.
own peculiar (anatomic) structure and proand as a natural consequence, the arched Similarly, portions. to the musical and instrumental forms: hand adapts itself both to
That the knuckle-joints of the fingers do not bend
Q
O
1111 «
8
n
3
«
3
o
3
to
strengthen
Preliminary exercises for
awkward '""^^
11
Hold the hand somewhat low and shape form, as
Qawbtg-hand
arm
it
to
fail
with the
exercise
this
daily,
if
possible,
until
the
end
is gained, i. e. until the joints have become firmer, stronger and the fingers "acting as props" will "stand" and "support" the weight of hand and arm. 5th
2.
fingers
The
25^
which
natural to
hand
mental positions and poses; held thus,
tips.^
Practise
and and
it, without exerting any pressure, while avoiding tension or spasmodic stiffness. any The arch-set hand constitutes the typical form for all funda- The
it so as to were, a claw (fig. iV); the full weight of the upon the firmly rounded fingers, grasping
—
and 5*
the
fingers particularly the internal and external
constitute
fig,
"weight-technic". This pose of the
carpus
so that line,
I
d and
figs.
of
massive weight of the arm
i.
Fingers
aimed
at
arm, not by a tiring action or
strained
Leschetizky-Bree-Melasfeld-methods).
tension
of
the
fingers
(as
in
the
Va.
finger).
Transmission of weight
—
play-
"in erection".
(shoulder, upper- and fore-arm, hand, fingers), constitutes the fundamental elements of piano-technic. The essential condition its
is
employment
—
of energy needed
a clear conception of the various degrees the mental control of the heavy, loose,
freely oscillating arm, or realisation of weight. In order to perceive this and put it to practical use, so that E^pei shall all
'
object
^'",.'
as to quantity and
each individual), when combined with the elastic muscular tension of the whole physical apparatus set in motion
with The
"i^A
differs
quality with
it
This exercise serves merely as a means towards an end, and should of the by no means lead to the conclusion that a clawing, scratching pose hand is what we are aiming at. The touch is produced by the fall of the
raised erect (on the
weighted hand
of
e. the and hand must retain a natural pose, normal in an unconstrained remain must hand always intermediate position (figs, la, b, and XII a), which is
at a natural
pose
(which
fig.
VI).
t
we
""^
points
Hand
o?
is required only to transmit the weight Later on, we shall recognize only one
IV.
d and
our
form: the absolutely relaxed, supple hand with loosened joints. III. The weight of the arm. The full utilization of the
all
Ill
all
of
the principal joints shall describe an back of the hand slightly curving the
fingers,
the basis of
roots
determining and in limiting the arch of the metamust be raised to the height of the middle-
arched (fig.
Aim
in
—
is
hand
and support the arm.
Low-set hand with the fingers strongly curved inwards in order to steady the first twojoints (and tip). The thumb rests upon the edge of the key-board
support
it
(fig.
I
c),
and "lodged" in the finger-tips, lay the arm, muscles relaxed, at full length and flat upon a table arch the hand to form the bridge (fig. d), and, raising
be
"felt"
its
I
the
upper-
and
to
the
and
fore-arm,
firmly
hanging loose and
transfer
the
weight
to
the
Arm-. t^ger
hand
The arm, fingers (figs. I e and Va). ^^ ^^ inactive in the shoulder-joint, is "supported" suppc set
relaxs
12
by the hand or by the fingers (passive bearing, in contrast to arm by the shoulder-muscles light arm). it fall a let arm the After supporting while, again on to the
table
(fig.
I
c).
Repeat
in the finger-tips, is
awakened. with
i.
e.
may
It
this
movement,
until the
realised
the actual consciousness of weight be useful to make the pupil practise this until
closed, as
his
weight
is
in free action, the slightest
the withdrawal and holding back of the fore-arm. In all these' preliminary studies we must distinguish (with
Steinhausen) between:
The hand weighted
1.
the
to
of
arm
to perform a
pendulous
The
relaxing of the muscles naturally corresponds to an immediate release of pressure on the key (by weighting the shoulder).
swiaf
rope
The arm thus set swinging in its three principal joints (shoulder, elbow and wrist), may very appropiately be compared to a rop>e, the transmission of its movements producing a succession of continuous undulations
fig.
(fig.
A).
!"lgh"«hnic
e.
the greatest
keys. the weight
"for playing", i. e. the weight of the relaxed arm, or the normal pressure of the bulk of the arm suspended passively or reposing with its full weight,
weight upon the
suspension of the relaxed arm constitute the most elementary forms of releasing the
weight.
Thethreechief
i.
The arm weighted
3.
motion, yielding to the tilting action its
full
borne by the muscles of the shoulder (active carriage) up in the air, a form of muscular action which takes place even during the shortest pause or rest in playing.
of the hand having been sufficiently with balancing-exercises, causing the whole up
of the wrist, up and down and supporting This movement and the arch- set hand.
pressure together with
Suspension or removal of resulting from the withdrawal of the point of support of the arm, as when the arm is raised from off the table and held,
2.
The supporting-posture it
amount
muscular power and the
to the utmost,
whole weight bearing on the
place of the fable, ordinary weighing scales may be used, in order to determine the weight, and at the same time demonstrate oculariy the amount of pressure exerted, which must be uniform. practised, follow
enable us at once to detect the least impediment spasmodic retention or contraction, i. e.
will
experiment
consequent owing eyes concentration of mind and will-power, due to non-diverted attention, the feeling becomes intensified, while intermediary senses In (sense of muscular power, pressure and pose) are quickened. exercise
mU •
—
active bearing of the
all
its
muscles completely relaxed. is from three to six pounds or more. The
The gross weight
weight of the relaxed arm (i. e. of the two to three pounds (1200 is from
arm weighted for playing) 1500 grammes', that o^
—
the hand in repose about V? a pound (250 grammes). The weight in /- or //-style (leggiero, leggierissimo, jeu perie) only about 5 to 8 ounces, i. e. the weight of the lightest hand.
we
have only to deal with the arm weighted for playing; since the hand weighted to the utmost has nothing in common with the crudest form of touch
For practical purposes,
—
—
All of artistic playing. dynamic gradations of the intermediate of for technic, are between the touch, stages suspended weight and that of the arm weighted for playing.
the
A.
technic
The
other degrees of attack are effected by the velocity, by the sweep of the arm and by special tensions of the muscles of the shoulder and back (See Breithaupt, Natural Piano-
backward Exercise: Take the pupil by the hand as hearty "good day", and shake his arm held at interaction
of
the
three
between elbow and wrist
principal will
joints,
be realised
if
more at
bidding him a
full
length.
especially
once.
The
Technic.
Vol.
1.
2"^ edition.
C.
F.
Kahnt Nachfolger,
that
The same
•
1
Kilogramm (1000 grammes): 2.204 pounds.
Leipzig.).
The forms ""*'"
ot
13
CHAPTER
n.
TRANSMISSION OF THE WEIGHT. ExercisM limited
sutiol^n'T™ °"
f^ge^""" Transmission of
Having goHC through these preliminary, but indispensable exercises, wiiich, owing to the discordant effect they produce "P°" ^^^ ^^^' ^^^ b^iier be performed inaudibly, we proceed to study
at thc
piano
i.
e.
This
weight
From
no conscious muscular contraction
in
any way
affect orrreeiosci
disturb the relaxed state of the arm.
with
itself.
that
is
^J^^°"^^
most important,
children)
certain
for at first with every pupil involuntary, spasmodic reactions
(even
and a
silent
exercises to exercises at
the instrument
fig.
Hand
I.
The
Experiment
teacher should hold the pupil's right arm, lay open hand (I. h.), raise the
In
exercise
Weight without pressure
let
VI.
Modern construction with protruding "knuckle" (radical knuckle-joint) to bear the weight of hand and arm firmly.
set to take thirds.
to act as a "support".
resistance will be noticed, it
upon
to
it
pressure whatever, upon the support afforded by the teacher's hand. 2. That it hang loose from the shoulder and oscillate freely.
which
it
will
take time
and patience
overcome.
The relaxed state of the arm, as we notice in the case of when asleep, or as we may experience ourselves, if we
pupil's
suddenly drop back again on to the pupil's knee. the arm, be careful: raising 1. That the arm rest with its full weight, yet without active
arm and chief features of the
fig.
The 5* finger ready
Testing the weight, weight -bearing.
his (the teacher's) extended
Three
Vb.
a child let its
our arm hang loose over the back of a chair, constitutes in unconscious, practical application (true technic is free from
apparent
The
first
the starting point of
all
ulterior
development. attempts at free suspension and loose dangling of
effort)
14 the arm,
by a
while relaxing the shoulder-muscles
slight contraction
in
will
be attended
the back and a natural tiring of the
and will disappear shoulder; both are, however, perfectly harmless
symptoms
are,
of course,
felt
in
the shoulder.
They
will
not
in the course of practice. long, however, but disappear wherever spasmodic tension in shoulder and They are felt most, the reformatory process of training the muscles elbow last
impedes
in time.
Muscular reaction, contraction, signs of fatigue, of "aching" of exhaustion are shoulders, that feeling of being "done up", natural the safest criterion for the teacher, as they prove the actions and movements the that and muscles reaction of the performed are those required.
Intelligent
teachers,
possessing
fig.
Modem
erect
to
assume 3.
a state of natural relaxation.
That the three chief joints of the arm act and react ^^'^^t"""
e. that neither the shoulderone upon the other, the continually to groiv stiff, owing to joint, which is apt the nor the elbow, wrist-joints repeated grasping-action, nor i.
naturally
Vila.
thumb-pose (hand
set to take sixths).
^l*""
some knowledge of physiology will easily detect all this by pressing upon the muscles in question. The absence of these symptoms is positive evidence of detrimental counteractions or impediments and proves that the movement, the action is wrong. The reason for this phenomenon will be found in the simple contrast between:
suspending and relaxing, and and hands, viz. in carrying, arms our life those performed in daily by actions which holding, seizing or grasping. The former constitute The object pursued the muscles are but little accustomed to. and practice. a different exacts the schooling piano-student by
actions required in piano-playing,
Now,
as in
position,
the
training
those
shoulder has
viz.
assume a suspended whole bear the arm, the first
members to
to
show any
signs of rigidness or inflexibility
through muscular
tension.
which must be repeated at arm of the pupil (supported the key-board, and set it upon the
After thus testing the weight, each lesson, bear the full-weighted
on the
teacher's
hand) to
a black key (C"#ÂŤ, middle-finger placed perpendicular upon or AV) (fig. Va). his If the arm "holds" at all, the teacher may withdraw
^b*
own
arm to its own weight supporting hand, and leave the pupil's to In order prevent the arm from suddenly (natural balance). the key-board, set the hand firmly, dropping below the level of raising the wrist rather high
(fig.
Vb).
Test the weight
The arm mus "hold"
15
Continue
"P°" *he
5^ingrrs''*''^'"'y 5th finger
4th
2"d,
and
bringing the weight to "bear" simiThe last-named finger fingers.
5'"!
weak- (fig. it
VI) requircs particular attention, as in most cases, the support affords will prove too weak, and for months it will bend in
and give s"reI4hen5th
at
the joints, under the
arm weighted
for playing.
with the
first joints bent in, as the case required and as the execution suited the fingers. The formation of a firm, rounded ,. c finger-tip, for the highest concentration of dynamic power and .
development of energy, preferable (figs,
advisablc so to develop the knuckle-joint of the little even at this finger elementary stage, that on attaining the inter'^
finge?
this exercise,
'^
lla,
b,
is,
nevertheless, to be
Vllb and IX a).
But
°"=^*'°p
=
rounded
f
tip
recommended as
after all is said
and
we must
take into consideration the general physique, disand habits of the pupil. position
done,
Theoretical figures
fig.
Thumb Used
"crooked"
(in
for chords, octaves,
Vllb.
grasping pose
—
fig.
over-tension of the thumb).
also in polyphonic playing
and
in
legato rolling.
VII c.
Hand of a girl-pupil showing a weak middle thumb-joint preventing the thumb from forming a firm arch -pose; the thumb wobbling to and fro and giving way through articulary weakness.
mediate grade, the "building up" of that finger may be completed and the joint properly "curved", ready for its new work. The
exercise will assist in training the 5^ finger to act as a support (fig. VI): Let the hand fall upon the thumb
no absolutely objectionable feature, Liszt and Chopin sufficiently firm. or less flat touch and a more with almost constantly played
(as a prop), allow the
bending-in of the
first joint is
provided the middle-joint
'
The thumb
is
the
is
first finger.
(Tr. n.)
The following
posture),
raise
the
arm to hang in the yielding wrist (in low hand from below into a set posture, the
of the S"" finger serving as Continue this shifting from the thumb to
knuckle-joint
gressing thus
in
a
base of support.
the S"" finger, proThis exercise
broken sixths or broken octaves.
3
Experim.
16
be practised on a table, care being taken to straighten the whole finger, else it is apt to give at the
may
easily
out,
not curve,
knuckle-joint Fingers with too tender nail-joints or middle-joints must, of course, be trained and strengthened, but not before the
and contraction have been
preliminary exercises in flexion died, (figs. IV
and IX a).
Firm finger-joints are indispensable
higher technic; without them
it
massive power of tone required
The thumb
I
stu-
is
in
impossible
to
produce
in
the
martellato.
also calls for attention, as
its
radical joint,
mostly
and
stiff
clumsy, requires preparatory training (cf. fig. Vila). Relaxation and agility of its radical joint, as also its erect pose, are of great importance in forming and training the whole hand.
thumb (fig. Vile) is mostly due to inof the hand, a disadvantage under which power most pupils labour, more especially the young ones whose hands have been strained by prematurely stretching octaves. ConsiThe
flexion of the
sufficient tension
dering how prevalent this articular weakness is, it is high time to introduce into all Institutions and Conservatories of Music the
instrument contrived
Professor Zabludowski
and
built
by by Menzel, which is furnished with two adjustable key-boards, a normal one and a small-sized one with the keys closer together. The general adoption of three-quarter, and half- sized violins pleads in favour of the introduction of small -sized key -boards. Besides, the articular weakness may be overcome by firmly
thumb down (fig. Vila) and by curving the two first joints (see the crooked thumb fig. VII b). Too much time must not, however, be given to these matters. They will gradually come about of themselves, so that the pupil setting the
tbc
need not be taxed with them unnecessarily. Practice will equalise the dexterity of the fingers, and daily exercise in supportthe weighted arm will gradually strengthen the joints and render them fit to do their work with ease. The arch-set hand and its relaxation is the result of practice, of the adjustment
key-board, the teacher's hand supporting the arm, lift the arm up fairly high and then let it sink back again; the teacher should also frequently strike the pupil's arm If the limb is properly relaxed, i.
learn to
*^l^Z chiw point,,
the
viz.
to
o^ ^ar greater importance that the teacher should watch control the weighting (see p.l2), which must be done most '*
and
most elementary purpose of technic, support and relax the weight of the arm.'
habit to
'S
the beginning. The free "suspending" and "dangling" of the arm in the shoulder-joint, the equipoise of its own weight, the loosening of all the muscles, the easy relaxing carefully, especially in
of the articulary
mechanism
constitute the chief object of this
exercise, which, for the first year, will require constant supervision and correction. Thus, when the hand is set erect on the
•
Oewiditstragung:
literally
-
weight-bearing.
(Tr.
n)
'
pose
from underneath. the arm is heavy and
suddenly e.
if
limp, falling back naturally and at once, each time it is struck, steadily resting its weight upon whatever finger is at the time supporting it, we may rest assured that all is going on right and is as it should be. The arm must so abandon itself to its
own
weight that
the teacher to
shall
it
move
it
require
from
its
some
exertion
on the
part of
position.
As
the weight does not vary, and the muscular sense perceives and discerns the weighting by the resistance which the
muscles have to overcome at every movement, no difficulty will be found in testing and determining the. same. The constant ^JZ^'b^tZ will a become habit with the and what at the s^o""* "««"" zveighfitig pupil, had to in be taken with the mind and beginning practised, will gradually be performed unconsciously: the weighting- act will
become automatic. The best way
to
proceed
in
transmitting the weight
is:
to
arm limp upon the key-board, and, with closed eyes, transfer the weight from bedded key to bedded key zvithotit sounding them, the fingers weighing heavily and with their full breadth on the keys (somewhat after the gait of plantigrades). The sensation must recall that felt in walking over a moor, the set
the
ground giving at every step. The noiseless bedding of the keys and the careful shifting of the weight exact a concentration of mind, which in its turn facilitates and intensifies the realization of weight. The fingers must not be raised, they merely take turns in carrying and transmitting the weight, passing, as it were, the load from one high, curved knuckle to the other.
ing
by
"^^^ *«"* °'
II.
Releasing the weight.
—
This
weight -bearing act passive bearing process, is followed by the removal or relaxing of the weight active bearing process, effected
by
—
the pupil's suddenly lightening the
heavy (weighted), receding arm, and letting contact with the bedded key, rise with the
hangs
active in the shoulder-joint
and
is
it,
while
key.
in
absolute
of^we^ght ^J'^'',^
^„^
aud
n
test
The arm then
"borne" by
it,
so that
the sensation of weight is transferred to the shoulder. "Passive" must always be taken as meaning relaxation; for here, as everywhere else, muscular exertion is never entirely suspended. Exercise: Bring the weight of the arm to bear upon each of the fingers separately, including the thumb, firmly set on
the bedded key; then suddenly carry the weight by allowing the finger to rise with the key (the key bearing the finger up).
E='P«"n>"«:
,
17
heavy arm
light
arm
contraction or stiffness, every joint, muscle and sinew of the limb being relaxed. The arm should oscillate naturally in the
playing-weight
discharge of wfiight
passive bearing
active bearing.
Notice the perfect spring in the fetlock-joints which gives that elegant grace to the step of a thorough-bred horse, of a stag or a deer. wrist-joint.
I
This exercise: /a// of the weight key,
must be
— relaxation — rising with the
repeated, until the alternate charging and discharging
fig.
The
should also study playing various forms of acand companiment chords, at first without sounding them. Then, them he should practise all the exercises with sounding pupil
—
—
VIII.
Relaxed, limp hand, resting on the bedded keys, with perfectly loose wrist and suspended arm (state of relaxation).
of the arm, can be performed perfectly and with ease, e. without any contraction or muscular resistance, at a moment's notice. Having succeeded in this, leave the (finger) hand on the and let the descent be key folloived by instant relaxation. The best to do this is to relax the arch-set hand and slacken all way its muscles: the hand, becoming soft and pliable, rests with only as much pressure on the key as is required to keep it down and sustain the tone (fig. VIII). Preliminary exercise: Place the hand upon any interval of a sixth or octave, without sounding it, arm and hand relaxed, oscillating, in natural rise and fall (flexion tension), up and down, the fingers bedding the keys without further pressure. Every movement must be supple, perfectly free from muscular i.
Silent
mercwe
—
both hands,
in
similar
and
in alternating action:
hand .... high hand deep
right left
— deep — high or vice versa.
It
will
be found excellent practice to allow the "descent" to
terminate in a gliding motion, i. e. to make the finger in action glide to and fro upon the bed of the key, the hand lightly resting in the wrist-joint, the to the movement.
arm giving
softly
and with suppleness
This loosening or relaxing of the limb constitutes the most important feature
in
the
whole
technic.
divers problems relating to technic
is
cudir
The
solution
essentially of
an
of
the
intellectual
^''''""
most
1
feature
18 consisting, as it does, in the faculty of producing an arm relaxed in its joints, on the mental impulse, at any time, anywhere, and utilizing it, without expending other muscular [)Ower than that normally required for the oscillating
In
nature,
cular action
and muscular
Dynamic
relaxation,
Jorms
the secret
of
dynamic must be careful to use the broad fleshy part of the fingertip, which should adhere to the key, as it were, by suction power, until every dynamic degree of percussion enters into the sense of touch.
The
sJ^ k
the culture and refinement of the muscular or
value of the single tone, to render the feeling in the finger-tips more acute, and refine the sense of touch, i. e. the harmonic
jCf"
iXE
J"
connection between brain and tone.
XE rnf
XE
XC
XE
XE
mp
P
PP
PPP
deer esc. The same
in
notes of less value:
s
y
jsr
• o
^
V
rnf
decresc.
and so on.
PPP
'»''''''
PP cresc.
p
'^
M
^
"""
must become so refined as
produce
mu-
'°eve'r*i^
^Jef
ht°"g«u«
">e
weight of "^
'
the following manner:
Xt
XE
is
tactile
Va); and, moving up and down with various dynamic degrees of touch, resulting from the natural weight, as they occur between the arm naturally weighted for in
object
sense, concentration of the mental perception of tone, awakening of a keen sense for all that concerns the dynamic
all teclmic.
upon the key test all the it,
playing and the arm released from weight,
exercises, the object of which is intensity of each tone separately, the
preliminary
pupil
study: Bring the arm-weight to bear
(fig.
these
to determine the
descent,for the transmission and the removal of that self-sameweight. The mastery of xeeight-technic , the study of its natural dynamic gradations, with perfect alternation between normal mus-
»iody
all
"
19
CHAPTER
ACTION
III.
THE LONGITUDINAL OSCILLATION OF THE ARM.
I.
Lateral transference of the weight: marteliato
The supported swing
I.
I. So far, the The arm was
arm.
of the
and
We
of
shifting
weight arm unsupported
Experiment:
proceed to the study of successive tones; to the shifting or lateral transference of the weight: the arm, deprived of its support, or rather
to
left
is
own
its
swung
now
off,
oscillates
fro in the free shoulder.'
lightning
with
on
rapidity
-
1
4,
2
-
3
-
swing'
4, discharging-' it
off
the
and
dropping
The arm
weight upon the next key D^ and so on, always on the third finger. Then using each finger (except the thumb) as a support to the arm, practise the scale of C-major, to later on, do the same with the scales of begin with Dl7-major, In
The
4
chief
points in
the
supported
swing and drop of arm
schwung"
exercise,
which the author
calls "Stiitz-
supported swing), followed by the heavy descent
(lit.:
of the arm, take 1.
That the muscles of the arm be and remain relaxed, no other taking
place
than
that
required to
produce
the swing.
That
in
relaxing the muscles, previous to the second deplace, i. e. that the
scent, no secondary, involuntary action take arm be not raised too soon or too high,
—
or,
worse
still,
• Abschwung, Aufschwiing: These nouns, derived from the verb "schwingen", to swing, and constantly recurring, cannot possibly be rendered in every modification of the original meaning. What the author would chiefly
express
in
soaring or
using them
swoop
of a bird.
'
Gewicht I6sen,
•
We
(Tr. n.)
a rising and falling of arm (hand), light as the
is
use the
lit.:
literal
—
—
one suspended mass must descend with swing of a massive iron hammer, this being the marteliato form of the non-legato touch. That the descent be followed instantaneously by the discharge of the weight and the relaxation of the joints, so that the arm shall hang suspended, with joints and muscles relaxed, the hand yielding to its own weight, and giving to the action of the wrist.
care:
good
contraction
2.
4.
etc.
this
practising
4:!!!
the
—
D-major, Et^major,
the "timid"
5i!!
dissonances.
it
full
its
effect to that
fingers, particularly on striking the black keys), regardless of slips, misses or wrong notes and resulting
the arm with
key,
which would produce the contrary
firmness (this applies more especially to
Exercise: Set the weighted arm, supported by the middleCount sharply and finger upon the middle C (fig. Va).
with marked precision: Discharge of weight
resources to swing
and
to
fall,
required. The arm must be raised no higher than is needed to allow of its shifting from key to key. 3. That the descent be effected without the least hesitation, with the full weight of the arm and with precision and
now
Successive tones
non-legato.
held suspended in mid-air (instead of being brought straight down), thus allowing a pause to intervene between rise
exercises have been limited to the single tone. the supported by fingers.
"set stationary"
—
(Tr. n.)
to release the weight.
translation purposely as being the
most adequate
The
essential part in all these exercises is that the drops succeed each other as rapidly and as unpremeditatedly as possible, in order to prevent any mental or mechanical resistance from the outset, and obviate any movement contrary to the object shall
in view.
If properly executed, the short-descent should produce Eff« the effect of a "false-step", as if one were suddenly falling down '*''°'' a precipice (cf. the hopping and skipping on stilts). For this
reason,
the
hold of the
teacher latter's
pupil least expects descent that begets
should frequently assist the pupil, taking arm, and suddenly dropping it, when the it.
// is
the
Expt
sudden, unexpected , unconscious
what we may call the "brazen rhythmic tread'^ of the physical organs set in free motion. Each finger having been drilled, the pupil may take up the study of double forms: thirds, sixths and octaves, in addition to
ooub
20 the foregoing, practising thirds with the typical fingering 2:4 with the 1:5 fingers (cf. fig. Vila). (fig. Vb), sixths and octaves Small hands, unable to stretch an octave, should not practise
beyond
sixths.
Although, normally, these exercises begin with the usual position, on a level with the key-board, it will be found useful to acMoirr of tiuck
m
make
to
He
lap.
arm
the
on the II.
the pupil practise them with the arm star ting J pom the will thus learn to "strike" from that position, setting in
swinging motion, and lighting with
its
full
weight
right key.
Lateral transference (shifting). Deep
The
primitive type of shifting
6.
2
is
shown
fall
and high
fall.
in the exercise:
21
touch, or rather the the low-fall.
to attack,
first fall
remain the same, as
Only arm and hand immediately relaxed
(the latter
yielding passively), sink back into the extended posture below the key -board (fig. B). From this low position arm and hand are projected upward on to the 2"^ finger by extension of the fore-
«rw(fig.C).The exercise should be practised in the following manner: using the 2"^, 31^, 4* and S*'' fingers (excluding the thumb, at first), weight the arm at 1; lower arm and hand (on the 2'"' finger) at 2;
raise
the arm,
set
on the
'i''^
at
finger,
1;
lower
beginning with the left hand. Play each exercise with low-fall and
Then fall
and In
B and
high-fall (figs.
pupils
it
at 2,
and so on.
In
all
five
-
finger
exercises in contrast :
to
the old system
in
and the highthe following
Left hand:
these first exercises, the fingers are
C.
E: elbow.
S: shoulder.
wrist.
low-fall
Right hand: high-fall
of
the
hand,
The and
chief object that
the
is
to retain the arch-
—
H:
wrist.
flexion of fore-arm
weight
remain
in
the
Left
hand: high-fall
(9),
extension of fore-arm C).
—
(fig.
—
Right hand: low-fall
be practised ascending (8) and transposed into all the major and
All five finger exercises are first to
and then descending minor keys.
—
(fig.
or reversed:
knuckle -joints of the fingers. all
independent of each
(fig. B).
softer part of that joint.
