The Groundwork of the Leschetizky method by Robin Thomson

V,..

NY PUBLIC

IBRARY

THE BRANCH LIBRARIES

3 3333 02200 0794

BREE MALWINE* THE GROUNDWORK OF THE LESCHETIZKY METHOD* 75.00 NNBR 760109174^y

MUS The New York Public Library Astor.

Lenox and Tilden Foundations

The Branch

Libraries

THE NEW YORK PUBLIC LIBRARY AT LINCOLN CENTER Music Collection 1 1 1

New

Amsterdam Avenue

MY JMUt3

York, N.Y. 10023

BOOKS MAY BE RETURNED TO ANY BRANCH OF THE NEW YORK PUBLIC LIBRARY ALL RECORDINGS MUST BE RETURNED TO BRANCH FROM WHICH BORROWED NO RENEWALS ARE ALLOWED FINES FOR OVERDUE MATERIAL PER CALENDAR DAY. Adult books lOtf Juvenile books 54 Recordings 10^ Form #0567

THE

GROUNDWORK OF THE

LESCHETIZKY METHOD ISSUED

WITH

HIS

APPROVAL

BY HIS ASSISTANT

MALWINE BREE WITH FORTY-SEVEN ILLUSTRATIVE CUTS OF LFSCHETIZKY'S

HAND

TRANSLATED FROM THE GERMAN BY

DR.

BAKER

TH.

HASKELL HOUSE PUBLISHERS Publisher] of Scarce Scholarly Booki

NEW YORK.

N. Y. 1OOI2

1969

LTD.

First

Published

1902

HASKELL HOUSE PUBLISHERS

LTD.

Publishers of Scarce Scholarly Books

28O LAFAYETTE STREET

NEW YORK.

N. Y. 10O12

Library of Congress Catalog Card Number:

Standard Book

68-25284

Number 8383-0290-4

Printed in the United States of Ameiica

TO MY HONORED MASTER

PROFESSOR THKODOR LKSCHKTIZKY Twenty years

Let

years ago

became your

me worthy

you have considered he

well aware that

pupil,

and

tor

more than

hold the office of your

ten

assistant.

book, what you have taught me throughout this long period, and what I in turn have tested on hundreds of pupils. this

a theoretical

justification for publishing, in this

finished pianist can

method alone than

by books on painting or sculpture certain

right to exist,

it"

painter or sculptor can be trained nevertheless,

;

no more be formed

my book may

only as a welcome reminder to

claim a

many former

of the Leschetizky School of their early instruction, and, for the pupils, as affording a correct idea of the basis of that School.

disciples later

Following the pedantry.

meant the

spirit

work does

of the latter,

have been

pains to avoid

not aim at a slavish observance of rule, but

be a guide to tine and correct piano-playing. desirous

attaining

this

end

reason

the

rendered

honorable

upon my work by the illustrations of your own hand. thank you most sincerely for this distinction, and beg you to

distinction conferred I

accept the dedication of this book.

head whence we

all

Thus

only returns to the fountain-

draw.

VIENNA, February, 1902.

MALWINE

BREE.

(TRANSLATION)

MME. MAI, WINK BREK. HONORED MADAM: Mv

work, which

best chunks for the dedication of your

of course accept most gladly. As you know, I am from no friend of theoretical Piano-Methods; hut your excellent

hook, which principle

VIENNA, Feb. 24, 1902.

have carefully examined,

personal views, that

subscribe,

word

such a brilliant exposition for

word,

advance therein.

Your "

with

hand along the same path on which,

practised

everything you

Groundwork of the Leschetixky Method" tor

many

leads years,

you have won such striking success as my assistant by teaching in accord with my intention. Moreover, the tone of your work is not monotonously didactic, but enlivened by clever conceits and humor.

Approving the illustrations ot my hand as genuine and lifelike, I declare your book to be the sole authorized publication explanatory of my method, and wish it all success and popularity.

With (Signed)

sincerest regard,

TMKODOR

LKSC'H KTI'/KY.

TAHLF. OF CONTENTS

....... .... ...... .... ...... ......

SKllTloN

Attitude

The

the I'iailo

land and

III.

\Vrisl exercise

Some General

Tin-

Diatonic Scales

IX.

I'm-

XI.

XII

Preparation

Chromatic Scale

XVIII.

XIX.

XX XXI. XXII.

tin-

.-K

.U 4

Part in

Thirds ami Sixths

Chord

plav ing

4(1

$fi

...

Pedal

Performance: Melodv plaviug

for

Tempo

Dvnamics

F.mhcllishinents

Rules

XXV

(ilissando

X XIV.

X.XViii.

The- Highest

XXV.

Paired Notes; Scales

The

Arpeggios

Octaves

Chords

XXIII.

XXVI.

Stvles of

XVII.

XIV.

the

Alternating Fingers on the Same Kev

XV.

XIII.

XVI.

9 9 10

Studies for Kroken Seventh-chords

Touch

Chords (Triads)

Preparatory

Preparatory Studies for lirokcn Chords (Triads) ISrokcn

Same, One Tone Wider

VIII.

Studies for the Diatonic Scales

1'rcparatorv

Finger-exercise \villi Oiu- Tone Held Free Finger exercise without Held Tones

(t.

VII.

Foni linger KxcrciM' Five linger Kxercise

.).

VI.

Kuli

One-linger Kxi-ivisrs Two linger Fxcrcises Three-l' ugcr Kxcrcise

Posture

Its

Finder exercises

PAGE

RhMhm

*>$

(*)

Fingering Practice and Slndv .

Movements

Hand and Arm

...

Should Devote Himself

'.'.'!:>

ADDKNDA Ai'i'KNiux j

of the

Scale of Scales

the

.... ...

Piano?.

H5 x"

Scale of Arpeggios

Suite of Arpeggio*-

CONCLUSION

Attitude at the Piano one remark by Leschetizky " Sit at the piano unconstrained and erect, like a good horseman on his horse, and yield to the movements of :

the arms as far as necessary, as the rider yields to the

horse."

Sit at

pedals comfortably.

but very

;

little

may rest on the keys without effort, and the feet reach the The elbows should be held neither too close to the sides nor

moreover, they should either be on a level with the keys, or be held Too low a seat, in particular, necessitates r\n accord with higher.

the laws of leverage) greater exertion on the player's part, so that he

when playing

forcible chords, to raise his shoulders,

Many while playing.

his

such a distance from the keyboard that when the arms are easily

bent the finger-tips

too far away

movements of

even eminent

pianists lay

too

compelled,

which has no very graceful look.

little

stress

a graceful attitude

" If That is not They seem to think: only the ear be satisfied." listener's ear should first be seduced through the eye, and thus be

The enough. rendered more impressionable. Neither does " posing" meet with our approval. The usual pose is to lean backward with a splenetic air and to play with slow negative movements of the Then

head, the eyes rolled heavenward. disdainful expression of countenance

;

there

the nonchalant pose with the

or the player bends over

touches the keys, and after every passage turns

till

his

head almost

his face to the audience in smiling

interrogation.

All this produces a

more or

less

comical impression, and

apt to injure the

of the finest playing. True feeling is not expressed by means of the pose, neither does a pianist's art find expression through his mien, but through his fingers

effect

;

and true feeling manifests

itself

spontaneously,

the player really has

it.

The Hand and SHE

must renounce the

Its

Posture

and " A thoroughly trained pianogracefully formed, with well-kept nails. " hand becomes broader, supple in the wrist, and muscular, with broad pianist

finger-tips.

The

nails, too,

must be kept

so-called

aristocratic

short, for the springy

hand,

slender

pad of the

finger-tip

yields a mellower tone than the inelastic nail.

Too

hands are not always advantageous at the piano ; but too small hands are often a disadvantage, even though such can generally bear fatigue better large

" than large ones, and also more readily acquire the " pearly touch.

Large hands, to make which small hands have again, superiority widespread chords, good by means of dexterity and suitable arrangement. For the rest, there have

show

been, and are, pianists of the highest rank with large hands and with small hands.

The method

of holding them

FIG.

the

How

same

for both.

TO HOLD THE RIGHT HAND

[3]

FIG.

How

The hand should assume

TO HOLD THE LEFT HAND

decidedly vaulted form (see Figs,

and

;

for, apart from the unpleasing, amateurish impression made by playing with flat hands and fingers, the only way to get strength into the fingers is to hold the hand

rounded upward.

The wrist must be

held somewhat lower than the knuckles, and the

curved that the tip-joints fall vertically on the keys, which are touched The thumb forms the sole exception, as it strikes by the tips of the fingers only. the key not with the tip, but the edge it is held away from the hand, with the fingers so

;

tip-joint bent.

Now

set the finger-tips

and press them down together. the touch

slip off.

The

lightest there,

an easy posture on

this

five

consecutive white keys,

near the front edge of the keys, because

buc do not hold them

the very edge, as they might

of course, fingers being unequal in length, their vertical tips cannot,

stand in a straight line side by side, but form a line curving outward from the

thumb

to the

finger,

and then inward

to the

th finger.

[4]

III

Wrist-Exercise

FIG.

soon

as the posture of the

hand

quite under control, press rather firmly

white keys and lower and raise the wrist slowly and repeatedly, that the fingers taking care (i) that the hand remains rounded upward, (2) retain their position, (3) that on raising the wrist it does not rise higher than its

on the

five

and (4) that the upper arm does not follow the wrist-motion. Repeat this exercise for only a few days, and with the hands in alternation.

original position,

Some General Rules IRE

for the fingerfollowing fundamental rules are very important even

exercises

(i) It after

they should, therefore, be learned at the very beginning, best to play all finger-exercises at first only with a light touch; ;

two or three days one may try to get more tone, always endeavoring to play

evenly (with equal strength of tone) with an unequal exertion of pressure on

and muscular strength of the the

finger, followed

But

weakest, the 4th.

all

This

the fingers.

accomplished by

the keys in conformity with the unequal length

Strongest of

fingers.

all is

the

thumb

order of strength by the fth, id, and

in this case

we do not observe

;

then comes

finally, as. the

the ordinary educational

weakling with indulgence we must, on the contrary, exert the The dynamometer for the its inequality. strongest pressure on it, to remedy One must hear whether the tones exertion of force at any given time is the ear. rule,

and

finally

treat the

sound equal

;

force.

