How to Play the Piano

PIANO THE PLAY TO

HOW

HAMBOURG MARK

HOW

PLAY

TO

THE

PIANO

BY

HAMBOURG

MARK

PRACTICAL

WITH

DIAGRAMS DIUM

OF

AND

-

ILLUSTRATIONS ABRIDGED

AN

FIVE-FINGER

THIRDS,

COMPEN-

EXERCISES, OCTAVES

ARPEGGI, PRACTISED

BY

CHESTNUT

I7I1 "

PHILADELPHLA*

SCALES, AS

HIM

PRESSER

THEODORE

AND

STREET

CO.

COPYRIGHT,

BY

PRINTED

IN

THE

THEO.

1922.

00.

PRESSEE

UNITED

STATES

OF

AMERICA

FRIEKD MY TO DEDICATED

MUIR D.

FOREWORD Hambourg

Mark

South

Voronesh, of a

Russia,

musical

great

in

education

talent

of

professor

1891

left London,

After

years.

his

debut

in

Vienna

later

made

made

he

Concert a

year

of his in

principal 1895

In was

at tour

this

of to

general study, England,

in

the

paved tour

upon

Hall, appearances and

A visit

Australia

to

be

a

time in

ICngland

of

the

In the

whole

he

year

made of

that

marked his

four

recitals

during of

autumn

and

in

a

particularly

to

few

a

study

American

first

the

concerts

of

period

period of

A

Continent,

the

recitals

1902,

second

conclusion

the

1899.

on

of

for

more

This

played

he

year

after

which

tour,

leaving

years himself

series

a

80

of

and

the

Queen's

the

at

Lamoureux

at

and

change

second

spring

had

he

to

the

at

fulfil

Queen's

thousandth

one

in

tour

and

rest,

but

sununer.

vii

In

proved

was

also

Hambourg's

Mark

engagements

many

Hall

on

June in

appearance

October

third

a

latter

which

Africa,

South

by

which

Africa,

fully occupied

recital his

followed

concerts,

South

in

venture,

His

well.

as

important engagements

following

Festival

tour

a

for

1906, esiK-ciallyas

same

1907

tour

successful

most

of

concert

a

Paris.

in

and

primarily

until

Cardiff

American

second

undertaken to

Concerts

Colonne

two

England

including

at

and

up

before

devoted

in the

in

the

Richter,

Dr.

of

the

England For

embarked

pianist's engagements

period,

Philharmonic

a

first Australian

achievements

followed

activity

great

at

three

that

during

to

went

public at by giving

Switzerland.

and

further

he

and

In

remained

he

public activity being confined

for

which

in

1897. Hambourg

his

juvenile

England.

in

of

musical

a

migrated,

where

number

During

Germany

way

had

this

as

tour

London

Hambourg's

in

Mark

tour

himself

Europe.

concerts

Australia

in

to

Scholarship

the

to

success.

important

many

him

Moscow

conductorship

the

IMark

sensational

a

Liszt

bow

cities of

came

at

V^ienna,

fulfillinga

as

out

family

Society, following

as

own

the

his in

under

well

the

and

full-grown pianist in 1894

a

his

Philharmonic

the

taking

whither

as

him

brought

Leschctitzky winning the

under

study

province of showed promise

in

an

afterwards

1889,

in

Bogutchar 30th, 1879,

early age that his father, piano-playing, personally took his such

at

and

hand,

in

May

on

advanced

prodig}' he

born

was

which of

i8th

public.

occupied the

same

FOREWORD

"iii

followed

year a

farewell

great

by

six He

and

has

time.

a

Albert

visit

July,

which

Hall,

fourth

the

alone, the

touring In

Mark

during

on

came

twice

been

Europe.

Britain

Paris,

people,

the

at

in

while

tour,

attended

was

Australia

to

after

1908,

extending

months.

throughout fourth

American

concert

6000

over

over

third

a

191

4

all he

year

while

Continent

in

was

Hambourg's

Canada

over

the

activities

1920

he

played

since

he

has

generally,

and

on

over

for

the

the

the

increase,

recitals

continuously all

again

States

ever

120

over

been

United

are

then

and

in

playing world.

Great in

CONTENTS PART

HOW

ONE:

PLAY

TO

PIANO

THE

rAGB

CHAPTER

I

II

PROLOGUE

HOW

III

ON

IV

CAN

V

VI

:

X

A

ELEMENTARY

^7

SCALE?

3"

PRINCIPLES

HOW

TECHNIQUE:

FINGERING

HOW

KEYBOARD

THE

.

OCTAVES

SIXTHS,

OI

ADVICE

AND

EXPRESSION

WITH

42

47

...

MEMORY

MISTAKES

PLAY

TO

35

.....""

MASTER

TO

THIRDS,

AND

COMMON

STUDY

FOR

HINTS

FURTHER

SOME

IX

13

...

GENERALLY

PLAY

YOU

ON

VIII

CAREER

*"

TECHNIQUE

SOME

PIANISX'S

THE

FOR

PRACTISE

TO

ADVANCED

VII

PREPARING

TO

HOW

HOW

AND

TO

70

THEM

AVOID

USE

THE

70

PEDAL

'

XII

A

SPECIMEN

LESSON

XIV

PLAYING

IN

EPILOGUE

:

PART

FIRST

9^

9"

AS

PIANO

THE

AND

CARE

FIVE-FINGER

HOUSEHOLD

A

FRIEND,

EXERCISES,

HOW

103

COMPENDIUM FOR

AND

ONE

FOR

ABRIDGED

TWO:

ETC..

XV

SONATA

PUBLIC

CHOOSE

TO

MOONLIGHT

THE

( BEETHOVEN)

MOVEMENT

XIII

:

THE

USE

SCALES

AND

CISES, EXER-

OF OF

STUDENTS

ARPEGGIO

EXERCISES .

XVI

SCALES

The

IN

THIRDS

fingering

used

AND

in

OCTAVE

this

book

II8

EXERCISES

is the

IO9

Continental

fingering.