How to practise
play
order:
For the time being, it is a matter of minor importance, whether the finger falls upon the very tip or on the more fleshy,
pose
to
with both hands together, either
alternately,
not raised.
set
high-fall.
practise the low-fall
may
fig.
H:
always
C).
order to train the hands
other, advanced fall
at first,
play each exercise with both hands at once, in low-
figB. E: elbow.
S: shoulder.
hand alone,
Practise each exercise with one
in
(fig.
extension of fore-arm C).
flexion of fore-arm B).
Each exercise must also be practised with varied rhythm.
Exercise:
Practise in this manner:
1.
In
groups of three
(10),
2.
In
groups of four
4 Exercise:
3 4 5
2 3 4 * i^//. 3 3 4 5
(11).
Begin
22
fig.
Rounded
iXa.
fig.
or "dawing" ball -hand for small intervals (d'Albert, Carreiio,
etc.).
In conformity with the conditions set fotlh, regarding the free descent of the weight, the simple five finger exercises are to be followed up with: J.
The various extended forms
Modern
2.
IX b.
style of holding the hand, somewhat resembling the shape of a bunch of grapes (for scales and passage-work).
All the
as far as they
broken chords of the
triad
and four-part chord,
may be developed:
of the primitive figure:
12. 3.
All
forms
in
double notes, thirds, sixths, octaves and
chords:
8-
SS s ^S # P IeIp
14.
bf
tl^[p
ill
I
8
m
8-
m
*
^..)\vn 8-ii t 8' '
8:
il>#-
i
IP
m
i
^i i
hiiM h
modulate keys,
in
into this
all
the
manner.
Small hands, unable to stretch an octave,
k
^
^mw
*•••
etc.
should
practise
triads
only (omitting the octave).
Broken chords
2!3
or in notes of less value, with longitudinal oscillation of the arm
â&#x20AC;&#x201D; tremolo
or vibrato.
15
Daily exercise.
These
latter
The hands
to
elements subject to, and producers of, the whole complex movement: swing (oscillation) descent, weight -bearing, and weight-
formulae emanate, without exception, from the arm swinging as one mass, in non-
â&#x20AC;&#x201D;
low-fall or high -fall of the legato.
Contrary
to
the
ordinary academic method,
in
remain on the keyboard.
removal (charge and discharge).
which
fig.
fig.
Old
style of
wrist-tension.
IX c.
The hand
is
thrown back into the
wrist-joint, the fore-arm remaining rigid: radically wrong.
angles
and hard, dry pointed touch.
the they are set at the end, they must follow immediately upon exercise on low-fall and high-fall upon single fingers, for they conthe very best, the most efficacious means of loosening in a natural muscles manner, arm, of strengthening the requisite thus early cultivating and utilizing all those forces, those divers stitute the
IX d.
Grasped or arched octave pose (cock's step). Motion of the fore-arm only, the hand, set at right shaped as if to claw or paw, strongly arched in the wrist; the thumb to the fore-arm. The tone is rough, being produced by a sharp, angular attack Available only in accentuation and for sforzati.
the swinging motion of the arm is the principal function of technic, the weight projected from the shoulder, the brachial mass itself, is the source of all simple energy. The normal state of muscular relaxation, i. e. the natural The
As
tension equilibrium between a momentary
If. and
..
relaxation, consti4
ad>
tages o natural
24
supreme advantage and benefit of a natural, free automatic technic Each dynamic gradation (potential muscular energy) tutes the
has
feeling,
sweep
source
in central
temperament, of the
impulse (power of imagination, musical
etc),
physically dependent
arm and accelerated motion (See
Actii'e stretigth of the fingers
—
upon a
greater
the muscles oj the upper -arm,
Technic
is in
reality not
p. 12).
active strength
of
the wrist are
and the weight of the whole arm. much more than alternate up-siving
(high-fall) aiui down-swing (low-fall) of the weight, so that there can no longer be any special rules governing musical figures of double notes: thirds, sixths, octaves and chords are "secured"
by the finger-tips,
i.
e.
they are
"felt",
before they are sounded,
without specially raising the fingers. tizihs.
*"*• iudpoutioiu
and octaves are generally executed in the or in plainer words, "in the descent" (fall or low-swing only, in whereas mixed positions (when both black and white drop); in E-major or chromatic scales), the are for instance used, keys - follows in the high -swing. hand or rather the arm Chords may, however, be executed in either manner. If in the Thirds,
sixths
—
latter,
they are, as
it
were,
All thrusting, pushing,
lifted off
the keys.
knocking, percussion of any kind
through the intermediary of any
emphasizing and
The octave
erroneous, misleading ideas, for which we must substitute those of natural and efficacious energy: energy of the shoulder, of rtaitowchue "'''
kMi,
its
source and resulting in useless and unnecessary fatigue. The attack with isolated fore-arm must also be avoided at first; being an Later on, it is allowed in angular partial-motion (fig. IX d).
—
single part of the physical play-
—
in is
sforzati.
taken
the free
in
fall
of the brachial
member
whole and unimpeded in the shoulder. The weight falls upon the firmly set arched hand and upon the supporting fingers 1 to 5 C* C"* (middle -octave of the key-board), and is then swung off on to the next octave (DD'), and so on. Later on, the octave is formed on the keyboard itself. The hand is set lightly upon the said octave C-— C, then the arm is suddenly released, the weight falling upon the bed of the key, the hand yielding or giving in the The wrist-joint, the arm assuming its relaxed, pendent position.
oscillating as a
:
—
—
When the speed fingers never leave the keys. the arm simply shifts towards the next octave.
is
accelerated,
In half-tone progressions from the white to the black keys and vice versa, the hand (and arm) glides in a curved zig-zag motion from the bed of the white key to the bed of the black key, thence to the next white one, and so on.
All spreading of the fingers,
all
grasping, binding
ivith
is prohibited.
finger-pressure Small hands, unable to stretch an octave, should limit the The practice to sixths and to smaller chords in close position.
—4
hand must be avoided. Tlu so-called wrist-stroke must be abolished. All active "isolated" backward bending (over- straining) or tension, and all striking "from the wrist" (fig. IX c) is wrong,
substituted
being irreconcilable with the principles of a free natural technic, as such wrist-action involves the use and exertion of the wrong
downward "swing" of the hand results in, and is performed by, the whole arm vibrating in the shoulder and elbow, and yield-
muscular power to a no less wrong end, generating from a wrong
ing
ing-apF>aratus, fore-arm or
1 5, applicable only in series of octaves played legato, of a melodic character and in slow-time, must be reserved for a later stage of development. In quick tempi the accelerated alternating of "fall" and lateral
in
fingering
a supple
1
manner
:
to the wrist-action.
(See next chapter.)
smi.ii
h»nds
25
CHAPTER
ACTION I.
II.
EXTENSION OF FOREARM.
Participation of the fore -arm.
an absolute relaxation of
The extension
of the fore-arm has already been mentioned as of the conditions in erecting (setting) the hand (high-fall).
being one
As Osdllation
this
however, the second of the four most
actions:
important — — —free extension ore-arm Swinging of J rolling of fore-arm is,
os-
of the fingers, it calls for special attention and special study. Extension, or straightening-out, of the fore-arm means the jerked extension of the fore-arm, proceeding from shoulder and cillation
fig.
p«s»ive exini
H
:
nonnai
parallel pose,
S E H,
:
H:
— and
the
fore-arm, that the hand shall be In other words: Let the hand
straightened against the panel.
this is the
experimentum crucis
S E
—
'™pi*J^
(passively) fall
(drop)
This used to be called: "bending -in", and was prohibited. Of course, one does not actively bend the hand in,
wrist.
the elbow-joint and render it flexible, thus counterthe static fixation produced by our daily grasping and acting bending actions and gradually paralyzing the same.
second place
extend
out.
emphasized extension.
stretch
In the
so
fig.
Upper- arm and producing a passive extension of the hand. The extension of the fore-arm is equivalent to a stretching-out in the elbow-joint. The important object of this action is in the first place to remove the habitual stiffness and limber the elbowjoint. The constant practice in jerking the fore-arm forward tends to
the ivrist-joint is a certain consequence action of the fore-arm, in straightening-out, resembles the motion of the piston-rod on an engine. Exercise (silent): Lay your hand upon the key-board, and
The
of the action.
D.
S: shoulder, E: elbow-joint,
SE
IV.
H
:
E.
S: shoulder, E: elbow-joint, H: wrist. posture of the hand after fore-arm-extension (lowered wrist).
automatically bent in, i. e. it is passively straightened out, owing to the fore-arm being extended (figs. D and E.). it
is
Practise the straightening-out with as
The hand, lowered,
with
the
all
wrist
its
sunk.
joints
perfectly
much
ease as possible.
relaxed
The bending-in
must
(supple), is sunken relaxed be effected
automatically with ease and flexibility. As soon as the mechanical part has been learnt, begin practising single tones, thirds, sixths, triads, octaves.
26 Examples 1
16.
1111222233334444^^55^^^ » • # F w~w~w
m
extensions of the fore-arm, the following points must
be observed: 1.
the hand must not actively press against the key-board with any muscular exertion or tension, but must fall
5
6
1
1
»-»-9
E=E
longitudinal swing of the arm and panying the simple fall (drop) of the It is of special importance: 1.
In all shifting actions of the see], etc.)
must not press dmvn the keys. The tone must be produced solely by the jerked extension of the fore-arm and the sinking of the hand, caused by the
Example: Mendelssohn:
The
passive straightening-out of the fingers, resulting from the extension of the fore-arm, releases the fingers from any active pressure, thus producing the absolute relaxation
more
particularly
in
movement accom-
the
hand
(cf.
chap.
111).
hand (passing-under [which
when
the
thumb
is
to take the
black keys.
the fingers
extension.
rP+ht
etc
relaxed with sunken wrist-joint. 2.
3-
2.
rrr^rr \ff^
uu In all
5
4
3
Variations serieuses.
Var.
Allegro vivace.
8.
etc.
17.
of
the wrist.
The extension action
(even
of the
the rolling
or
fore-arm rotary
accompanies almost every motion).
It
occurs
or
4
in
the
2.
In all
which octaves have
such figures
in
t
«?
to be
4
tie
'
absolutely impossible without fore-arm-extension.
taken:
27 Special exercise:
1
5
^
_
_
^
m.
«.
_
_
etc.
m
19.
From
the low position of the hand (thumb) to the high position (5*h finger) extension of the fore-arm (cf. for instance Liszl: La Campanella and also by the whole finale of the D-miiior concerto by Rubinstein which contains many
Special exercise:
f
similar forms).
§
etc.
20.
Mendelssohn: Variations serieuses, Van
16.
Allegro vivace. 3 21.
i
\>
i,^,?. E3;S: p
cresc.
fe
fea
3.
22.
in
In all termitiations of
y
3
numerous
Jr
^m
etc
^
I
^^g^ i
L^A I :#=fcf
scales, passages, arpeggi:
i\>
^^m
j^ie
very short and quick, with a vigorous jerk of the fore-arm and raising of the hand on the Srd,
Brahms, Sonata, op. 5 (scherzo). 23.
*•
41*!
or 5"i finger.
28 Rubinstein: Concerto D-minor
(finale).
24.
The bracketed notes with vigorous
of
extension
a
the
fore-arm.
Here the straightening-out and 4.
In
all
combine
actions rolling (next chapter)
power and
to give
brilliancy to the finish.
chords. vibraHssimt and siaccatissimi of thirds, sixths, octaves,
4 5 3 or 2 1
„ &
5 5
26.
3 4
Liszt:
22
1
Rhapsodie VI.
25.
Chopin- Etude op.
10,
No.
7,
Vivace. 27.
II.
The
Alternate rise and
alternation in rise
and
fall
—
fall (of
cussion-tremolo) of the oscillating
vibrato.
the arm, of the weight)
more than a slight vertical oscillaalready imperceptible, scarcely executed as gently tion of the hand, a vibration which must be in fact the hand that so as manner possible, and in as rippling a
is
is
at last
with
supported, as
them,
i.
e.
it
were, by the keys, rising and falling
abandoning
action of the instrument.
itself
entirely
to
the
repeating-
This vibratory action, performed
the lightest possible touch (Kraemer
calls
it:
— Schlagzitiem
by per-
sufficient
for
kind taken
at
the
member
in its
descent,
is
quite
musical passages of the performance of any
any normal speed.
The extension-vibrato, hand worked up to a vibrato, i.
e.
the extension of Jorc-arm
is the action
producing
mid
the octave-
octaves" ivith the execution of the virtuoso, the so-called 'lightning in the fastest tempo. greatest velocity relaxation This is the key to the passive action and absolute discover. to in wrist-vibrato, a key which we are the first
Actio,,
29 Practise in the I.
Octaves
same manner:
in quici< time:
(28—30)
28.
11.
Figures of accompaniment
31.
t
32.
Tremolo or Vibrato (with "drooping" hand). Beethoven:
Op.
53.
form of cfiords:
in
^
JMIM
etc.
See also: Beethoven: Op. 14 No. 1 (beginning with the left hand) Beethoven: Op. 7 (beginning in the bass)
Beethoven var.
:
Op. 26
(1
st
movement,
octaves) Beethoven: Op. 31 No. 3 (Scherzo staccato vibrato). II,
—
—
Chopin: Prelude No.
17.
Ab-major.
Schumann: "Faschingsschwank". Schubert- Liszt: "Erlkonig".
Grieg: Lyric pieces (Song of spring). Mendelssohn: Capriccio in E-minor.
Mendelssohn: Variations
s^rieuses, Var. 3,
30 Mendelssohn, Variations s^rieuses.
34.
Var.
Var. 5.
12
Agitato
I
f nra
f /tf?5
'
^m
fe^s
j
^
jj
Instances
of
JJ
the
occur
!)i
grand
style
vibrato
in:
Beethoven: 32 variations, C-minor.
35. Liszt:
Chopin Polonaises Cj-minor.A-major, F|- minor, A b- major, and Sonata Bb- minor (Scherzo). Schubert: Fantasia C-minor. Schumann: Toccata C-major.
Petrarca-Sonetto V, 104,
:
A
Liszt: Dante-sonata.
Rubinstein: Etude
C-major
(staccato-
vibrato).
KZK ')='><l "ll
w-ar
1 3 |3
^^
-5-
.^
Brahms: Paganini-Variations. Liszt: Rhapsodies Iâ&#x20AC;&#x201D; XV; Paganini-
*
Caprices; Mephisto-waltz, etc. Alcan: Etude E-major, op. 35. (octave-
^:^
vibrati).
Also
in the grand concertos by Beethoven, Weber, Schumann, Men-
delssohn, Chopin,
Brahms,
Liszt,
Rubinstein,
Saint-Saens, Grieg, Tschaikowsky and other modern masters.
*)
Liszt's
notation.
The
vibrato
oorrespondends to the "rolling" of the
on the piano (trembling) has nothing
(left)
fore-arm.
in
common
with the "vibrato"
in
violin
and
violoncello-technic
which
31
CHAPTER
ACTION
III.
Lateral
I.
V.
ROLLING OF FORE-ARM. Rolling'
of the Weight.
Absolute Rolling Motion. Rotation of the cubital (elbow)
Natural
rotation
of propulsioti wltH whlcH we have hitherto become acquainted, consisted in a lateral shifting or displacement.
Thc
Hand and
â&#x20AC;&#x201D;
is
The German word "Rollung" has no
exact equivalent in English. not always the exact rendering of "Rollung". (Tr. n.)
of
category
motion consists
in
rotary
or rolling action, emanating from the rotary joint of the elbow.
fig.
Hand and
(fore-)arm turned in: Pronation.
All the movements were the result of the free vibration of arm relaxed in all its joints, and they bore the character of vertical motion of the whole arm and of its parts (rise and fall flexion and extension of the hand). '
chief
Xa.
the
the latter
The second
fortTi
fig.
joint.
Xb.
(fore-)arm turned out: Supination.
Just as the former motions emanated from the length, so the latter (vertically) freely at full rotation
oscillating
are
produced
the fore-arm.
of exclusively by By rotation of the fore-arm,
We
arm
we mean
the fore-arm turning
have chosen "rolling" purposely and not "rotation" for the heading, as
Rotation fore-arm
32 on its So that
naturally
ment.
own
axis, the
this
movement,
hand in
with
5.
All
participates
6.
All scales, passages, arpeggi, etc.
maintained by the
7.
A
which the hand
not generated in the wrist (as passively, old methods), but in the cubital joint. is
We
following the move-
/>assive/v
is
the outward twisting of the fore-arm together showing the palm turned upwards, is called
In
hand,
"supitiatimr (outward
rotation, fig. Xb), the
for the reversed jjosition,
i.
e.
of the
hand turned inwards, being
is:
most usual forms
of accompani-
most important
the distribution of iveight.
pressure of the
(equilibrium),
arm brought
to bear
produced by the concentric MÂŤn upon the hand and fingers,
weight
XI.
turned down, open by fore-arm rotation. This figure demonstrates one pfiase of the motion; rolling-pose, tilting of the hand in rolling, in executing tremoli and other balancing movements on terminating scales, passages, arpeggi, etc.
The motion of the hand in would be counted under
"pronation" (inward rotation, fig. Xa). boring with a gimlet, a corkscrew
"outward
all
of the
the right and in the left hand. forms of the tremolo, one of the in
The mean weight
corresponding term
fig.
Hand
features
number
large
ment
may add:
the
ascending five-finger exercises.
rotation
or
supination";
corkscrew, etc would come under headed "inward rotation, pronation".
whereas
unscrewing
the
of
list
a
movements
technical elements, such as: 1.
Broken
2. 3.
Triads and four-part chords, broken by a lateral Shakes (trills) and all their derivative forms.
4.
All
figures
connected
"lateral-stroke".
with
and chords.
the
erroneously
movement so-called
transferred
laterally
to
two
fingers
alternately
by fore-arm
rotation (balance of the weight, equilibrium). The process of the motion is analogous to that of see-sawing: secsawiug The motion a plank laid and oscillating across a raised form. is
The commonest and most frequently recurring forms of the above movement consist in the tremolo, and the other analogous thirds, sixths, octaves
is
simply and naturally called: "see-sawing"
When
â&#x20AC;&#x201D; rolling.
motion results in a vibration of ///<' hand which, to distinguish it from a trembling or vibratory percussion produced by the free descent of the arm (fall and rebound through tension and flexion alternately of straightened fore-arm and hand), we shall call rolling -vibrato or shaking, as the effects thus obtained appear to be shaken out of the arm or out accelerated, this
of the sleeves. In tremoli, etc., the
thumb remains relaxed and
passive; the
vibration of '*"
tiÂť
33
thumb -action is mostly combined with the rolling action of the elbow. The feeling of fatigue, experienced by almost all players in tremolo-technic, has its origin partly in more or less violent cramp
produced
action of a
by
incessant
exaggerated
thumb
the
that
fact
the
generally stiff to begin with, figures instead of being broken
— straightening the partly in
(rolled)
on the
bedded keys, are rapped out with the fingers rising and falling, in which case, those muscles which effect the rolling add to the useless labour of those which have to hold the arm in the air and to support it (in the shoulder), hence the fatigue. In no other playing must the arm be more loosened in the shoulder and set with greater surety and "quiet" upon the key-
—
board, than in rolling tremolo figures.
possible speed. instrument.
These exercises
will
facilitate
the study at the
At the ment
A Principal Exercise: Let the fingers fall on the sixth, C^— (centre of key-board), raise the arm, arch the hand and bring the full weight of the arm to bear on the slightly raised wrist .,
IX b). Then with a slow see-sawing motion of the hand, and without leaving the keys or raising the hand, roll from the thumb to the S"" finger (fig. XI). This is the rotation with erect fingers (fig.
,,,,„.
Rotation set finger
(and bedded keys), the hand raised on the key-board, rollmg or rocking to and fro, following the rise and fall of the keys.
The
condition
essential
is
The arm must
yet heavy.
elbow were weighing
it
again to retain the arm relaxed and if a weight suspended at the
feel as
down
(fig.
F).
The
tremoli of artistic virtuosity naturally exceed the rolling of the fore-arm. In powerful gradations the rolling of the upperarm assists and replaces it. The arms are set firmly upon the key-
board on erected hands, the elbows slightly turned outwards and the tremoli, shaken chords and double trills are executed with all
the muscular
power of the shoulder, assisted by a rolling and fore-arm swinging far out. (See p. 36, under
the upper
of II:
Combined
Practise shakes
every day
rotary motions; and also specially p. 47.) We may add that all forms of shakes (tremolandi, trills, etc.) and other varieties should be practised daily, as they really drill and cultivate the rotary joint. This advice holds good all the
more, as nine-tenths of
all
pianists consider such exercises super-
fluous. There
is
of
do
stroke
lateral
hand
The term: "lateral stroke" is wrong; lateral stroke of the hand is even a nonsensical expression, as the hand simply and What passively follows the rotary movement of the fore-arm. we term its lateral stroke is nothing more than the natural effect resulting from the vibratory or oscillating power peculiar to the rotary joint (cf. the anatomy of the elbow with the construction
of a wheel
and
c)
vibration
axle). playing-axis
I „
Aw.
Preliminary Exercises:
.
^-
from the
inttrument
^^^
must bc 2.
by
Totary joint
flcxIblc
must be
perfectly loose,
and move with
The muscles must remain
i.
e.
the fore-arm
in
a state of relaxation secured
suspension of the weight. 3.
Until
the
above condition
attained, preliminary exer-
must be gone through, first with the arm suspended free and hanging heavy from the shoulder, and then rotating in the the
evolutions
E— D: E— X:
E: elbow, H: wrist.
direct tratismission
— straightened
arm.
diameter of the fore-arm-extension.
dynamic direction of the weight of the shoulder and upper-arm.
Free oscillation of the arm, hanging loose and yet weighted (swinging is
cises
air,
S: shoulder
S— D— H:
ease.
being gradually accelerated to
the
utmost
i
rope).
Graphic (flexion velocity.
representation
—
tension) of
of vibrato: alternate raising and lowering arm and hand (in vertical sense) with increasing
(See pp. 24 [closing part] and 25,
etc.)
5*
bedded k
•kc procwdi m lerv-anB
34
The same with
the other fingers in divers combinations, thus:
support the weight and must accordingly be held as naturally
1—4, 1-3, 1—2, 2-5, 2—4, 2—3, 3—5, 3-4, 3— t,
as possible.
4—5, 4—3, 4—2,4-1, etc
ceptible
Later on, in the free action of the fingers (cf. chap. being raised but very virtuosi perform the shake with an almost imper-
VIII) they participate slightly in the attack,
Some
little.
of
rise
the
apparently,
fingers,
simply
by a rocking
motion of the fore-arm. suiting the exercises to the natural stretching hand (spreading of the fingers).
capacity
of the
be noticed that the greater the diameter or the axis the hand rocks, the easier and more perfect will be the motion; the smaller the diameter, the more difficult will it It
will
on which be
to distribute the weight.
i.
corresponding to the interval of a
corresponding to the octave. 5,
(the finger leaving the keys,
1.
Hence it is that the various forms of the trill present the e. all such forms in which the most difficult forms of rotation, two to be shared is adjacent fingers: 1—2, 2—3, by weight 3-4, or 4—5. The most convenient position for rotary motion is that
the outer ones: 1-
At Require no Special exercises of shakes may be taken up later on. *""' all the forms of rotation are practised with set fingers '?°'j"' bedding the keys (without leaving them), then with raised hand
first,
sixth, or, for large hands, that
The best
1—4, 2—5, 2—4,
fingers for rocking are as they afford the hand
the firmest support (examples 36—41).
wrist). 2.
3.
Rotations on a level with the key-board (the hand straightened out flat).
Low
rotations with low-arched
In trilling
rotation 2.
40.
/ /
It follows that the shake is chiefly the result of the rocking motion of the fore-arm and twt of the rise and fall of alternate fingers, which, so far, do not participate actively in the motion required by the various forms of the "iremolo". They merely
(the
arm suspended
answers
best,
5,
or 3
— 5 and
3—4
low
and move ^™""
5 tremolo.
/ / /
3.
—
on a level with the key -board, it is best to rouo turn the hand slightly /«zfar</, towards the thumb (fig. XII c). ^^„^,
3 4 2 3 1 3
/
with the outer fingers 4
In rotations
41. -4
^
hand
from a relaxed wrist). These three forms are constantly occurring in every variety, and their execution depends upon individual disposition, habit, upon the anatomy and build of the hand, and the nature (position and intervals) of the passages in question. It has been determined by objective observation and testing, that: 1.
36.
fig. XI).
There are three kinds of rotations: High rotations, with curved hand (high-arched hand and
II
all these movements, the fingers more naturally touch xhc finger-tips '°"''' "•""^''' the keys with the tips, than with the flatter soft fleshy parts, for the sake of obtaining both technical precision and a sonorous quality of tone.
In
t
35 Figs. XII
are of a theoretical nature, (horizontal) twistings of the hand,
lateral
in
aâ&#x20AC;&#x201D; c
innumerable forms
continually
combine with the
Middie-posiuonj(flexionsâ&#x20AC;&#x201D; extensions) and
for technic
^'p^^rone^'^tion northe'hand~Qf ^\\ tumed out or
positious
in
fig.
Natural
is It
showing the various movements which
rolling of the hand. the natural intermediate one is
The
fall
typical posi-
(fig. Xlla), because, the one least constrained and best suited
Xlla.
mean pose
rise,
fig.
Hand
of the hand.
in
to
for a moment.
A
forced and continual outward bending of the
fatiguing as a forced inward bending; it is, indeed, even dangerous, as it distends the tissues, and the resulting friction frequently produces inflammation of the wrist-joint. As how wrist
is
just as
outward bending of the hand, which is required only in 'Vg^rt/o"-rolling (See chap. VI and fig. XVI), it must be employed to the
XII b.
drawn-off pose, tumed out (abduction).
fig
Hand
the
natural
build
of
the hand
(fig. lb).
Neither the posi-
hand turned outward (fig. XII b), still preposterously advocated (notably in the "celebrated" Piano-Method by Lebert & Stark and others) nor that with the hand turned absolutely in-
^'0*1^0^'
"<=
XII c.
in drawn-in pose, turned inside towards
thumb
to
t,
(adduction).
with the greatest suppleness of wrist. The whole art consists never remaining in these extreme positions longer than isNeverre necessary, and in restoring the hand to its natural intermediate p^juon
tion with the
in
ward, upon which the Deppe-Caland system is based, are natural Such postures of the or appropriate as studies of position. hand may serve temporary purposes and should only be resorted
pose as soon as possible. In difficult and dangerous passages, in which upper or inner parts have to be sustained, (e. g.) in polyphonic playing, in chords with large intervals, arpeggi requiring long stretches, etc., our advice is always to let go immediately
36 ttrtttlus, tni:dutcl]r let go tc* that ttrain
the notes that strain the hand, and, after stretching the interval, to restore the hand to its normal pose with a supple turn (chap. IX).