After some practice the fingers will accustom them-

selves to the necessary degree of pressure.

(2) It

not well

at the outset to repeat the finger-exercises until fatigued.

Let us say, once for all, that the by frequent alternation of the hands. After a time each with both hands together. finger-exercises are never to be played hand may practise longer; but even then be careful not to overtire yourself.

Avoid

this

Should the hand begin to feel heavy, let it rest. Should one continue practice, one soon feels a trembling, or even pain, in the muscles, and this may injure the hand. lower and raise the hand frequently while (3) Without interrupting practice, By so doing one prevents the hand from playing, as described in Section III. growing

stiff.

(4)

When

the finger

raised

from the key,

must not change

its

form,

but remain curved (see Figs. 4 to 8). Bending the raised finger inward, or stretching and is a waste of strength at the expense it out stiff and straight, does not look well,

of tone and velocity. (5)

with the tip

Always keep ;

for that

a watchful eye

the only

way

on the

finger-tip,

and

strike the

key exactly

to bring out a full, strong tone.

advance, that in playing a melody forte, or for strong accents, the black keys are struck, not with rounded, but with outstretched fingers. (6) Let us remark,

The

fingers thus touch a wider key-surface

and

are less apt to slide off.

V Finger-Exercises i.

the

start

ONE-FINGER EXERCISES

the simplest

finger-exercises

are

the

best,

so that attention

can be concentrated on the posture of the fingers and wrist.

45 R.H.

L.H

jf'

"'O^

17]

FIG. 5

manner with

the 2d finger, raising

about one-third of an inch and striking the

key repeatedly while the other fingers hold

FIG.

Proceed similarly with the jd

their keys.

(Fig. 5.)

finger,

keeping the others down.

(Fig. 6.1

[8]

FIG.

Now

continue with the 4th (Fig.

and

th fingers

(

These two

Fig. 8).

must, however, he raised as high as possible, so that the hampered 4th finger

may more and the more independence 5th acquire strength. During this exercise of often the wrist-movement the five fingers, described under " General Rules,''' repeat to

make

sure that the wrist

loose.

After practising these exercises for

For

(compare Section XIV). blow,

flies

back,

high

them

legate, try

each finger, after striking

rounded form.

its

This

this

some time

also staccato

key a short, swift

its

Tins renders the fingers more

TWO-RNGER KxERUSES

the application of Kxercise

two tones.

R.H.

4645

...

-8-4-

3434

^wVi-r^ '^r^^m^Ffii 3636 2424 'l

elastic.

2 6 2 5

^r^ t

-3-4-

I'ress do\\'ii the five

examples.

When

the above keys, tnen play with two fingers according to

one finger strikes

its

key, the other must go up a tempo.

active fingers should play legato, the other three holding their keys. .

.46

THREE-FINGER KXERCISE

LIOJ

Two down

its

fingers hold

key

down

the whole notes, three play

after striking, while the next in turn to play

Koi'R-RWOER KXERCISE 5

23*32 1

R.H.

but each finger holds raised a tempo.

;

L. H.

One

finger holds

down, four

play, as above.

KIVE-KINGER EXERCISE

R.H.

23-* 54 32 r Press its

down

key (as above)

all

;

R.H.;

Then one

finger after the other plays,

and holds

etc.

FINGER-EXERCISE WITH

ONE TONE HELD

, *

+_2__

five keys.

-WP-P-P-P-

Hold

the

fingers are to be

first

held

note of the measure and play with the next finger. high

their

Inactive

rounded form, excepting the thumb, which

held bent and loose under the 2d finger

.e Fig.

12).

[II]

Be take too

careful

much

not to hold the inactive fingers

when

finger jerks a little

the 4th plays.

There

common

task,

tendon

whose

up spasmodically,

And

strength from the active ones.

;

sole result

the

finger plays, or

an anatomical

does no harm.

would

reason

The

be, perhaps,

for

do not worry

would

the 4th

when

the 5th does likewise this, in

the

breaking-up of this habit

a certain stiffness

of the

presence of a is

wearisome

wrist.

FREE FINGER-EXERCISE WITHOUT HELD TONES

4 5

23.

m t

*.-m

for this

23323*3346 K K wm

324

3_4

L.H..

Here, too, the finger must instantly finger strikes.

The thumb,

hand begins on

after playing (that

up is,

rounded form when the next

in all exercises

where the right

on G), does not go under the palm, but stays close (See ADDENDA, p. 83.) press it down.

and the

to its key, as if ready to

fly

left

Preparatory Studies for the Diatonic Scales was made, the Creator surely had no idea that he would even" " himself as a pianist for otherwise, in view of the scales and perfect

|HEN man tually

each

;

broken chords, he would have provided him with at least seven fingers on For the hand, and furthermore, with seven fingers of equal length.

piano-man

thumb

this

would have obviated the unpleasant necessity of turning under his But with our insufficient number of ringers, turning-under

once, at least.

requires special

preparatory exercises.

FIG.

sa' R.H.:

Two

one plays. form an arch, under which the thumb moves. fingers hold

their notes,

The id and 3d

fingers

must

[13]

FIG.

' a 3 * a

* 8 ?

n.. LTT '.

One

finger holds,

two

play.

R.H.^g

[

All three fingers play, and hold their notes after striking.

Both

and the following ones, the fingers coming just before and

exercises

these

after the

thumb

should strike rather stronger than the others, going either upward or downward, so that the turning-under and turning-over may not be noticeable. The notes requiring stronger accent are

marked by

dashes.

R.H.

~4'V^

.H.^

not allow

but

to rise in too high a curve,

Take

care in

unmoved

;

all

neither

let it

glide over the intermediate keys.

these exercises to keep the

must the elbow

rise

32i

R.H.

when

hand

the

quiet,

thumb

8**1

and the wrist loose

passes under.

123

.11

L.H.

Two fingers hold their notes, while the right thumb, passing under them, from C to F; the left thumb from C to G. Keep the thumb bent, and do

leaps

but

-^f4 *J

!*? :.!. rrr^iirrrrrr *

-f-^

t 2 i

In the above free exercise without held notes, the thumb, in the measures

beginning on C, passes instantly under the palm,

id finger has struck.

must

fol-low

From

up or down when

the second the

thumb

measure of

bent

posture,

when

this exercise on, the

turns under or a finger turns over.

the

arms

[IS]

VII

The Former

Preparatory Exercise,

FIG.

1 1 .

2222 o

2 I

L. H.

'H.'.?!"

^ I

* j| '

One

finger

; 4 r. 4

'|JJJJl.fflJ

9 ?

One Tone Wider

3 J

3 a

"gt [

a o

|.flj " 4

plays, three hold.

R.H. 3

*33

Two

fingers play,

41 two hold.

JJJ

fl "

[16]

R.H.

*= ~m~.

s .

r r r

343

2343

One

finger holds, while three play

^ All fingers play, and remain

down

2d, jd and 4th fingers hold

after striking.

1 I

as in the

3*14

-II

after striking.

The

P ">

r r r r

and remain down

-II |l

the

whole notes, the thumb leaping

former similar exercise, without describing too high a curve.

may now turn a trifle thumb strikes its key.

the direction in which the hand

The

moving, when

wrist

the

T L.H.;

-3

8 3

T3>

frrrrrrrirr^^ Free exercise without held notes. p.

14 apply here.

The remarks on

the similar exercise on

VIII

Diatonic Scales

FIG.

THE HEW YORK

Fio.

||N

scale-playing

under the arm

take care, above is

]

14 all

things,

that

when

the

thumb turns movement

not thrust forward with a jerk, but follows the

of the hand evenly and horizontally, gliding along much like a car on rails. The fingers Furthermore, hold the wrist loosely, without moving it up or down. should always retain their curve, even on the black keys. As remarked before, the thumb passes under the palm as soon as the 2d finger strikes only at the end of a scale (playing up with the right hand and down with the left), the thumb should ;

remain beside the hand, bent and ready to

FIG.

strike.

and with

Practise the scales at first slowly

Not

until

left

hand two octaves lower.

strong, even

touch,

without

should one gradually increase the speed, at the same time counting rhythmical groups of three (triplets) or four notes, hut wholly without accentuation. counting.

later

R.H.

The

In rapid

stroke

tempo "detach"

which renders the

as in staccato

Practise at

motion, and

first

finally

the fingers, that scale

lift

them quickly

parallel

through

all

the keys.

dynamic shadings;

at first forte, then pianissimo,

thoroughly drilled into the

the last two shadings in the variations

shown

after each

"pearly."

with each hand alone, then with both together

strong, even touch

also, to

is,

When

contrary

the slow scale with

fingers, practise

and

finally crescendo

with the various

and diminuendo;

the following examples.

In these

begin with, play slowly.

R.H

dim.

cresc.

dim \

refer

left

hand two octaves lower.

the chapter on

Dynamics.

Concerning crescendo and diminuendo,

[20]

Preparation for the Chromatic Scale

FIG.

|gg

-*>

R.H.

L. H.

thumb holds

down

near the black key

;

the

2<d

finger strikes C3, presses

quickly, and then passes rapidly over to Djt.

FIG.

Also reverse.

(Fig. 16.)

R.H.

Free exercise.

line.

higher than for the diatonic scale, so that the

the nd

finger a

(Fig. 17.)

In both the exercises the wrist remains quiet

tip.

2.3.2

At the two neighboring white keys bend

more, that the fingers may keep

little

thumb

and loose; but hold strikes the ke\

more with

scale-exercises,

begin

now

for

both the chromatic and diatonic preparatory

practise the chromatic scale in

groups ot three and

four notes, without accentuation.

.. g

the

careful to strike the black keys very near the front edge.

Observing the directions

a little

1321X3181X1231

X Preparatory Studies tor Broken Chords (Triads)

3333

rjJJJ H. :

|~6t% -Bo

l-e-

U -i

F.H.

L.H.^

i-*y v

<*+ 4

F~^

.11

L.H.^iS

iOLI) down

iht-

whole notes

long as the quarter-notes are played, keeping

the hand arched and the fingers curved.

down without

Often move the

wrist

up and

comes

again.

Other-

interrupting the playing.