ONE

PART

PIANO THE PLAY TO

HOW

TO

HOW

Let

consider

us

the

youth

and

carve

live

we

bear

THE

than

is

case

tend

make

to

there

world

the

consider up

a

The

outlook

in

arduous

decided

study Of

them for

real

develop namely, able

branch

the

determine

gift

is

into as

to

of

in

inborn

or

degree for

the

I

of

waste

for

mention he

whether

Unless

time

take

to

scarcely

ascertain

and

try

seriously

decides

need

higher

deal

must

he

instrument.

forth

human

of

measure

itself

a

in

of

fusic^n

the

or

young,

for

disposition

certain

bring

a

the

exact

talent

true a

to

the

for

therefore

and

precious,

and

good

a

before

than

concerts

he

him

to

possesses commence

all.

it is hard

talent

be

life.

musical

the

in

rare

doubt

no

him

pianist,

a

should

highest

it at

course

to

The

are

of

of

of

walk

any

more

many

student

front

it

therefore

and

is still most is

which

under

WORLD

great,

very

talent

young

disposition

this, it is in the the

best

of

career

first business

his

that has

the

the

be.

to

is

achievement

of

level

general

it used

than

the

though

MUSICAL

THE

artists, and

more

many

also

formerly; yet

are

IN

in

At

artists.

strenuous,

distinction

at

all,

demands

public

executant

very

arrive

to

is, first of

It

existing conditions

the

competition

with,

begin

from

endeavour

all

its aid.

present-day

before

COMPETITION

To

the

await

difficulties

piano professionally,

the

up

with

that

that

CAREER

PIANIST'S

take

to

ever

rather

PIANO

possibilities and

himself

mind

increasingly hard

grows

FOR

what

for

in

attainment

the

least

I

nowadays

career

a

to

necessary

little

a

desires

who out

greater

Chapter

PREPARING

PROLOGUE:

THE

PLAY

sense

power

containing

great

superiority

intcIHgcnce they 13

for

even

their

capacity

in

does

of

not

which

within

T it

the

outset,

qualities. necessarily

understand elements

it, which

in whatsoever

atlninment

actuate.

at

different

many

so

music

around

friends

It

is

strange

that

TO

HOW

14

PLAY

THE

PIANO

facultyof easy musical expressionalone is not enoug^h to ensure into thinking so, success, though people have often been dehuled bitter disappointment and and thereby much misery have been caused to unrecognized aspirantsafter fame. How who there are give the impression of being many with the musical instinct,and even astonishinglyendowed possess is known what as perfectpitch,which appears to be an unerring the

discrimination

of the

between

ear

the

various

sounds

of

the

scale.

Such

wonderful natural to have in a people certainlyseem facility all things appertaining to music, yet they often do not arrive at in the profession. One is told that it is particulareminence any such a pity "So and So" has such a genius for music, but is so he cannot do himself lazy he will not work, or so nervous justice, that some other drawback hinders him ! But the fact probably or like these,that the musical is,in cases propensityis there no doubt, sometimes in a high measure, talent or but the necessary even is not

power

present with

enable

it, to

it to

attain

successful

a

development. should

then,

What,

the student

feels that he has the sufficient talent

giftof music accompanying it

seek

and

for

wonders

in himself whether

when

he

he possesses

succeed

professionally? Well, he must is capable of many consider, amongst at the development of the technical years of hard unremitting work He side of his art. also find in himself physicalendurance, must other

inexhaustible of

his

in emergency,

art

things,if he

of nerves, determination, patience,self-confidence,and, above all,such a love

coolness

courage,

to

for

its

own

command

sake

as

will

carry

him

over

every

disappointment. THE

BEST

TEACHER

allowing that he has the signs within him of all these he decides to needful at least he thinks he has, and or qualities, he has then to make take up the study of the piano seriously, up is his mind a nd this about his first practical undoubtedly necessity, But

to

go

and

learn

with

the

very

best

teacher

he

can

procure.

There

the to be reallywell taught from as nothing that helps so much artists have had to go through irksome very beginning. So many and valuable time irritatinglabour in later life,and lost much in having to undo the effects of bad tuition in student days. It is is therefore benefit to the beginner if whoever an enormous the responsiblefor his education insists on his being sent from outset to a reallygood and experienced professor. At this early important that the student, though stage, also,I estimate it as most is

PROLOGUE:

PREPARING

work

he should

THE

FOR

regularlyand

PIANIST'S

CAREER

should conscientiously,

15

study for

not

long at a time. Personally I have always found that two hours at a stretch of and it is far better careful practiceis quite enough at one sitting, do several periods of work in the day of shorter duration than to be at it for many hours mind and to ear together. The only confused become after a protractedtime of work by the constant blur of sound then the practisingdegenerates into merely and discrimination. senseless Besides w^hich the repetitionswithout fatigue and strain put upon the nerves by such protractedstudy student's health,and tend to impair are very injuriousto the young his constitution before any of the wear and tear of his profession too

begin. TAKE

Here

his to

STUDENT's

THE

HEALTH

to

me

strengthby

exercise

constant

successful,he

be

OF

important to remember say, that it is most physicalhealth of the youthful pianist,and to

let

after the

CARE

will have

and to

fresh

be

air, for later

fit to

endure

look

build

on

every

up

if he is sort

of

excitement, nervous long hours in the train, much perfectlycertain that good health and great bodily fatigue. I am strength are absolutelyindispensableto the modern professional the notion that consists artist of sort an pianist,and generally with delicate lungs and of a pale and sicklycreature over-strung is a conceptionof fiction! High strung, his professionwill nerves

strain, such

make

him,

as

and

and

control

sensitive,but

healthy,otherwise

he he

must

will

have never

his

well

nerves

survive

under

the tension

of

public life. There

is

no

doubt

that the unaccountable

failures of

some

people

with

have been due to reallygreat talents, who deserved recognition, their neglectof health and their consequent inability through sheer them. to face the tests put upon physicalweakness Just think what a

long

concert

tour

means

to

the

artist in the

way

of

endurance!

Night after night appearing in big important engagements, with all the responsibility they entail ; day after day long journeys by train often or steamer, nights travellingtoo; yet, in spite of all many that, on arrival he must always i)e ready to play with energy, spirit and unflagging interest,otherwise he will not inspireor convince his audience. his The faculty of interestingand carrying away of his imagination working upon them hearers by the power through H needful the artist. he is the music, is another most to cjuality succeed he must to acquire it. or rather develop it.and it can only in whatsoever he is come through his learning to sink himself

HOW

16

with

conviction

mesmeric

I suppose

the

to

listeners

to

go

thus

if

it

speaks

become

one

forth

with

him. wished

one

making of

the

mind

and

soul

around

fillvolumes

could

one

points which

all the

PIANO

THE

a

music

the

PLAY

dogrce that his whole and he is interpreting,

such

playing to

TO

fine

a

descant

to

pianist.

upon

But

this

remarks the to my on to be a general introduction only meant study of the piano, which I have been asked to write for students therefore in the subject. I can be interested and others who may few of the most to a me, only touch here, as they occur upon intend to go in for the profession. salient essentials for those who is