In the case of
hand cannot interval
chords with large intervals which one rule applies to let go the too large
immediately after taking
"Stretches" a
«rrsrenoDor J poutioa'i
stretch,
the
la
it,
or to break
Leschitzky-Bree
(cf.
the
it
imperceptibly-
numerous useless
figs, illustrating the chord-positions in those works) are perfectly nonsensical both for individual and for physiological reasonsThe same principle of letting-go applies equally to the rolling
and four- part (thirds, fourths,
rolling over them), the hand rising on the
must be resolved with lightning
tone
always maintaining the unconstrained form or a medium position and of loose, not wide-spread, fingers.
II.
rapidity.
after attacking the key,
rigid
execute stretches shifting according to position along the key-board, but rolls without tension or distension from finger to finger,
sounded
(i.
who
must
Experiment
e.
finger (fig. XI) or off from one of the part key-board to another. simply swinging rule: All or Fundamental spreading twisting of the fingers must be but of the shortest possible duration: the movement
of broken triads
i.
loMfcr trvtn, b« roll*
triads
all
,
immediately the next interval
and chords of four notes. Hence, away with In all progressions of "norma! positions and postures"! broken triads, for instance, the hand "folloivs", e. it does not
forms of broken
chords "quasi arpeggicvido'" releasing the intervals fifths and sixths) instantly, after they have been
Exercise: Practise
5'Ji
Kuiuiameatai '"''
Hence, each finger
release
it,
the
moment
sounded, provided, of course, that the not intended to be sustained or prolonged. A player can roll the figures as successive sounds, will never be tempted is
is
to play broken triads or four-part chords (chords of the sevenths) with a spread hand, shifting by a series of angular move ments, from one part of the key-board to another: he would find it far too
tedious a process. Play with relaxation of the extended hand-posture.
Combined rotary motions.
A. Rotary motion of fore-arm combined with extension of fore-arm. Explanation: the
The rolling-motion
in
extended position resembles
A
3.
winding motion of a screw
(the twisted part of the corkor or the lines in the barrel of a rifle, or screw-driver, screw)
5
r»fiii(ncxcr-
'J|,„j,j„
'•"
D^
Preliminary Studies.
After the pupil has practised the rotations sufficiently and able to utilize in a practical manner to some degree the loose
rotary joint of
the
elbow, he should follow up
at
once with
the extended five finger exercises: roulades (florid passages). In the roulades:
extension
of the fore- arm towards
the
and swing of the arm or of the hand on to the preparatory to its again falling on to the thumb:
light rise
5"! finger, I.
jerked
finger (chap. IV).
The
4.
cannon.
is
short,
'J*
etc.
The transmission of the weight from one finger to another weight now of five successive attacks, as described in chap. Ill, means by onrrotl'too'''^ now becomes one single rotary action. Instead of executing "'°''°° 5 swinging and falling movements or 5 rises and 5 falls, one rotation joint
(as
or rock (fig.
if
suffices
XII
upon
driving a gimlet) of the fore-arm in the elbowcause the weight of hand and arm to bear,
to
\\\tfive participating fingers, or
upon
the five keys
d).
The
fingers themselves do not take any essential, active part. for the time being. They need neither rise nor fall, as the actions required (about 10 in number, viz. 5 rises and 5 attacks), even
movements are of importance: The fall of the arm upon the thumb: C-. The transmission by rotation of the weight from the thumb to the other fingers: 2—3—4— 5: D^*— E^— F»— G*
the following 1.
2.
(from key-bed to key-bed, without raising the fingers).
Fingers j.assive
though executed with the greatest possible dexterity and lightness, would cause a loss of time and waste of muscular energy, which were better saved. The simple rotation of the fore-arm in one single rotary action renders the other actions superfluous. The rotations from the thumb to the 5* finger are the outer and iimer '^°"'"°°' ascending or outer rotations, those from the 511 finger to
37 the thumb, the descending or inner rotations.^ They be executed either by a direct attack of a rotary form passing from the low pose of the hand arm (the
all
â&#x20AC;&#x201D;mayor
by
"hanging"
in
a
loose wrist) to the high pose, according to individual habit and the position on the key-board, of the figures to be executed. it is
spheric.1 shape
"
and
important, however, that the weighting remain the same hand assume the spherical shape (over firm protrud-
that the
ing knuckles and firm finger-tips) by curvature
Figure XII d
in
the vibratory
II.
Exercises preparatory to the Scale.
This leads up logically to the solution the "change in the position" of the hand, part of the scales, passage-work, arpeggi,
i.
of the e.
problem of
to the mechanical
etc.
The
scale consists of two roulades, a shorter and a longer one roulade with three, and one with five fingers), instantly one (i. with the other by rotation of the fore-arm, each time one joined e.
also of theore-
and but very few persons have
nature, although peculiarly demonstrative. It shows that
the right idea of its rotary functions, the hand is here depicted,
is
tical
in
executing roulades, the hand
progresses like a
on
its
five
wheel, assisted by
erected
of the fore-arm, the fingers
on
its
fingers,
performing
the rotary movement (a revolution) like a wheel. It is very easy
fingers rotation
not
to
only not being raised, but acting as spokes, i. e. bearing the
observe
in a practical
this rotary function,
manner
by watching
the hands of a pianist (playing in a natural manner) from below.
weight of the hand or arm and the movement (and sinking into the keys). Since the nndades are concealed beneath
For
following
this
purpose
attention
we would draw
to the elegant
rotary
curves executed by d'Albert or Teresa Carrefio when playing.
the hollowed palm of the hand.
fig.
XII
d.
Spread hand: wheel with (fingers as) spokes.
motion.
If
the
elbow
is
inclined to be
stiff
or
awkward
in action,
the rotary stroke with five fingers should be preceded by exercises in straightening the fore-arm of the joint will suffice to render
The
by it
jerks,
a passage requiring a "passing-under" or a "passing-over" of the fingers occurs.
such pressing through the
supple.
This means: doing away with the old style passing-under of thumb, as also ivith the passing-over of fingers j and 4 (and
should be followed up by broken triads and four- part chords executed on the same prin-
2
ciples (examples 43, 44).
extension of the fore-arm, as taught by the old school-methods, is inadmissible. As a model exercise we would select the B-major
'
five-finger rotation exercises
The author always
refers to the right hand.
(Tr. n.)
and
A
jj
and
lateral
ife
zvith all
nonsensical special studies.
shifting or removal of the
^:wfft
hand without
rotation or
no more ITa^I^^ ^^^ ^J""'
llnlbc'i^uu^
38 not the C-major scale, as, for reasons to be given later on, is by far the most difficult scale and can only be mastered by "finished" hands. scale,
the
latter
So the C-major scale shall be taken up last. The scalfs best suited to the rotation of the hand are: Fj}- or Then follow Ab- and Eb-, EGl>-major, B- and Dt>-major. and A-major. Finally the remaining major and all the minor scales.
The superference and
subterference
'
(the passing of the
thumb
under the other performed by
fingers, or the other fingers over the thumb) is rotation of the longitudinal axis of the fore-arm,
fig.
OW
off the 2"*', roll
on
or 4""
3'^''
to the
thumb
finger, as the case
may
be, to
(the adjacent key) (figs. XIII
fall
b— d),
whereas in superferenccs, the hand is swung over the supporting thumb and glides in a curve (circular motion) above the key-board
XlVa-d).
(figs.
Figs.
XIII a
d and
XlVa-d
illustrate
moments
solely to explain the Untersatz, Obersatz:
t>rackets,
and what
it
really
is
a
lightning rapidity. They serve functions which rotary originate in and
As these neologisms convey
thus serving the purpose required,
the idea expressed in
we have adopted
them.
(Tr. n.)
suTteV-jfingci
that rotates.
Practically, superference
and
subterference are the action of one single moment, and it would, They therefore, be absurd to try to divide this movement into the action^
moments depicted, which are only intended to assist teacher. Arms and hands instantly sweep on. The fact is
three
l^i
the
»re of
\
or
"°'""=°'
that
Xillb.
Pose of hand preparatory to passing the thumb under; the thumb placed on B' {B-major scale).'
it is not a question of forcing the thumb the under the hand, point lying in the instant removal of the 2'"', 3'''', 4"' or S"" finger, under which the passing takes place,
in
subterfercnces
—
in
superferenccs, in the instant removal of the thumb, over rolls with a swing on towards the next keys.
which the hand
Fundamental
rule:
under the hand, the in
movement executed with
single
'
figs.
super- ^ they
the fingers is effected by cubital rotation. Hence the illustrations''"-""'"""' of the rotary action of the hand and of the greatest curves, to show clearly where (above or below) the rotation takes place
fig.
the finger over or under which another passes, acting as pivot. In other words, in subterfercnces, the hand, tilting inward, is
swung
superferenccs and subterfercnces arc not the. result of fingeraction, but that all lateral progression of the hand over or under
XIII a.
style of passing-under: the thumb is forced into the hollowed palm of the hand, with set or rigid elbow: very bad.
back and
proceed from the elbow-joint; the object being, to prove that
If
a supporting finger
latter falls
naturally
is
withdrawn from
upon the next support
and subterfercnces each finger in turn relieves the previous one in bearing the weight.We would also add, as an important feature, that the sudden extension of the forearm, assisted by rotary action of the same member, constitutes of itself an exceedingly elegant execution of both movements. afforded
it.
So
Kul<-
that in superferenccs
Extension of fore>arm
39
Xllld.
llg.
2nd Pose of the hand with the thumb passing-under. Turning of the hand (by rotation of the fore-arm), the 3rd (middle) finger on acting as pivot. The thumb glides towards E' describing a curved line on the key-board.
The
Dp
fig. 1
!l
Pose
(including thumb) from
XlVa.
hand preparatory to passing-over. supporting finger on B' (B-major). First
of the
action.
used as a
Hand
passing from B' to
A|'
over
D|-
rotation of the
hand
to about C*.
XIV b.
fig.
Thumb
Maximum
largest curve in passing-under.
4*''
acting as pivot.
finger by rotation around the
Second
action.
6
thumb
rwmiil
40
fig.
pie
Ira-
Kxpcrnacal:
XIVc.
fig.
passing-over or rotation completed, the 4*1! finger supporting the weight. Rotation from D* to Bb' (Btvmajor triad). Third action.
Be 1.
2. 3.
ease and steady assurance, That the rotary action of the fore-arm be utilized to the utmost, and that the pupil banish any feeling of timidity leading to involuntary, unnatural contraction of the muscles, impeding the free rotary action of the cubital joint and nullifying the effect of weight
5.
and
relaxation.
That simultaneously with the subterference, the fore-arm be extended forwards with lightning lapidity. The jerked exten-
hand to continue its flight proper. That the thumb be loose and remain relaxed when in sion
t.
Maximum
circle (of rotation).
careful:
That the arm hang loose, That it remain in weighted pose. That the off- swing and descent be performed with perfect
4.
XlVd.
Rotation in passing-over from B' to Djf':
it
is
that enables the
action, avoiding stiffness or cramp.
Off-swing, imvard
,
m
Preliminary exercise :\. Place the 3"^ finger,supportingthe whole (fig.
XIII b),
upon
slightly
raised,
tilt
hand and arm inwards by
The thumb the
(figs. XIII c, d).
thus most easily and most naturally brought into pose required. Any movement or action performed
new
with the object of gliding the thumb between or under the other fingers, without participation of the rotary action of the elbow is
radically -wrong and Perform the same
must
be rejected
(fig.
XIII a).
exercise (inward rotation) with the 4"' finger used as a pivot, also on Bb' [A# -Bj? and Et?— D|( furnish each a fulcrum in the keys of F# or Gb-major, B-major,
A|'—
Db-major,
E-major,
Db C^— —
and F^
Eb-major, Bb-major, — Ob Ab-major, the keys of 0-major, D-major,
F-major;
in
A-major;
in the scale of A and E, etc.]. Proceed similarly with the supcrferences, e. set the thumb, supporting the weight of the arm, on B Cb or on E Fb
Ojt
Ab
i.
—
—
(for the scale of F|- or Ob-major), the arch-set hand raised high (fig. XIV a), tilt arm and hand describing a circular motion, the
thumb (posed on These
with an arch-set
rotation of
is
2.
tilting, curved glide fare- arm -extension, descent succeed each other so rapidly, as practically to occupy but one moment.
weight of the arm
hand
the fore-arm, the finger in question acting as a pivot
its
acting as pivot (figs. XIV b, studies (the mechanical part
tip)
preliminary
may very easily be demonstrated on the surface of a
c,
d).
of
which
table) are
Thcacmai
stud
41
by the free fall of the weight combining the rotary action with a light rotary swing of the hand.
ginners and amateurs. On the contrary, weigh upon the key to the very last, in order (as in jumping off a spring-board) to gain thus a firm and sure purchase and swing-off. In falling back
Bring the weight of arm and hand to bear upon fingers 3 upon any suitable point of support, swing off sud-
upon the thumb, the arm should regain the key-board, by the most direct way, not by describing a large curve. The pupil
be followed
to
Tht thumb
and
up by subterferences and superferences varied
4, set
denly and
fall
with the weight of arm and hand on to the thumb,
must hang perfectly passive, being at the moment of transition, neither doubled under the hand, nor yet stretched towards the key it is about to fall upon. It must mechanically follow any movement of the hand, and fall, which for the time being
Follows the
movement
of
the hand
as
it
were, accidentally, upon the key. This is important. In tilta segment (fig. XIII d), effected describes a circular line,
—
Describes a
ing,
segment
How to practise:
by the rotary action of the elbow. Its active participation is limited to assuming and bearing the total weight of arm and hand. At the moment of the rotary swing, arm and hand That is the "shift" or rather "leap" towards the next position. time for the thumb to be "at its post". After swinging off, guard against the arm being raised aloft,
what
and thus losing
it
solely
to
fuard
against, what to
its
weight,
—
a
common
with
fault
all
should eventually forget the old-fashioned notion of passing under and over altogether, and with a free swing of the "weighted"
arm
fall
upon the key aimed
at.
The rotary swing, with extension of the fore-arm permits of the notes of any interval being connected (examples 45—51).
A
slight
swing-off from the "pivot" will suffice to carry, or Natural There is jhratu to any point on the key-board.
rather impel the arm no need to fear that
not regain its position, or that hand and fingers will miss their aim. Their own weight is a sufficiEven ent guarantee for sureness and precision of the attack. it
will
subterferences on the black keys can be executed without special preparation or difficulty. Thus the pupil should practise:
be-
Subterferences: (45—48).
observe.
From
black to white keys:
4
45.
,
4
4
3.
M=
I
2=^
IZ_
s:
From white
to white keys:
From black
to black keys:
From white
to black keys:
hsh
^
48.
fe^ r'T irT i
'
i
ir
etc.
"r 6*
\
42
however unfinished
Practise also rotary swinging off from the pivot, in combination with double forms, etc., from thirds, sixths, octaves, triads on to the thumb, finally from a third to a third and from a sixth
These
to a sixth.
From
arm and hand.
Whatever applies
to
the
right
hand, applies, of course,
equally to the left. Practise the superference in a similar way, i. e. first from white to black keys, then from black to black and finally from black to white keys (51).
exercises constitute the basis of sai/es in thirds and sixths of a turn-legato character: f and ff (4Q 50). If F>ossible, follow this up with scales in thirds and sixths, latter
especially in chromatic succession, even
execution, to begin with, the object being
in
to give steadiness to
though non-legato and
Chords
Sixths:
black to white keys:
50.
4 in
the
in
the
same manner from white same manner from white
i^3
Iff We
would draw
sakMHeriMini,^
'.
*'*
3
I
2
TT
w
to black keys.
etc.
1 221
etc.
1
w lf^fi
In
12.
l
attention to the fact that in
forms of swinging-off, the
to white keys
ossia
B-major scale
51.
of the
seventh:
all
the
same manner
are
executed rotary swings of
f¥^
ll
thirds, sixths, octaves, triads.
flJ fl ll
these simple
practical rule applies that in the case
of subterferences, it is advisable the absolutely relaxed hand i. e.
to
sink into the
hanging position of lowered wrist, thus enabling to intercept the descending weight, whereas in the
the latter
case of superferences, it is well, t^'^ISt"' off ^rom the hanging position, HipvHcTcn.
icith
—
at first, to i.
swing arm and hand Execution:
with lowered wrist, to raise
e.
thumb:
Fall
B', then roll
with
the
weight
of the arm
on
to
the
Experiment
(by rotary swing-off, the 3"" finger: D^'^ on to the thumb E-'. Now add directly as pivot) directly acting the second part (coda) of the scale by a simple lateral (outside)
the arch of the arch-set hand high.
it
:
III.
After these
however, dw
the
it
rolling'
Scale.
not the
take scale
long itself,
to
master,
which
will
exercises, which, pass on to
we now
present
no
difficulty.
We
shall take
B-major for our model
hand determining the successive touch of the five fingers by one single action (fore-arm-extension) and without striking. How to overPupils experiencing any difficulty in executing this, should begin come diffi.. ,, -ii iir by practising three and four-fmger exercises with subterferences, cuuies tilting of the
somewhat extensive preliminary
will
of
The
(52).
,
.rr.
taking care, at the moment of transition, to straighten out the fore-arm with a short jerk, thus securing at least the "on-sweep" of arm and hand: the difficulty in rolling is generally due to the
straighten out
much, thus
Guard against
fact that the pupil is apt to stiffen '
Rollung der Skala, rendered by rolling, however strange at first, is in quite keeping with the style of execution, and we have therefore adopted it
(Tr. n.)
•
53 — 56).
its rotary action (examples arm Relax the elbow-joint and extend the fore-arm with a sudden (like a bullet leaving the barrel of a rifle) in the direction
impeding jerk,
the fore-arm too
fore-arm
too
much
43 of the
Turn the octave
rwt.g""'"*'^
5*
This
finger.
When
straightening-out of the fore-arm, per-
formed with lightning rapidity, steadies the hand, when executing the scale with the utmost velocity (chap. IV). Once these various points have been mastered, "turn". as it were, the whole octave B^ B^ with one rotary swing and as if in one piece.
playing the
last
4 or 5 notes of a scale, passage,
etc.,
straighten out the fore-arm very suddenly, expecially in crescendoscales.
These exercises and these rotary motions with extended arms all the old-style special scale- studies superfluous and
render
furnish
the key to the
problem of
jhese ar
cises
key
to
V
"velocity".
S3.
1
Aniru â&#x20AC;˘
i
*
ririrr
and so on,
i
Also by jerked straightening-out of the fore-arm; thus:
quickly removing the
In the
3":^ finger, etc.)
on the
raised
thumb:
F'',
fail
in
every key
on to C^ (thumb), then straighten the arm and
set the
hand
for a
moment
(after
etc.
same manner:
following up with Db- and D-major *
This progressive
I
method of
daii>
I
Practlsc this fundamental scale, embracing one octave, every day^ JH every key with the same (C-major) fingering throughout,
till
a rapid
manner
and
Easy, with a rotary swing
brilliant
execution
is
attained, in the following secu res brilliant
(57):
cution
57.
1
Trainioy of
hand
1
3i*i^f:r
etc
2^ii?f:::z
the naturally straightened pose of the hand, combined with the concentration of the fingers upon the narrow space representing the surface to which the curve is limited, renders C-major
Hands with long fingers of very unequal length, and shori How to thumb will experience greater difficulty. The only thing to be i^l^Z^^ done is to curve the hand in such a manner that it shall resemble a "bunch of grapes", drawing in the fingers to about the length of the thumb (fig. IXa). Having perfectly mastered the rolling of one octave, the pupil Master o
the most difficult scale, the study of which
should take up the second octave,
In playing the C-major scale, slightly contract the fingers, and transfer the weight more to the finger-tips, to prevent contact with the black keys. This modification, slight though it be, of
old-style
(in
contrast to the
school-idea) must, therefore, not be taken up, until the roll B-, Db-, Gb-major, etc., from the fore-arm,
pupil has learnt to with ease.
i
2
octave to the
first,
the execution
(in
(examples 58
â&#x20AC;&#x201D;
51).
first
adding part of the second
and then the other all
the keys)
of
up with one sweep
part, finishing
both octaves
in
'"*
''"
In
two
roulades,
Mozart: Fantasia IV,
Finale.
Beethoven: 32 Variations.
rniBii«eitke "*
*^
The
treatment of the
left
hand
is
(Var. XVIII).
exactly similar (descending
The "progressive" method holds good (inward
62.
tilting,
with
regard
to
in
superference-rou-
the thumb).
First of
all,
and rotary swing on
B^
(1
\
:
thumb, towards the adjacent
p
*i
— B»
(62).
s-
^H\tM
to E-
{2'^ point of support in the B-major scale), then on to A point of support in the same scale), finally, "complete roulades"
Dp
scale).
lades
roiling
umimm
45 In superferences, and immediately after balancing over the thumb, pupils with supple hands and gifted with an innate grace of motion, may glide the thumb rapidly off the key, drop it and allow it to hang relaxed below the level of the key-board (fig. XV).
Ab. XV.
Thumb drawn
An
excellent technical
study consists
in
off,
hanging
free (in
inward roulades).
the isolating of superferences and
subterferences,
which may be
said
to constitute An
exc
study
the
chroiii.tic scale.
\
frame-work of
the scales: (63).
more nor less than a succession of broken semitone intervals) come under The the forms executed by rolling or gliding of the fore-arm. diatonic and But chromatic thirds. same applies to chromatic thirds are often executed by a graceful oscillation of the wrist Ail
chrottiattc
scaUs
(in
reality,
nothing
up and down (flexionâ&#x20AC;&#x201D; tension). The same applies and chromatic scales in sixths, octaves, etc.; but sixths are executed as
by means
(p.
56).
of
to diatonic thirds
with loose fingers (leggiero) just as
"vibrato",
especially
in
forte
(con
and often
bravura)
5ral«*
Ritikra ciMM'dt
46
rV. Extended Scales (Passage-work and Arpeggi). r^ular scale the distance of subterference and superfrom one half tonal degree to three half tonal the harmonic minor scale between the 6* and T*
In every
ference
varies
d^;rees; in
even attains four half steps. In broken chords of three or four notes (arpeggi), however, distances of from 3 to 4 whole tones, etc have often to be degrees,
it
have already been met in the above under studies II) where we practised the (see preliminary bridged over.
rotary
But these
swing on
1»*
to
The tones
in
pupil should, therefore, practise intervals of 3—4 the manner shown in the exercises, and later on
Particularly inapt pupils
will
derive benefit from
ously stretching the fore-arm, especially subterferences of large intervals.
in
Model keys: B-major, or E-major, also finally
C-major,
etc.
Gt?-
far off.
3
5
l3
fe^
^P^B^g 3
a
up
m
^
w^
and
and D|?-major,
(examples 64—67).
6*.
3
3-4toneiutc
simultane- Awkward
superferences
position:
1
fill
the gaps with thirds.
difficulties
any note, however
whole
—
''"'"'*
47 Similarly: 20? position: Db-m^jor, A-major, etc.
Combinations of 4part chords
up
the
to C-major.
3;:^ position: D-, A-, Bb-major, 0-, C-, F-, Bb-minor, C-major. Exercises in chords, octaves (Chopin: Etude in Ot>-major, Liszt, etc.). By adding major, minor, or diminished sevenths, and inter-
polatlng fourths and
fifths, v^^e obtain the numerous combinations of chords of the seventh and others of the same four-part-chords, kind, which, in their innumerable variety and inversions, furnish
the material for
all
ascending and descending passages.
B.
In
descending forms something
The execution same principles.
of
all
these different forms
is
based upon
Thus: transmission of weight, steady and sure balance of The the weight, no exaggerated raising of the fingers (they passively follow the movements of the hand), securing points of support, correct off-swing and attack by rotation of the fore-arm. ascending scales, arpeggi and passages, the last roulade of 5 notes must be rolled with one single action by a In simple
simple outward rotation of the
swung
fore-arm (See pp. 27/28).
Rotary motion of fore-arm and upper-arm combined.
new
enters:
ossia:
68.
*
''â&#x20AC;˘
T^)
Schumann: Fantasia C-major. Op.
With a swinging arm,
17.
69. I.
h.
Beethoven: 32 Variations (C-minor) Van XXXI, XXXII. etc.
as in rowing.
pi
48 Chopin: Etude Al'-major, Op. 25 No.
Allegro sosteiiuto. 71.
£
w
t
^^ U In the "return"
E*— E'
(example
68), the
whole arm from the
shoulder, describes a large cun'c back-wards counteracting, by this elastic oscillation, the too acute angle determined by the movement in question which might compromise the general equilibrium. Thus,
arm describes a very arched curve, backwards, or a mower's backward movement hand. This back curve of the arm is essential,
Tkc bwkward the
>w«p
1.
oi
am
^gjjpg seed,
like a
sower thumb
of the
S'h
right especially in
very rapid passages, to secure a puriing, liquid flow and elegance of form, and affords the most natural solution of many a difficult
passage, etc Physiologically this form of movement is nothing more than a combination of upper and fore-arm-rolling. All these rotary motions describe a curve from the outside to the inside: (example 71)
-«««
Fig.
finger
H.
In performing the former rotary motions (outward curves, Chopin: Etude Ab-major) the hand is set high and pivots on
the 5"" finger (pronation). In performing the latter
rotary motions (inward curves, Prelude Eb- major) the hand executes inward rotations
Chopin: and swings (with a rolling motion) towards the thumb. These rotary motions afford excellent practice for small hands
with limited stretching capacity. This completes the second principal group of the various forms of movement, comprising those having their origin in the rotation of the fore-arm. 5»h finger
^»*»Fig.
O.
see next chapter No. VI
under "Legato". and scales, arpeggi passages may also be rendered "non-legato", e. in the first form of the fall of the weight (lateral displacement) by alternate rise and fall (armThe massive fall ff is also to be included in these vibrato). and must be diligently studied and practised daily together forms, with the rotation, rolling, balancing and tilting exercises. For other
We
details
would merely add
that
all
i.
The elbows
are extended outwards.
But there are rotary motions
in
the reversed direction, from
the inside to the outside, (the elbows being turned in towards the body) (inward curves):
4Q
CHAPTER
VI.
COMBINATION OF THE WEIGHTS (TONE TO TONE). Legato. Viewed
physiologically,
legato
is
the
result
of
fore
and
upper-arm rolling combined.
The connecting Legato,
how
produced
of the various tones of a consecutive series
proceeds, properly speaking, from the rolling of the fore-arm. The natural transfer of the weight from key to key, the finger-
fig.