R.H.

Let each ringer lie, after striking, until its turn wise, observe the directions for the preceding exercise.

to pliy

[23]

FIG.

J J

R.H.

;

* f-

fingers

the whole notes, play the

quarters.

must form an arch under which the thumb

R.H.^a

^ J

I 2

-II .

Hold

fesfe

r r

Here, too,

f the

3d and 4th

passes.

@ _

i 4

I..H.:

Free exercise.

From

the second measure on, hand and

direction of the next tone to be struck.

The thumb

arm move

the

turning under, and the

fingers in turning over, should not describe too high a curve.

[24]

FIG.

R.H.

'14

Triad-exercise in the

first

inversion.

'J"3JJ L

*^^ Same same

exercise in the second inversion.

rules as for the

P For both

inversions, observe the

fundamental position.

Players having sufficient stretch to extend this exercise by a tone without forcibly contorting the hand,

may

take

the following exercises.

R.H.

.tt

0-a~

<vp

0-3*

W= ,

Observe the same- directions

as for the exercises with

two

fingers.

R.H.

lere the

}

niters stay

down

after striking.

Broken Chords (Triads) R.H.

FUNDAMENTAL POSITION

fcy

FIRST

RST

practise

then ke\s.

in all

HRSION

SFCONH

KSION

the hiiulaiiieiital position, and also the inversions, in

other keys.

The

given fingering applies

all

rule are the following triads: I'Accptcd tVom this

major; minor and major

i^ *

R.H.

L.I

* *

r r

-1

R.H.

^^ 5

5 '

Practise these in

preparatory studies in

all

inversions and

combinations

(as

Section X).

XIII

Alternating Fingers on the fingers

"wiping" motion on

rather higher, allowing the slightly outward.

on the same key, they are moved only at the held somewhat less curved than usual, and their tips

alternate

knuckles; they are

make

Same Key

hand

the key.

to follow the

The

wrist

movement of

held loosely

the fingers by

and

turning

first

on only one key

practise the alternation ot fingers

Hglgg^

Then practise the diatonic scale, the broken triad, the dominant seventh-chord, and the chromatic seale according to the following examples :

Also

these

play

with

exercises

three

ringers

4 f

and four

ring ers

4321 '

The superfluous

with each hand alone

the

;

one can shade

hand correspondingly

same key

alternation ot fingers on the ;

left

slow tempo

lo\ver.

obsolete and

succession of tones of like pitch better with one finger.

XIV Styles of

Touch

devotee of the piano \\lio treats the "dry" finger-exercises disdainfully does himself the greatest injury tor such exercises are the same, tor the ;

piamstic

organs. tuli,

qui

warm fait la

The

member,"

pupils ot

tone,

owe

the hand, as voice-development tor the singer's vocal

.escheti/ky,

this to the

who

proper

particularly excel In

of the finger-exercises.

musique

(It

toi

their touch

music);

this the

and

" C'est

their

ton,

pianist should no'

[

forget; and even still

he he not able to

endeavor to approach them as This may be done, in the

The

execution of the legato

]

far as possible. first

The

follows:

the finger

its

a trifle longer, after the next tone

lie

When

a strong,

tone

full

means of

place, by

only when the next finger has struck

style

of a voice or a violin, he must

rival the effect

linger

key.

well-developed in

lifted

legato.

the normal

obtain a legatissimo,

struck, like this

let

be brought out legato in

cantilena,

the

strength of the fingers does not suffice, but must be reinforced by wrist-pressure the following

'['ouch the key hgntly

way:

and force the

finger to

press

down

deep (without losing contact with it) by means of a swift upward movement of the '['he same effect may wrist; at this instant, wrist and finger-joints must be firm. also be obtained by a rapid

down-stroke of the

wrist.

Immediately

after striking

normal position, while the finger holds the Practise this singing tone on five tones. key lightly. For the staccato the keys are not pressed down, but struck down from

the tone, the wrist must return to

above.

distinction

made between

as the striking lever hinges at the

The

finger- staccato

its

finger-staccato

knuckles or the

played

and

wrist-staccato, according

wrist.

by throwing the fingers

upward.

Practise

slowly on five tones.

P Holding the the key swiftly, and staccato

becomes

wrist loosely let

the finger

a non legato,

before the next strikes, the two

and unmoved, fly

back instantly

keys.

palm

movements

bent finger high, strike

as at first.

In rapid

tempo

the

nearly coinciding.

on four tones, then through the scale in The thumb is carried under the

Begin slowly, increasing gradually.

as for the legato scales.

thrown upon the key without further the wrist. Practise smartly, and being instantly withdrawn by

In the wrist-staccato the bent finger

ceremony, striking it

the

because the finger has not time to draw back fully

Practise the finger-staccato at first all

raise

slowly in accordance with the following examples

fingers,

must

ere finders

as in

;iiul

must "

h.iml

their respective keys, and the wrist lunger-exercise No. 6, musr cover

\ield neither to right nor

I'lay

This means, that the

retain their position."

libitum

through

left.

all

keys.

broken chords through one octave at first, Also ad libitum through all keys. inversions, then through several octaves. Practise the last two exercises in

in all

Retain the position as

far

of the fingers yieldingly with the wrist. The rapping sound of the finger-tips does no harm, ami

even has

In faster

good the

the

burlesque style,

movement Hut

cannot be avoided.

in staccato

e.g.,

the sideways

Mendelssohn's Scher/o, op.

ft,

effect.

\\T\xt-s/iU'((i/rj

one plays.

but follow

possible,

mo\ement

wrist

the

In very rapid

tempo

ami the hand-movement resembles

Sonata op. passage from Beethoven's

course becomes shorter, the

the fingers have to stay

quivering. 10,

No.

Kor

close to the

keys,

illustration, the following

Prestissimo.

Another short kind of touch while the finger joints are firm the key

lightly

and noiselessK

the "lifted" tone. a

state

presses

tension.

down

with

l''or this, I

the wrist

lifted

loose,

he bent linger touches

a swift,

short stroke, and

from the key bv the flying back of the hand from the continuous playing, the next finger falls on its key without hesitation. instantly

wrist.

When

two

13.

notes or

chords arc struck, the same rules apply to will suffice to practise the lifted tone at

full It

together.

thereafter on

the fingers

employed

on single keys, and

notes.

five

In the

all

first

examples below, the

lifted

notes are

marked

\\itli

an asterisk

(

cantan

Liszt, Elude.

example the marked note is treated as a lifted tone hy reason ot Also take tone-efleet and more elegant phrasing, although ;t is legato.

In the next

the finer

the pedal.

SCHUMANN

I'APII I.ONS

Finally, in the Portamento, the finger presses

firmh tor

moment, and

then

lifted

down

the key slowly, holds

by slouly raising the hand and forearm.

(

)

begin alone

\\ith,

Octaves

the following

practise

preparatory

R.H.

L.H.

studies

\\ith

each

hand

holding the whole note with the curved, but firm

in the joint,

tip

]

of the

little

finger, while

plays the quarter-notes staccato.

the thumb, easily Lift the

thumb,

most, a handbreadth, and strike the key by means of a twisting motion of the wrist, After this, let the thumb hold its key while the which is held somewhat higher. outstretched and stiffened 5th finger plays.

This exercise strengthens both

greatly, but ought not to be practised too long, as

it is

fingers

fatiguing.

After the preparatory exercises proceed to the practice of staccato octaves.

Play them

between the the octave

n.n.y jf

the style of the v/rist-staccato, taking care that the width of the stretch

in i

stand 5th

may he

fingers does not change

struck squarely and clean.

when

the hand

lifted,

so that

33]

Octaves arc played

The

thumh should

In ascending, the right

descending, hold the

left

unmoved,

thumh

legato, the 5th

When

similarly. is,

the

finger

51)1

on white

playing on either white or hlack keys alone, and

and 4th fingers alternate

as follows:

Small hands, which

and with

wrist

stiff,

he held as tor the (ilissando;

fingering tor hoth staccato and legato octaves

keys, the 4th on black.

not

hut

This gliding hinds the tones almost more than

finders gliding close over the ke\s.

the fingers do.

legato with

find

the execution with

1-4 too

cannot

difficult,

develop strength enough, should always employ the 5th finger. An effect employed in youth by Leschetizky, and now in general vogue, is that of after-striking octaves. They are substituted for passages written in simple octaves, like that in the third

Here

the

thumb

the entire passage

movement of Chopin's A'-minor Concerto:

notes are

sound stronger.

forcibly playeil in both hands, thus

(See

ADDENDA,

making

p. 83.)

XVI

Chords I',

principle of playing chords a

chord struck

trom on

Therefore, press the chords

arched as far as the stretch permits

;

high

down

sound hard, and in

the fingers are curved

may be

;

in detail

by a wrist-movement upward

cession of chords, either wrist-movement

tones

not carry

well.

the following manner:

remain firm during the stroke, which, as described in a cantilena}, is effected

The

to press, not to strike them.

The hand

the finger-tips and wrist in

Section

downward.

X V 1

(legato

In a slow suc-

utili/ed; in a rapid succession, only

For playing chords forte or fortissimo the wrist-movement upward movement. must be greater and more vehement, for piano chords less extended and slower.

the

In order that chord-playing

not to hold the chords with a instantly after the stroke; then is

requisite simply to hold the

may

34] not tire one too soon,

stiff"

wrist after striking them.

will

be unnecessary to expend

keys down.

Thus

indispensable

Relax the wrist

more strength than

the hand rests, and can better

resist fatiyue.

To make

must be prepared before taken. o prepare, place the fingers on their respective keys, as it to take the measure of the chord now, try to take its measure away from the keys, in the air, and keep sure of striking a chord clean,

;

until the correct stretch

learned.

dint of practice, the

prepare the chord rightly at sight of the notes were.

This

of peculiar value

finally learns to

physiognomy, as it modern virtuoso-pieces.

recognize

taking the chord-leaps in

hand

its

&SW.

Practise each of these exercises with two kinds of touch

upward wrist-movement, the chord being

lifted

short

oft",

;

at first

this

with the

1'relude by

Rachmaninoff:

R.H.

fff

PC*,

m $L

*&E L.H.