DEVELOPING

good tuition,hard work and health, I come consideration,namely, the development of a reliable of

Having spoken vital

another

to

It has

memory.

in the

up a

in

perform

to

good

his

become

fashion

the

public by heart; thirtyyears, and For

one.

will often ensure

last

MEMORY

MUSICAL

THE

the

mere

for

it is

habit

a

I do

that

know

not

that

confidence

to

the

account

of

his work,

give greater giving a good

grown

always piano upon performer, and the

nervous

even

it-may

the

so

best

obsess

of

his

them

mind

the

been

have

fear

only it is

while

the

absence

forgettingthat he which he in the interpretation will be unable let himself to go had prepared. However, the publicgenerally, less,expects more or and that the pianist should probably, if he play from memory, these circumstances fear of its failinghim, he does under has no inspiredrendering of his music. give a freer and consequentlymore At any rate, it is an urgent point to cultivate a good memory. this memory is a gift of itself,and needs With musicians many On it perfectlyreliable. and ordered to make use only constant the other hand, there are frequent instances of very great artists another whose will play them tricks,and from one cause or memory of

with

has

music

of the

presence

soloists

all instrumental

known

of

fail at

to

times, often

or some preoccupation. One over-fatigue,ill-health, of the most extraordinary examples of this happened to a very He of famous was pianist at a concert. playing the Concerto Beethoven in C minor had arrived at the second and subject of

merely

the

from

beautiful

slow

progression to of

Mendelssohn's

Beethoven oblivion to

the

second wandered

the astonishment

which

movement

beginning Concerto

of

in

G

minor.

into the

one

of the audience

The then

his

own

Adagio

pianiststarted in

a

in the Mendelssohn and

similar

a

very in the subject

the second

subject correctly,and away

with

starts

moment

the of

Concerto

dismay when

he

PREPARING

PROLOGUE:

he

realized what would

never

been

he

had

in

by

the

play

pianisthas also is which of forgetting, artist can undergo an

learn

one

of

public career part of how

the

to

meet

Kis

own

nerve

himself

that sometimes

instinct,and

the

save

most

needs

part of the performer, but

the

on

his his

from

great

in every essential

as

it is an emergencies do arise occasionally, professionalartist's equipment that he should

know

them. is

nervousness

Even

combat.

only keep

can

extricate

often

can

if he

But

public.

by any pass unnoticed do this of course audience. To

the

knowing amongst of

the most

in the emergency agonizing experiencesthat himself

lapse will

his

cleverly,that

command

control

to

the aid of his musical

predicament with so

in

he

mind,

of

occurrence.

to

The

presence

17

doing ! It is said that this particularartist his music, so greatly public again without

was

upset

CAREER

PIANIST'S

THE

FOR

of

one

the

experienced players suffer

very

has

he

demons

worst

this

from

to

the

on

stands platform; in fact, as the artist gets older and underhe will feel, as rule, more better a his responsibilities his But realize so much. does not than the youth who nervous naturallyto obtain the mastery greater experience will help him it causes the inner excitement and even to turn this difficulty, over he can command For it, this tension of when to good account. the brain to will stimulate the nerves greater activityand thus vivid interpretation to the will help the performer to give a more if he was music than feeling quite cold and indifferent. I have

concert

known

never

from as

of

through constant the platform to himself.

over

DIFFICULTIES

MINOR

Many at to

suffer

sometimes

not

certain extent, and

a

not

frightenthe beginner, he will acquire the habit gain the necessary control

public,but that need playing in concerts

in

nervousness

did

artist who

really fine

any

minor

time

any

put

liini

upsets in the

during

For

r)ut.

instance,

unsympathetic conductor, orchestra

may

be

which

concert

a

poor

of

way

if

and

it is

small

the

also he an

emergencies may

may

artist must have

orchestral

unreliable, and

come

occur

allow

not

difficult

a

concert, in at

or

or

the

the wrong

that the wrong parts had been happened to mc places. It once in to play and sat I came brought for the orchestra, and when horror of Liszt, to my down, prepared with the F IHat Concerto they gaily started the opening bars of the Saint-Sacns' Concerto in

C

minor!

There

was

sitting expectant. Luckily T

no

knew

time

to

protest, the

the other

concerto

audience and

so

was

followed

PLAY

TO

HOW

18

PIANO

THE

certainlynot prepared to play it at a without notice in i)ublic. moment's looking through it first! from That arose having no time to rehearse, and contretemps I earnestlycounsel all young rehearsal a pianiststo insist upon how when pla\ing with the orchestra wherever possible,no matter For them. much it is extra cause travellingor fatigue it may almost out of the questionto obtain a reallysatisfactoryperformance from of a work anyone's standpoint by just scrambling through bravely

it, in as

with

on

happens

Of

the

conditions

a

it is far

for

There

the

life.

upon

sincerelynot

things

like to

what

study, and mind

power,

But

virtuoso

to

endeavour.

life,so much

"

" simple!

music

professionallyit

subjectsat am

have For

certain that

the

uses

it is alive

PLAY

and

with

the

and

risk

is such

up

much

so

pianist's

him

an

to

advantage of

interest student to

the

intellectual

enlightened his vision of

more

TO

branch

every

and

energy

to

inestimable

most

becoming absorbing

keep up time, especially during an

any

then

even

recommend

Music

profounder his

DOWN

was

it. point about before speak

sometimes

same

broader

the finer and

NEVER

the

his brain

do

general education

that it is difficultI know

I

I

Under

of

in close connection

first is, that

neglect his

taken

other

in many years.

to

a

the

know

but

one,

I would

The

to be called

used

doing without

young

are

well

if there justified,

be

times

different.

is rather

case

you, rehearsal.

many

they

make

closingthis chapter,which outlook

concerto

same

artist to

other

two

are

the

rehearsal, in

about difficulty better

the work,

follow

not

public without

orchestra, and

pianistwould

the

should

in

the

done

and

conductor

same

orchestra

played

are

artist has

rendering he gives of such

lest the

concertos

if the

course

with

when

was

time

all the

terror

I

it. but

AN

own

art

will become.