Hand, posed as a wheelbarrow: turned
in,
remaining constantly and closely in contact with the same, produces of itself a natural "legato". And yet the legato thus obtained rather constitutes a rapid non- legato, a relative legato.
tips
solute legato
A
strict
connecting the inward
movement: i.
e.
â&#x20AC;&#x201D;
the rolling
absolute
legato,
necessitates
a further
outward rolling of the upper-arm, of upper or fore-arm combined with the extension or
and fore-arm. in
the
relaxed
This
constitutes
shoulder,
the
a
arm
approaching the body in descending roulades (ascending in the left), and moving away from the body, in ascending roulades (fig.
XVI).
XVI.
to roll legato scales
â&#x20AC;&#x201D; Rapid nonlegato and ab-
(straightening-out) of upper shifting of the whole arm
by rolling of the upper-arm.
This action of the arm (which in its curvature somewhat the typical form of a sabre) recalls the action of
resembles
"sawing" as naturally performed by a professional joiner (i. e. the arm oscillates from a free shoulder, not through active muscular tension, the fore-arm curving and straightening out alternately) (fig. J.
p.
50).
1*
sawin
50
fig- J-
S: shoulder, E: elbow, Brachial
the diagram showing the greatest
pendulum,
rotary action
Rou
(far
The arm,
w<%)ii
before rolling
or
pushes
a
AwricsoiiiMKsThis
hew cenccwd
it,
qI
it
rolls
were,
the
suggesting as
it
is
unrolling, scale (downwards)
rolling
rotary
as
thus
(flexion
—
tension)
right hand) which it is possible for the arm to describe, by piaying-curve or displacement of the upper- arm and by gliding of fore-arm and hand.
the weight, or its own weight. handle of a roller (the hand),
drawn.
or
pushed and draws
it
out
The arm
(ascending)'.
and unrolling or gliding of the hand by means of the fore and upper-arm, constitutes the
action
fundamental
principle
in
a
connecting
series
of
tones.
Real
and
a
legato aesthetically technically perfect, depends the equality and the purling, smooth flow of the series of tones to be played, and is obtained with the aid of the
legato,
upon
movement
question, by the rotary action of upper and combined with the extension of upper- and fore-arm. fore-arm,
We
must
finger
-
which UMicMpractkr
in
i.
e.
reject the idea of
action
connecting the tones by independent pressure and over stretching
—
in
consisting
is
wrong. Mechanical practice
in
for the correct
Jl^*^*""'' watching (Mm d tiae and Strike the next,
and useless labour.
is
changing keys, entailing that nervous at which to release one key
moment
a thing of the past, involving superfluous conscious pressing with the fingers,
All
down
the keys, all spreading, seizing, clutching exerted by digital power, with the object of connecting two tones, exhausts energy, strength, wastes time, and is therefore wrong. In reality,
holding
neither
'
hand nor fingers connect tones,
The author
refers to the right arm.
this
(Tr. n.)
H: hand.
(C— C
flat
connecting
is
effected
means
of
by a uniform, steady and sure gliding of the arm over the key-board. This fact 'must constantly be borne in mind. Provided the playing member or members be uniformly weighted, such weight being equally distributed in the rotary action, the change of key and finger must follow as a natural result. The weight being balanced, rolls
as
from key-bed to key-bed, the sound continuing as long The only thing to be guarded key is weighted.
the
against, here, as in legato playing, the weight.
is
the too early releasing of
Exercises:
"Roll" scales, passages, arpeggi, etc., first dethe In (with scending right hand, i. e. ascending with the left). order to demonstrate the action called integral displacement of the arm, let the master take hold of the pupil's elbow (by the
Guard
i°ase°^f
and push the latter's arm, as the scale is unrolled over the key-board. The hand is to remain turned in, maintaining as uniform a position as possible (figs. XV and XVI), and remaining perfectly passive. The same with the fingers, which, (without being
really practicable instance:
by
participation
of
the
upper- arm,
for
wd
Experiment
coat-sleeve),
lifted more than is necessary) rest with suppleness on the keys and, in tripping over them lightly as if on "tip-toe", The pupil should now propress them down almost furtively. ceed similariy to practise "unrolling" the same forms. The gliding action will be most clearly grasped and executed in passages in which the change of position is only
again
Gliding
51
72.
or better
This requires
still:
an
assured feeling of general
equilibrium,
and we must not lose "footing", as it were. The hand must descend and bed the keys at the right moment, to proceed, or hover on, quitting its support on the key-board, with a light oscillation of the arm.
This arm-action corresponds,
relatively
speaking,
with the Arm
technic of violin or violoncello. As in the latter, the species of motion: "bowing", at once and absolutely determines the quality of the tone and secures the "quiet" and equality of harmonious legato-eff ects the ethereal flow of the melody, so, on the piano,
bowing in *
FinRer,
hand,
arm — one mass
The
fn
octave supports the
arm
better.
analogous figures, the arm must
"fly along" with the simply "drawn out". The arm, as a whole mass, glides with suppleness over the keys, pushing the broken chord in front of it, as it were, and drawing it out again in one ,
,
hand.
all
^,
The
..
.
figure
is
action. Theupper-arm
^uorml^liLcpUvin'°rnd"fn declamatory style
The
and rounded action of the entire arm may be Said to dominate in all melodic and harmonic connections, facilit^*'"S *he execution and determining the character of the same, All Icgato playing of an aesthetically superior order, e. all forms of pure legato and all particular, characteristic effects relating flexible
i.
the cantilena of the classic style, the purely expressive lone -connecting, the graceful curves and lines mentally conthereto:
and the grandest extensions, finally all passages requiring the grand declamatory style of rendition, depend every one upon the participation of the upper-arm, the whole arm hovering ceived,
lightly
over the keys.
ir
bow^lfi
™i™s
,
sentiment, emotion can only be obtained by harmonious action in the circular sweep of the whole arm. Hence, the well-known axiom in violin-technic: the pure, ideal legato,
expression
of
"economize the bow" holds equally good of piano-technic.
line"
True legatissimo, the ideal connecting of tones, the "grand both in slow movements, and in those of a more lively
It is the outcharacter, is in reality a purely mental process. come of musical feeling and has its origin, psychologically, in that perfect concentration of the mind bent upon avoiding the
smallest
The
extreme
come
angles
artistic
or any break in the continual flow of sound. presupposes a musical intelligence of
legatissimo
sensibility,
and a most delicate touch. It is the outand emanates from refinement of soul.
of innate grace
Legatis
"'™"'
52
CHAPTER
VII.
THE NATURAL REBOUND OF THE WEIGHT (ARM OR HAND). staccato. KnMCHMl
When
Cn
"it
it
an
elastic
thrown back
is
body the
in
to the ground, it rebounds, i. e. reverse direction, until the power of falls
impulsion (throw, shock or Staccato of
is
nnh
ibr
dw
rebounding
it
is
that
fall)
is
exhausted. elastic
distinguishes solid bodies.
from
ball, glass globe) It u Ot pffOOKCa DT surface, the more elastic ;
nor6accr
participatrs octiTeiT.
The
ami*actioa
«tTle wri«i-
Uxhmc
rxercisca Brvno loMiscr rcqoirrd
of
The more
elastic
the
—
falling
body, the lesser and slower
above
facts
will
be the rebound.
From
the
the following practical points: If we of the arm (arm, hands, fingersj descend,
we may deduce
the compact mass with a free swing upon the key- board, and rebound naturally, we obtain a tonal effect corresponding to a sharp and short
The
greater the precision and rapidity of the fall, the greater will be the precision and rapidity of the rebound, and the sharper and shorter will be the effect of the tone pro-
marlellato sound.
duced.
Special staccato
faculty
is the rebound.' And the greater the velocity (energy of the impulse), the more powerful will be the effect, i. e. the quicker, more violent and more lasting and vice versa: the lesser the velocity of a will be the rebound,
let
Kara dooe bv tbe a^T old-
This
bodies (India rubber
The
drop-staccato is a non-lcgato, shortened both as regards attack and duration of sound. Hence, that tonal effect which we call staccato, is, mechanic-
But in ordinary staccato, with the classed and taught as such. natural rebound of the whole arm, as one mass, released, neither hand nor finger participates actively in the movement: With this fact falls the old-style wrist-technic. take
because the
rigid fore-arm (fig.
IX
c) is
Ill),
so closely, indeed, as to have led to the erroneous that
staccato
is
produced
by wrist -action
and
is
mis-
as harmful and injurious, as any attack,
stroke, or percussion with the
hand thrown back
is
ugly, from
an aesthetic point of view. Staccato is not the result of wristaction, but of the whole arm oscillating in its three principal
The
joints.
''tremolando''
of
the
hand
result of a free vibration of the arm, not the
We
would add mutton, the more
in
staccatissimo
is
the
cause (See chaps. Ill/I V).
that the greater the physical apparatus set in vhcgrcur physical ap the effect delicate ("feinschlagig" [Kraemer]) ratus set
or rather the percussion. The most elegant staccato A finger -staccato (cf. chapter VIII) by the arm.
the nonsensical
conclusion
to
in the slightest oscillatory motion To jerk the hand back of the hand. flexion or (whether tension) ivithoiit the participation of the said other joints, i. e. with set or
impulsive muscular tension is, the sharper and shorter will be the staccato effect. In rapid movements, the staccato closely resembles the tremolando (quick repeat of the key) (cf. chap.
is
it,
hand in and elbow-joint participate the
but not indispensable and as an arm-staccato.
the
to admit
effect.
speaking, nothing more nor less than the rebound of the The more rapid the fall, i. e. the more intense striking mass.
ally
Still
The hand rebounds, trembles, shakes, whole arm is set vibrating. An isolated motion of the wrist-joint does not take place. The shoulder-joint
cause and
is
is
produced
is
possible, not nearly so delicate nor as reliable
When we
speak of finger-staccato, of course, we do not mean method of the old school that taught raising the fingers to strike the keys from the "full-cock" position, thus hammering out an unmusical, hard, detached tone. We refer to the
rebound of a
A drum -stick striking the tightened drum -skin (playing the cemBesides the balo) rebounds faster than a ball thrown upon the pavement. natural condition of the ground or the base struck, the elasticity of the falling
loose, swinging weight-produced touch, the freefollowed descending fingers instantly by the weight of the rebounin chapter VIII. When executed as in detail ding hand, explained perfectly, it sounds like so many padded cembalo-sticks"rebounding"
mass
on the
'
striking the base, naturally, exerts a telling influence.
natural
strings
(cf.
Chopin: Ob- major Etude by Teresa Carreno).
motion,
mora dt a the
efl
53 Beethoven: Op.
"brilliant" play depends upon the staccato -effect, the rapidity of the descent and the rebound produced.
Finally, i.
e.
upon
Largo
73.
This species of tone, sharp, clear, of metallic ring, sounded and stopped with absolute precision is the result of a sharp, short stroke of the arm (with hand) of a non-legato quality,
7.
etc.
produced
by an exceedingly rapid impulsion instantly followed by the staccato style. repulsion. The brilliant tone is the non-legato
—
l-;
Hence, special finger-staccato exercises are no longer required.
among
The
pupil only needs to study the fall of the weight (chap. II, III) with the repulsion, i. e. let arm and hand rebound quickly and suddenly. This movement in combination with the stretch-action
other works, consult more especially 14. No. 2, 2nd movement,
Op. „
28. 2"'!
„
31.
movement,
No. 3 (Scherzo).
of the fore-arm must be performed automatically, the fore-arm alone executing the staccato, the hand drooping and dancing
The
passive in the wrist.
The chauge from
sudden weighting of the arm (in its dcsceut on to the key produced by a swinging movement) to as Tnglmidden relaxing suddeu 3 relaxing of the weight (when the arm rebounds) must be made with lightning rapidity, without the least interruption Change from
a
must have the sensation, as though he were furtively pressing on the ivory button of an electric bell, the tone being, as it were, drawn out of the key, produced, not, as in reality it is, by pressing down, but by raising the finger from the key. (Chap. X under "Touch").
The
or hesitation.
Let the weight
After practising the free descent of the lifted hand, take up the study of staccato starting from the key, i. e. cause the weight assumcd by the finger forcing down the key, to descend sud-
Icendw^wrfst
denly into the wrist, the hand
Piaicato
the weight of the arm) then Then reverse instantly rebounding just as suddenly and lightly. the action: Touch the finger to the key, and suddenly lift arm (i.
player
effect is similar to that
erroneously called portato
(a
term
borrowed from vocal
technic), generally produced by the hand the (or by arm) gliding off the key, in a manner resembling the action of "wiping" or „sliding". (Chap. X under "Touch"). If
e.
the staccato occurs in passages requiring a rolling of the
fore-arm,
i.
e.
in
scales,
accelerate the impulsion
we only need same, and the arm will
runs and similar figures, in
rolling the
and hand with a quick movement (lifted staccato). This latter variety (pizzicato) produces the most perfect effect, but is only suited to passages of a definite character in slow tempo, for
of itself follow the action of the
instance:
the
hand
in the
superferences and
subterferences.
Staccato in thirds, sixths, octaves and chords
same
rules.
(Chap.
IV).
is
subject to
The
se
produc
54
CHAPTER
ACTION
FREE OSCILLATION OF THE FINGERS.
IV.
Finger-oscillation. So far, fingers have scarcely been spoken of, their "activf^ part having been limited to passively supporting a weight. This once mastered, arm and hand having been trained to fall upon loosened, relaxed fingers, or to roll on upon them, etc., I.
na(CT-OK3b-
the
—
puticipatioaof tbc ftaf ers
the
flngers
may
participate
pose of hand
Natural
in
the
fig.
K.
general
oscillation
the
of
free oscillation
in
repose, the four
fingers straightened out.
Lightly thrown fingers (without curve): straightened finger-touch, a— b, a,— b, shortest way of motion described by each finger. A: raised wrist X y: parallel plane of touch.
Low
posture: the fore-arm hanging in low position. Weight resting (reposing) in the sunk wrist (A). The loose fingers thrown in the same way as in fig. K.
"one",
sharply:
^"
"two";
finger lightly forward, stantly Trmnalcr of
weight bjoicflUtioB
and
at
.
at
With the arm "one"
"two"
let
swing it
and simultaneously transferring to
from the
3l^ finger:
this is the transfer of
in
the
—
:
soft finger-tips, the fingers passively
theirown weight, i. e. with that of the hand, arm or of the whole brachial mass, on to the keys. Models: Paderewski, Carreiio, Busoni and others.
thrown
repose, count relaxed
b—
The tone being produced by playing with
organs of percussion. They should now be thrown lightly forwards and allowed to co-oscillate in their knuckle-joints. Exercise: Set the weighted arm with raised hand on the
^
the
i.
a—
a—p-. projection.
f
Do
Oscillation of the fingers in the joints, projection. a,, b,, c c,
—
middle finger: E» 3t»
the finger and descent of the arm.
of the 2"i finger and instantaneous descent of the brachial weight on to D-, rise of yA finger and instantaneous descent of the
:
EspcriacBt
of
same with the 1^, 4!'' and 5"" fingers and finally with the thumb, practising the usual three, four and five-finger exere.: thumb on C^, swing cises on the before-named principles,
fig.L
motion supftorted on thumb
in
VIII.
2nd
descend upon D-, init the whole weight weight by means
of
falling with
weight of arm and hand on to the y^ finger on to E-, rise of 4* finger and descent on to F*, rise of 5"' finger and descent of weight on to O^, and so on. Remarks:
The
the finger must resemble a light "soaring", a sudden upward swing, tilting, an elastic jerk, the motion of the fingers themselves resembling that of arrows darted from the 1.
bow. The greatest mistake is made regarding the which each finger should be raised.
string of a
height to
rise of
55
amounts
It
about one inch (2—3 cm) from the surface of an inch (1—2 cm) from
to
the white i<eys and to V2 that of the black ones. In of
an inch (2 cm),
^
nrst°^'"
is
medium tempo
it
reduced to a minimum
is
about
in
more
'^|^
of
rapid fingers rise to the greatest height, when simply straightened out to their full length. \{ js wroug to start training the fingers from a strictly curved A free, natural style of movement or action can only position.
The
tempi. Curved pose
but
—%
be acquired from a free, natural pose (exempt from any strain) and from a natural curve of the naturally straightened
of the hand,
Long, flexible fingers having the natural swing in extension and flexion may with impunity be "curved" in playing, but not the other way about. Our experience, at least, has been
fingers.
pupils taught on a wrong method) the curved pose the paralyses fingers and prevents their free co-oscillation. Raise (oscillate) each finger with ease and let it descend in the that (with
same manner, just as The fingers are
Law
oi friction
to avoid:
as, for instance,
cases,
produce 2.
certain accents,
Any
and pupil Gun-cock
pose o
ingers
may
actlvc tension
cock of a gun or I.
movement
requires
(figs. K and
(figs.
still
is
or
to
shape of the haunts the minds of master
of the fingers
which b and c),
pistol
Ill
in con bravura passages, they be raised higher. in
prohibited,
the
as infringing
the
•u
emnj
must uot
^^
the flexibility or action of wrist or elbow-joint, i. e. the least interfere with their relaxation; therefore
in
member must not be stiffened or cramped. The weight bearing upon one finger must be is assumed by the next finger; which means
yoj«/ or
until Tooeariyreie.« of weigh.
active
it
retained that the
weight must not be released simultaneously with the rise of the Or, to put it practically: If the weight rests on the ^.^^^^ it retained on C% until the swung 2"'^ finger, is beds the key D'', and is able to relieve the thumb of its descending, weight, as it were, and assume it itself. So that the combination of the attacks in passing from one key to another must
thumb: C-,
also be observed in the
unimpeded swing
weighting succeeds another.
of the fingers.
once.
spasmodic
The muscles
of arm,
hand and finger
pressing
down
or
crushing of the
key prohibited, infringing the law of friction and relaxation. The whole secret of finger-action consists in instantly relaxing hand and finger, i.e. releasing them of any exaggerated as
is
pressure, tension,
etc.,
the
moment
the tone
is
sounded.
One
Finger-action witli weight.
II.
We
may further emphasize the fact,
that,
contrary to the old style
of beginning with the active raising of the fingers (a perfectly wrong conception), that exercise (raising the fingers) must not be taken up until after studying the free descent of the weighted arm upon
the
not upon the raised, passive fingers; as first of all, arm hand must be taught to remain supple and loose and
set,
and
how
learn
the
4.
3.
All
movement
it
at
are to be relaxed instantly, the key being weighted only just as much as is required to keep it down and sustain the tone.
mastered.
,
way impede Cramping,
must be released
of frictioH for, besides the loss of time, waste of energy ^^^ ^^^ vvrong and pernicious muscular exertion which results, the realisation of the most important feature of the whole lajv
is rendered impossible, viz. the free, loose swing of the and the unimpeded descent of the weighted brachial mass. fingers The tension must only be dimomentaryon&,\\V.t that of the bow-string. 3. The swing of the fingers (tension— flexion) must in no
a.
to the rise or swing-off of each finger. After the finger has fallen and struck the key, the weight
L).
to be raised (straightened out) only to such au cxteut as to cause the least possible friction (internally and externally), according to the law of friction. Only in a few exceptional
What
the natural
The rise, swing-off (extension) and descent (flexion) of the must be condensed into one single movement, the whole finger one undivided action. Great care must be taken, however, y stm forming ' cial ex that the upward movement of the extended fingers, and the alternate action of two fingers be executed perfectly, and with the utmost precision. A slight oscillation of the hand responds 5.
to
assume and transfer the weight, eveiy detail and which must have been studied and thoroughly
development of If
the
strength
needed, relax the arm in the shoulder and
is
let
hand fall into the keys. If much strength is required, arm a little higher in the shoulder, or descend with greater rapidity.
lift
The descent
of the weighted
member with
the
swing
of the
fingers always produces a non-legato. The legato style can only be obtained by a soft pressing down of the keys with the fingers weighing upon their surface.
But the sharp or sudden rebound of the mass, the swung finger having fallen, may thus produce a staccato. when the fingers descend, we allow the hand to tap the If, e. to strike them with a thrown action or keys vigorously, motion of the hand, we obtain what is called the "cow bravura" i.
style.
rest or remain steady If we allow the hand and fingers to and cause the weight of the hand to sink lightly into the key, producing tone by tone with firmly set finger-tips (without raising
the fingers), the result is: If, on the other hand,
''jeu
we
perle".
allow the "swung" fingers (sponge-
56 headed or not), to descend and rapidity of, drum-sticks, the effect
Slay
rebound produced
like, is
and with the
that of the short
staccato (in scales and passages) which we call "leggieremeitte". Nothing is here employed but the natural weight of the fingers. that of thc hand (from a loose wrist) lightly following the descent.
employ
to carry to ooiyu««..^ This free and natural "play of the fingers" (very difficult, to a higher grade of study Bi««nfaiknr«i perfection), however, belongs rather "^ than to the elementary exercises. Nor does it belong to the rudiments of technic, properly speaking, but rather constitutes a
6l
the study of special part of technic (a technical "nuance"), had better be left to finished hands.
The leggiero and fingers
style,
produced by a very
in repose, rather
light
resembles the style
which
descent of the hand
owes
We
its
origin to a perfectly
I.
Descent of the
is
II.
to the 1.
the fingers, and Finger-action with weight, which is the only correct action. To what extent active muscular tension shall participate, as
it
in a complete Txumumiina- continual drilling of each finger separately, resulting iaf o( each or partial stiffening of the wrist or elbow-joint, which while it
unnecessarily wastes muscular energy, impedes the free, natural oscillation of the arm by preventing its utilizing its natural weight. He that commands a loose arm and can "play with weighttouch", may use the fingers as much as he likes and whenever
he feels they are required t
— no matter where.
As long
2.
the
oscillation
of the
however, a very important one. Finger-action without weight, i. e. the old style, produces a thin, wooden, sharp, dry tone, very different from that of weight-produced touch, which This question
x
i.
full
brachial weight in oscillation upon the or several fingers: thirds, sixths, octaves,
martellato touch.
the key-board). Loiv-fall of iveight. to the arched hand raised, thrown
On
upward
(erected
Erection or high-fa// of the weight.
pose of the hand):
Effect:
non- legato.
The passive hand-extensions and weight-produced descent: vibratissimo staccato-vibrato staccatissimo.
vibrato
—
IV.
—
—
Bearing and rolling of the brachial weight,
of the fore-arm.
i-cc
by rolling
non -legato. j.
V. Lateral rolling of the brachial weight by rotary action of the fore-arm alone or in combination with the upper-arm. Effect:
VI. Natural
upward
rebounding hand
—
staccato.
weight with natural rebound: rebounding arm. With greater or lesser
Sharp descent of
VII.
legato.
jerking of the brachial weight.
Effect:
the
erection of the fingers. Effect:
con bravura
(brilliant).
weight of the hand over firm-set great precision in the arresting of each tonal
Rolling of a light
VIII.
finger-tips,
with
of finger or key. Light, loose on the keys (not swung style, i. e. the fingers resting naturally and without active rising) with the least possible weighting of vibration,
short,
precise descent
the keys. Action limited to pressing
is,
embellishes the tone rendering it full, sonorous and round, enabling the artist to put expression and power into his playing, never dreamt of by the old school (See chap. X. under "Touch").
,
.
Effect:
as the fingers
whole arm and hand, they moment do but the they perform their movements may anything; of arm and without participation hand, everything is wrong. Finger-action, finally, becomes a question of dynamics, or aesthetics. participate in
,
tires
depends upon the technical requirements and difficulties of the comfKJsition, and must be decided by the individuality of the player who knows what he is capable of doing. What must be discarded, as absolutely wrong, is: excessive tension and faulty manner of holding the arms and hands, stiffening of the joints, exaggerated extension of the fingers, obstinate and
CxccaaiTe
.
and
their different
Fall of the brachial weight from the surface of the key bed of the key, viz. On to the lowered wrist, yielding to the weight (hand resting on the key-board, wrist sunk below the level of
wrong conception altogether wrong,
...
and of
weight-produced-touch.
£^gj.j.
III.
without weight, which
of the various free
recapitulation
high arched hand (on one chords).
have to choose between:
Finger-action
a
is
„ Free
modifications:
as "jcuperlr". the above that
pupil
(weight-technic) of matters.
The following
of weighting.
natural technical formulae, so far developed,
known
must not, however, gather from finger-exercises are henceforth to be done away with. The contrast between: finger-action and weight-produced touch
The
Various methods
III.
Effect: IX.
down
the key, p. or pp.
jeu perl6.
Loose, jerked action of the thrown (s/ung) fingers, de-
scending upon the keys and rebounding like drum-sticks, the hand following the descent of the fingers or retaining its pose. Effect:
leggiero
—
leggieremente
—
leggierissimo.
RecapUuiati
57
PART
II.
FORMS APPLIED. CHAPTER
IX.
PLAYING WITH BOTH HANDS SIMULTANEOUSLY: POLYPHONIC AND FIGURAL PLAYING. I.
The
foregoing
principles applied
Both hands (arms) used
in
polyphonic playing etc.
The
so-called independence of the hands.
The
of
the
application foregoing principles presupposes an equal and completed training of both arms. The independence of the "hands" an erroneous idea as conceived by the old school is acnothing more nor less than the
—
—
faculty,
quired by practice, of utilizing each arm in all its functions and with its integral weight. As soon as the left arm (hand) has been trained to hang, to weight itself, to descend with an elastic swing as soon as a supple, relaxed cubital joint enables it to "roll"
—
Conditions
and (by virtue of smoothly with assurance,
freely
course of
own
like
weight) to
move
the right arm (hand),
steadily
and
it
natural weight or action.
In playing with
both hands, great care must be taken thatrwhatt
1.
Each arm transfer and balance ently and naturally, etc.
2.
Each arm
3.
No wrong
and
elasticity
in
every position, form,
movement
presupposes the combination of innumerable similar and dismovements, the contrast of which is often so great, that at first the arms experience the greatest difficulty in persimilar
forming their respective movements and constraint. to
indispensable movements.
development, soon acquire that independrequires, and the faculty of relying upon its
weight, and to interfere in no way with its movement or action. But that is more easily said than done. Two-hand-playing
pia>.nc
(secondary action) are particularly dangerous, as they not only take up time, but will often impede the simplest and yet most
will, in the
it
This means that the retention of iveight in every gradation (from the discharged to the play-weighted member) constitutes the fundamental principle of two-hand, or rather of two-armSo that the object is to abandon each arm to its own playing.