PCS.

f When

performing

- jttti

piece

* which there

slow succession of chords,

upward movement may be more broadly executed, so that not only the hand, but also the arm, is raised. This is more especially the case, when/ir/c or fortissimo

this

closing chords are to be cut off short

;

for instance

Also practise the foregoing exercises A and B with a thrown stroke, as for the Vfrist-staccato. True, the chords are now struck; but the good effect of this exercise sanctions the exceptions. Indeed, there are cases m which chords must be

when

struck, e.g.,

the

Tenth Rhapsodie by

For the exercises on

Where first

Kx.

repeated (as

makes

succession

their rapid

A), the

.is/t

^4,

note also the following:

hand must

uplifted

leap from one chord to another

one down short, and

cam

the

preparation of the hand impossible;

to he

hand over

Where

different chords follow in succession, the

of each

new chord

For

rest.

the

hand

easilv

(as in

F.x.

second with

15),

chord.

press the

s\\itt

s\\ing.

hand must already catch the shape

fatigue during

performance-, also take to heart the

When ,

chords follow each other slowly, hold the fingers of the after striking, in the shape of a fist, so that the muscles may

Such was Rubinstein's

The

chord

the shape of the

executed

to the

air.

the prevention

following advice uplifted

retain

Where

fingering tor

chords (see Section XI

flat

habit, anil Lescheti/kv

chords, and

its

does the same.

exceptions, are the same as tor broken

Below are pictured the various positions ot the hand tor all the different chords on (.', as a study on the shape of the hand. Proceed, for the practice of these positions, as directed on

^4,

lines

(>-

First

play

the

chord-tones

together, ami then broken.

After practising the chords on /)">,

(.'

for

some

time, proceed to the chords on

which are to be treated similarly; and so on chromatically through

all

tones ot

the octave.

This studv

of high value, both from a technical ami theoretical viewpoint.

[36]

FIG.

First practise these, as well as

all

following chords, within an octave as an

arpeggio; later as a suite of arpeggios (see APPENDIX). the

same

rules concerning the wrist

and the thumb

FIG.

While

practising, observe

as for the Staccato (page 30).

[37]

FIG.

Fw. 23

[38]

FIG.

[39]

Fie;.

FIG.

[40]

FIG.

[41]

FIG.

[43]

FIG.

[44]

FIG.

145

FIG.

[46]

FIG.

[47]

FIG.

XVII Arpeggios Played.

Played

Played.

three fingers of the chord ready over their keys, with the 5th extended. while the first three are their Now, finger fingers pressing keys, give the hand a quick turn towards the 5th finger, so that the latter the

strikes

its

key.

with a key.

first

This turn of the hand somewhat resembles the

The

5th finger must

lift

the note short, as this

twist of unlocking

makes

sound

fuller.

Then

the hand swiftly returns to the normal position, so as to prepare the next arpeggio (as described above).

For arpeggios in both hands, do not begin with both hands together, but with the 5th finger of the left hand, the thumb of the right following just after the left

thumb.

The

execution would be thus:

[49] R.H. Played

L.H.

XVIII Paired Notes PREPARATORY EXERCISES 5 .,4 o >!

8* "

J.3*

F^S 4

4 1*

5 >

3 *

fp:||"vFFFp:|l"g^

these

4 3

The

exercises

hold

the

wrist remains loose.

hand

Hold

as in

the

Section V.

Finger-exercises,

the whole notes and play the quarter-

notes. .

3 4 t 2

* 5

R.H.

Hold

...

3 4

the whole note, play the Thirds.

..46

-ft H.H.

3 5

r r

The Third which

leads off is to be held until

its

turn to be played comes again.

[So]

FIG.

FIG. 4.6

[

]

4 6 2

R.H.

Free exercise without held tones.

(Figs.

45 and 46.) A. ,

. 4343 ,

B. 3

6_3

63 i

K.H.

Turning over Kx. 5th,

press

down

and take the

Third-playing.

the keys with the id and 4th finders, in Kx. B with the

next-following Third, for

Now make

order to take the

the

and jd

fingers,

jd and

with wrist

swinging movement ot the hand to turn over the id and 4th, or ist and jd fingers respectively in

high and a swift swing sideways.

backwards, so

In this exercise proceed as follows:

initial

Third.

this

a point ot

use the 4th or 5th finger going up, and the

support for

this

swinging movement,

thumb going down

(in the

left

hand

the reverse). It

being impossible

playing paired notes to bind both tones

when turning

over, merely bind the finger which acts as a point of support with the next tone: let

go of the other tone just

as the

swinging movement

to be

made.

Scales

DIATONIC.

Thirds MAJOR.

MINOR.

DIATONIC.

CH ROM ATIC Minor Thirds. R.H.

343 <

i* :

Major Thirds.

l"-y_

^W;-?wS&rS g^-fa^rqj

Scales I

4 ,

O\K

Si \tiis

\joit

1 _

Cll

ROM

ATIC 5

--tt-tentfr-frj pJ^E^tt-^^

XIX

The Highest

Part

Chord-playing

the theme usually lies in the highest part. In order to bring it |N chords, out when the chord is not to be arpeggiated, make the finger which bears the

theme

longer than the others.

This

out on the key, touching white keys with the

When

tone.

a fuller

its

normal position.

theme by

the

theme

flat

on black keys, the its

finger presses

key down

must

relax again

instantly

and return

Besides, the \\nst should support the finger bearing the

not exercising equal pressure on

on the one

and lying

playing on white keys the wrist should be

high and firm; but on striking the chore], to

tip

clone by stretching this finger

The "longest"

other fingers remaining easily rounded. deepest, obtaining

all

the fingers, but rather bearing do\\ n

question.

one can take the pedal with the chord,

lift

all

the finders but that bearing

instantly after striking the chord; e.g.,

Played:

~F3~

1 This example

from

^m i

Rachmaninoff, Prelude:

^~r

"if

etc.

- etc.

Hind the highest part

tar

directly after striking, with a gentle

The equally

sth

\\here

finger general!}

some other

middle of the chords

finger

(in alto

lift

possible,

the

or tenor); as

dolce

let

the

middle parts

of the wrist.

bears the lias

and

theme; but the above directions apply theme, or \\here the in

Brahms, op. 117:

latter

lies

the

57]

[

XX The Glissando

Glissando

the ideal of a diatonic scale, as

n]HE"pearling" when

In this case, however, the

well done.

preferable to the genuine, because the former

precisely alike.

sounds very

This implies, further, that

a Glissando

are

far

swift

and

false pearls are

rounder and

all

must sound smooth and

It must not be played jerkily, with uneven "spurts," neither should the

even.

finger-nail

scratch the keys audibly

decidedly on the

final tone, let

when

gliding over them.

the finger slide

down over

close cleanly

and

the front edge of the key

This also gives the tone the requisite accent. The 3d finger is to be employed, whether for playing up or down. but the tone is easier and more usual to play down with the thumb

in question.

sure,

;

velvety than with the

any one who

quite at liberty to play

finger.

Glissando with the thumb,

Still,

able to bring out a

To is

be less

smooth

so.

and powerful hands. Octave-glissando can be executed only by large the fth finger is curled under, so that the nail glides over the tip-joint of

The

the lower keys with higher keys, while the thumb depresses down, the attitude of the fingers is reversed.

The

Glissando

may

force of the pressure exerted

be executed in

all

on the keys.

FIG. 47

its

inner edge.

dynamic shadings, according

Going to the

[

58]

XXI Embellishments |O render the "embellishments" such in the must be sharp in outline and clearly and

among them Touching in

are the Appoggiarura, the

the Appoggiatura

will

true sense of the term, they

elegantly

Mordent,

it,

it is

Played

Trill.

to be played,

The accompanying

must be taken simultaneously with the Appoggiatura. Written

Chief

together with the notes

the melodic principal note following instantly.

or chord in the bass

executed.

Turn, and the

merely remark, that

connection with paired notes or chords, by taking

below

the

tone

lii

rapid

tempo the mordent

Araheske, op. 45

played like

triplet

;

e.g., in

Leschetizky's

these triplets being nothing

For the Turn, the

more than mordents written

follow ing fingering

Played.

out.

the most advantageous;

turn requires one to Frequently the position of the notes following the

emplo\ the fingering 3-2-1-2. The Trill is the most important of ness of finger-pressure

an uneven rapid one. in

essential

;

tor an

True, the best

embellishments.

all

even slow

trill

First of ah, even-

sounds more

trill

brilliant than

The

both even and rapid.

difference

the strength of the fillers must again be equalized by difference in pressure.

For the riyht hand the best and many do well with 2 and For the left hand, supposed. It

accenting the

Also practise

A of

the

4. i

practise

and

after

;

and

5 are also

as favorable as

them

and

good,

generally

3, are best at trilling.

the

trill

triplets,

;

\\ith

trick for the execution

trill

and 3

and 3 are not

and

beginning slowly and later note of each triplet gradually faster and without accent. all the given combinations of fingers.

good plan

first

trill-fingers are

together sforzando

of a forte

trill

then quickly

note, strike the latter again instantly

is,

raise

to begin by striking

the

finger from

both tones

the principal

with another finger, and continue the

trill

rapidly.

change from one fingering to another to prevent fatigue; instance, alternate 1-3 and 2-3. (See AIMJENDA, p. 83.)

For long

for

trills,

The

fingering for

Any one for

trills

follows:

more convenient, may use these

finding

thirds

trills

fingers;

hut

only

thirds without afterheat.

XXII

Dynamics I'SICAl

dynamics

out by changing force

Music possesses only

Out is

ot these the rich

achieved by

one

color-scheme

tone. three ot

alternation

frequent

employing the various shadings brought

the art ot

prune colors: piano, forle, and the

the musical picture ot

must be

built up.

accent.

This

the prune colors, and by transition from

the other.

and fortissimo cannot be brought out by the unaided strength ot the The finger-tips must be firm, and fingers; the \\rist must be brought into pla\ b'orlc

the wrist should not be loose.