AUDIENCE

Secondly, though not quite in the category of what I have high conception of his just been saying, yet relative to the same the young to play down to never professional art, I greatlyurge be I to audience. never an persuaded to play By this mean, certain the plea that they music class of publicon second-rate to a educated to not sufficiently are appreciatethe best. This is the by experience, for I have greatest possible fallacy,as I know and condition and class the world sort to played all over every I have of people,and that they respect and are always found when interested in one's art even they do not quite understand do. it all, and that they appreciateand desire the best a man can The artist should always try to stimulate his public up to the

PREPARING

PROLOGUE:

passing

their

entice

themselves he

To

maxim and

steep

play of

to

the

they

will

though want

not

estimation

their

to

the

resolution into

first

and

then in

will

he

rank

ought

standard

highest pianist,

young

unfailing ladder

Otherwise,

in

clap-trap

to

they to

19

order

enjoy

may

again

come

of

level

to

and

they

what

him.

up the

sink

never

moment, in

from

and

fancy.

lowered

be

heard

have

the

for

will

music

of

kind

highest

CAREER

PIANIST'S

THE

FOR

and

win

with time the

be

to

hard

work,

make

his

rewards

of

the

cardinal

enthusiasm

way success.

up

the

Chapter

TO

HOW

I

this

devoting

AM

the

practise found

from

setting about

should of

necessary

from

the

work

playing,

but

been

one

was

etc., down

Tausig, I

am

method,

school,

or

fingers

and

mind

of

while

call

in

It

is also

to

set

of

as

I

up

pianomyself

pianoforte

my

the

.

traditions.

best

had

who

famous

second, the

Liszt,

pianists of

pianoforte

Such

Rubinstein,

Anton

Therefore

to-day.

organized

to

the

technical

of

trend

good

a

train

will

method

a

modern

pianists of

study according

to

and

of

school

the greatest

it.

definite

a

second,

stages one,

my

the

through

starting

we

as

of

famous

in

;

Hambourg,

Michael

all

Systematically

start

in

in

Czerny.

many

many

believer

great

a

to

all

to

steeped

Prof.

extending

in

elementary

especially represents produced

results

practising.

fortune

were

with

best

help

the

detail

to

physical.

the

of

Rubinstein;

studied

influence

his

have

way

observed

be

to

and

of

good

father.

Nicholas

has

playing which

in

who

my

Czerny

times,

to

I

efficacious

most

mental

schedule

the

teachers

of

both

especially

Leschetitzky, had And

how

what

here

attention

inestimable

an

had

I

with

pupil

a

subject of

out

rules

attainment

fixed

such

more

know,

first

the

first, great

the

some

is

for

education

be

to

cardinal

fatigue,

for

outset

ordered

My

be,

over-

most

well

the

speaking,

practising

point

to

try

the

to

it.

Broadly avoidance

shall

and

experience

my

PRACTISE

entirely

chapter

piano,

II

development. Of

that

imperative of

all to

I

many

they

stress

on

clever are

main

piano,

this ways

taught

how

at

I

that

technical

cannot at

fact, because

there

of

children

30

the in

are

fugues

compose

theoretical

a

later be

first

of

their

just For of

actual

the I

keyboard.

imitation

much

learn

acquire

musically. in

directed

difficulties

fashion

it is

that

on,

children

musical

they

playing except

to

acquire

should

time

the

least

educating

to

think, especially in the training

and

master

believe

not

well

as

professionals

become energy

to

facilityof

mechanical

lay

to

how

do

the

from

away

their

learning

instrument.

thing

education, but

intend

who

children

good

a

general musical

and of

it is

course,

wish

to

now

so

instance, Bach

after

few

a

kind

This

of tuition,etc.

hours

21

PRACTISE

TO

HOW

of

instruction

is doubtless

advantage in stimulatinggeneral musical knowledge and, above little ones and developing the faculty all, for trainingunmusical but in the be completely lost to them, which might otherwise be allowed never education of the young pianistsuch systems must has always to be, first of all, the main obscure issue, which to the acquirement of absolute proficiencyat the keyboard. be for a period of should Practice in early childhood never of

half

than

more

the

hour, aad

an

whole

to

amount

be

done

should

ought to be taken to procure music will appeal to their imaginations,and for children to study which of sound, which be in pleasant forms their exercises should even And the best thing is to instil interested. will help to keep them as as soon possibleinto the mind of the child the desire for beauty

not

exceed

of touch

and

clearness

NO

No

Also

hour.

one

of execution.

CHILD

be

ought to always sit with

left

him

ALONE

PRACTISE

SHOULD

child

should

care

to

and

practiseby himself; that he gives each see

someone

note

its

the little object it is excellent to make be aloud while playing. The out count pedal should never one permitted,and each hand ought to be practisedseparately. For of the worked hands if the two together the concentration are is divided, instead of being directed to one mind thing at a time. of covering up of the sound on goes Besides, a certain amount clearness when both hands are playing,which is bad, and impedes and of execution conception of the difficulties to be contended full value.

To

attain

this

with.

intended as

to

used

are

purely mechanical etc. articulation of the fingers,

apply mainly for the

also, that such

separate practiceof

the

about

remarks

These

exercises

to

the

should

be

easy

and

not

each

hand

are

exercises, such It is strain

important, the hand,

overstrainingof the be practisedin all scales must and Exercises hand in childhood. the keys, not only in C major in which they are generallywritten, it is of great benefit to the child to be able to play as easilyin as is not Another to be observed good maxim one key as another. and over over again, to be repeated ad nauseam, to allow exercises the unceasing repetitions, with the mind as only gets bewildered for

and

serious

very

result

no

I

am

child,

as,

can

results

then

speaking if the

develop

can

from

be obtained.

here

routine

at

of

some

length about

the

good systematic work

practisingof is

a

acquired in

it becomes

earlyyoiUh,

habit

a

THE

PLAY

TO

HOW

22

PIANO

naturallythroughout

continues

and

lite.' I

arrive

now

initiated, the life-work.

great and a

to

a

student

problem small, namely His

that

and, indeed, of

any

day, and

have

who

Those

mind

than

less

not

how principally,

and

maximum

the

obtain

of and

to

avoid

pianists,both practisein such

all

to

average pianist,be

not

three, under

more

advanced

an

five hours

than

ordinary have

effort,

repetition.

much

too

practiceof

the

and

in time

economy

technical talent at all and

no

of

that

becomes

then

keep always fresli in Generally I advise

student

stage, when, having been carefully begins to consider the piano as his

further

a

young

to

as

way

at

circumstances.

great difficulty

musical those whose or acquiring adequate mastery of means, the whole and often do, but on is weak, can practisemore, memory In any case hours of study only tend to staleness. extended very his of dividing up should devise a systematic way the student to of practiceif he wants hours get the best profitout of his until he has For work. playing and the experience in concert frequent opportunityof performing in public (which thing, of in

extent impedes practisingand also obviates to some always give a certain definite time necessityof it),he must day to purely technical study. course,

this end

To

the

pianistought

to

every

COURSE

DAILY

REGULAR

A

the

draw

up

for himself

a

regular

as following. First, a short space to be pursued, such of scales, always be given to fingertechnique,ten minutes

the

course

should

arpeggi. Scales to be played in four different keys each day, with their accompanying arpeggi in every development, ten

also

of

minutes

the

and

chromatic

contrary

motion

scales.