Impedimrnts
—
natural
its
ence which
its
do as they like, without contraction, pressure or cramping of hands and fingers, all caused by wrong and detrimental muscular tension, their immediate effect being to impede the transfer and rolling-on of the weight; sympathetic, intermediary &nA secondmovements or the outcome of imperfect habitude and action, ary insufficient intellectual discipline and training. The latter defects
naturally,
without impediment
Such impediments are chiefly due to nervous hesitation, ^i^jj,}, prevents us from allowing both arms perfect freedom to
rise, fall, roll,
etc.,
its
own
weight independ-
independently and naturally.
—
muscular tension be produced, which whether it be the resuU of nervous timidity or of voluntary movements or action may interfere with the natural
—
relaxation of the brachial muscular system. 4.
Each arm perform only those movements, which, though e. movements leading by the shortest simple, are essential, and quickest road immediately and unconsciously to the achievement of the technical object in view, and that with i.
the least possible
amount
of physical exertion.
aforenamed eleimpede progress, such as: movements: For instance, when one arm or one Sympathetic hand is executing such and such a movement in a certain direction, the other imitates it unconsciously and unnecessarily. This
presupposes
the
exclusion
of
the
ments, that detrimentally affect or
8*
what
58 Intermediary tuovements: While one arm or one hand has to execute a principal movement, however short or quick, such as skipping to a distant key, the other arm, the other hand or its
a series of unconscious, graduated practice and executed in a
in reality the result of
movements acquired by long
fingers (or even both arms or hands together) participate in a manner and in movements which interrupt the former, wasting
most perfect manner, in the least of which the whole muscular system and the joints participate. In polyphonic playing, the hands and arms constantly rise and fall alternately or together, the one performing gliding motions or oscillating, while the other is rolling,
2.
time and physical energy by superfluous oscillations, spasmodic suspensions (the "pause" with the hand in the air), groping,
so that each member must gradually learn independence; i. e. the whole organism must gradually be so
fumbling for the keys, etc Secondary moveimnts: Instead of simply executing a certain
etc.,
one arm, by virtue of its own not allow the other in any way or with what it has to do: "Let not
set movement, the hand or arm will (owing to a contrary action on the part of adjoining muscles) commence describing other movements which have nothing whatever to do with the principal movement and only impede its execution; such are, nervous agitation and spasmodic curving or contracting of the fingers, clawing with the hands, sudden stopping with the arms raised
hand know what your right hand doeth." your In other words: Allow nature full freedom of action; employ both arms resolutely, intrepidly, to attain the particular or common
wrong notes, stumbling, "stuttering" with the repeating (common faults, characteristic of a crippled based on false methods), in fact, all awkward move-
the only way to acquire "independence of the freedom or dexterity of both (left and right) nervehands", centres by a steady, gradual development of the organism.
hitting
aloft,
fingers,
technic
ments betraying lack of
trained, that, for instance,
weight and to interfere
remarks
object;
1.
74.
i.
II.
to be
The
drawn from these general of
that:
Each imagined tone, to be rendered audible, requires but one principal movement: rise, descent, transfer and rolling of the weight. It should be added, that each movement is
Chopin: Prelude Largo
this
12
3
4
12
3
it
is
e.
disciplined, systematic training, a general
conclusion
practical is,
with
left
typical fault with beginners.
The
flexibility shall
a
Melody
(cantilena) with accompaniment.
simplest combination
melody
(cantilena)
and
its
^^^^^
two-handed playing consists accompaniment. The practical
in
solution of the problem is not difficult. 1. The cantilena is obtained either by: erecting the hand, or it of thus by: lowering (low-fall weight), (74):
4 etc.
I:
*
E
^
^^ 2.
are
All
forms of accompaniment
executed
in
initiated touch, S««le
a. I
b.
i.
? ^
^ tLtE in
V
(of the
hand)
is
followed by a lowering (of
—
once
after the
stroi<e,
dotted line); the
same
into the wrist (as indicated by the at 4
(C),
etc.
»=l X^l
the right and
left
hand
upon
the surface of the keys (without raising the
hand
conformity with the principles of free weighte.:
Single tones are obtained by low-fall or high-fall; as for instance all waltz-accompaniments, etc.
Chord
Each raising
the hand), preparatory to the next rise or vice-versa. Thus: at 1, the hand is raised on to B", to sink bacic, at
figures (as in the above example from Chopin are treated tremolo (alternate raising and lowering fL h.J) of hand or arm), the chord being first felt and formed
or the fingers).
In
movements
in
j
s,
i^s or d^s, the keys
must support the playing members, oscillating with the weight borne by the former.
The
vertically
solution lies in the natural equilibrium of the aided weight by the perfect repeating-mechanism of the instrument.
'''""'
59 Single chords may be taken in low-fall, or with the erection of the hand. The same refers to: figures in thirds, sixths
and octaves.
In
quick
movements
c.
All
broken chords of three or four notes, such as
(75),
e.
Bro
''''°''**^
proceed from the rolling of the fore-arm.
tremolo-action
(vibrato) predominates.
Beethoven: Op. 2 No.
Final
1.
movement.
75.
W¥^
I So
also:
all
five-finger "roulades", figures
Chopin: Prelude. 76. Vivace
in
Op.
scales,
28.
No.
florid
passages and arpeggi for instance: (76)
3.
Here one must
carefully avoid stretching the hand or spreading the fingers, the intervals being taken with a light
skip or greater extension of the (upper) arm. In certain figures the arm executes a "rozving" motion,
Rowing motion of
arm
describing an ellipsoidal figure, moving to and fro or up f.
and down.
Skips ezecuted
how
what
to avoi
d. All
arm
skips are executed by a free swing and descent of the (and of the hand), connecting tone with tone as
closely as possible, in passing from key to key.
This movement must be performed with boldness and decision, allowing the hands and arms "free fling". All groping, fumbling for, and striking between the i.
keys must
e.
be avoided.
The notes must be connected
immediately, one with the other, by one principal movement (curved projection of the arm), excluding any intermediate or secondary movement of the hand.
%,
Dynamic
gradations
3.
With this object in view, the passages in question must form the subject of a special preparatory study for the hand (arm) executing them. Dynamic gradations, more especially the three principal
styles of playing:
non-legato , legato, staccato, are to be rendered
by each arm or hand in a manner absolutely independent of the functions and movements of the other arm or hand; the equi-
must in no way be affected manner of playing or the style of interpretation.
librium of both hands and both arms
by any change
in
the
Non-legato always means: free
Legato: steady
arm and
lateral
fall of the weight. displacement, steady gliding of
the
rolling of the fore-arm.
Staccato: natural rebound of the arm and hand as a whole. These various points must never be lost sight of. The training of each arm separately to execute its divers functions, independent of the other arm, constitutes at once the most essential and most difficult part of piano-technic. It is or each arm shall of the utmost importance that each hand
—
—
accomplish its task, allowing nothing to interfere with its free action. Thus, for instance, if one hand has to play legato, the other non-legato, each hand (or arm) must execute the functions
and the movements required of it, with absolute independence; the other must really "descend", etc. e. while the one "rolls", Bach: Short Preludes and (See Fughetti No. VIII. Two-part InvenVIII No. tions, among others. F-major). All further ulterior technical development is based upon this training of each hand to independency of action or movement, and the teacher must attach the greatest importance to the freedom and the independent motion and action of each arm; he must not tolerate the least deviation from that which is correct, nor allow anything to pass which the arms and hands do not execute with the utmost surety and in the most natural manner. The unconscious mastery of all technical and musical contrasts, of action and motion is the key to technical automatism i.
Train< ^°,',"f^ «''*
of
technic
deveio *^a*'-^ '"*''^"
60 and to the development of individual freedom of rendition and execution.
The number of possible combinations The three principal manners of playing in the
interpretation
is
legion.
furnish of themselves,
of one figure (a scale, for instance), nine
different combinations:
Uft hand
61 of
Examples: 1. A sustained note with figurated bass, a. For the outer fingers (4 or 5) (77).
hands and fingers which are only too apt to do the mem-
bers permanent injury.
Cramer-Bulow: Etude No." II. 77.
Experii
etc.
i ^
ciUs-'^iriZf^ytrUfiofiil cf.
Observe:
Schumann: "Bittendes Kind", "Oliickes genug" (from "Kinderszenen"). Beethoven: Sonata Cj-minor. Op. 27, l^t movement.
â&#x20AC;&#x201D;
begin with the low-fall lowering of the hand: let the weight descend on 5' on to the wrist bent in under the weight, and take the figuration, while the hand rises, exe'" t^ls instancc,
â&#x20AC;&#x201D;
cuting a gentle rotary motion: low high, the hand not awkwardly tilting, but carefully retaining its equilibrium; the sustained tone 5' must not be pressed nor held down with too much strain
Avoid:
by the
little
The note B^ being taken hand must be released
in
low-fall, the
tension
once, the same resting
of the obsen
relaxed
on
finger, weighting the key B'^ just sufficiently to hold down and sustain the tone. (So that we change from the
the it
at
full
5*!"
i.
e.
playing-weight suddenly to the least playing-weight.) b.
With the inner
fingers
(1
or 2)
(78).
finger.
Cramer-Billow: Etude XVI. 78.
etc.
^I^H
Execution:
low -fall
on
<|
the
to
jJJJJJjJJJJJ|JJ^JJJ^JJJ^J thumb:
D\
light
The same
rotary
motion from straightened (low) position of the hand to The thumb must not press on the raised or curved position.
principles hold
good with the
left
hand.
(7Q).
Left h
the
Avoid
:
Observe
;
B.
the key, but merely support the light weight of the hand, without
J.
any way impeding its action. See also Bach: Short Preludes and Fughetti (Peters-Ruthardt) No. 4 part. I, No. 4 part. II.
79.
Cramer: Etude Vll (Bulow). (sustained notes held with the I.
in
Observe
:
To
metacarpus by setting the outer fingers 4 or 5 generally necessitates an inclining (lowering) of the hand towards the thumb-side. The sustained tones held by Note:
steady
the
fingers 4 and 5 (example 77) raising the hand (erection).
may, however, also be taken by
and 2 must, however, always in certain cases, it is better and begin with low-fall, although, more convenient to erect (raise) the thumb. This must be deterSetting of the inner fingers
1
mined by the musical context and by individual
habits.
outer fingers)
h.
^ fJTJ FF4= Here,
for
instance,
we may
connect (bind) the four Js D\f, by one raising action.
in
i
J
"^
etc.
begin either with low-fall or
each bar with the sustained tone
Whereas, when the thumb is set, (80) the stitutes the simplest and most usual method.
low-fall also con- wnixs
M J.
B, Cramer:
Etude
III
gU
s
^ r
tt^
^
(sustained notes held with the inside fingers)
(Bulow)
^
'ti
etc.
i
^
Beethoven: Op.
in sustain
'""' '"'' "=
â&#x20AC;&#x201D;
2.
cj
r
We would add that in slow time, in andante and adagio movements, whenever it is a question of sustaining a tone with the inner or outer fingers, the accompanying notes (changing-notes, passing-notes, figurations, etc.) may be played with a steady hand alternately falling and rising (low-fall erection) or vice versa. Two
notes with figurated accompaniment or
sustained
with chords (thirds, sixths), etc. a. With the outer fingers: (81, 82).
Adagio: bars 23/24
13.
or bars 27/28.
Numerous analogous passages
The passages
in
alternate lowering
will
be found
in
Bach,
etc.
question can only be rendered perfectly by and raising (tensionâ&#x20AC;&#x201D;flexion) of the hand with
J.
B.
the
arm
oscillating,
the hand, set lightly, holding down the thirds, b. With the inner fingers: (83, 84),
Cramer: Etude XI (Bulow). etc.
83.
S7^
\
mjj^ f
f Beethoven: Op.
never allowing the fingers to "crush" the keys.
10,
No.
p
3.
Largo e mesto
b=..
In
the
first
example the
low-fall
is
followed by an
alter-
nating motion (riseâ&#x20AC;&#x201D; fall) or, if preferable, by a rolling-action. In the second example the hand is lightly raised on to F'^
(P' bar), G' (2"'' bar), the keys held down.
be "crushed".
etc.,
fingers
also Op. 14 No.
1,
2nd movement.
and hand resting
The double notes
(thirds,
etc.)
on must not
lightly
no
cru.hi
63
Then follow:
Here
Sustained notes with the
3.
3"^^
finger,
which then takes
ail
the weight; finally:
notes
thus for instance, when the hand rests on the li' fingers holding an octave (85 and 86), alternate rise and and rise) of the metacarpus is the only motion or action
5"^ (fall
,
Clementi, Gradus ad Parnassum.
whereas
in the latter,
fall
the middk-paris and which, as the whole hand only be executed by straightening out the arm (86).
(triads).
In the first instances, rolling-motion is practicable,
and
have to deal with passages essentially harmonic,', in suspensions, changing-notes and passing-notes
in
Sustained sixths, octaves and chords of three sustained
4.
we
with figurations
3
Beethoven: Op.
10,
No.
3.
set,
can
Vlll.
85.
etc.
S'
t
possible.
86.
Etude
is
H' movement (Coda).
m
etc.
li';^^r^'ir^ 'i^fi Just as the violinist is obliged to economise the bow, the pianist must here be careful to seize the inner notes in question
with one motion of the hand. If
in
a
passage of one,
two or
three sustained notes ex-
aggerated extension occurs, which it is impossible for a normal hand to grasp, the single or double notes that were to be sus-
ployment of the weight and the quiet flow of the principal movements will overcome or prevent all dangers or difficulties. The following are, briefly stated, the points to be observed: 1.
All
appoggiaturas beginning with the upper note (87) are
to
to in
88.
must be released without the least hesitation, according the principles before stated, more especially with reference some of Schumann's and Chopin's works, numerous passages which no small or middle-sized hands can execute.
Polyphonic playing, as a whole, is based upon an exact distribution of the medium weight and upon a mastery of all gradations of weight, from the discharge of weight to the full weighting As such, it comes under the laws of of the playing member. i.e. the theory of tone-shading, and therefore and aesthetics, dynamics
had better be
The
dealt with at a
more advanced stage
of development.
^ All
All
of
tcchnic
which caused
of
the
greatest
confusion,
henceforth,
the
em-
in apj
appoggiaturas
in
connection with
1, 2,
3 or 4 notes,
as chords, are taken according to the principal movement of the hand (of the arm), i. e., they are joined to those
notes "dragged" along with them.
in
playing, is also subject to the figural as the case may be. and rise of motion fall, or rolling, alternating in the so purely mechanical difficulty lay solely far, Whereas, movements be isolated or to action of the fingers, the isolated,
The
appoggiaturas beginning on the lower note (88) are
taken with the hand "in erection".
of
Fignrjpuying
^
zz:
further on. requisite material has been compiled
IV. Figural technic.
]
be ob
taken in "descent."
whmioreiMse tained, keys
The
Otherwise, position and direction determine the manner In consideration of the difference executing them. the black and the white keys: between height
Appoggiaturas from the black to the white keys are taken in "descent", appoggiaturas from the white to the black keys, in "rising".
Notes of complement are executed giaturas.
similarly
to
appog-
conse^
°â&#x20AC;&#x17E;ee^, ^°^iac
M 3.
4.
5.
"Gliding-notes" upwards are taken by "rising", by "lowering" the hand.
downwards
â&#x20AC;&#x201D;
Double appoggiaturas, in alternate rising falling, or vice versa, according to form and position. "Turns" beginning with note above or below are "rolled" with a sweep of the arm and a supple, elegant curve of the hand starting from the low or the high position, according to the position of the hand or the musical forms, etc. In polyphonic tttoventetits. the sustained notes determine
the motion,
i.
e.:
Suppose the thumb or 2""* note, and the outer fingers 3, Sweep oil
Whereas, 2'^ and
finger has to sustain a 4, 5 have to execute the
then the sweep of the arm will afford the best and easiest means of execution.
figure,
3'^''
the outer fingers are "set", the thumb, the fingers must execute the figure in alternate if
risingâ&#x20AC;&#x201D; falling; 6.
The
"transient" shake, "mordente"
and
all
of shakes are subject to the rolling -action
similar
of the
forms fore-
arm, i. e. their execution is related to that of the tremolo (pp. 33/34). The same holds good of figurations in form of shakes in connection with one, two or three held notes, and also with pro-
longed shakes (chains of trills with or without notes of complement). The examples under Nos. 1 to 5 (appoggiaturas to turns) are also to be executed with the assistance of the rolling-action. (See "Natural Piano-technic", vol. pp. 186, etc.)
I.
2n^ edition, Supplement
I.
No.
II.
ÂŤith setrm
65
CHAPTER
DYNAMICS.
TOUCH.
Dynamics.
I.
Dynamics, how determined
AESTHETICS.
instrument, its construction, resonance, mechanism, etc., on the other, the form of action and contact of the organs of percussion The tone
ana-
Ivsed
I
How
formed
a tone "ready-made" in the construction of the instrument, the volume of which depends upon
capacity of the
whole sonorous body
of the in-
strument as also upon the form of the vibration (upper ("Timbre")
also
and
mechanism, which varies only according to the respective volume of tone in the different registers (bass, tenor or treble). The modulatory capacity of the tone is dependent
body How^ modulated f^aduated
power of gradation; so that in speaking of the solely upon of the tone" and "timbre" on the piano, where the "formation its
tone Tone-colour
Nnances
is
already made,
we
can only refer to a graduating of the
tonal intensity; for we cannot really speak of a diversity of "toneIn colour", and of "forming a tone" which is already formed. we can refer to such "nuances" only admitting "tone-shading",
as result from the vibration
Touch: the product of rapiditv
and weight
partials).
possesses a peculiar "timbre", more or less uniform, determined in each instrument by the qualities of the vibrating It
of,
or the form of contact with, the
playing -body, i. e. from the different degrees of zveighting the keys or from the greater or lesser intensity of pressure and from the velocity imparted to the key. All forms and manner of percussion (touch), without exception, differ only in intensity,
i.
e.
in the force
applied percussion (touch), which again results from the product of rapidity and weight, (pp. 12 and 24.) Hence every "stroke" and every tonal effect are dynamic proin the
1
All tonal effects
are the dynamic products of discharged and
ducts:
weighted arm
intensity.
tone
all
is
tonal effect corresponds to a certain degree of dynamic Generally speaking, the modulatory capacity of the
determined by the grades of touch proceeding from the
discharged arm up
upon
the
rapidity
weighted arm. All other effects depend the stroke or upon particular muscular
to the
of
FINGERING.
upon the development of more or less accentuated upon the sweep of the arm, involving the instant transfer
force,
of shoulder-power to finger and key.
As, moreover, every form of motion, action (percussion) of the living organism has its origin in a mental impulse, it follows that all instrumental
dynamics respond
•the spirit of each individual.
to the l<ey.
The instrument produces
the vibrating
RHYTHM.
tension,
Piano-dynamics are determined by contact of the living organs of percussion witfi tfie inorganic material composing the mechanism of the hammer-repetition-work: on the one hand, the
and the velocity imparted
X.
The
to the
mental capacity and
richer, the
more
varied or gra- The
duated the psychical scale of sentiment or emotion, the richer and more varied will be the dynamics of the tone diversified
by the most delicate gradations and shadings. Mental capacity and sentiment, quantitatively and qualitatively speaking, limit and touch
the
qualify
of
the
individual
in
those respects.
Instru-
dynamics, as such, are of no importance. The touch becomes or proves expressive, is full of emotion of the soul or is meaningless, void, becoming mere outward show, according mental
the predominance of spiritual depth See further on „Touch" pp. 68, etc. to
or external sensuality.
Indigence of colour or of singing quality
in
the touch does
not invariably indicate poverty of emotion of mind or of musical and feeling, any more than richness of tone and colouring
ability
necessarily presupposes a superabundance of soul or sentiment. Every tone is. in fact, the product, the expression of a mental and moral effort of emotion passing through a sensory appa-
—
ratus
extremely complicated
in
its
coarser or
more
delicate ele.
ments (sense of pressure, muscular sense, sense of position, and necessitating the co-ordination of muscular functions not less numerous. the moment "percussion" How Hence it will be admitted that, has taken place, e. the key or keys have been played, there is no "^^^^ action, motion)
—
i.
means
—
of affecting the tone or tones sounded, except by the pedal. The tone continues as long as the key is held down or is sustained by the pedal, and ceases, the moment key further
or pedal
is
From
released.
a
practical
point of view, the following points
be deduced herefrom: 9*
f
"""'''
may
long?
66 1
.
2.
All degrees of tonal intensity accessible to individual capacities
a.
Applied with or without swing of the fingers,
must be tested and determined with a view of training and refining muscular sense and sense of touch (pressure) (p. 17). The greatest importance attaches to the sustaining and prolonging of the sound, as long as the damper permits, and
b.
Applied by means of fore-arm-rolling and rotation of the
c.
upper-arm above the keys, to effect binding: Made to rebound: staccato, and
d.
not, as hitherto, to the mechanical
The
hammering (percussion) with the fingers, preceded by their "preparation" so contrary to nature and purpose.
From
the it
is
description of the mechanical structure of the evident how absolutely useless it is to cnis/i the
bedded
If it is true (and true key. to affect the tone in any way, once
it
is),
it
is
that
is
it
sounded,
it
impossible is
nonsen-
pressing the key, and holding it down with the finger. For, what good can the continued pressing do, if attained is thereby, the tone being in no way affected? nothing to
sical
Away
continue
then
with
the
strength -robbing,
tiring
and with the foolish idea of "<7//^r"pressure
—"pressure-torn" when there
nothing to press. Let us now determine the various degrees of dynamic intensity in their relation to the forms of playing, treated of in the is
closing words Dcfrcnof djrna
of Chapter VIII: Natural weight of the fingers:
a.
leggiero,
leggierissimo.
jeu perU. b.
Weight
c Weight
The The
2.
by
rapidity (acceleration of the time).
greater sweep of the arm, of upper-arm and shoulder.
3.
The same,
in inverse
i.
e.
upon
the participation
sense, refers to the "decrescendo" or
"ritardando".
Weight and velocity need not exclude each other, even though weight-produced touch is based upon relaxation of the while accelerated velocity presupposes tension of the
muscles, muscles.
The
less the weight.
the
of
art
greater the velocity, the greater the tension, the True! But just as true: that the whole secret,
—
our
technic,
in
spite
of
these
facts,
consists
in
following up the laws of inertia and retaining the weight (though our motto reduced), even in the highest degrees of velocity being: never lose the weight nor relaxation!
—
One fundamental principle in cultivating dynamics requires that the fingers shall remain in constant contact with the keys Leave ting and that every tone shall, as far as possible, be formed upon the "i^'Te" """ '"'» and not ivith the arm in the air. key
of the hand: uou-legato, of fore-arm and hand: non-legato,
increase of the weight (weighting degree
degree).
modifications of the normal attack can only be determined or diversified by the amount of weight employed.
instrument
with a sharp, short jerk upon the key: con bravura. "crescendo", both in single-tones and in a series of
The gradual
1.
all
TiMraisDDndi
Thrown
tones depends upon:
Having limited all dynamic shading or grading of tone to time and action between release of weight and weighting,
3.
legato.
suspended
itself,
degrees of tonal intensity may be considerably reinforced or softened, with the aid of the loud
All the various
modified,
i.
e.
and the soft pedals. In all elementary grades, the pedal must not be put down until the key is played.
Total weight of arm: martellato All these weights may be: d.
Preliminary Pedal Exercise:
count:
89.
3
1
4
1
2
zz:
I Boot; I.
kMT
of lone,
The
etc.
etc.
k
^ib.
*
^id.
*
weighting.
2: ^.
.
g'k
Aesthetics.
of tone also largely resolve into a question of Beauty of tone results as a natural, inevitable
'Sid.
*
.2: 'SSi.
m
2:
:
9u^.
*
:
^^a
consequence from the faculty to transfer and I'oll the -weight (i. every degree of weight) wherever, and whenever, it is needed.
aesthetics
pro-
and chords same manner.
Practise octaves in the
'Sta.
II.
3 -G-
Essential
the
whole
conditions being:
physical
e.
swinging action or motion of organism of percussion, soft and round
».
e«e.ui.i ditions
67
hand
any and every action or movement contrary to the object to be attained at the time), delicate touch, instant relaxation of muscle the moment the key is struck, a flowing, smooth action of hand and arm, and uniform velocity.
action
A general
error
:
the
of
the
e.
(i.
exclusion
of
an almost unlvcrsal error to believe that to play with the arm produces a hard, dry, a non-aesthetic tone. The very opposite is the case. Nothing lends the tone (with however much power it be struck) so much sweetness, fullness and It
The
finest tone is
is
correct,
swing loose and
Principal
the
We
Thus, for instance, the softest
involuntarily greater.
or elbow, impeding the free action of the all tension of wrist Besides, arm, produces an unpleasant, inaesthetic tonal effect.
tone can
as the of
one
only be
obtained by
the
of
lap,
percussion cannot help
stroke,
one
in
question, parts (joints) unpleasant noise accompanying the drop of the mass of joint and bone. Whereas any and every secondary
hearing the material
effect
is
precluded
by the
fall
on
to the key,
owing
to the very fact that, instead of first tapping or beating upon the key, the hands at once sink into the same with the descent,
pressing of
it
down, thus combining
hand and It
is
in
one movement
(action) that
key.
just as
wrong
to
condemn
the
full,
lever-like action of
the arms, from a plastic point of view, for is it not an admitted fact, that in the arts of acting, dancing, gymnastics, skating, rowing,
movements are the most beautiful, the most natural and most appropriate? From our practical point of view, all this simply means
fencing,
etc.
the
full
'
grandest, as being the
that: the tone is "beautiful", when the rhythmical action producing The is a correct one, i. e. a natural and an appropriate one.
free,
descending with
sonally, we cannot help shuddering and the "beautihil" (sic) wrist-action.
really means: to play so lightly and naturally, that it shall as though one were witnessing a feat of sleight of hand. "appear" If the free fall is correct, the arm is enabled to bend and straighten itself in a natural manner, i. e. it can perform the rise
fine,
balance and weight uniform non-legato.
fall,
the
sight
of
the "cocked" finger
itself
instantly,
thus
varieti
producing a
of fore -arm -rolling assisted by the action with an equal distribution of upper-arm, (propulsion) most the perfect legato, the sound being sustained weight, produces
The combination of
the
as long as the damper permits. The natural rebound of the
arm furnishes the free
staccato.
If raised (from the key) "as a whole", the result is a "porwhat the old tato", which effect it is also possible to produce, by
e. by means of a gliding motion. method terms: "wiping", The leggieroâ&#x20AC;&#x201D;leggierissimo touch, or "jeu perle" is nothing more than the result of the fingers falling or sinking loosely i.