In point

tact,

the fortissimo in rapid passages

not the product ot individual finger-power, but the total effect ot

all

factors

reinforcement which one commands, such as the pedal and the wrist-pressure. Where the tones follo\\ each other slowly, equal strength is put forth in piano and forte, only that

former the keys are not pressed down quickly, but

the

slowly, which brings out the soft, singing tone.

beheld loose; but the

finger-tips

bring out only \\piann lacking In quick

tempo

must be held

In pinno passages the wrist should firm, for yielding

time, and here and there

the fingers are thrown with a loose wrist.

a tone

finger-tips can

may

fail

to sound.

"Fluttering" passages

are \\ghtpianissimo passages on black keys, to be played with outstretched ("flat"),

but firm, fingers; like

Accent u

the

tins

from Chopin's Berceuse:

marking

melodic, harmonic, or rhvthnr-

ot ind' rp;i

tones by stronger pressure, for either accent

mav

be more or less strong ui

weak, and

obtained

firm

\\itli

and firm

fingers

down and

prolonged, the ringer holds the key

the wrist

held with the pedal, and the hand withdrawn.

Kor

short accent the hand or

making

Kor

wrist-tension. I

relaxing. in

diminuendo the action

fingers

makes

relaxed; or the tone the tone

brilliant.

withdrawn, without raking the pedal. crescendo, begin with a loose wrist, gradually increasing the

ere this "gradually

assist his

This

the tone

his

reversed, the tense wrist gradually

" is

a chief factor

tor the increase

;

must not be accomplished

intensity

may or"

When

wrist.

and diminution

Whoever needs

by spurts."

imagination, fancying, tor

so,

example, the increasing roar

an approaching railway train, or the decreasing sound of one receding. The tone to be most strongly marked is the dynamic climax or dynamic note, indicated here by an

principal

Also observe whether a forte,

or from forte

(

Lescheti/.ky,

cresceHilo

to fortissimo

calculate accordingly the

:;:

Op. 40, No.

i):

leads from pianissimo to putno or mezzo

(and for the djminueinln

reverse order), and

and end tone-power of the dynamic beginning

each case.

V \III

On HE

the

Pedal

most good people and bad players, is an instrumentality for Not to dwell on the horrible pedalistic abuses trampling on good taste. of dilettantism, there are likewise two species of serious musicians who are

more or

pedal, for

less

pedal rightly to

in in

infringe the

avoid

all

the

wrong

as regards

letter

of harmonic law.

These

effects.

there

Secondly,

in pedalling, but generally guides them aright

uniformity that

the

as use the

Thus

will

do no mischief, but

are

the

who

rely

carefully

whose good ear too much on instinct, and pianists

happens that their pedalling lacks 1 various interpretations of one and the same piece. hey forget as any other factor in piano-playing, and quite as important

as a

in their

pedal

such

so as not tor heaven's sake general, yet with pedantic scrupulosity,

interesting

treat the pedal

Firstly, they are

the pedal.

mere accessory.

purpose is not alone to reinforce the tone and also intended to produce special effects.

careful study. requires a no less

bind separated tones

would give the composer too much trouble

the fine,

all

brief' details of'

The is

pedalling

;

these arc

regulator for correct pedalling

left

to indicate

to the pianist himself.

Not Theory, but Kuphony, should, above 'all, make up

the ear.

between the notes

Consequently, the pla\cr mind which tones he wants to bind, and then verity by ear their actual presence

the

his

;

Its

final

here.

authority

and that they form no discord.* Then together with

The

him

let

ti\

the pedalling, and practise

the music.

pedal

ma\

be taken either simultaneously \\ith the tone, or after the

"following" or "syncopated" pedal. The simultaneous pedal undertakes to hold the tone where the finger must be withdrawn and the tone should continue sounding; e.g.,

tone

struck.

This

latter

may be termed

where the bass must sound through the hold

last

beat, although the 5th finger cannot

it.

the tone or lones which syncopated pedal can be employed only \shere should continue to sound can be held down by the fingers over the change of pedal.

The

(The small nules merelv

si;.>\v

where Ihe pedal

to be taken.)

Practise the syncopated pedal according to this example, striking the fundastrike mental tone and holding it only until the pedal has taken the tone.

Now

the chord, and hold the pedal until you have struck the next bass tone; repeat this

with each succeeding chord.

A No.

* See

fine exercise for s\

ncopated pedal

because the harmony often changes.

ADDENDA,

84.

Mendelssohn's Song without Words

[63

cantahile

%fc

ere the tones are convenient to hold,

he re to re the pedal need he taken

only on the second halt ot each heat, so that the foregoing harmony has lime to die

away without producing

dissonant

effect,

which would he unavoidahle

the pedal

were taken directly with the hass tone. In the ahove example, besides, smaller hands must change the pedal quicker in

the fourth heat of the

first

measure,

us they

cannot hold the hass tone with the

fingers.

In (i)

all

cases,

observe the following general rules:

must sound with

In chords the bass tone

its

chord.

When

the bass

cannot be held with the fingers in wide-spread arpcggio'd chords, it must be held with the pedal, which should then be taken simultaneously with the bass tone; e.g.,

(2)

The

playing low or

pedal

may be more

the middle of the

freely

employed

high positions than

when

keyboard; because the shorter soundwaves of

the treble produce a shorter resonance.

the

treble,

therefore,

tones

may

would form dissonances, yet are not felt scale upward and downward in h'or example, as such by the ear. play the chromatic the thrice-accented octave with pedal, to convince yourself that the above is correct.

bound by

(j)

the pedal which in themselves

In connection with the pedal, the low bass tones are dangerous to the

low bass tones higher ones, because of their prolonged resonance; consequently,

must be sooner released by the pedal

ascending passages.

however, pedal-dissonances in.i\ be overpowered by a r/v\ ent\ scendo, the weaker tone being always covered In the succeeding louder one. I'or the ear,

(4)

by playing rapidly an ascending diatonic scale with both hands and pedal it tempo with the d\namic principal tone, the highest and loudest.

lifting the

this

produce no dissonance, but rather

K tilde

Chopin

op.

No.

.5,

supports puntv ot tone

a in

for stylistic cnYct,

which the heav\

instance at the

This will

ose ot the

tundaniental chord likewise

crescendo

With

the

Organ-point, too,

dissonant chords sound together

;

pure pedal-effect

obtained, even

when

g.,

g^ TT

%5r The as a

soft pedal

was not added merely tor the sake of symmetry, but

counterpart ot the loud pedal, by veiling the tone.

frequently at the end

<>t

diminuendo, to taper

tor the reason assists the fingers, " '' that yields a tone. husky

To employ

max be used

down more

delicately.

that they must not strike too sottU

valuable

/>/>

ami

Mere a

/>/>,

bind melody-tones well, while holding the tundaniental, one must often

"false" pedal, though not tor prolonged tones; as

Chopin's Kantaisie:

F^I slum

liiu-s

hi'

win

jiliu-i's

Rules tor

tin- ].i,l;il

i-,

\:tki-t\

}

Performance

MKI. OIJV-l'I.A^'INd II

matte;- ot teeliny

are delieate

probably tnif,

common

not

feeling

and

are,

a general \\a\,

as fetters tor the

(i)

Where

as,

on the one hand, these

property, and, on the other, the best all

things

Rules for Performance given here

them

But

taste.

thar the )KTtonnancr of a nv.-lody

spiritual,

will

hound

imagination, but as

its

Schumann's

I'lay

fine qualities

most

and

taste

material

world,

the

not consider

helpers.

notes of unequal time-value follow one another, the longer note

Beethoven, Sonata, op.

the

hardly prove superfluous.

must be played louder than the shorter one, because

(2)

melody

Des Abends

" :

10,

No.

upwards

sound longer;

e.g.,

crescendo,

downwards

dimnnietid"

;

y.,

LOG

But where the melody is

rises

falls

wide interval, the crescendo or diminuendo

executed with greater intensity. (3)

softer.

weaker.

The

some being louder and others played louder, those on weak beats

beats are unequal in accentuation,

Notes coinciding with strong beats are In 4-4 time play the

tone loudest, the third tone

first

the second weaker, and the fourth weakest,

f rfi

somewhat (f

a trifle

shown below:

less loud,

[67

KXCEPTIONS (1 ?.

)

When

syncopation,

When

(2)

short notf on

considered as a

weak heat

tied to the

long note, and

the highest note,

played louder than the one preceding

Chopin, ,-/i-major Impromptu:

THH ABOVE KlM.ES

'I'D

played loud

falls

playing upwards,

it;

following note, forming

weak

heat,

beat,

e.g.,

wP^

legato

(3)

\Vhen

long note,

playing downwards,

should he played louder than the one preceding

marked

:::

(4)

;

for

falls

weak

example, the notes below

Beethoven, C-minor Variations:

short note which

lifted after a

longer one, should he played piano

either ascending or descending; e.g., in Mo/art's Fantasie

;

The above remarks

on the performance of melodies also apply to passages And not merely and accompaniment-figures. (especially important for Chopin) melodic passages, in which the melodic motive is to he brought out, are meant here, as for instance in the A'-minor concerto by

(Tlic-

tliri'i-

inrliiclic

nutus

Chopin

arc lo be

out.J

but also non-melodic passages, consisting shaded; e.g., from (irieg's Concerto:

not be afraid to

"shade" even Hach.

enjoy the invidious distinction ot coloring

and broken chords, should be

of scales

a colorless,

Why

this

great master

dry rectangular interpretation ,

The

not an invariable sign ot sentimentality.

the tempo, e.g., in a ri/emi/o either too

should

marked or

latter

resides

placed, such

wroiigl)

one-

rather in as

many

cultivate.