Thus

if

four

keys are done each day, the whole range of these scales three days. After scales will be got through every exercises, comprising all the positions twelve jive-finger ten or and Hanon's be worked at. Czerny's Exercises of the hand, can I particularlyrecommend; quite which the they are ones are and for helping to acquire an even rapid articulation excellent scales in four

of

the

different

fingers.

Also

as

the

student

advances

he

should

add

daily round. The reason why all this technical daily study is so essential is, because to obtain a supple,easy mastery of the piano,it is necessary And and arms. hands real athletic agilityof fingers, to possess a of regularexercises justas an athlete in trainingdoes a fixed amount Moszkowski's

school

of thirds and

sixths

to

his

HOW

TO

day, to keep the muscles of his the pianistgo through fitness,so must and hands fingers. arms,

whole

every

there

Now in

details

the

of

train his

to

process

axioms

sense

common

many

are

similar

a

and elasticity

in

body

PRACTICE

SENSE

COMMON

23

PRACTISE

practising,which

find

will

student

the

observed

be

to

by

out

certain

has

to day a play on a experience. he should double and notes octaves occur, piece in which many that day make a on point of practisingonly scales and exercises should take care for the simple articulation of the fingers. He and doubleoctave during his working hours not to study the same note techniques as are to be foufid in the piece that he will be playing later on in tlie day, for if he does so he will risk suffering

instance, if he

For

from

of

lameness

the

from

will appear

lameness

Such

hands.

positionsas are working the hands too long in certain extended great varietyof motion playing,etc. Therefore peculiarto octave fresh and to must keep the hands at, in order always be aimed vigorous. Also should the student experiencethe slightestfatigue when in the hand playing scales and passages, let him instantly until that feelinghas quite passed away. cease EXERCISES

OCTAVE

of practising

Much as

of

this

tends

sort

difficult to

is very

which

of

muscles

strain

to

is

playing octaves

the

of

contraction

the

in

used

the action

exercises should

octave

the and

them,

a

good

produced by

deal

forearm, continuous generates

work

of

sort

a

Personally,I think

cure.

avoided, for

be

ever

that

cramp students

when absolutelyimperative for some only study octaves piece they are learning,and then, if they used Kullak's Octave the very best of their kind. Exercises, they will find them amongst If I had to pronounce an opinion as to what I had found to for a pianist's absolute essential of a physical kind be the most equipment, I think I should declare for a perfectlysupple and few students consider this acquirement enough, How loose wrist. should

yet it is the forces

who

instrument finds

are

the "

roundness

of his

victims

of

liancy attack, all bril-

playing,all grace of expression. He passage his from and gets harsh, unpleasant sounds after

who,

hopelesslyincapacitatedby

tendons

always

tone

and

all softness

the unfortunate,

himself

the

of

finish of

and

of

secret

of

arm, want

or

of

a

hours many sudden a

of hard

swelling in

stiffness in his hand care

given

to

the

work

"

both

one

these

development of

HOW

24

a

supple

real

wrist.

will

performer rapid passages.

PIANO

THE

of action, there is no perfect freedom no elasticity, play for the tingers,and the proper in difficult generally fail at the critical moment Without

or

power

PLAY

TO

piano playing,various of which advocate liftingthe fingersas high as possibleoff the keyboard, but I camiot with a view to acquiring greater power, help thinking is of thus the that tone hard, disagreeablenature, and a produced to the smoothness the time lost by such high articulation detrimental and Myself, I greatly advocate rapiditywhich are so necessary. and pressing the keys, keeping the fingersclose to the instrument and elastic quality and thus warmer more a giving the sound which less wooden tone or pianists modifying the naturallymore in the certain extent have even always to contend against to a of their constitution,as finest pianos, by reason compared with stringedinstruments. efficacious for the purely I do not find elaborate studies very and mechanical development of technique, as the embellishments make studies only which the palatablenessof such harmonies from the main distract the student's mind point of advancing away There

are

schools

many

the technical

power,

of

thus

and

loss of

cause

time

and

effort.

For

its whole only reallyvaluable study is that which concentrates in pursuingthe true object to be achieved in each particular energy it is far more branch And of work. profitableto practise for the technical problem concentration short time with absolute on a in order to surmount it, than to pass several more or definitely hours less wasteful dallying with the difficulties wrapped up as they are in elaborate studies with a pleasant gildingof harmonies and progressions. of the studies which are Also, many given to students with bad music view to a technicallyare in themselves helping them the

as

well

as

indifferent mechanical

aids.

Of

course,

remarks

these

to include certainlynot meant real concert studies, such as those of Chopin, Liszt, etc., but it is that these are not to purely studies for scarcely necessary say technique,but are rather beautiful musical problems to be unravelled of facility has already been certain amount when acquired by a

with

the

regard

to

studies

in

general are

student. Advanced

to

prepare

to

making

when

students themselves a

the time

concerts.

also

endeavour

certain

lines

should

along repertoireof pieces,which comes

for them

to

make

in

of will

up

their

study, be

useful

programmes

practising

with

a

to

view

them

for their

25

PRACTISE

TO

HOW

piece,it is as well alone. the technical point of view first of all to look at it from musical expression no have been mastered until means proper For of all, then, be adequately conveyed. First can or interpretation side the mechanical the pianistought to dissect the piece from difficult passages occur. Technically the most where and find out Now

regards how

as

speaking,of

to

to

the

express

the

which

decided

of scales, thirds, used

and

ways

PASSAGES

the

are

awkward

most

to

passages

piece,the student should not then just play themj repetition do, hoping that by much and over again,as so many rather He must play difficulties will finallybe surmounted. in

his

his passages minute, and Then

By

a

composer's ideas.