(entirely detache)
amount in
into the
keys (without active
of weighting, being just
enough
rise);
to press the
the least
key down,
addition to the natural weight of the finger plus speed. The con bravura is determined by the rapidity of the
fall,
by a sudden, sharp jerky transference of the respective weight to the arch-set fingers or hand, followed by instant retraction i.e.
of the impulsory force.
the fingers participate in the swing, care must be taken that the attack actually producing the tone emanate not from them alone (which would be isolated action), but also from the If
simultaneous vibrato of the hand. Hence it follows that unity of movement and weight produces dynamic and aesthetic unity.
the
at
the rounder, the "action".
(natural "oscillation", rolling, etc.). Hence the popular expression: "to do it from the wrist" probably derived from piano-technic,
III.
How tastes differ, and how little importance is attached to human body! Speaking perdevelopment of aesthetic movement (action) in the
its full
Axiom:
it,
'
allowed
it
and
is
(the arm) is
consider a scale, a passage, an arpeggio flowing and elegant, their execution seems bound up with the action producing
members
velvety, mellow chord is struck in the descent of the swinging arm, the whole upper- body participating in the action by a gently swaying motion. Active partial-motion (finger, hand, forearm) of single parts must be discarded, on principle, both from an aesthetic and from a dynamic point of view. If the motion of great velocity is short and violent, all raising of the fingers,
whole member
when
and which
velocity being given.
the
The musical form sounds the more beautiful, more perfectly its technical form is adapted to
produced by action of the larger members, not by that of the smaller ones. All partial action is harder and more angular than that of the whole arm, since the velocity imparted to the key by smaller and more agile little
when
weight, rolling the weight with perfectly relaxed joints and extension of the rotary muscles, etc., the factor of the intended velocity being given.
to
is
roundness as the swinging (elastic) fall of the whole weighted mass with fully relaxed muscles and loosened joints, moderate or
Avoid:
action
1.
singing
The
psychical
obsei
Touch.
elements
of
a
beautiful,
of
grand and softj^, p, hitman nature"^"'"'
expressive tone constitute a part Man himself is the sound emitting and expressing
in general.
Avoid
68
The momentum, rapidity with which the key is struck. The manner and form in which hands and fingers touch
personality, his human and his musical character, the emotions, and the temperament of his artistic nature. his
own
we
characters
might say: energetic Generally speaking, possess 3 Well defined, energetic tone, individuals of a gentle, The lyric nature are gifted with a soft, sweet tone, and so on.
DrpoMicat upon '"*'**""*^
of the individual,
gentler the nature, the deeper the character is the richer and deeper will be his power of expression. The real source or origin of touch (attack) must be sought for in the individual's gift, ability or power of mentally conceiving sound, in the highly developed feeling for, and appreciation of, the i. e
grand, the powerful, the beautiful, the soft, colouring and intensity in expression, a feeling educated and cultivated by Before being sounded, the tone must association and practice.
be
perfectly cultivated
living stimulus or as of the player. art of musical education must be directed
Edwatioa.
Hence
train-
the
whole
mind
towards,and concentrated upon, the cultureof the musical personality in man and upon its mental development and enrichment, as also the refining of the mental conception of sound (sense of tone) and upon his taste (idea of style, aesthetic and critical mind).
upon
An
condition of every style of touch is the physical individual of the to strike the key in such a way, as to produce ability an ideal tone. The ultimate and highest finish in his art the pupil will learn, not through abstract contemplation, but solely through the
essential
medium
of his sense of tone, of so-called timbre.
The
effects of
tone-colouring penetrate so deep and are so lasting, that many a talented person has solved the problem and secret of touch
by
listening, not
by
practising.
The same holds good
of certain
peculiarities of rhythm and dynamics, of refinement in phrasing and style. Perfect models and noble masters, both as artists and
men, and frequent hearing n>e nKotiau
'•re
of
good music
perfectly
rendered
essential conditions. II.
depend upon:
itself,
no
difference in the worid, whether the key is struck with a soft with long, loose hand, or with one of a certain, thick-set form whether with the soft fingers, or with curved, round fingers
—
A certain disposition of the nerves. Mental ability, bodily constitution (full-bloodedness, anaemia, red or white blood, thick or thin blood, etc), nourishment, climate, weather, indisposition or disposition, inclination or disinclination certainly affect the execution. A
certain mental concentration
upon the
3. '
arm-weight
is
used: whether
the
of
finger
—
whether with
members and joints. Expressed in physical terms nothing else than: bulk multiplied bv velocity. 5.
may
6.
less
The
for the
almost
raised,
this
means
higher, active muscular tension, which, in certain cases, moment combine with the weight, to modify the speed.
The in
build and shape of fingers and hands, which differ each individual. Thin, bony hands and fingers have
weight and power to produce volume and fullness of tone,
be
finger-,
hand- or
Physioioi
than thick, fleshy hands and corresponding fingers with broad, '"""" soft tips (cushioned as it were with flesh), powerful, massive As regards the expressive joints and strong, muscular arms. of the fingers singly, we may say: The second finger has amount of singing power. It might be called the Then follows the third. The fourth and "declamatory" finger.
power
the greatest
fingers mostly produce a tone of less power of intensiveness, of inferior quality and not so great in volume. Yet, the latter is often better suited to subtle, soft tone-shading, and fifth
to the "portato" style. The thumb excels rather by than of touch, and yet it is the finger strength by gracefulness best adapted for characterising passages and for executing the dynamic signs, making up, as it does for its want of flexibility,
especially
its
awkward and slow
action,
by
its
usefulness in the broad
dramatic declamation, to which its massiveness (more especially the ball of the thumb) lends itself most admirably. cantilena
7.
and
in
The manner
of attack,
rhythmical impulse (velocity)
which is in turn determined by the and the respective action preferred,
and the degree of control acquired by practice. 8. The motion in executing the attack, which may be: a
swinging motion,
a rolling motion, a gliding motion.
may be a motion of the whole arm (from the shoulder), or a motion rather of separate single parts which must, of course, always be seeking to complement and assist each other, just as.
It it
tip,
executive, playing,
effect required.
The weight which
the
—
and leading organs, which must be under absolute control, and the player must be able to employ them and put them to use singly, or as a whole in the manner needed for the touch, to produce the exact
with
—
straightened or sunk wrist, etc. A powerful tone requires a powerful touch a soft tone Tone-pr. "°" exacts a fine, careful observance of, and mastery over, the playing
1.
2.
or
part,
for
Physiologically speaking, the technic of touch, and touch
chirt fac
the keys is immaterial, in as far as only their own velocity, and the velocity imparted to the key determines the tone. It makes
and developed as a
a latent sense of colour in the "•
4.
Variety motion
<
69 for instance, the
ghding motion
arm
participates
with
a
swinging, rolling or
in
any action of fore-arm, hand or finger. The best motion: The best motion is: That m which all the joints and members participate equally to produce a imiform style of touch proceeding from the arm set in (swinging, rolling or gliding) motion. Viewed from this point, (viz. from
that
of
an
undivided
motion or action of arm and hand), the question as to the fingers are to be raised, the muscles exerted, must be left to the discretion and artistic taste of the individual. effective
how much Preparation.
'iTtiuch"
important that every motion or action preceding, or producing, the touch should be prepared and resolved (after the It
attack).
is
The
effect of the
touch must be conceived and formed
in
the
brain before the note is sounded, and after it is sounded, it must again be softened (preparatory to the attacking-motion that is to follow). Such preparation and resolution are best effected by:
A
Action
light (gentle) and soft undulating or tilting motion of the wrist, or the loosening action produced by rolling the fore-arm. The shape assumed by the hand in attacking the key differs of hand
almost with every individual: one person takes the key from above, another plays with long, spread-out (flat) hands, a third person produces the same effect and beauty of tone with a lowset (sunk) hand. Expressed in physical terms, the formula is
always the same: bulk mtdtiplied by velocity. If we put this into e. the practical terms, and say that in general the sunk hand, hand softly posed and sinking into the keys is best suited to produce soft tottes and shading, w^htxtdi's, the raised hand (attacking from above)
The deep swing of the hand produces a round, full and sound tone, provided the weight and velocity required are given. The high-swung hand is calculated rather to produce a more
The
best pose of hand
volume and hardness of tone, amounts to the same thing, viz.: a
calculated to bring out a great
rather than accentuation,
it
presupposed determined degree of velocity. It is self evident that the dynamic energy increases from the of descent the to the light finger heavy drop of the great mass (bulk) of the whole arm falling with a full sweep from the shoulder. The more powerful a forte is required, the higher the hand must be raised, in order to allow upper-arm, shoulder and back full play. Ohc form is certainly the best one, in any case: That of the hand in a state of perfect relaxation, looseness
and
repose.
Whereas one person employs
the swinging motion, another
the gliding action and a third, the rolling motion; this depends upon individuality and varies with individual ability, or, prefers
The rolling motion adapts itself advantageously to soft, sweet, delicate tone-production, provided the motion of arm, hand and finger is a pliant action, or in other words, provided the velocity imparted to the key is slight. Similarly, the gliding motion effects a grand singing quality and The fact of this form of possesses an ideal charm of tone.
touch not being the result of a sharp, pointed action but of a liquid, gliding motion of the hand (sinking into, or rising from, the keys) renders this form of motion and contact the softest (the degree of velocity being the least), and the tone the most beautiful of
all, owing to its being held (spun) somewhat longer as the (as long damper permits), and thus being brought out and developed to the fullest effect of its over-tones.
Thus then
in
practising
cultivate touch, (attack) 1.
The volume 2.
the
we must
exercises
written
specially
to
concentrate our attention upon:
Exercises to develop power.
Howl I
of tone
(its
fullness,
power and continuance,
etc.).
Exercises on pressure (weight).
The dynamic shading
or
the
Pri
of
e., gradation, power mentally conceiving the various degrees of pressure or weight; in other words, we must train and refine our senses of consciousness: sense of position, motion, pressure, muscular exertion i.
and of touch.
The by
the
"felt
tone"',
i.
e.
sense of touch,
the form of dynamic attack acquired must be able to musically reproduce
every gradation of weight. The gradually refined sense of touch and pressure alone can develop the faculty of "gauging" the specific
weight of the key, and of every gradation of the dynamic
scale, as also the ability to differentiate the
numerous
varieties of in-
ppp
strumental tone, from to///, to cultivate rhythm and precision, and educate the musical ear and the general conception of technic. 3.
Exercises to train nerve and mind and develop power of concentration.
Intensity, i. e. the power of mentally conceiving the idea of sound, concentration of the mind upon emotion and expression.
by the style of composition, the ideas contained therein and the composer's intentions.
the hand, transferred to the finger-tips.
may be
thei
accented tone, in consequence of the greater velocity gained by stretching out the fore-arm.
The player must be velocity, rapidity of the action. therein guided by the tonal effect to be produced, by artistic taste, it
moti
pointed,
i.
is
thc
'
Fijhlton:
to feel
the tone
forming, developing under the weight of (Tr. n.)
70 4.
Exercises to develop dexterity and sense of rhytlim. Velocity, lightness, grace and rhythm.
7.
Acquaintance with, and mastery over, the various musical and styles of playing, such as:
effects 5.
Exercises in producing or blending the upper-
i.
e.
upper- partials upon the
the effect of the
and of
tone (harmonics).
Axiom: The tone produced and
fuller its
is
the
upper- partials blend with 6.
more
All actions
the effect
tally
by means be abandoned.
tures)
tending
connected
in the least to affect
of
with,
and
Beethoven: 32 Variations (Theme) '*•
detrimen-
the upper-partials (disturbing, impure of using the pedal (cutting off the tone)
Bach: Wohltemperiertes Klavier.
Allegretto
Beethoven: Sonata Op. 111.
non- legato
,
Fuga V.
mix-
must
The
which the artist must observe, dictated by the nwlodic form and varies with the same. We distinguish between: III.
Axiom: The pedal must be used in such a manner as to produce the most perfect effect of the upper-partials blending with the tone.
—
of accent, time, phrasing, style, etc.
Exercises on pedalling.
of
art
beautiful, the purer
it.
pedalling most closely directly affecting, the upper- partials.
The
— staccato — con bravura — — leggiero — portamento — jeu-perie the dynamic and agogic terms: crescendo — diminuendo —accelerando — diminuendo — forte — piano — sforzato — and discrimination legato
partial tones. Colouring,
Exercises on musical touch and style.
1.
style
of touch
The dramatic
is
or pathetic declamatory style.
a. Demanding vigorous transfer of power from the raised arm (from the shoulder), broad setting of arm and hand, the weight of arm and hand bearing on the key, mostly with highfall (up-movement of the hand, raising the wrist, the hand set in high-arched position) on to massive fingers.
71
Beethoven: Concerto Ei7-major, Finale.
93.
b. Similarly
on
g SjnJ J?
^
Allegro
.
or on to
to sttig/c fingers
Schumann: Carneval
two
^ XtB J
j3i^
J)
fingers set together.
(Finale).
3
3
94.
^f^
3
3
2
3
3^
1^ ^^ I
>
)
h
3
5
4
^ y
Chopin: Prelude No. 24 95.
(3 u.
.
2
rr
c.
With the thumb
alone.
Chopin: Sonata B- minor,
Finale.
96.
2. a.
Tu Cantilena c -I The
Which demands
hand and arm, carefully .avoiding ^^^ j^^^^ unsteadiness in the joints, and as carefully observing a uniform, uninterrupted flowing and gliding motion of the hand. perfectly
style:
the greatest mental
concentration,
and
balanced
action
of
Bach: Wohltemperiertes Klavier, Prelude E^-minor.
97.
^
Lento moderato.
w
.
I
^
.
k
-uv
33
f
pp dolce
&â&#x20AC;&#x201D; S^
Tf
i 1:^
f 10
72 Beethoven: Sonata At>-major Op. 110.
98.
i*
g^ff b.
With a
light,
m
ri frt^ rt^
I
i
i
if
swinging motion (balance) of arm and steady- swaying hand.
Schumann: Sonata F^- minor Op.
11.
99.
Also combined with a rolling motion.
Chopin: Prelude Db-major.
^^ Sostenuto.
100.
fZJ
9-.
The question as to whether the hand should rather pose on or sink more into the keys, is one which varies with, and depends upon, the individuality of the player. The hand must assume a perfectly loosened (relaxed) state and
a broad expanded form, the fingers constantly remaining in contact with the keys, which should be raised, as it were, by the suction-pKJwer of the fleshy (cushioned) part of the rounded tips.
Beethoven: Sonata D- major Op. 101.
10,
No.
^
^r
With deep (down-) pressure of the finger-tips, e. cornan active tension of the whole muscular system participating, up the arm as far as the shoulder, varying according to the volume of tone required: e. with pressure exerted by and arm or shoulder. hand, finger c.
bined
i.
with
i.
3.
te^a
73
The tension or pressure must last only until tiie note is sounded and must be released immediately after the key is struck, This pressure -cantilena is not so soft and not of such a rich sombre timbre as the simple, broad weight-produced touch, but is all the more of a decided, clear, pithy and energetic character,
It is
accordingly suited to the classic or plastic
style,
and
essential
to the polyphonic style. 3.
The non-legato touch: With a short, energetic sinking-action of the hand sinks into the lowered, extended
a. fall),
the
hand (deep-
wrist-joint.
Bach-Tausig: Toccata and Fuga. 102.
Allegro. non-legato rotations.
b.
With
vibrating
hand
(vibrato),
when
greater
velocity
is
required,
often
combined with a
rolling
motion when executing
broken forms. Beethoven: Sonata Op. 31, No.
103.
^m
2.
Allegro.
^
#-a
-#
JE3t
#-#
#-# I
creso.
Beethoven: Concerto G-major 104.
8
c.
With
high-fall
and extension of fore-arm: jerked extension
â&#x20AC;&#x201D; vibrato.
Beethoven: Sonata Op. 109. 105.
Prestissimo.
P
i
J^^ ^J i
10'
74 4.
The hand thrown with
a.
passages: staccato
— brillante.
Beethoven: Rondo capriccio.
Allegro vivace.
106.
Staccato melodies:
a short jerk (often combined with a rolling motion and extension of fore-arm) in executing brilliant
^=v
—^
m
^^^P^
^40-^0.
*
i
^
p-i^
f
Beethoven: 32 Variations (Var, •
107.
i
VI).
Con fuoco. 3
^
m
m
tti± sempre staccato to
Schumann: Cameval
e sforzato
etc.
2^
£/"
^f
if
be played jerked, with fore-arm-extension.
(Paganini).
108.
Presto,
I
^
i
z
.
^g
jy molto
m^^\^^
:_
'^^^4\i^^w^
staccato
staccato
rotation.
^^^^^i r% Liszt:
109.
combined with
Concerto Eb-major
sempre staccato
(Finale).
75 b.
With drawn-off hand (by gliding motion), as Liszt:
if
wiping the keys;
melodies of a
in
softer, airier character (cf. also
portato).
Etude de Concert.
cantando
110.
,
•
•
>!/[,
^
-/p-/
^-//Wp-zl
7p7|
i
-
dolce con grazia Liszt:
Au Lac de
Wallenstadt.
111.
dolce Beethoven: Sonata At'-major, Op. 26. 112.
^ ^.
Li^hUUi^mi 113
WKL
Mijf^^
I
cresc.
?f
Mozart: Fantasia D-minor.
c. With rolled, e. dancing, or suspended (drooping) hand and march-rhythms): leggiero staccato. i.
—
(oscillating arm), in graceful, coquette staccati (dance-music, waltz-
Schumann: Kinderszenen (Haschemann). 114.
•
4
'I
t
i^_ its
i ^:
y~~. t rf.-StH.
ir\
.
w
76 Mendelssohn: Rondo capriccioso. 115.
^
1
H
1
1
^"^^nfg
PPle Jfp leggiero
tJ
E
^gpi^Y^j^rlcrtf^
Mendelssohn: Spinnerlied.
116.
Presto.
p ^a^ \^
^
y
'^
)i M-M-M
>
|}l
V
},
m
^iiliii
if
117.
Chopin: Etude Op. 25, No.
9.
ur Hg^
Beethoven: Sonata Op. 31, No.
\
UU
^
'"^^
3.
Scherzo.
$
±* ftg=a
i^J^Jb^-Tg .
^Ep
^?££j*P -77
P
:
E
£
77 Liszt:
Gnomenreigen.
119.
staccato e legger.
^
U
^
:^
-^
i S
w^^ w^ ^^w^ feE^
J
pp
^
pi d.
•/
s
'"^^
With clawing hand and curved
Mendelssohn: 120.
:?
^=1^
finger-tips,
5^
7jr
«/
7
m P
»^-^
proceeding from a rotary motion, plucked:
7~^P^7
in
7
so-called "harping-style".
Friihlingslied.
1
i^^ Schubert-Liszt: Der Erlkonig. liebes Kind, komm geh' mit mir".
121.
#-
"Du
s:
rsG
SZj
si
:£
;*
^^' ii:
r^
s: s^
espress. Rubinstein: IV. Concerto D-minor, 2"^ movement.
Meiio mosso.
cow molto espressione
a tempo
^^
ffirr
d
L
^
I
^% l»^
sfe
i
m -?fe
78
Chopin: Polonaise
A b- major,
„y»
•'^
e.
In
non-legato
style
wilh
a
short,
sharp rebound
of the
a short jerk
whole
arm.
and return of the hand: non- legato— staccato.
Beethoven: Sonata D-major, Op. 124.
Combined with
10,
No.
3.
1
" movement.
^^m
More with 'u
• II
set fore-arm (the wrist shghtiy fixed), also good.
^y
Bach: Wohltemperiertes Klavier, Fuga C-minor. 125.
1" movement.
Beethoven: Concerto Et'- major.
126.
(|b'-„
^^
^m
F
p
FFbFF
P hand with sunk wrist and firm finger-tips.
Left
>
?
ti|tl
(con bravura)
pg
Y ^tfTMr''f^^
n }
f:
MM
ffHP- ^
fhi
^^^,^^ With
f.
hand or arm
off -raised
(staccato
Beethoven: Concerto Eb-major
— portato);
lil
hand
frequently also with wrist in sinking pose,
form
in "set"
(cf.
portato).
movement.
127.
^m
'\,^k ^p,^\
bf
\
£
f
i
i
£
The hand
Beethoven: Sonata 0-major, Op. 128.
A
14,
No.
to be lowered a
^ —^ * =ry^^ 5 ^S The whole chord
is
v;
•<n
^^
grasped and as
it
i«i
I
were Ufted
Beethoven: Concerto Et'-major
1*'
7
i
n v
f
off the keys.
51
?i«i-y
•?
r^
At the pause, the hand
sinks,
-—S0
V
\>
m
5
ten
s5 for the next chord.
movement.
•^*-^-#
#
0-0
I
i
-^50
—
0^
r^—»0 i
etc.
1
PP
af
k
?
5 5j
assuming the shape required
129. fe
5
^ ^
iZTM •>
little.
.^
P
#
leggieremente
fe T7g4^
tea
fer:
etc.
2.
Andante.
^ ^^
i^
^
V
*
% Right hand "set"; staccato -vibrato,
left
hand "raised
off".
11
80 g.
With a
the fore-arm.
arm-vibrato; the hand in a "fixed", set pose (held just above the keys), s^iAccaXo— pizzicato. Frequently with a short "tapping" action with curved finger-tips: light
Beethoven: Sonata
in
D- major, Op.
10,
No.
3.
1'*
.ff
w^ ^ ^ Beethoven: Sonata
13L
in
7.
%
^^
^S 1*=^
El'-major, Op.
with extension of
movement.
m m^ ^
150.
or jerked,
2"^ movement.
semp re tenuto
sempre staccato Beethoven: Sonata C-major, Op. 53.
132.
m
decresc.
m
IP
m
i
?S
ll'
•••••
movement.
^
•
iffrzl
4
I
^
ia ?> i*
1i
itJ
I
81
Weber: Sonata Ab-major (Andante). 133.
I
*
a
f,
J
'•^
jvi
^
r
r
f
^^^m y^
"'g^^
I
f^^ play the accompanying chords "jerked".
t^=F h?^'^'p?^
?
Beethoven: 32 Variations C-minor.
Theme
(Finale).
134.
f
r ^U^^
'!
V'^''
i
.
r
}]y
^ ^m Schubert:
135.
J,
,
i'^
^
/i^
^^=^
^ E^
with a short touch of the finger-tip (curved)
staccato
— pizzicato.
Guitar- and mandolin-like accompaniments, bell-like tones and harmonics, the notes being struck with lightning rapidity, h.
=:?
with a clawing hand (clawing
Moment
:
like
a
cat).
musical.
Allegro moderate.
ss
P& &
Weber: Sonata Ab-major Op.
t
M
ti
m ^ m
t J*
Menuetto capriccioso.
3Q.
Presto assai.
136
^m
g-
1#
?
F
1^
±*
u^ur^^ ?
p dolce
^^
k^i 'm'XT
m
-r
——
t^ t^
^9
Jbffljl
9 11*
82 Chopin: Preludes. Op. 137.
Vivace.
28,
No.
19,
83 Beethoven: Sonata Op. 10Q. 141.
Var. H.
Leggier emente.
^
*fe
^fe PE^ T?^
??].?
.1
9-
S l^£^ £
^
l
£JJ^
c.
set
(In
classic style) with a light but decided depression of the arm, the
pose (each tone requiring
its
wrist) set
on
lightly
fixed fingers:
2"^ movement.
Adagio un poco mote.
142.
CBBi
ifcr^
a
3
143.
\ixs%i^~^^^m\^ .^ji
-3^
jpjp espressivo
Beethoven: Concerto Eb-major.
H feiUi^
1" movement. *
.ib*l'
— P#-i
\?i
.
1^
#•
.
#•
— P#-|
^ .
#•
.
£
t
6.
The
first
kind:
JJY
is
;
etc.
nothing but a sustaining of the notes, being therefore of an agogic nature, to produce which, the finger-tips suffices.
Chopin: Nocturne C- minor.
Lento.
_
m^ -
t>
^
!>#.
Emphasized melodic notes:
a short, decided touch, or a slight pressure with
144.
•
—# —
p
«)
a.
hand (with lowered
special action).
Beethoven: Concerto Eb-major.
^ ^
?W??^??te
mezza voce
84 auf, rufi
Bach-Busoni: Orgel-Choralvorspiele ("Wachel
uns die Stimme").
145.
M
Sgg
J
Bi
b.
The
sforzato-kind:
«l.
Sj
or p
J
J
J
^-^
i_^
E
is
mostly produced from a raised pose of the hand and with a short extension of the fore-arm.
I
Mendelssohn: Variations s^rieuses
^
P
sf Beethoven: 32 Variations C- minor (Var.
(Var. 8).
JP
Beethoven: Sonata F-minor op. 57 (Andante, Var.
26).
148.
•
^^.ri^ >
i'i
i
,
Hand
•
El
i^r in
2).
fe
raised pose or low-set.
Beethoven: Sonata Cft-minor Op. 27 (Allegretto). 149.
4 ^\K
'i
J
4j
^
:
E=l
3
t->-^ 2/^=^ c
Similariy
all
tonal effect required.
accents: f f f,
£/^
here
#
2/"
2/"
although
y^
a
low -set hand, or
finger
£/"
and hand-pressure
will
be found to produce the
85
Chopin: Mazurka G- minor.
150.
^=j?p ^mr^ r"^ ^s ^m ^^^=P r^ ;^=^ f ^^ f ^ I J 9?^^ ^ Schumann: Carneval
151.
(Chiarina).
^a
^
r
e/"
^
d.
firm,
All
heavier
f
f
£/"
S
i
accents (especially in dramatic and pathetic style) in martellato style with
falling
or jerked arm on a high-set,
arched hand and massive fingers.
C- major
Schubert: Fantasia
152.
(Finale).
R. H. 3
*
i •A/ L. /
»
\>m a::!:
9»-^
i
i
i^-0-(^
5
s
zz:rinf
with falling arm.
// //.
Chopin: Polonaise
A -major.
153.
with falling arm on high set hand.
Liszt:
Concerto Eb-major
l?i
movement.
154.
etc.
b. fe
i
§=
It
^
g
E
fe
E ffa.
^55^*?
•
•
:^
S
86
155.
^
Beethoven: Concerto Eb-major.
1Âť*
movement. etc.
g^
1^\
\^
ff
1,5:
To be
played "jerked", the hand and wrist slightly "fixed" (clawing like a cat).
??#---^(XfifSi 7.
Fig^rated melodies:
Mozart: Sonata A-major (Var.
III).
156
Beethoven: Sonata
JEÂť
A I'- major
158.
f^
26.
(Var. 5).
dolce
Brahms: Hsndel Variations
t
Op.
^m (Var. 2).