Chopin-players

In the melody one ought not, strictly speaking, to play several successive tones with equal dynamic power; tor this causes

hardness

tone

\\lucli

one might

be inclined to attribute to the great volume ot tone. One max plax excnlx in piano, and yet not tenderly; m forte, on the other hand, one max obtain a tender effect in a

figure by an

opportune toning-down

Contrast

dynamic expression a

shading is

that

is,

dynamic energy.

the repetition ot the

same phrase with vanmsj

also ot tine effect in melody-playing.

phrase, which occurs twice

succession, torciblx

an echo piano (with the soft pedal)

;

or plax

the

piano at

I'or

instance, play

time, and repeat

first first,

and then

forte, as

like it

emphasis on repetition. The stx le ot contrast in shading to be chosen in any given case depends partly on the meaning ot the phrase, and partly on the player's taste; the following example is from I'.duard Schuft, op. ^5 lend

special

observance of these fundamental rules does not

the play of original fancy or subjective emotion.

the guidance ot these delightful attributes

the least interfere with

One may

rely

implicitly

when one possesses them.

upon

[&>]

TEMPO

we may apply the term "color" be the life and movement of piano-playing. If

day monotonous routine, of life, charm of style, in

from contrasts

There

Even

to end. dexterity.

not a metronomic movement.* like

choppy."

in exercises this

variety

the spice

played in a uniform tempo from beginning allowed only in those practised solely for finger-

In the performance of other etudes, taste

style

by no means

expression devolves chiefly on dynamic changes. changes in tempo must be so delicately graded that the hearer notices

Thus,

so that the end

its

faster,

;

otherwise the

in a ritardando, calculate the

may

not drag

get going altogether too trifle

of every-

life

neither their beginning nor their end

would

manner, flows from continual changes in the tempo,

no composition which

excluded, although in them

The

But not the treadmill

movement.

in the is

to musical dynamics, the tempo

;

and conversely

which abbreviates the

Where

gradual diminution of speed exactly, in

an accelerando, that one

In a ritenuto, moreover,

fast.

ritenuto

an a tempo follows,

performance would sound

many

play the

and gives the hearer a

may not

final

tone a

feeling of dis-

should quite often not be taken literally at the very outset, but the former tempo should be led up to gradually; beginning in the reprise of the theme like an improvisation, for instance. the course Thus, appointment.

of one or two measures, one would regain the original tempo; e.g.,

Paderewski, Legende.

However, where the

character of the composition requires

a tempo immediately at the original pace, as in

- -

* See

ADDENDA,

p. 84.

this

Tempo

begin the

it,

Prelude by E. Schutt

[

KHYTHM

strut observance ot the measure, init permits, docs not depend on on the contrary, ot a freer disposal over rhc heats, hut onl\ between the boundaries

Rhythm

ot the liars.

lengthened at

Thus individual hears may he abbreviated to the profit of others, or their expense, but not whole measures in proportion toother measures;

Schumann's "Grillen:"

e.g., in

the sign

the quarter- note

::;

prolonged

little

the expense ot

the

following eighth-note.

This

is,

made by many

however, not

hurrying over the end ot one measure and so beginning

pianists, of

the next too soon.

the least intended as an absolution tor the blunder

Kor such

tever ot rh\ thin

the best

remedy

the counting

ot beats or halt-beats, like eighth-notes or sixteenth-notes, in slow

more allowable is

slightly to retard the

emphasized or anv

" Grillen "

commencement

rhythmical

special

effect

ot"

tempo. the next measure

desired; e.g.,

It is tar

in case

Schumann's

The

octave marked

exactly coincides with the

'""

first

arpeggio'd, and so played that the lower bass tone beat, while the

upper bass tone

struck together

with the right-hand chord, producing an extremely slight retardation.

abbreviation

rhythm,

for instance,

carrying

over

of"

the

first

beat after striking

by accenting the bass tone

to the

second beat; the resulting

permitted

waltx-

accompaniment and rapidly abbreviation however slight

the

[

the third heat

made good by throwing somewhat more lightly, stuccato, ami

movement one

gives the accompaniment

of the

first

beat

may

here

In-

otherwise the rhythmic effect hecomes

the wrist in

upward; then

strike

By the

wrist-

exact time.

"ssvmg;" hut guard

against overdoing

it,

trivial.

\VK|-.[-\IO\ KAIKNT

In the

5-4 time ot the

Ma/urka,

the accent

tails

now on

the

first,

aow on

the second, and again on the third heat; e.g.,

Chopin, op.

cresc.

trfu Lescheti/ky, Ma/urka.

Lescheti/ky, Ma/urka.

In a Polonaise-accompaniment, on the other hand, the hass tone must be

accented and then followed by

good

in the

normal time

minute retardation, the

next two sixteenth-notes. ;

The second and

g.,

RETARDATION

loss ot

time being

made

third beats are played in i

One must play

flat

;

\vi\r:

not ahvays arpeggiate only such chords as are too wide-spread to arpeggio is also in order \\here a tender or delicate effect is

such cases the right hand plays arpeggio, while the

desired.

chord

"flat."

A Ki'K(,(,io-ri.

left

strikes

its

g.,

I'adcrewski,

.egende.

Conversely, the chord sounds energetic, and yet not hard, when the right

hand ,i

strikes

its

tones simultaneously and

very swift arpeggio

;

the

lett

arpeggiates

;

Init

this

must he

g.,

etc.

arpeggio may also he employed where the polyphony is to he brought out more distinctly but only at important points, for instance where one part ends and the other begins at the same time as in Schumann's Romanze ;

;

Similarly

Paderewski,

canon

Theme

varie.

Lento.

Neither

should

hass

tciu

together, hut the melody-note it

of a

for

relict

ami

may

a softer etlcct.

and

melody-note always

taken

precisely

he struck an instant after the hass, which gives low-ever, this can he

done only

the hetiinning

(It is hetter phrase, and usuallv onl\ on important notes and strong heats. the hands to coincide preeiseU on \\eak heats.) 1'he melody-note must follow as

s\\iftl\

make

the pause hardly

noticeable

tor

the uninitiated: e.g., in

Chopin's Nocturne:

XXV Fingering ' 1

N(i

()nl\

I'.

accommodated

gooil \\hen eas\

provided that the

;

effect

the easy player can also play confidently and finely.

therefore, ,he

not teasihle to

to the si/e

fix

the same.

many

the fingering in advance, because

and stretching capacity

cases,

must

of different hands.

preceding chapters, only one more

can he added, namely, that loud tones should

he played, wherever possible, with

the rules for the fingering given

strong fingers.

Contrary to

all

rules,

so as to save turning under.

one may sometimes

By so doing,

" Concertstiick " as in Weher's

let

a switt

the fingers run out to the 5th,

tempo can

better he carried out

;

dr.

Moreover, the thumh may turn under on a black key, when the tone is This turn should accented and the following one made easier to reach thereby. not, however, be

made

The examples

wrist.

are

the regular way, as in the scales, but with a swing of the " from

Leschetizky,

Cascade,"

and Rubinstein, Fourth Concerto:

~1-r*

In general, every one

confidence that

well

mere wantonness, but

them sound appears

has sufficient courage and the needful

amount

of fingering as he will, provided only disregard of rule must not proceed trom

as far in the irregularities

may go

the passage

who

played.

Still,

to facilitate the execution First, try the fingering

better.

given

ot in

good; otherwise, seek another fingering

difficult

passages, or to

make

your piece, and retain it it it adapted to your hand and

individuality.

The

It binds intervals which of great assistance to the fingering. the hand cannot stretch, and permits the hand to leave one chord in order to

pedal

prepare the next. pedal

when

the melody, too, a tone once taken

the finger

may be held with

required elsewhere, and another cannot take

its

place.

the

[75

XXVI Practice and Study

|RT

the most unique possession of man.

must

heredity, but

easily

without

says he learns everything

won, but of

Were

slight desert.

he either

effort,

Thought alone

valueless.

not obtained by birth or

acquired by the individual.

crown would be

artist's

learns

lie

otherwise, the

When

any one

an untruth, or what he

tells

springs effortless from

the brain

;

the technics

must be acquired step by step. low many strokes of mallet on chisel were needed, pray, to fashion a Venus of Milo from the rough block of marble? of every

How

art

strokes of the brush did Rafael make, to create his Sixtine

many

Madonna?

and before he knew how to guide the brush aright, what pains did he have to take ? Practice makes perfect; and through practice no talent is degraded not even a pianistic talent.

Practice at the piano should not he an unreflective rattling-off of exercises by

number

the hour or by the

training of head and ringers, the

hand.

repetitions. I

bear

and exercise thought tor

applied,

move

correctly

;

faster until

few

weeks, you

will

rendered easier by practising

you are sure

do not fancy

that

evening; that

be convinced that

one has

devoted

your ground.

for the

at first

progress

they

are at

study of pieces, most

very slowly, not playing not rapid at the beginning,

you can improve matters by sitting at the piano from morning till harmful to health, and it is impossible, besides, to pay close and

careful attention for so

When

he must listen to each tone he strikes,

Then, growing independent ami trustworthy. attention may be directed to the mental side. is

must be the simultaneous

lie must see whether the hand

last

Thinking

After the fingers have been controlled by thought,

in all.

only

fruit,

he simplest finger-exercise demands, for untrained

undivided attention of the student.

held right and the fingers

rightly

Four hours

long.

of sensible

practice are quite enough.

keep up an extensive repertory, one or two hours more may be

to the repetition of pieces.

As soon arpeggios, they

one has thoroughly mastered the finger-exercises,

may be

applied in the study of the etudes.

"School of Velocity," and then take up rather latter at first, like the exercises,

short, easy

scales,

and

Begin with Czerny's pieces.

Play these

slowly with each hand alone, and while practising

when playing them faster. A point for after they go well and quickly play them

slowly play louder than you afterwards do etude-playing, in particular,

several times in succession without stopping, as long as

promotes endurance.

you can keep

;

this

Thought

most

are learned, or rather

from

direction,

way

memorized, goes trom brain

fingers to brain.

grow accustomed

measure, two measures, or

way by which they

and never

to fingers,

other

in the

on memorizing, because it is the best new piece. Go about it as follows: hand, read (play)

fingering; then

to a faulty

through only

according to the

or the mental grasp of the student

the composition

difficulty

for the

;

lay stress

acquaint yourself with the piece

once, so as not to

of pieces

essential ;n the stud)

to possess one's self permanently of

most

phrase, at a time, analyze

up one

take it

harmonically,

and determine the fingering and pedalling. Observe, however, that rapid passages must be tried rapidly, because fingering and pedalling might be suitable in slow

tempo and not

Determine them, therefore,

in fast.

in the

given tempo, only then

returning to the slow stud) of the piece. the leading parts louder and

to play

Kxcept

abstain for the present trom fine shading and else

may happen

Now

that

softer,

parts

emotion, until Matter

conquered

;

you waste your finest feelings on wrong notes.

read your practice-measure or measures through carefully and repeatedly

with the eye, until the notes stand the notes

the secondary

ovit clearly

few times either aloud or mentalh

before your mental vision, and

and then

;

not before

name

pi''!)'

the

measure or phrase trom memory, but no taster than memory can dictate the notes. If you forget a note, do not try to find it by groping with the fingers on the Should keys, or play on by ear, but try to recover the forgotten note in the mind.

you

then glance at the music.

fail,

When

you can play the phrase

proceed further exactly just learned before,

This

feel

the

and also

manner tr\

taultlessl)

and without hesitation by heart,

Take up

prescribed.

to play

each time the portion

the whole by heart

from the beginning.

memorizing in the form of addition." Next day, should you have apparently forgotten what you learned, do not You will rememorize it discouraged, but practise it over again as before. is

rapidly, and

such da\s of practice you

after a tew

will

have made

yours tor ever.