DIFFICULT

MASTERING

over

of

piecesare merely collections harmonically treated in different

passages, etc., the vehicles as

master

study

all

course,

Having

the

start

try to get afresh, and

start

clear

having

worked

a

keep

his

stopping to think and

thus

retain

and

master

a

with

passages his mind

ever

greater

mind.

again.

pause

more,

lucid

mind

rapidity

and

ease

both

will

he

a

reiteration without

continuous

the

what

consider

passage

like.

sound

should

little

much

through by confusing pausing to listen properly or to

than

for

them stop and think,about in his definition of them

twice, then

or

once

first learning a piece to good thing when at, divide it, taking,-say, each eight bars or so at a time to work before reviewing the component and thus gettingto know parts well is too branch of practisingwhich Another whole. the work as a aften neglectedby the young pianistis the study of the bass or hears he learns. of the music work frame Many times one that the bass part is completely something played in such a way This but the right hand. be heard swallowed up, and nothing can It is also

a

defect

is the

which

the bass

for

all the have

must

give I

much

a

and

attention this

end

earnestlyrecommending no

composer

to

the

to

who.se

Therefore bass

the

cha|)terabout

of

the

parts of

a

student

his

music

is

so

of

the

well

must

piece.

practising better

by apply

than

the very outset, to There of Hach. works

all students, from

diligentstudy

fault,

piece and all, nuisic, like everything else,

foundation.

stable

to

feebler

serious

very

construction

whole

After

harmonies.

good,

care

cannot

themselves

the

undermines

a

left hand,

people the

most

parts is

in the bass

the

because

conquer,

entrusted,is naturallywith

in

weakness

it often

upsets

difficult to

more

Yet

member.

very

calculated

to

give

the

is best

HOW

oQ

-i,k1

thought.

and

amoncr

It

masterpieces

Bach's

immeasurable

value

understanding

of

in the

polyphonic

of

also

in

of

playing

hands

both

without

goes

developing

mind.

PIANO

THE

PLAY

technique

of

freedom

perfect action

knowledge

detailed

most

TO

intellect the

and

whole

addition

to

mdepcndence

and

saying

in

that

of

work

constant

feelmg artistic

are

taste

of

and

III

Chapter

bare

The

word

technique,

to

give people

often

seems

It

significance. able

play

to

odium

of

sort

strange

appHed

mean

perform word kinds

its of

power

real

being

difficult passages,

very to

seems

about

technician," they cry,

wonderful

to

certain

to

just the

them

the

of

impression

to

also

pianoforte playing,

to

erroneous

an

often

and

keyboard,

the

upon

to

seems

when

rapidly, and

very

GENERALLY

TECHNIQUE

ON

with

carry

it **

music-lovers.

of

pianist,

some

"

a

A

nothing

but

more." How

I

arisen?

have

considered to

this

can

meaning

as

the

move

dexterity,"

fingers

part of

of

given

all his

attention

called

in

best

the

arrive

highest

the

at

more

its

perfect

attainment that

expression

it

technique

Thus

endurance,

tone

is

of

but can

at

acquired he

be

one-fifth the

him

highest kind

certainly

in

all

can

its

be

not

nor

can

signifies does

Rather

of

means

every to

command.

branches,

varying

intensity of of

merely

arts,

action.

pianist

symmetry

and of

has

development.

itself

artist

the

execution,

part

finger

production, touch,

only studied

has

who

one

pianist who

all other

in

as

within

possible for

colour

or

only

technician,

that

only

is

it

ATTAINMENT

comprise

to

can

great

a

with

rapidity of

rei)resents

phrasing, elegance man

alone

word

PERFECT

agility and

than

far

the

but

the

and

and

important

very

piano,

branch

pianoforte playing,

in

Technique

a

subject;

results

SIGNIFIES

the

on

that of

sense

digital

"

doubt

no

immense to

"

it!

call

technique

whole

the

special agility

with

hands

able

capability pf being

one-sided

that

and

critics

the

as

branch

necessary

he

only

particular capacity is

That

small

prejudice against great development of technique think that it is just because technique is sometimes

feeling, the

And

detail.

agility, has

produce

how

pianoforte technique; therefore artist, if, indeed,

of

a

real

artist

all !

Now emotions

I believe of

the

that

many

people

artistic temperament, 27

have but

the these

imagination

and

qualities with

the them

TO

HOW

28

for

outlet

lack

a jj^ive

cannot

technical

the

of

want

PIANO

THE

adequate

their

to

vent

PLAY

expression. they do not

of

means

because tlunii^lus, sufficient

development

enable

to

them

They possess do

to

so.

of all means therefore comprise the mastery Technicjue should the piano especiallycan of self-expressionin nuisic, and no on in tends atTord manual t hat the to ne":i^lect facility long player any of it summit For him arrive the to at interpretation. run help that the more stands to reason physicalcapacitythe artist possesses for clothing his thoughts, the less hampered will he be in giving expression to the best that is in him.

INFALLIBLE

AN

artists who

The

who,

ones

sound

so

how

not,

How

so

beautiful

absorbed

much

consummate

execution

the

of

a

or

elaborate

of

means

in musical

the

are

writing the

those passages to make play,manage full of expression that the listener will and the music that is being performed is difficult will he be in the delightthe playing gives him. techniqueis there sometimes expended upon quite simple melody, slow, soft and melting,

flowing into realize that the piano

the

hard

they have

notice whether

never or

which

are

passages

reallyg'eat command

have

matter

no

TEST

to

each

tones

other,

so

that

no

who

one

listens

can

only a mechanical with hammers that strike upon instrument strings. What copper patience and study, too, is needed to develop the deep sonority of the in massive touch chords, and light brilliancyof rippling which

is

is

being played

progressions. All

only

is

this

when

impossible without of

mastery

every

technical

kind

of

vehicle

for

it is

and

command,

expression has

be approached with confidence. can acquired that interpretation is no There greater sufferingto the artist than to have in his mind the music certain impression which has created in it,and not to a his piano, because he has be able to reproduce the picture on the other hand, On deter him. shortcomings in technique which the playing of some what great joy it is to a pianistto resume in former studied he had which diligently masterpiece, years, and in giving to it the rendering that succeeded at that time had never But upon he sought, owing to insufficient mastery of means. he it again after this long period during which starting upon had doubtless been developinggradually,and probably unconsciously,

been

he finds the such

tha^

piece,and a

reward

now

he

which is worth

can

he

at

last do

never

could

all the labours

with arrive

ease

at

what

before.

of Hercules!

he

wants

To

in

attain

is

is the

case.

tempo

more

than

confidence

plav

can

of

in

passages

the

than

Of

the

course

the

play play

with

touch,

apply

feeling

and

strength.

with

might

Genius

the

however means

capacity

of

of

medium,

its

not

conveying over

which

the

noblest should

imagination

a

pedal,

to

the

pianist

the

of

how

up

undervalue

or

cathedral,

or

them

the

of

make

which

one

must

to

the

complete

and

it

mastery

in

also

details

no

of

neglected. but

temperament,

world

and

necessity

is

so

results

most

humble

aesthetic

even

be

its

even

every

indispensable

insignificant, only

play

technique

the

to

architecture

own

attain

of

technique

go

elegant To

objective.