^^^ animato
Here the action must be determined by the nature and
style
of accentuation, position, movement and direction of the tones of the melody. The effect of rendering the tones of the melody
prominent
is
produced by a
slight
weight -produced pressure of
\
^ ^^r^\^'^f^
the hand, rotary
by a short pressure of the
swing,
passages.
in
broken
forms,
finger-tips,
roulades
and
by a
tilting
staccato-like
87 In
polyphonic
melodies
respecting the progression
same
the
of several
The graceful style: Bach, Haydn, Mozart, Schubert, Weber, Schumann, Mendelssohn, Liszt, Chopin, Brahms.
principles hold good parts, referred to in the
Form
chapter on Polyphonic Playing Action; weight and active pressure combine to produce the various dynamic gradations. The same holds good of melodic double notes (thirds, sixths and octaves) and chords.
The
hand).
The tone produced must
from weight-produced touch or finger-pressure is placed upon that note or exerted on that All such melodic key which bears the accent of the melody. principal stress proceeding
are
The
Form
Such are the objective
of
technic
principles
governing the
We
dependent upon the intentions of the composer, the idea embodied in the composition and upon the momentary disposition and special nervous affections (imagination, ear, tone-perelse is
ception, etc.) of the player.
The chief styles
we distinguish the following principal styles: or plastic style: Bach, Beethoven and others; here the form of touch or action must be: clear, precise,
In thc art of 1.
T/ic
touch
classic
and vigour. The tone produced must be: grand, powerful, metallic, non-legato). perfect in form and noble in quality (legato The lyriro-sentimental (romantic) style: Schubert, Weber, Schumann, Mendelssohn, Chopin; also Liszt and Brahms. The form of touch must be: soft, liquid, gliding or rolling; the tone: singing, full and broad, full of emotion, fervent and sweet (legato portamento). Thc pathetic style: Beethoven, Liszt, Chopin and others. Form of touch: full of life and passion, violent, powerful, elemental (i. e. imbued with elements of one's personal nature); the tone produced must be: grand or pompous, full
of character
—
2.
—
3.
based
is
—
portamento
,
and
elegant.
perle,
brilliant,
brillante
con
vibrato).
Rhythm.
essentially
upon
sentiment, rh
feeling,
emotion, i. e., like so many other things, it must be innate, it cannot be taught or imparted to those who have not a certain
amount
of natural talent, any
more than the
essential conditions of
playing pure and simple, viz. a certain amount of innate skill, natural appreciation of what is meant by softness, supple looseness and relaxation of the joints, etc. Yet, while no amount of physical training can make up for the want of a natural sense of rhythm, it is possible, in cases where that sense exists, even though in the most rudimentary state, to develop it to a degree undreamt of, by releasing the physiological faculties,
of
all
by freeing the playing -organs
contraction.
Besides, there are far
individuals than such as actually lack
of
all
stiffness,
physically awkward sense of rhythm. And
more
all
as the physical organism interposes between mind and expression, it is evident that mental rhythm and freedom of force can
only be rendered audible by and through spontaneous, adequate,
and natural physical rhythm. Physical rhythm consists
movements component
of
all
the organs
in
the
required
harmony in
of the
natural
playing and of
their
parts.
Sense of rhythm emancipates itself, the moment the brachial In this manner mechanism works freely and spontaneously. alone can the sense of rhythm, at one and the same time, find embodiment of expression and realize it in sound. Innate its alone (body and mind being indissolubly bound together) can directly transmit its own individual rhythm and impart to the physical organization (provided the latter has not been modi-
of touch: very calm, with full mastery and harof motion or action (quiet motion of hand and arm).
by wrong methods) a natural and harmonious rhythmic swing; only genius divines by instinct the proper action expressing at once in motion and tone the rhythm and spirit of
—
fiery
or dramatic (martellato
con bravura). non-legato The serious or religious style: Bach, Beethoven.
Form
mony
—
—
sublime or overwhelming, 4.
short, dainty, graceful,
flowing, —graceful, — con bravura —
IV.
Rhythm
technical
effect:
bravura (leggiero
termed con
need scarcely add that, of practico-melodic touch. or modified course, they may be, are, by individual habits. All art of a
be:
(staccato
of touch: perfectly light
Tonal
play of the virtuoso is merely a question of the action of the joints and short impulse, and the result of them brilliant
style
—
pleasing
con bravura). leggiero Thc virtuoso style:
slightly sustained or slightly emphasized: f.
and belongs, accordingly, to the bravura playing (See chapter IV).
delicate,
playful,
>
tones
of touch: delicate, light, fleecy (dancing, drooping
The tone produced must
be: calm and broad, noble and
touching, spiritual, devotional (legato
— portamento).
talent
fied
and
spoilt
the piece played. 12
pi,, '''^
^oOsir
VtomI:
88 maun
Practically speaking,
we
have to do, is to let the physical Nature has provided it perfectly with all all
organism do its work. the greatest. It requires from the minutest to members are released from constraint and
The moment left
1—2 — 3 4—5 — 6 I
its
to themselves,
It
is
with the Mazurka,
different
with French waltzes and
their movements assume a rhythmic form, which, if exercised their freedom of naturally and simply, with nothing interfering with
the national music and dances of the Northern tribes and Slavs.
action, will suffice for,and lead to.the highest manifestations of the
characteristic being the frequent displacement of,
art.
Hence we must eradicate every injudicious, inexpedient movement or action and follow the fundamental rules of twohanded playing. All difficulties arising from contrary action (or movements), dynamic or rhythmical opposition, will be removed in the
most
natural way, through steady oscillation or rolling of
the weighted part by a soft and supple "flow" in hand and arm. The root of all rhythmic difficulty will be found in stiffness If the body is of the body. supple, i. e. if its members sway obedient to its will, every movement becomes rhythm. With a few exceptions, those postures and movements are correct which
the
members perform without self- perceived tension and which do not consciously stiffen the
muscles
of
the
In these the
second quarter
Special
should be bestowed on
care
commonly known
as
hand as against three In
such cases,
if
is
1
or 2 bars
to chord, to descend
the tempo. It
may
beat
linked
of
here be noticed that in waltzes and polonaises the the bar is slightly more emphasized and lightly
to the
first
three— one, three
beat
— one.
of the
next bar.
The second
Thus
beat of the bar
one is
counts:
somewhat
shorter (staccato), and so should be rendered by the hand on the rebound and treated as syncopated between the two principal bars.
This applies also to the rhythmic essentials of the accompanying figure, which may be divided into three periods: 1. fall; 2. rebound; 3. fall, with purchase or swing-off to the following !•*
quarter-note. Remark: Strauss' waltzes,
and
in
fact
all
genuine Viennese
waltzes are played (as Kraemer very correctly points out) in */» lime, i. e time grouped together, the resulting rhythm being:
2X%
the other, 3 against 4, 4 against 6, etc. imperative that each hand follow its own in
its
part,
independently
The will
analysis of the part to be played assist
in
paniment
(i.
timidity e.
casually joining
in.
by each hand separ-
clearing up mental difficulties in the music, the technical obstacles, as the very difficulty
consists in the correct working together of both hand and arms.
Should
if
continue,
let
the lower part in:
the
and the harmonic flow,
hand playing the accom-
S ^-^) emphasize
its
part,
con-
"iioti
legato". heavy Teach the arm to descend properly and without hesitation, not timidly groping for the keys with hand or finger and it will, of its own accord, fall to the rhythm and measure, however quick
last
in,
the rhythmic figure ho»- to mi (two notes in one 'X°,°^"'"
three"
advance, the other hand as
in
but cannot remove
or in
and change
All such rhythmic figures should be played martellato and with both hands from the very first. It will be found useful to allow the accompanying hand to play the figures in question
ately
''nmrtellato"
"two against
course, boldly and steadily executing of what the other hand is doing.
(Kraemer.)
in
often strongly accentuated, a chief
the rhythmic beat.
joints.
Dancing-rhythms must be practised with graceful descent ^j^^ of the free-oscillating mass. That is the way to study waltz-, mazurka and polonaise-rhythms: the left arm swinging steadily and u'i//i absolute certaintv from bass-note to bass-note, from chord
is
taining the notes of greater value and contradicting the rhythm of the part above it. Then reverse the order, for it depends upon the individual, as to which of the two methods (one
emphasizing the rhythmic figure, the other, paniment) will prove the more successful.
that
of the
accom-
The same method may be adopted
in syncopation: syncopassages should be rendered with a steady but heavy touch, and, after mental analysis, should be played with both hands simultaneously. The passage in question will be then found to flow of its own accord naturally. It must be left to
syacopatic
pated
each individual to decide which hand shall be used to support the rhythm with the slight accent, and which shall play with greater freedom
the adverse part. I would suggest to musical with a keen sense of rhythm to conceive of synplayers gifted copated passages as written in that vein of impetuous urging forward, characteristic of syncopation: one hand "urges onward" while the other "holds back".
Accents are rendered by erection of the hand (such as
all Accentu.«i
89 melodic accents) or by low-fall (in dramatic style in martellato or by a sudden (jerked) extension (straightening) of
utmost
the (fore)
arm, or by short, abrupt "disjunction" (con bravura),
finally
if
methods, lay less in the fingering itself than in the difficulty for the overstretched fingers to aim at and strike the right keys. In all rolling-forms in legato style, for instance, it is
2nd or
—
3"^''
possible
—
by
upon
falling
single fingers: thumb,
finger.
No more
set fin-
As regards ''Fingermg'\
may be
it
said
be a matter
to
strike
of individuality, depending, as it does, entirely upon the build of the hand, its stretching capacity and general dexterity. All the puzzled-out systems of fingering with their encum-
must also
All fingerings are the natural result of natural
7.
movements,
are the
—
—
3.
4.
—
—
movements, are disposed of as useless. Absolute relaxation and loose oscillation (passive action) of the thrown fingers can only proceed from "isolation". determined solely by the sense of touch, the perception of weight (sense of pressure and muscular Fingering
is
sense) and by that of movement and localization, associated with the above sense of touch. 6. All active
isolated fingering,
i.
stretching, clutching, pawing weight of hand or arm, with
finger-spreading, overluithotit participation of the
e. all
wrist or fore-arm, must be abandoned, as the various symptoms of fatigue and injurious effects (tightening of the hand and fore-arm) have their origin in
stiff
such isolated action and movements, and as
immediate loss of the weight isolated finger-action.
Such
the inevitable consequence of fingering leads to a result exactly is
contrary to that desired: instead of calm collection of mind
and assurance touch),
it
involved in
difficulties
playing"between thekeys",oneof theterrorsoftheold school. As the weight of the finger tends towards a natural pose
We
in
playing (as
is
secured by weight-produced
gives rise to all sorts of irregularities
and technical
imperfections. Formerly each rise of the finger, raised to
oppose the antiquated method of raising the high as ever they will go {active finger- motion)fingers This solves all problems of fingering, which is finally determined by the intensity of the impulse, being, after all, a question of individual energy and temperament which require but two things: full freedom and determination. For the typical forms of fingering (in scales and arpeggi) those tested and sanctioned by general practice are the ones to
its
and
as
be observed.
Common
sense demands that
we shall observe the natural we shall shift the hand as we observe a regularity of
succession of the fingers, i. e. that as possible; furthermore that little
e. retain as far as possible a constant, uniform mean movement, pose of the hand. Exercises in changing active fingers on one key (repetitiontechnic) must be abandoned. In passages requiring quick change i. e. trembling of the of key the vibrato should be resorted to arm with one finger or alternating fingers, according to personal When the student has learnt to "roll" talent and circumstances. (with loose action from the fore-arm), he may, but need not nei.
,
cessarily
change fingers
in
In playing embellishments,
playing long
trills
weight and motion and final aids.
or chains of of loose,
trills.
dancing
fingers are also the chief Hence, the finger-changing method, formerly resorted to for the sake of a clear and neat touch, may be abandoned with
impunity, as the weight furnishes and constitutes the best guide to a plastic manner of playing, provided care be taken
and index that
each
finger
is
actually
properly
"weighted",
i.
e.
12*
k
"•>
in impossible postures and positions. advocate passive action of the fingers loosely thrown and
extended,
late their isolated
5.
attribute the incredible
how we
the fingers
setting the fingers
outcome of the technical apparatus set in even fingering; uneven motion; hence: even movements movements uneven fingering. Transmission and balance of weight necessitate between hand and fingers from the outset: a steady flow and a reliable posture. Let them have their own way. As the tone is chiefly formed upon the surface of the the fingers rather resting upon the bedded key to key, the the rules of fingering which the old support weight, methods dictated, with active raising of the fingers to regu-
They
To this same lifting of
of the fingers, regulating their normal action, all the exercises of the old method are rendered useless, teaching as they do a certain fixed manner of holding the hand and
consequently: 2.
this called for special practice to learn
f^^
superfluous. 1.
29 times, and
to hit the keys correctly.
bering impediments are useless. Weight-produced touch renders any set-down special fingering Fingering analysed
exacted a previous testing and regulating of difficulty in fingering according to the old
The
best to play without raised fingers. A Ct- minor scale descending two octaves required the fingers to rise 29 times and
V. Fingering. gering
limit,
the attack.
character)
that
it
-^'
t«
90 supports and bears the weight of hand and arm. Any loss of the weight renders the fingers weak and causes the well-known,
"gaps" and "holes" in
rke p*4*i
and passage-work.
noiseless (silent) change of fingers (on a bedded key) polyphonic playing and in the cantilena must be executed
with a soft supple movement of the
The
typical
black keys Anrid o«Tr.tn>.
'**
in scales
The
1
:
tilting
hand.
fingering for octaves remains 1:5, or for
for octaves: 1:3, 1:4, 1:5, are, however, not
to be recommended, owing danger of over-tension. Where the stretch is too great, release at once the upper or the lower tone, whichever is not absolutely required in the melodic comAs a last resource we have still the pedal. The pupil bination. shouldjtherefore, be taught in the beginning to release tone or key and trust to the pedal to
prolong and sustain the sound, as required;
foolish
and unnatural than
to clutch the keys
An
equal distribution of the weight affords, moreover, the advantage of strengthening and thus enabling the so-called weak fingers (4*
and
S"")
to
do any work required
of them, so that
reason
to
avoid
or
restrict
their
it,
most important form of movement problem. integral
scales,
also
as regards series of fingerings in
passage-work, arpeggi,
etc.
•
and mentally studying every fingering too logical to require repeating. But what
of analysing
is
is
in is
all
forms,
is:
recognize exactly what and execute the technical oscillation of the joints) and to
required to solve
Here, balance of arm (free weight are the alf>ha and
omega
of the task set us-
Assisted by individual talent and habit, the spirit of the music and personal taste will determine what fingering should be chosen.
No
theory, no system of fingering in the world can of themselves produce the quality of tone required.
We
nervously or timidly.
least
but
fingerings,
The adage
the
4.
more
isolated
analogous figures,
to the
is
no longer the
is
before applying
The fingeHngs
nothing
there
employment. The time-honoured rule exacting the same fingering for both hands, whenever possible, still holds good, not only as regards
would do
no longer to concentrate all our energy what might verily be called "digital" upon but rather to intellect, develop and refine the intuitive and unconscious perception of position, motion, rhythm and dynamics. the
well
cultivation
of
'^'="'»'
»«•»
91
CHAPTER
HOW TO 1. i°''p«cur4'"^
Object and art in practising. Friction and relaxation. The object of practising has hitherto been grossly miscon-
strued,
the
idea
conveyed by study having been taken
to
be
identical with mechanical practising, teacher and pupil believing that in mechanically repeating certain movements
performed by and hand, a hundred or a thousand times, they were actually "practising" something which, as we now see, does not require "practice" and is not even worth the tremendous sacrifice of energy and time expended on its acquirement. The methods of old pursued but one object: the develop^^^^ ^^ ^^^ muscular mcchanism of the fingers, e. digital acrobatic feats, gymnastics, in fact. The most important item: "economization of energy" was entirely overlooked; whereas the real object of practice and study must be: to produce the greatest finger
""'
work"*'^
jmnastics, a|^
i.
tonal effect with the least expenditure of energy.
The The
PRACTISE. the knuckles joining finger and hand. The fingers must become so loose and flexible as to cause the least friction in their movements. And this is the final reason, why in our technic stress
not laid
the condition (manner of holding and the positions, pose) of the playing-organs, but solely upon the form of their manner of action or motion. The normal action of hand and is
fingers results in a passive movement of descent or extension. So that it matters not in the least how we hold our arms, hands, fingers, so long as we are able to move them correctly, i. e. so as to cause as if
their
about
little
more
perfect the technic (law
of
:
to
our
move
the fingers correctly
inability.
become
to
train
and
tion)
(of
and pursuing the same aim as which musical study is a part), viz. tm
automatic.
chief object of the exercise,
To
the
mind
to suit itself
therefore,
is:
conceive the technical purpose (mounconsciously to the same. to
Then
muscles, joints, sinews, ligatures) and external friction (resulting from contact between the playing-members and the instrument,
follows: the execution and reproduction by the playingof the process of consciously or unconsciously assimilated organs
and the resistance it affords, more especially as the velocity and muscular effort increase.) The only means of diminishing the friction consists in relaxation, both psychologically and physiologHence all training and educating must be ically speaking. directed upon the solving of the mental difficulties and upon rendering the playing-apparatus (members and joints) flexible, pliant and obedient to the will. The greatest amount of physiolog-
motion.
caused by muscles which are brought into play movements (e. g. those used in gripping and into conflict with those required in artistic and bending) coming skilful piano-playing (e. g. the muscles used in extension of the ical in-
friction
fore-arm, rolling, It
is
must be accepted as an axiom that nothing shall be prac- """ before the technical means have been mentally conceived nTc^'
It
tised
or unconsciously imitated. On the other hand, daily experience Powe teaches us that the mental solution of technical problems also Teuv! involves their physiological solution. r 1* gifted mdividuals. •
1
.
.
1
This
is
always the case with
I
is
ordinary daily
etc.).
caused also by the joints, more especially by the wrist and
S"""
of strength-economy
common memory The
We disting-
uish between internal friction (mental-nervous friction, that of the
We
Practice involves mental exertion, is a mental exercise proceeding from the "conscious" to the "unconscious", obeying the
move the arms, hands andfingers
such a manner, as to reduce the friction to a minimum.
friction as possible.
relaxed swing does not exceed the medium height of one inch. Friction in a psycho-physiological sense is
synonymous with mental
how
The object of our practice is
upon
same laws
leading axiom says: less the friction, the
friction).
in
XI.
2.
Impediments and how
Friction
pediment
is
to
overcome them.
synonymous with impediment, inasmuch
produces
friction
and
friction
signifies
as
im-
impediment.
Hence the object of the exercise must at first be directed the removal of impediments: Negative exercise.
upon
"°"
=
of mi
92
The impediments are: 1. Of a mental-nervous
may be
ception
deficient,
figure takes too long, too much time is required by the brain to take in the visual message and telegraph it to the executive
(motorium); the message arrives weakness and deficiency of inrmorv,
centres
Chief
late.
causes
and defects of an intellectual nature, affecting the musico-technical side and producing difficulties in grasping the harmony, rhythm, melody, time, tempo, dynamics, agogics, rendition, phrasing and style The chief impediments are afforded by the notation, the manner of writing music are:
peculiar
to
different
composers;
the
various
historical
styles
(classic or romantic) and the ages and periods of music. The chief considerations in, the means and ability of, removing those obstacles
and the method and
practicability of
doing so depend upon: per-
sonal tem(>erament, climatic influences, willingness or unwillingness to study, and also upon the intensity of melodic or rhythmic incentives or impressions, and the greater or lesser personal inclination or disinclination to the work of art and the style of composition. 2. Of a physiological or functionary nature. The arms, hands or fingers may be stiff or
clumsily
built.
We
must distinguish clearly between stiffness and clumsiness or awkwardness: The former is absolute inability of the individual to move his members and joints (loosely and flexibly) in the manner required, and is, therefore, rather of psycho-physiological nature; whereas awkwardness or clumsiness is. in most cases, merely a psychical defect, attributable to ignorance and want of practice. A stiff joint cannot move correctly, though the attempt be made, while an awkward, a clumsy one will perform the right action or movement, when it is shown how to do so by proper training and correct practice. Awkwardness is, however, often less due to functionary inability than to timidity and lack of confidence. An absolutely stiff joint can but seldom and with great difficulty be rendered loose and flexible, whereas the psychical awkward, clumsy member can be trained and its dexterity developed. We must also distinguish between: stiffness of the body, back. neck and shoulders; stiffness of the upper-arm in the shoulder-joint; stiffness joint
of
straightening out the elbow, stiffness in the rotary the elbow, stiffness of the wrist and in the knucklein
joints of the
grace and thing more. itself
fo
the
Of anatomical
4.
Of
Such are impediments attributable to the build of the playing- organism (arms, hands, fingers); for instance: too weak hands, hands with a small span, or too narrow or of too delicate a build; thin bony fingers, too short fingers; hands with immovable, stiff, tough sinews and ligaa stiff thumb; flabby, tures; ruined hands and fingers with shapeless, thick-set and spungy forms, and other defects. Still more hopeless cases are hard, bony, stiff shoulders and elbows.
These mechanism 5.
Of
nature.
a purely mechanical-instrumental nature. are: the impediments offered by the construction
and
of the instrument.
human
a general
nature:
Constitutional defects, faults
weakness of character, lack of temperament, energy, perseverance and concentration (apathy, absentmindedness); bodily weakness (more especially anaemia, deficient nourishment, nervousness and other inherited or acquired ills; defects and pathoform abnormalities). To these we must add external of personal nature,
impediments
in
anxiety, care, sorrow, struggle for existence,
life:
financial difficulties.
The removal
of
impediments
signifies
an advance towards
This negative practising continues, until absolute perfection. relaxation has been attained, i. e. up to the moment when a feel-
ing of perfect ease and disencumbrance sets in: then and not till then, when we have fully mastered the executive organs and command and control them absolutely, does the positive practising proper begin. all difficulties with ease.
Now we
begin the ascent and overcome a master differs from that of a
The work of
the greater expediency and the ease in the form
pupil only in
and manner of
practising.
3.
Various kinds
of exercises.
According to the object pursued and the impediments, the exercises are divided into: 1.
Exercises
to
overcome nervousness, and
to
concentrate
the attention (upon the tone, the intensity of expression). The principal exercises in concentration are exercises for the
memory. All talent depends upon the central energy (power) of memory. The chief characteristic of the prodigy is
the joints. ,
members and joints, nopresupposes and embraces in
the action of his
in
this art or ability
the correct muscular action.
The removal
Viewed thus, pianoloosening of is a of muscular action o\ not one pla)ring display joint-action in the sense of acrobatic feats. What the student must aim at, tion:
And
3.
of the impediments in the joints, of itself, brings about the correct action of the muscles, or muscular system. Therefore, we must direct our chief attenfingers.
skill
is
nature, for instance: the visual perthe mental grasping of the musical
its
phenomenal memory.
Memory a.
By
is
developed:
training the ear, which
piece
when
playing
it,
etc.
is
best
done by singing the
93 b.
By
critical
analysis of the
harmony (explaining
these exercises
therefore: light, flowing, soft, elegant, shortest action. The shortest movetiient is the quickest
the struc-
and movement of arm, hand and
development, working-out, dynamics, phrasing and
ture,
style of the composition). c.
of
By independent, personal study
movement
harmony and com-
all
encumbered by few or no e.
practise correctly, i. e. are impediments (the talented ones)
have, without exception, a good memory. By educating the sensations exerted on the threshold of
consciousness, more especially the sense of pressure and muscular exertion.
By developing and refining the sense of sound and the power of mentally conceiving tone. to develop power and stimulate perseverance 2. Exercises (volume, power and fullness of tone). They are met by weightproduced touch. The means employed consist of: strength emanf.
ating from the back and shoulders, greater members and accelerated velocity. 3.
Exercises
in
dexterity, skilfulness
sweep
of the playing
(precision
and
rapidity
of tone and velocity). The chief aids are: Energy of mind educated to grasp, determine, and execute ivith rapidity. The "reproductive" is the art of combining quick resolution with the greatest presence of mind. Velocity depends upon a certain disposition of the nerves
hands and fingers on to movements, actions occupying from '/lo to V40 second. This kind of lightning energy, which is closely connected with the blood and with race and temperament of the
(or of the will) to urge the arms,
4.
of the leggiero style of playing (Chapter Vl!l, p. 55). exercises (gradation of tone). Exercises
muscular pressure, motion, position and touch, which teach us the gradation of tone by the resistance thus perceived when practising on the instrument. Here also touch forms the basis. weight-produced We must practise from the very first what is synonyto develop the sensations of
mous
with the perception of weight, viz. the conscious or unconscious senses of looseness and flexibility of the
—
arm and
power
of its parts: hand, fingers, and the mental of discriminating between relaxation and tension
of the muscles.
This state for
it
is
only acquired through continual practice; impossible, especially in the case of stiffened arms
sense of loosened and relaxed muscles, and of the passive It suspension of the arm as a mass. requires patience all
for lack of a sufficiently strong force the will to perform momentary
conscious
to
nervous system feats of utmost
to
skill;
fail,
such are those
ment, anaemic, phlegmatic natures, individuals.
To possess
quantitatively, a
must
talent,
lack tempera-
corpulent,
fat,
lazy
one must not only have,
few million more
be, qualitatively,
who
cells,
but the individual
endowed with more
highly strung
nerves and quicker powers of perception, with a greater intensity of mental expansion and radio-activity of the nervous fluid.
Our
art
does not consist
in
the performance of acro-
a display of artistic skill and dexterity, in which the finest actions and movements of the joints
batic feats, but
is
play a chief part, so that grace and elegance of action and movement are what must be aimed at. The object of
is
with hard, vigorous, thick-set muscles and inelastic joints to acquire, at the outset, or even in a short time, the
and time accustom
are the talents that
shortest and quickest
Dynamic or pressure
individual, has a telling influence upon the development.
Many
The
—
who
those
finger.
is
produced by: fore-arm-rolling (trills, tremoli, and other forms of rolling) and fore-arm-extensions (lightning-octaves and forms of vibrato). The shortest or quickest movement of the hand is its passive vibrato-motion, produced by fore-arm-extension (extension The vibrato). shortest or quickest motion of the fingers is the light straightening out of the same, combined with hand-vibrato, leading to that staccato effect which we characterised in treating
position. d. By correct exercising of the muscles and joints, based upon the principle of relaxation. Our experience has
taught us that
is,
the more, as the muscular system needs to to this new state, and must first gradually cause this new mode of working, this action, to pass from itself
unconscious perception.
We
cannot expect a "rusted" digital muscular machine to adapt itself at once to a mode of action diametrically opposed to that it was
accustomed to. The moment the arm hangs free from the relaxed suspended shoulder, the perception formerly
of weight will locate itself in the finger-tips, under the control of will-power. The sum
i.
e.
will
come
and substance
nothing more than the perception of the resistance the i. e. the muscles, by perception communicated to the brain,— of the pressure (sensation of muscular tension) of
all is
—
felt
exerted by the passively
full
mass
of the
arm
perfectly relaxed
and
pendent, bearing with its full weight upon the With a view of increasing and refining the
key-board.