Now

proceed to filing and shading; impart animation to the phrases, and distribute light and shade. Proceed dynamically and technicall) (as when memorizing), only step by step, suitably dividing long passages, tor instance,

and practising

each division separate!).

One

never forgets

repeated; and neither as

This

the

case

when

learned by this method, even

memory nor

fingers are so apt to

tail

one

not often

at critical

moments

of players accustomed to practise unreflectingly with the fingers.

latter class, to

to learn

a piece

be ?urc,

two or three

lines

will find

daily

brain-study hard at

and that

not

first,

one

and must be

sitting,

satisfied

but with

long

More advanced

intervals.

students, too, should interrupt

During such pauses they may

prevent overtiring the brain.

frequently, to

study

liusy themselves with

One

technical exercises already well in hand, or leave the piano altogether.

of being able to think through

arrives at the point

a piece

much

faster

finally

than the

fingers can follow. :t

says:

T.escheti/.ky

Kven

one learn but

Learning

few lines daily

this

method

apparently slow.

only

the outset, and later at

most

whole

page-

one day, and assuming that study must be suspended for one-third of the year, the finished year nevertheless shows an outcome of over 200 pages learned, to in

which one may add some 100 pages of repetitions, such In the very

pieces.

first

year, therefore, a considerable

number

been learned, which the growing routine ot following years

occur

almost

have

of pieces will

will

all

double or treble

annually."

To after

students whose talent permits of their playing a piece from

glancing through

it,

recommend

also

memory

method of study.

the above

They

In his easy, aid it will insure correctness when playing in public. domestic privacy, and on the concert-platform, the artist has two distinct individualities. When he appears in public, he leaves part ot his security at home. It

will

find

follows, that he can never have

therefore,

make

beginning to

enough

considerable pause, making

and

learning etudes and

\shile

finally,

it,

when

avoid mistakes,

The

it.

point from the very end l be first time. It is ot no it

Should you break down, or make

method

While

play

avail, to play

piece

from

faultlessly

right only un repetition.

mistake, stop playing, and begin again after a " first time." Also observe this were, another pieces, or

their several

practising compositions already to think.

intending concert-player must,

start to

phrases and divisions,

mcmori/ed.

The

best

way

the piano, think of nothing but what

you however sure you may be of it. Thought is like reins for the fingers, to keep them in the r.ght road. Whoself-criticism. There is still another stage in correct piano-playing ever has got so far as to critici/e himself as sharply as his neighbor, is tar advanced are playing,

;

for

even the recognition of one's

step to their

means much, although there

yet a long

amendment.

Those "

faults

piano-players, too,

who have no mind

to give concerts, but play only

Or pleasure," really ought to prefer to do it well ami correctly. " " Let them try it, anyhow, if only from their own pleasure ? might this diminish for their

own

humane motives

;

for

everybody

likes to

show

off.

What

forced to endure, had not a merciful Providence invented

the genuine

artist finds

should we not have been "

" stage-fright

True,

stumbling-block which can be done away with only by

dint of studs in the way described above, anil by

he gains a feeling of confidence.

Let him do

who accustomed

with the Dragon,"

his

much

playing

public,

the hero in Schiller's

Let him knock

others.

having reached

this stage, let

their criticism, he

"Fight

horse to a painted dragon before introducing

much

hin 1 to the real one, and take the edge off his dread of the public by to

whereby

playing

And, every door and request a kindly Rearing. him play before his fellow-artists. It he can meet

proof against the dragon himself.

XXVII

Movements |?^|[ANISTS uplifted to

all

Hand and Arm

the

temperament often execute acrobatic marvels with their hands, as if to show the audience that they have risen superior of

fiery

fancy tricks not wholly devoid of

make

mere play of difficulties. These are piquancy, and may be viewed with indulgence

earthly trammels, and

In contrast to these are the necessary when accompanying virtuoso performance. movements of the wrist, winch serve to facilitate the execution of phrases, to support

the rhythm, or to rest the 'hand after the tension of fnrte playing by

relaxation of

the joint; there are, besides, the motions of the arms, which are thrown

an involuntary

reflex

movement

None

upward by move-

of these

freedom and grace. The necessary movements of hand and arm vary according to the character the piece played. do not mean that in a Scher/o the fingers may execute

ments should be destitute

after striking vigorously.

merry gambols on the keys or in the air, or creep along sleepily in a Berceuse. What mean is, the influence on the tone, which in energetic passages, where the hands are lifted abruptly from the keys, differs from that in playing softly, or in I

melancholy

where they are raised slowly and the arm the wrist-movement demands.

strains,

better, as little, as

The upward, downward, and been treated

length in a former Section.

movement, whose aim the next notes.

twisting

In the

to bring the

Here

hand into

Chopin Etude op. 5.

movements of

25,

No.

will

rises as

much,

or, still

the wrist have already

mention only the sideways

convenient posture tor taking i,

tor instance,

?.)

one can take the melody-tone E? more easily, and render turning the right hand (not too tar) sideways; the left hand

more expressive, by

also turns in following

the accompaniment-figure.

Talented students wrist,

and how it

acquire

The

hand

leaves the

marked

may

to the

proper employment ot the

"preparatory

;

others must

technics" tor

the

and sonorous execution. By holding and prolonging the tones, it assume the next-following position as at all the chords

again very helptul. to

tree

also

reason

usual

the

varying position ot the hand

arises a sort

;

add

to the section

eyes from the

on preparatory technics

These

easier to play clean basses.

might imagine,

The

instinctively

Chopin's Kantaisie:

We makes

pedal

whence

practice,

ot an easy

promotion

accommodate

find

will

are not such a matter ot course as

the appellation "pseudo-basses," invented is,

left.

device tor getting the bass clean consists

higher octave of the bass tone with the

lett

.is/,t,

one

proves.

the right hand divert the

that difficult passages or leaps in

The

device which

touching the

thumb, without depressing the key

;

the 5th finger can then readily strike the bass tone, for every pianist has the stretch

of the octave

his fingers.

Also practise

trick

this

the left

in the dark.

hand, or

Another device which may he mentioned leaps

without looking

a fertile source

of incertitude.

take such leaps with certainty

;

Through

this connection,

practice alone

one requires presence

concerns wide

one cannot learn

mind, and likewise

a certain

knack which ought to be taken advantage of when practising leaps; namely For a leap on white keys, the hand should not describe a curve, but glide :

tone swiftly over the edges of the keys, striking the the leap with the outer edge of the

little finger,

which

not with

the objective point of

its

tip.

At the same time,

This procedure has the further advantage, that the hand does not hide the key to be taken from sight, one being able to fix the eye upon the wrist

it,

which

striking.

must drop.

necessary.

aids accuracy greatly to

name

the tone mentally before

For

Muck

leap on

keys, the hand

held close to the keyboard

also

on black keys, the

edge, but

its

the

flat \\ith

cannot be dropped, but

\vrist

;

hut tip.

must not be

too high.

raised

not be discouraged by so

Through them the

hand. also

leap

not strike with

the linger (preferably the jd) docs

For such

soon learns

remains

clumsy

movements

the

k-llow, always having to be

exercises one should

rules

the

tor

training ot fingers ami

and the wrist

fingers finally acquire exquisite sensibility,

by faulty movements.

oft the track

many

look to

the

The arm,

the fingers.

the

be sure,

he throw fingers and wrist

lesl

guided

Consequently,

that

and chord-

first scale-

arm does not press forward too rapidly

when playing up, and drag backward when playing down.

XXVIII

Who

Should Devote Himself

DKLICA reply,

IT. question, indeed! " short and

sharp:

consideration

the

unbroken

deserves that an mission, ot course.

mission tor

And

here

tear

No one!"

opulent,

line

Piano

to the

me, an echo from the World But

this

were wrong,

literature

glorious

ot"

of interpreters should arise

we have the

piano,

interpreters

only

which with

our question: Those with

the

will

a a

should devote themselves to the piano.

But what qualities justih this claim: to say: "Only a talent of Were the highest order," one might just as well assert that onK millionaires have a right I

music, too, there must be a middle

live.

Qualifications which one ear, a

good hand,

artistic

must have

temperament,

fine

class.

become

sensibility,

thorough pianist are a good intelligence, and persevering

industry. I

he musical ear naturally varies in quality.

recognixes absolute pitch, and can instantly a

produced by

tell

the

Finest of

name of any

musical instrument or the ringing of a glass.

recognition of comparative pitch, which can

tell

all

any tone from

the ear which tone, whether

Next comes the its

relationship to

another key-tone previously struck on the piano. This kind of ear is only secondclass, hut is capable ot further development; musicians possessing this ear have frequently a refined sense for shading.

The him

lowest grade of ear for a music-student should be that which enables

sing correctly any tone he hears.

[Si

not actual vocal studies, tor the singing voice

singing-exercise;

Merely sing some tone,

account. rind as

he developed, raised to a higher grade, by a sort ot

inferior ear can

Aii

\vhich

find again at any time, and

its

nor taken into

so natural and easy to sing that you can

name on \o\\

to derive others.

one from svhich

Hold

the piano.

fast

to this

Strike a

the following exercise:

try

tone,

tone on the piano, and sing to this tone the minor second, then the major second,

and the other intervals one interval Also

last

at the

keys, to

name

separate tones, then harmonic

some other person

chords, played In

all

correctly.

without looking

try,

and

intervals,

you can sing

until

downward; and keep

regular order, hrst upward, then

at the piano.