in

palace

to

branches

despise

as

soft

given

finger articulation,

of

the

is

passage

have

must

and

mastery

technique

technique

may

has

playing;

workmanship,

some

achieve

finish.

and

the

learn

aesthetic

For

stone

building

pianoforte

of

is

rh"1;hm, to

the

technique

he

many

his

aspects.

uninteresting

the

want

uninitiated

fast

grace

must

called

student

no

turn

acquire

he

these

produce

to

mechanical

the

harder

while

elan,

emotion

material

Therefore

in

and

successions

of

lot

absolute

brilliant

possess

must

power

All

comprehensive work

must

he

with

its

in

colour

play

to

and

force

pianist

the

rhythmically

to

their

pianist who

rapid a

the

to

implies

the

that

so

receives

with

technique

greatest

necessary

ornamentation

to

with

actually

which

splash-dash

ever"1;hing,

in

judgment with

is

less

or

and

wonderful.

most

seem

more

that

contrary

tone

The

memory.

very

or

the

nervousness

pianissimo,

something

showy

more

and

and

tempo,

thereby

doing

often

slow

a

of

often

their

through

do

intricate

of

series

increase

failure

of

fear

is

play

to

fast,

very

It

speed.

to

difficult

more

music

in

sometimes

intend

is

it

that

moderate

a

they from

or

long

a

at

Pianists

which

of

and

softly

than

loud,

think

to

ornamentation

intricate

and

passages

fallacy

great

a

29

FALLACY

GREAT

A

It

GENERALLY

TECHNIQUE

ON

through has

been

the

also

vehicle

obtained.

Chapter

CAN

Among

the for

me

about

many the

advice, certain

a

of

Rio,

other

but

words

about

music

without

that

immensely

to

play

If

Yet

as

do

directly based advanced

and

scale

upon

of

standard of

want

who

proficiency

in

the what

does

not

plea

hackneyed he

quote,

lacks

in

for

upon

examination

where

there

is

no

the

sonata

a

of

or

or

I

Rio),

ask

astonishment scales of

at

all.

at

them

proves

which

I

unable

of

lack

known

have

arrive

to

technical

is many

at

any

knowledge

EXECUTION?

OR

at

times,

in

indulgence "

execution

prove

the

they

Brahms-

scale-playing.

EXPRESSION

Who

what

passage-writing

through

performance

young

altogether unsatisfactory.

quite

are

scales.

Beethoven,

friend

progressions.

students

pianoforte

of

performance

contain

a

especially of

playing

practise and

pianoforte

as

of

our

never

uneven

works

to

few

of

show

usually evince

they

much

say

and

works

Sonata

like

ask, their

I

what

want

finished

have

many

particularly

giant

such

so are

to

mastery

whenever

me

They

that

pianoforte

it, the

of

houses

technique,

and

andante,

rule, unrhythmical,

a

most

high

to

they

scale.

answer

whose

lady

young

typical

masterpieces

Appassionata

tempo

a

me

they

ever

be,

or

in

and

request,

the

After

often

(most

my

of that

play

to

come

and

"

of

branch

she

scanty

the

to

like, therefore,

knowledge

experience

my

Ballads.

Chopin

to

been

should

ask

limerick

so

was

attention

play great

to

important

Variations,

them

I

and

me

brio!

males

they invariably attempt

Handel

two

Rio.

skill

is true

also

to

well-known

a

whose con

case

play

of

me

drawing

and

sufficient

and

Rio,

her

SCALE?

come

Allegro

for

"

than

students

do,

can

of

attempting

has

raw

lady of

females

London

and

remind

it is because

nearer

It

majority

excused

young

A

who

instead

be

must

PLAY

students

young

played Andante I

YOU

TV

to

sufficient

? be

As a

command 30

referring "

:

He

if sheer of

to

makes

this

of

execution

performers, in

up

excuse

piece

such

expression

itself nonsense.

the

did

not

For

expression

YOU

CAN

PLAY

A

SCALE?

SI

and ineffective. In a reproductiveart, only be halting,stilted, the perfectrendering of all the emotions such as pianoforte-playing, inspiredby the music can only be obtained through unlimited control of technique,which, of course, impliesabsolute mastery of manual dexterity. talented amateurs who So many reallywish to study their art attain professionalproficiencydo not realize and to the backbone first acquire what is generallyknown artists that they must among school school." The world used in this sense as a good means a firm by which difficulties background of technical principles in the most The be solved can logicaland profitablemanner. acquirement of these principlescan only be gained in the years which should of hard work serious at precede any attempt performance. in the light of my views this It was on interestingto me, subject,to have been present recentlyat the Dancing School of the Russian Ballet. Here their greatest stars practiseevery day, exercises for several hours, technical and eventually steps which intricate constitute wonderful and ballet. And a though to the seem intolerablydull, yet impatient the mere study of scales may it is a wonderful growing gradually,and feelingto notice power insurmountable. things becoming easy which at first seemed can

"

"

PERFECT

On

the

piano

mastered, but of

the

bad of

passages technical

none

there more

SCALE-PLAYING

are

many

runs

branches

of

virtuosityto

be

perfectscale-playing.Much impedes pianistsfrom gettingthrough is due to ignorance of this important

essential

fingeringwhich elaborate

"

than

detail.

equal necessitywith scales are arpeggi,which should always be practisedin conjunction with them, with every kind of should make different and serious student accent rhythm. The a point of studying these for at least one hour every day, playing scales and ar])cggiin ff)ur different tonalities each day, and going in the through all their harmcjiiic developments as set down compendium at the end of this book. I believe in ])ractising scales slowly, and playing each hand concentration and, above all,in working with the utmost .separately, of the mind. One hour of concentrated ten practice is worth hours of mechanical of difficultiesby people who scarcely repetition of think what never scales, must they are doing. Practising,even Almost

become

of

mechanical,

fjr

the

labour

is vain.