04
we perceptive faculties in dull pupils, in this respect, with recommend the use of an ordinary weighing-machine, to test frequently the weight and state of relaxation. Exercises calculated to bring out the aesthetic qualities (formal beauty of tone) of the instrument. Knowledge and development of instrumental effects, utilizing the positions, the resonance
6.
Let the arm oscillate and
7.
Roll the weight on, i. e. execute the rotary articulation with a soft movement of the fore-arm.
which
calculated
to
develop musical
style
(musical
on harmony, rhythm, mdody. dynamic shading, agogics, time, tempo, phrasing, style and varieties of style. We must also here include the exercises non- legato of the usual dynamic varieties of playing: legato
They
If
10.
consist of exercises
—
—
of
fall
possible, maintain the joints relaxed in every position
Do
not tolerate a single movement other than the natural and rounded principal motions.
Do
11.
not allow any other muscular tension or action than
that normally required to swing, rest 12.
Always
the hands and
allow
and
The object is to of the a upper-partials and the harmoperfect blending acquire artistic use of the pedals. nics, a chief feature being the Tonal exercises (harmony of tone).
fingers
The most important and most the final object of all exercises is to reduce The manner of practising the musical forms and relaxation. by of playing is correct, if its execution requires the least styles as soon as any resistance or it is wrong, possible exertion,
Hence
the arm,
etc.
on the
(remaining in constant contact with the keys to be played). Entrust all the rest to the natural abilities of body and mind (energy, patience, temperament, musical taste,
friction
roll
to "rest"
key-board, raise them only as far as is absolutely necessary to enable them to shift, and always let them run freely
staccato and their sub-divisions. 7.
and a loose passive
and whatever the form of playing they assume.
Exercises
beauty of tone).
freely.
the hand.
and pedal -effects. 6.
Practise fore-arm-extension
8.
5.
fall
learn
is:
to
train
difficult
etc.).
lesson
we
ourselves and educate ourselves to
have to
art.
It
is
the task of a life-time.
—
impediment is felt (in the muscles and joints). So that exaggerated muscular tension, pressure, stiffening the joints by exaggerated motions of extension, and other injurious, inexpedient The hands may, however, be exactions are to be discarded. the the to utmost, joints may be stiffened, now and then, panded in cases where the composition requires it, provided such action
be of but short duration. In a state of imperfect relaxation, all When exercises are to be studied loosely, softly, p. and pp. the greatest impediments have been removed, the exercise be studied with the object of obtaining musical, artistic
is
to
1.
move arm and hand and weight.
Hence practise daily: 1. The free fall and uon-lcgato, on to
the
perception of weight and relaxa-
The extension
of the fore-arm:
sixths, octaves,
chords
4.
in the
fundamental
principles of
(hand
practice and
weight to the key-board. Seek to retain it in a state of complete relaxation, its
whether
5.
from every constraint or spasmodic contraction,
6.
moving or relax
for its
single fingers, thirds, sixths, octaves
arm hang suspended from the shoulder.
Let the
Transmit
it
—
(shake-movements with rotation), more especially broken three and four-part chords (sevenths), etc. Five-finger roulades, scales, broken three and four-part
3.
Free
vibration of the mass: niartellato
and chords.
means:
and
freely, retaining
3.
2.
4.
and
formulate the elementary laws as follows: hold or restrain the arm in the shoulder, which
the
joints
we may Do not
naturally
vibrati or tremoli, oscillations) quite loose, in a quick tempo. The rotation of the fore-arm: tremolo, various trills, etc.
Having recognized study,
supple, and to their relaxation
2.
of
Daily exercises.
Only such exercises are to be practised daily, as are required to train the bodily functions to render the whole organism
per-
fection.
tion
4.
stationary,
its
work.
naturally
i.
e.
loose joints, thus rendering
it
fit
chords, arpeggi (of 2 octaves), passage-work. Upper-arm flexion and extension of fore-arm (gliding of the shifted hand) in legato-scales.
The
natural
rebound of the weight
in
the divers forms
of staccato, in five-finger roulades, scales, thirds, sixths,
octaves.
Exercises
t
''™'"""'
''
95
An hour and
a half of daily practice of these exercises (which
should precede the actual practice)
will
suffice.
For each form
and transpose it chromatically the on following modulatory system: keys, select a typical figure
159.
fc!
Eg ra
^
25
arms should be rendered supple by loosening-exercises: gymnastics of the shoulder, arm, rotation of the fore- and upper-arm. Preliminary Exercise: extend the hand, in a state of repose, to an interval of a sixth or an octave and rock it (up and
raising and lowering it in a natural manner, the fingers never quitting the bedded keys, which, however, are not to be pressed or crushed (Chap. II. pp. 17, 18) In the same manner study chords, and finish up with exer-
down),
hands
in similar
and
in alternating
S
F P1
I
Stiff
cises for both
motion.
These
4
ri
f
I
I "T"^
it flexible is the "oscillating" (swinging) alternation of the hand and of the five fingers on one and the same key, e. the repetition of one key by means of the hand oscillating upon fingers 1., 2., 3., 4 and 5 in succession, but in such manner, that the fingers retain their posture in the firm-set knuckle-joints, the arm sinking into the yielding wrist, following the elastic movements of the latter with spring-like action. Try to do the same in rising which is not (from below), easy. The "Natural Piano-Technic", vol. I. pp. 115/119 will be found i.
to contain the instructions required in studying the
loosen
we
more
practised daily, will than hundreds of etudes. joints
the
rst
exercises in "longitudinal vibration" of the arm are calculated to its
all
etc.
S
on
into
and,
if
develop dexterity
work
of art;
would, however, draw attention to the great importance attaching to both,technical and musical analyses, and the benefit to be derived â&#x20AC;˘^
We
rhythm, harmonics, modu-
must not omit those exercises which render the wrist viz. For example: supple, rotary motion and lateral flexion. place the hand loose and relaxed resting on the thumb bedding the key C-, and describe a complete circle with the hand (the thumb acting as a pivot, the key remaining bedded), from the low to the high and back again to the low position, (i. e. from the extended posture of the hand to the curved position and back again). Practise the same exercise on the 2"'', 2"^, A^ and 5'*" fingers, more particularly on the 5"' finger, as at first it is the most awkward. Practise these exercises "silently". The relaxing of the hand and its sinking back into the relaxed wrist (fig. B. p. 21) must always be practised thoroughly. For example: set the hand supported on the high arched
from them.
Study form,
lations, etc.;
then take up the technical forms.
V^
finger (fig. C), the wrist raised; suddenly sink the wrist, so that the hand assume its straightened-out posture (fig. B), the fingers, however, remaining straight from the raised knuckle-joints.
a tone
The
view, and we cannot too urgently recommend frequent, constant, close mental study of the work of art, inaudible practice and
becomes independent of the firm set knuckle-joints and fingers. Practise the same exercises with the other fingers. To relax the wrist is more difficult on the 5"" finger, the knuckle-joint of which at first always gives with relaxing of the wrist thus
the wrist.
Among
10 players scarcely 2 will be found
who
can,
perform this wrist-tilting movement correctly. This exercise also may be practised on a table. A very good exercise for loosening the hand and rendering
at the first attempt,
structure,
Teci
mus lysh
Analyze, for instance, the structure of difficult scales, passages or arpeggi, train the eye to take in quickly what it sees, and to convey it cleariy to the brain, translating the dead notes into the ideas they are intended to express, animating them and thus
mentally creating corresponding, definite, living forms, which it becomes the task of the trained hand to reproduce through the
medium phrase,
of in
Every line, every period, the shortest bar and rhythmical figure has an outline, every
technic. fact
a ^^physiognomy" of
its
own.
The mind must be taught so
grasp every musical form, as to
instil
structure and outline clearly, to lay is heard.
it
to
it, bring out its out and execute it, before
life
into
of the greatest importance Men and p in musical education, both from a technical and artistic point of
This mental vision and audition
is
,
trying to unravel and resolve intricate passages, suiting them to the hand. The conscientious student will derive more benefit
from such study than from 10 hours' thoughtless strumming. '""'
Further hints: 1.
Always begin with the for
its
left
natural inferiority to
hand, its
in
right
order to compensate
companion. 13
96
of a so<alled stationary hand, but practise each exercise with a shifting hand only, according to modulatory prin-
every figure must be referred to the general movement, to the hand-formation in taking the keys required. Every violinist and 'cellist practises and plays with an absolute perception of the
order to accustom the hand to a steady unrolling of the musical '-floii^. in any position between the white
He never loses sight of the formation of the hand in position. relation to the notes or intervals to be stopped. And the pian-
or the black keys. exercises and pieces evenly and uninterruptedly from beginning to end.
ist
Rhythmic and polyphonic difficulties should be practised If the whole study is based upon a certain separately.
analysed
Never
2.
limit the
study of a technical element to the work
ciples, in
3. Practise
4.
musical
figure
study of
Do Do
5.
6.
/
Never
8.
a
definite
formula,
make
a
special
not practise the same technical figure every day. not always play "forte", in the non legato fall, but
often 7.
of
it.
or
—
leggierissimo rollings, etc. leggiero to attain technical perfection for the sake
p(> in
strive
go by without reading some piece at sight, and devote a few moments to polyphonic music. Never lose sight of the one master whose name is Bach! practise, analyse the piece as to its harmonic form, structure, rhythm, dynamics, fingering, technical
forms, etc, simultaneously committing these to memory. As regards the aids to learning music by heart, "Natural F*iano- Technic",
vol.
I.
chap. V.
see
"The Psychology of
Technic". the
In
elementary
stage,
commence
with
exercises
on
[See Hugo Riemann: Catechism of hearing and in dictation. musical dictation, Leipzig, M. Hesse; Max Battke, Education of musical perception, Oross-Lichterfelde, 1905, Vieweg & Son, E.
*• p«i>
Dalcroze:
Rhythmic
Gymnastics,
Neuchatel,
&
Co.) Let the pupil
Jobin Sii«
Jaques
and of the
the parts to him several times in polyphonic passages; play he with the eye or voice. succession, following Above all, let us do away with the wretched old-fashioned all
A»«d:
system of mechanically reading and playing "notes" and signs. Every phrase, line (scale, passage) or figure is to be conceived of as part of, and taught in connection with, the whole, i. e.
the
shall then
overcome
shape of figures
A wrong matter?
in
that
and hemi-demi-semi lines, which
semi-demi
so
note,
long
a
as
slip
the
to
begin
movement
with
—
(action)
what
is
does
anything
it
Avoid
timi
like
correct.
"Timia accuracy fell
off a horse,
is
the
curse
has never learnt to
of
liberty'\
ride.
He
He that
that
never
never struck
never play correctly. Only by boldly swinging out and bringing the hands firmly and resolutely down upon the keys, can technical assurance be acquired, which is nothing more than determination and independence of mind, will and action. And this applies to everything in connection with piano- playing: skips, glides from bass-note to bass-note, from chord to chord, octave to octave, etc., which can only be sounded propeHy, if hands and arms are allowed full fling and the
wrong
note,
will
striking,
freedom of action. Another fault requires to be eradicated, viz. the lifting and suspending of arm and hand in mid-air during the rests. If a hand has nothing to do, let it rest on the key-board, till it is
sing every one of the one-part
in
way towards achieving bugbear so wont to haunt
are pursuing the only possible
We
quavers with their innumerable dazzling and puzzling made the page or passage look so black.
a day
Before proceeding to
also:
we
play,
us
let
to
detail
attack aesthetically best suited to an artistic rendering. In thus training the eye to take in the whole at a glance, to analyse, divide into groups and resolve with ease what we are about to
success.
Never
""^
its harmonic basis, suit the hand, form a clear idea of the meaning and object of form and figure, elucidate its symmetrical or asymmetrical structure, and determine the technical form of
reduce everything to
singly:
even the smallest
Never spend more than one or two hours a day actually at the instrument; only those who choose the art as a
purely intellectual work: write an analysis of the piece, commit it to memory, read it over and over again.
ftmvntoTf
must do the same, for it is easier to discriminate and pick out the special from the general, than to reconstruct the latter from the former, i. e. from the reunion of notes of every value
of technic alone.
profession may extend the time to three or four hours. Technical practice should be usefully complemented by
J™"'""'"'
required
again, or on the
edge of the key-board,
if
Avoid:
time
permits. In the
the pupil
elementary stage, we would urgently recommend that be taught to desist from pedantically counting bar ^°
far too much else to do. To read the music, with hands and and into the bargain, count arms, play fingers are three actions which a child cannot possibly accomplish He will be found to stop counting of his own simultaneously.
by bar; he has
'^""""''
97 accord, unless he plays wrongly or contracts hand and finger. Let us have patience and not uselessly torment and rack the brain of the poor little ones, rendering the task still more diffiinstead
cult,
of
facilitating
it
and rhythm soon enough, as develops in mind and body. Concentration
for
them.
flexibility
will
learn
time
They and technical dexterity
All that is Tcqulred is conscious, conscientious study, with concentrated attention and freshness of mind and body. Physical What cannot be done to-day, will exhaustion requires rest.
succeed
the
work
what we
is
to-morrow.
better
Patience
and pleasure
in
the
warm
even to the finger-tips, where the warm blood tone is of a warm quality, full and round.
hands,
and
courses,
Those
their
do not
sit properly at the instrument and breathe have cold hands, the blood not coursing to the wrongly, always finger-tips; their touch, and the tone produced, is consequently cold, dry and lacks all colour.
that
The importance
generally acknowledged, must, therefore, be considered one of the most important fundamentals of the whole technic; the pupil should be trained
accordingly
when
where music
require.
is
How
How
The
producing tone and
To
of breathing acquiring technic.
is
of
vital
breathes
importance
in
with
is
1.
the greatest technical problems, a perfect highest and ultimate degree, of physical and of
"idn''ui'^m°
trembling,
or right
stumbling,
shivering,
anxious
blending,
moment
in
psychical energy. hesitating at the
exhale the
every day.
by 2.
breathing
signs
state,
loss of in
memory and those wellwhat we commonly term
Teach the pupil to breathe in a free, natural manner, gud mental composure will prevent nervousness, heart and lungs being supplied with all the oxygen they require. This will also affect and Those who breathe improve tone and touch. correctly, inhaling fresh air as nature requires, always have stage-fright.
then
fill
when
that
state
and hold the breath there
becoming air
in the pectoral
steadied;
then
slowly and uniformly.
for
is
attained,
a
moment,
X^
regions through the
begin
Those
gradually to of a weakly
These exercises should then be followed up
practical application:
When
playing the up-beat, make the pupil take a full, deep breath; then with perfect composure and ease play the introductory bar (or even a single chord, to begin
b.
.
with); then exhale to the bottom of the lungs. 3.
is
wrought nervous
"set",
the
â&#x20AC;&#x201D;
nice or complicated
knowu symptoms expressing themselves
is
moving
absolutely wrong and the chest with air, from
is
constitution should practise these breathing-exercises every morning and evening in well-tempered air from 6 12 times
Make
the pupil take a deep breath simultaneously with his striking the up-beat or first bar, and retain that breath with
equal tension for 2 bars. Continue 4, 6 and 8 bars in this manner.
it
a highly
it
retain
air-column
shortness of breath, accompanied, as a natural consequence, by a state of utter helplessness resulting in A pitiable bungling, for which there is no other explanation. habit
to
until
producing a tension
the retention of the breath, producing, does, through compression of the air, a high pressure upon the heart, leading to an acceleration of the pulse, the result being
ma^CT'of
exe
Inhale slowly through the nose, and, without
try
to the
especially from
most dangerous
outward
same manner.
must be discarded), gradually
movements and and other faults too numerous uncertain, phrases, imperfect rhythm to mention, may all be attributed to improper management and economy of the breath and wrong breathing. Ncrvous anscmlc ladies, when the least excited, suffer more
as
filling
where singing is which the individual abdomen and chest ^""^
below,
sight of lengthy passages containing technical difficulties, the timid shrinking from cadenzas and the fear of coming in at the
persons
from the diaphragm,
that in
shoulders (subclavian breathing
soul to music's inspiration: everything depends upon it, not only rhythm and the broad, melodic flow of the real cantilena-style, but also the successful execution and mental command
Weak
the
is
schools
Exercises:
the pupil to take a deep full breath in a natural the first and principal condition towards awakening
his
wrong
freely in
air
the
method
correct
should be taught breathing
pianist
by
train
manner
All
adopted
system
The only
taught.
to breathe correctly.
The proper manner
to breathe
the
^re
yet in the elementary grade, and those Institutes taught as a profession, should include it in
their theoretical courses.
on 5.
now
of deep breathing,
As
this,
until
the pupil's training advances, apply the
in all
he can play
same
principles in
difficulties, in
bravura
rhythmical long passages, cadenzas, A systematic passages and such as terminate in presto time. training in deep, slow, steady breathing will also be found to tell
most
beneficially both
upon body and mind,
art
and music.
13*
c.
ii
^^^
08 Amid
Conformably to the laws of a normal and
we must 1.
Z
natural
technic,
purpose of which and "equalizing" the fingers "precision", "detaching" (as all these are acquired by employment of weight),
It
is
studies ever will teach
more especially the unnatural exercises with "set' fingers" and changing-fingers, and all special exercises, such as (Mssing the thumb under, octave-studies, etc. All scales and exercises, the sole object of which is to develop "velocity", independence, equality and other
3.
dumb
4.
V^Mttf, k»<r
playing, in order to develop for study is afforded in:
Bach: The Haendel:
illu-
pianos and "machines"
mechanical practice on
all
Jackson, etc.). All monotonous, interminable, useless repetition of one and the same musical figure.
Velocity, i. cular relaxation
e
rapidity,
is
and lightning
(Virgil,
the product of activity.
It
is
two
factors:
attained
mus-
simultan-
e. limp, joints (more eously with the acquisition of loosened, the and of shoulder the rotary articulation of the esF>ecially i.
dbow), of a
free, loosely oscillating arm, performing the shortest and least movement. Independence of the fingers and hands
hand
6.
—
rigidly set
the natural
on the keys.
(Jr. n.)
result
an isolated form, for no finger-
must begin at once with polyphonic arms and hands. Excellent material
first
The
studies.
first
studies.
Bach: French and English Suites. Bach: Wohltemperiertes Klavier.
The following works
are also to be
Emil Krause: J.
All
staccato
J.
New Gradus
Philipp: 25
(wherever
suited
ad Parnassum.
Canons.
—
must be
"studies"
recommended:
to
—
practised non-legato legato the pieces), with rolling of the
fore-arm.
to soften
and
pupil has learnt to transmit and
hand and
liberate arm,
actual study of the "ivork
and studying recurring instances and practising
of
art',
roll
the weight,
fingers, he should take up the
and
train
mind and body by
the musical forms dispersed (in ever in an endless variety of the typical forms ail
here analysed) throughout our musical literature. In art, as in life, the most sublime conception of the object to be attained demands the elimination of "technical obsession"
for studies.
outcome of a light arm and Rnger dexterity hand acquired by steady and regular consciousness of relaxation, by control of the impediments and by removing the obstacles is
the
not the cause.
Bach: Short Preludes and Fughetti. Bach: Two and three-part Inventions.
As soon as the is
and independence of finger and
Fundamental works
in
is
it
of joint,
and fingers
also a question of relaxation and of increasing agility of hand and brain. Attain an independent free, attack with the arms, independent balance
and rolling of the weight, hand will follow.
frictions;
looseness
it.
All sensible instruction
sionary ideas. All purely acrobatic or gymnastical exercises intended to develop extraordinary muscular power or exaggerated
"looseness" and "flexibility" and
external
complete relaxation and should not be practised
All mechanical finger-exercises, the sole
—
and
internal
by
presented of
abolish:
and pleads
work
for a
speedy
initiation
into the
beauties of the art-
itself.
Life is too short, art and its study too difficult, its domain too vast, for us to neglect the least opportunity of penetrating into its secrets, the moment mind and body are so far trained
as to enable the soul to grasp the
meaning and beauties
of
art.
Kirst instru
CHAPTER
XII.
CONCLUSION. We now body,
e.
i.
close our theory of the technical education of the of the development of its natural playing-faculties. It
simply mean a slight, momentary fixing or a light holding, setting of the joints and muscles of arm and hand, or finger, justified by aesthetic reasons, for artistic or technical purposes. Fixation practically means: to set arrn, hand, fingers in
we have seen, upon the observation of the principle arm must be weighted and yet loose in all its movements. The elementary movements, in their turn, are based upon four
a
actions:
in
is
based, as
that the
1.
RecapituiaUon
The fall
2.
longitudiual oscillation of the arm (alternate rise or vibration of the arm). /"^ action.
Upon
—
the fore-arm-extension (vibrato or tremolo-percus-
sion: hand- vibrato). 3. The rolling of the
(rolling or shaking),
j™
actum. 4.
natural participation of the loose fingers articulating freely to the whole motion of the swinging arm. ^'* action.
These four points of view, corresponding to the natural functions of our body, must be accepted as norms both for the technical education in the elementary grade and for the middle and higher grades, even up to the stage of virtuosity. All that which corresponds to the idea of immobility, of "fixation", and which practically only belongs to the artistic eduof the professional pianist properly speaking, has been omitted from this "School" which demonstrates rather the general,
cation
we
to other
natural aids to free action.
start
methods, Contrary from the principle that we must begin by developing looseness, flexibility and suppleness in the physical organism, before attemptExperience ing to strengthen and fix the muscles and joints. teaches us that he who can let go, when and wherever he will, fast
all
pose,
(fixed)
certain
of
part
together for a definite purpose, key-board; for instance, in a pp
fixed
the
chord or particularly delicate legato or portato passage. This, naturally, requires a particular muscular tension. Prolonged
however, such as we encounter in virtuosity, Is it exceptions which do not come into account. advisable to teach such things methodically? That is the great quesimmobilizations,
According to the author's practical experience and personal feelings in the matter, such technical peculiarities should be left to the artistic impulse of the individual, as they present tion of dispute.
The
can hold
a
constitute
2"'' action.
fore-arm
rigid
when and wherever he
will,
—
not the other
way
themselves. individual certain
In
will,
passages of his
calling for a
own
muscular tension as required by the part or
To make
it
more
clear,
we
will
add
that
by
"fixation"
we
situation.
We
affirm that in certain technical cases, and considering merely the quality of tone, the effect produced by the descent of the loose
arm
is
inferior to that resulting
from a
lightly
borne arm work-
ing with steady, regular action and ease. Such is the case, for instance, with regard to the absolute rapidity of certain forms,
such as: lightning-octaves, staccatissimi, rapid rolls (such as trills) and other tremolo movements. As to the sonority itself, the timbre, the difference between the weight- touch and that with lightly
set
joints
is
necessarily very great. Dynamic shading the latter. Swinging and throw-
the fundamental and
etc.)
gifted
has already been practically demonstrated that "looseness" and "flexibility" are not all that is required. may even safely
247, 250, 361, etc, 376,
fact points
a
It
certainly is impossible without
This
effect,
accord and unconsciously, exert a
(On exactly the way we have to take. the theory of "Fixation", cf. Natural Piano-Techhic, vol. I, 2"'' ed., Leipzig, 1905, C. F. Kahnt Nachfolger, pp. 31, 107/8, 146, etc., about.
certain
ing the arm, releasing the weight, the descent of part, or of the whole physical playing-apparatus, though the free descent be
—
always do produce
norm
—
these actions must and
The
cantilena of the higher
of technic
material effects.
100 order,
the
finer
combined with can scarcely be
medium moment
delicate
gracefulness,
and lightness rhythmic motions
perfect ease
gradations of tone, artistic
realized, technically or aesthetically,
through the
of descent and heavy fall. Nor is it less true that the the arm or hand has descended or been thrown upon
the instrument,
we
have
lost the
power
means
of control over the
—
attention"';
is
it
midway between
relaxation
and
rigidity,
and pro-
fine, constant muscular tension, holding absolute independence (relaxation) and
duces the sensation of a the
balance
between
retention (active stiffening) of the joints. Consequently, fixation of mean muscular tension, of indicates perception (immobility)
compensation, of muscular rhythm; hence
it
is
the perception of
of producing the tone and consequently over the tone itself so that (presupposing rapidity as determining factor) the character of
the intensity or elasticity
the descent and the weight set in action determine the quality of the tone. If free descent of the weight be the object of
abductive muscles (synergists and antagonists) a harmony calcul-
natural
technic,
its
retention
weight lends the tone
its
is
The volume
of "artistic" technic.
that
fullness, its consistency,
its
whole arm as a mass, the playing, imbuing rhythm with
just as the s|X)ntaneous "attack" with
—
And nothing
but a perfect mastery over both these great of the free and ihe Jixcd styles uu7/ lead to form, complexities a f>erfect equilibrium of the forces, and thus to that perfect hargrace.
mony between
technical
and
material can clog or blemish.
artistic
reproduction which nothing
The highest degree
of tonal
rhythm, perfect equality and uniformity in the melodic outlines can only be attained by will-power with an organism at its disposal not only loosened and ever ready for action, but also possessing that precision and spring which alone secures
equality is
and uniformity of muscular power.
perhaps
the
same as
to
play
"with
To
to
object
is
between the adductive and the
to establish
bring about (through their the desired result: the
extensions)
and suppleness Since the after
ject,
all,
in
natural
maximum
the playing-organs.
reproduction of of our technic
—
multiformity in the means character" in the physical
of
the
art -work
conjunctions
and
resistance -power
—
the
sole
ob-
exacts the greatest variety and expression, a "firmness, full of
organism
is
an absolute
essential.
Those that would diffuse amongst others the fullness of life e. those that and their enormous wealth of tone and colours, would be artists and bear the name deservedly, must be in possession of means of expression, sufficient to meet every dei.
mand which
art
may
lay
upon them.
pre-
cision, light, floating
fixed"
ated
the
power and grandeur to that ponderous brazen tread as of elemental powers. The retained action, the delicate touch, glide and rise, such as we observe in the rhythmic flight of a hovering butterfly is what lends lends
The
itself.
play
concentrated
'
This psychological explanation differs greatly from the rather physioMr. Jaell, of Deppe-Caland and others. Viewed from our
logical theories of
standpoint of a free and natural action of the arm (arm-swing), self regulated
(determined) entirely by artistic inspiration (will), the "active fixation" of the third phalanx, of wrist and elbow (by rigid abduction and pronation), constructed by those methods, affecting the natural reciprocal action of the three principal joints and paralysing
arm and hand,
— can
no longer be upheld.
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