If a

he devoted to these exercises daily, the ear will soon quarter of an hour, at most,

show

progress.

Touching Section

here

;

hand and

the I

its

qualifications,

only add, that even an imperfectly adapted hand " " into a

will

moulded, bv industrious and well-directed

accommodate

itselt to pianistic

the contrary,

his

anil

temperament.

playing

change the temperament.

all

will

also emotionally dull

when

somewhat

awakened

refined, or

-it will

never nun

playing.

And

in case

phlegmatic

good qualities, can drive a teacher to

the other

an easier task to restrain

It is

piano-hand

practice,

may

requirements. difficult to

should he possess pupil, even distraction,

some observations were made

his it.

hearers.

Better an overplus of

player without temperament

emotionality cannot be created, but only

only sleeps.

Musicians themselves, however, should inveigh against the belief that music This last is needed, it needs only emotion, feeling, and not intelligence as well. only to

make up However

for,

or at least to hide,

talent.

may be, one can sooner attain eminence with than with much talent without industry. Unremitting

will

help over

many

a respectable

eminence

the arduous

possible detect

great the talent

industry and less talent industry

music

hard place, and enable ;

its

attain at least possessor to

but talent without industry runs to seed.

summit of Parnassus can be conquered only behind

Industry and Talent.

In fact,

the double-team,

S3]

A To page

II.

anomaly manifests this

There

itself

c n

(1 tl

whose

are hands

most frequently

knuckle-joint either projecting too

This

finger-joints are too yielding.

the middle (second) joint ot the

thumb;

outwards, or bending inwards unnaturally

tar

so as to form an angle, which hinders a forcible downstroke, promptness in passing

under, and the firm, confident striking of

chord or octave.

This weakness of the

principal thumb-joint can be cured only by patience and careful attention.

Practise

the following exercise piano, with each hand alone.

H. H.

L. H.

_ f>

Take

care

hold

the

thumb

its

normal

position

(Fig.

i).

you

should not succeed, support the joint for a time with the tip of the left-hand forefinger, which should touch the inner side of the joint without pressing it outwards.

Another anomaly, stiffness in the knuckle-joint ot the overcome by the following exercise: Hold down any note, E for 31! finger,

and with the other hand

then, with the 4th finger, strike

lift

th finger,

may

instance, with the

the 5th finger by the tip as high as possible;

repeatedly and as forcibly as you can with a loose

This treatment may also be applied for loosening the knuckle-joint of the 4th finger, which is by nature comparatively stubborn; only in this case the 4th

wrist.

finger

lifted,

while the 5th repeatedly strikes G.

To page the

One

62.

can hear them more readily at a distance, than near hy

audience better than the player.

moie

distinctly

it,

tronome. tivity,

69.

this

'tis

good instrument

quently, every player should or pieces with

in difficult

Those who

are

exercise, either at the

the pedal tor a time and

we may venture a word concerning the Mewooden Capellmeister, without an atom of subjec-

for

make

weak

often.

not merely a timekeeper,

It is

training a defective sense ot rhythm. trial ot

metronome-accompaniment.

he may lose time

down

point

though useful when not employed too a

can hear the dissonance yet

resonant waves.

Strictly speaking,

but likewise

latter

without playing on, he holds

listens attentively to the

To page

But the

once

Then

in a

Conse-

while, and play scales, etudes

he will discover precisely where

passages, or gain in easy ones. in

time, are advised to practise the following

keyboard, or (simply by feeling) away from

* _*__:*

.*.

metronome-

._..

Quintuplets ami Soxtuplets </'/

not set the

metronome on too high

notes, during which the exercise

repeated,

number, and

at first in regular

lihjtum.

let it

mark

quarter-

succession, and then

skipping.

One ought

also

play his pieces through once with the

influence ot the

tempo metronome is

for

on equally two themes of different one and the same piece. For this the controlling

another reason, namely, to learn

temperament but

how

metronome

to carry

certainly valuable.

85 j

Appendix Sl'AI.K

Sc.Al.HS, Sl'AI.K

IK following

OK ARPEGGIOS, AND SviTK. OF ARPEGGIOS

Scale of Scales, Scale of Arpeggios, and Suite of Arpeggios,

should not he taken up

till

the player can execute swiftly and evenly the

ordinary scales and broken chords.

Kach

section

intended to be played

through without a break, for which purpose the connecting fingering Scale of Scales, in particular, requires great endurance.

given.

Let no one, however, overdo these exercise?, but stop when too rest before

continuing

The

requisite

endurance

will

Play these exercises through once every day technique, hut increases

it.

;

be acquired this

little

tired,

and

little.

not merely keeps

up the

86 1.

C major

C minor. (harm.

C minor.

(?nelod.)

D'cmajor.

Scale of Scales.

87 C# minor, (harm.

minor, (melod.)

minor, (harm.)

minor, (melod.)

88 El>

major.

E\>

minor, (harm.)

El>

minor, (melod.)

E major.

E minor,

8ft

(harm.)

minor, (melod.)

8Q-

F major

F minor, (harm.)

F minor, (melod.)

F# major

81-

90 F? minor, (harm.)

I63N4

major.

minor. (harm.)

minor, (melod.)

At major.

Gjt

minor, (melod.)

A major

minor. Charm

minor, (melod.)

B\>

major.

B\>

minor, (harm.)

Bt>

minor, (melod.)

major.

minor, (harm.)

minor, (melod.)

Chromatic.

Scale of Arpeg-g-ios.

Practise with both the given fingerings. Take the keynote, wherever fingering (that next the heads of the notes).

D\>

IS3K*

C minor.

major.

minor.

major.

minor.

stands, only with the regular

major.

major,

minor.

gva

F|t

G major.

major.

8V"

183S4

minor.

At-

Bl>

G# minor.

major.

minor.

Bl>

minor.

Suite of Arpeg-g-ios. Triads and Seventh -chords. 3.

Ih.iS't

80".

fjVU.

Transpose the Suite of Arpeggios lowing examples:

L7H.

into all keys,

employing only

the regular fingering, as in the fol-

Conclusion INK Groundwork players

who may

chiefly intended for piano-

he assumed to possess more than

or even children, according to the

the theoretical elements in one

let

rudimentary pianistic

This does not, however, preclude the instruction of beginners,

training.

Method.

Such must

first,

ot course, he taught

But from the moment that they the rules ot this book. Only do not

way or another.

hands on the keys, keep

set their

Method

of the Lescheti/.ky

strictly

children play exercises as long as adult beginners, and of course do not allow

them

attempt any requiring the stretch of

Pianists re-forming their

full-grown hand.

method according

to Leschetizky, will arrive at the

from playing in their former style while formgoal only through entire abstention

They must even give up sight-reading. Regard this change " as a treatment," so to speak, during which the prescribed diet must be

new one.

ing their

of method

observed, for a lapse

strictly

the regimen

would throw the

ringers

out,

and

Kven when the exercises and scales are thoroughly consequently lose time. mastered in accordance with the Method, play nothing from your earlier repertory tor

some

time, but take

up etudes and

pieces

which you

have never studied*

playing none of the old pieces until you are sure not to lapse into the former

manner of

Do vacation

;

playing.

not fear to lose your old-time dexterity of finger during this enforced

on the contrary,

will

reappear afterward more

potent and

perfect

than ever.

For such but one

change of method, patience, and

repaid by the result.

still

patience,

That has converted many an unbeliever.

needful;

45 1

*n*

333

,444

555

3 5

R.H.:

342

f 8-

L.H.3

222 J

32-4444

4 3

2133 33

R.H.

2323

'1812

3 3

545

3535

2424 .8424

a B

Q o

2525

414

* 5

S^ |

1..H.

3432

3454 2343 I^F^

R.H.

^ ^ 3

r r . /,

f^ 4

r-r

R.H.:

FF-fff^FffrMI-^^l

rlTftm

'f r r

r r

r^r r r r*f r r rTf r r rfo

34 O*^

4 ^

8 S

23*3

3454

/%*

3 IJ

R.H.

R.H.;

23 /^J

2 3a

P--

5 . -

32 i

2 3

R.H.

13?

i~L

23*3 V

* 3

321

2 3 2

R.H.

-Trn

L.H.^^

p r

32 -P-

U^ 1

LIT n. .

*L^-*-

, ; -r

ill

~F~I

^^4f

R.H.

2222

3333 ^J

J J

..l

4-xLRj

J J

^^osj

J J J

23233* L.H.

f^4^r 2323 a

r r r

iT"r 4

r r

r^n^^f^? 2

R.H.

JJ J .H.-y ,

J .

R.H.

dim.

L.H.J* Q

R.H.

1812123'

V-ri

2 3

1321231212123

12321

J J J J

R.H.

1-e-

L.H.

i f- _

r r r r

L.H.zS

t>|

R.H.

J J J

major. -

A major.

major.

F# major.

f=. (4)

etc.

m 3=*=

etc.

j*Q^ R.H.

il10

.11

L.H.

TTJTT 1S

R.H.

L.H.

*)'

8 2

321

I :

rrff iirrrr iirrrnt

^^ :

Prestissimo.

j)^

1 r

f r

P P P-iFy-p

cantando Liszt, Etude.

o F-

33:

L. I

^ v

j j j j LTJ .n. .

fffi

^^j

etc.

R.H.I

'iiWJ'iifMtfff

jfi

* R.H.

fff

PCS-

L.H.

jS^

9 :8

i iciy ^u Played. .

Played.

R.H.

*?m*

-frTTTTn

gl 4 a

L.H.

yTT t T

r r r r

8 4

I "TT

TTt 1

385

p p

4 8

L.H.^

R.H.

~E 5

183 4

5 3

R.H.

rprpippp pi

4343 2*81 R.H.

s3 a

5 3

2 4343 8

3,3, 6353

Minor Thirds. R.H.

.'{

4 5

Major Thirds. R.H.

iiiiiiUU:<

If)

etc.

Played

etc.

J etc.

dolcc

1(5

Played. *

r-f

L.H.

cantabile

lF^

W"&

etc.

fTf

crescendo 8-

i j

/'A.

!J*

*j.

rqf

mp p

I pp

-f

Tempo

flf/

f Tempo

mz p

%^ ^ J

3. j

lift