HOW

82

The that a

no

the

touch

most

PLAY

always

has

note sini:;Ie

harmonious

of

should

student

musical

TO

THE

he

PIANO

and intentlylistening,

uj^lyst)und, hut

an

antl the

is round

produced

tone

that each

is

and

be

played full.

sure

with Even

uninspiringexercises can be made to sound pleasingand if played with scrupulous attention to the quality

tone. MENTAL

A

essential

that a certain pressure scale-playing the keys with should be given on linger as it falls. The every importance of this pressure lies not actuallyin itself,but in the For the action of making the effort of principleit contains. each stimulus. This idea of note gives a mental pressure upon activate work is also advocated to continuallyrenewed pressure of the professors of physicalculture. by some Springs are made

It is

to

this end

STIMULUS

in

"

in

for

dumbbells

the

hands

of

"

victims

body have realized by minds of their patientscan be concentrated to press the spring of the dumbbell, their trainers of

the

These upon. experience that unless the to

press

their work

by having actions soon become purely and automatic their muscles to exercise cease properly. it is also on So the pianoforte keyboard. The player'smind is kept alert by having to press the fingersdown the keys, upon and thus think about what he is forced to being doing. For if the fingersmerely run the keyboard without over attention,that kind of practice do no possiblegood whatever. The mind must can be the the soldiers like whilst a ilways fingersare present general, who his behests. obey No doubt every beginner should seek out a good teacher to him show how about to set conquering difficulties,but however wonderful the teacher, it is up to the pupil to concentrate and see that his mind works in conjunction with his fingers. Hard work for the mastery of detail and unlimited concentration of thought for arriving at any reallyfine performance on the are necessary pianoforte. A

The

fault

of

COMMON

FAULT

players preparationbefore attempting to sufficient.

And

most

for

this

the

on

who attack

teacher

to

come a

me

great work must

is that has

sometimes

not

be

their been held

responsibleto a certain degree,because, naturallydesiringthe pupil make Liszt's he to quick progress, gives him Rhapsodies and Beethoven's few months of to play,after only a greatest Sonatas perfunctory study. The students also YiLve a natural desire to

CAN

YOU

astonish their parents and the

of

spending

a

good

PLAY

A

SCALE?

83

gratifytheir patrons, deal

of

on

money musical

their

often

musical

justify

to

education.

feeling, relyon so-called charming touch, and which have other elusive qualities, enthused over possiblybeen by their supporters ! Thus they fritter away valuable time in chase down under a severe and accomplished of shadows, instead of settling to genuine hard master study of scales ^nd other exercises. I am how constantly seeing advertisements by teachers of But I know to play the piano in five minutes by correspondence! by my own experience that after thirtyyears of continuous study there are stillmany that I cannot solve. problems in piano-playing Most

of them

and

"

"

"

"

SELF-TAUGHT

There and

facilities for

without But them

are certainly

having

these

few

are

it will

geniuseswhose

occasional

the

been

PIANISTS

them

pianoforte enable through

and

the

workshop

far between, and

generallybe

found

that

to

of

exceptionalpowers perform in public

the

technical

school.

inquiringcloselyabout upon their labour and in difficulty

are mastering technical passages immeasurably greater than those of other pianistswith far less talent who have had the advantage of thorough schooling. often of the lack They will most complain bitterlythemselves of that foundation of technique they never had the opportunity the want of which of acquiring,and continues to hamper them who was through life. In fact, one of the greatest livingpianists, told me that he would have saved practicallyself-taught,once himself of drudgery if he had been able to study one ten years with like Leschetitzky. a great pianoforte teacher year The hands of such and movements self-taughtpianists,too, almost always look ungainly and distorted on the keyboard when And this is not playing awkward only disturbing to passages. the eye but very often also to the quality of the sound, which laboured and strain. The severe quickly becomes heavy under arrives with such disabilities must indeed have player who such genius for the piano! Hut there are not many highly-gifted in I the o f wlu) succeed in world, people s])ite every obstacle. believe the inhabitants of this globe number fifteen hundred over "

millions, but

"

amongst

them

all there

are

nc)t

more

than

a

dozen

reallygreat pianists! Therefore,

student, learn

to

exactly,rhythmically,smoothly, and before and elegantly evenly,clearly,

carefully,tunefully, and arpeggi eventually (|uickly, embarking upon the performance

play

scales

the

of

in

Heaven

to

therehy

to

for

up if

them

pianoforte

inspired

an

make

help

cannot

of

works

great

PLAY

TO

HOW

84

they

literature. while

way of

lack have

PIANO

THE

practice not

learned

Many playing, this

on

to

play

cast

I

hoping, earth! scales

their

up

suppose,

But

Heaven

and

arpeggi

properly.

N.B.

A

of

compendium

"

is

given

at

the

end

of

this

book.

scales,

arpeggi,

thirds

eyes

and

octaves

V

Chapter

ELEMENTARY

arrive

To

at

essential

start

to

'mechanical

side

of

am

in

the

of

of

sense

a

rhythm there

Nowadays, these

elements

them

while

greatly in

he

the

one

is

is

difference

Now,

to

about

the

this;

only

fourteen

persists

one-half

for

inch

an

Again,

hours

a

will

from

the

will

while the many every

on

a

table,

still another

and

also one

who

should

Perhaps

this

play

is

a

to

sit

which

is

there

good

him

doubt

no

common-sense

crankisms

many who

will

practising

will

he

only

no

thing

important

teacher

one

extent

He at

will

success

than

liftinghis fingers more

from

it

at

arrive

him

tell

day, just doing finger exercises.

exactly

keys! that

another

tlie

use

in

that nature

the

only

way

to

it is necessary

to

keyboard

for

of

hours

scales!

do

might occasionally 35

be

by

exercises at

all, of

development Then

technicjue is "Anathema," tells them

is

learn

practising

purely mechanical

and all

the

that

pretend

hours

as

to

certain

without

exists

there

course

interested

produces.

For

of

outcome

a

most

playing.

piano

believes

declare

to

teaching

child

the

beginning,

of

go

never

fingers, by playing

such

he

tones

properly, the

never

years,

another

the

the

entertain

And

appreciate

begin and

and

it makes

as

to

of

assure

always playing pianissimo, only

study,

given

may

interest

unconsciously.

is the

the

will

this,

teaching children

of

systems

that

forms

supple

a

development.

musical

to

various

method

play

who

another

to

if he

fifteen

to

sounds

progressions

necessary

purely

be

of

the

is the

together with pupil

piano

may

produce

the

mechanical

student

and

object, but music,

able

Of

to

way

hand

the

the

beginner,

that

so

with.

begin

the

and

ear

of

and

technique

the

should

technical

good

both

it

piano,

instruction

gradations

a

train of

main

almost

the

the

elementary

in

the

of

study

case

and

many

regards

with

to

system

go

is

learning,

all reliable

the

which

really play

start

that

about

the

and

as

can

that

learn

facilitates

what

the

music,

they

to

hold

to

little

are

of

and

rudiments

the

understand

to

the

the

course,

opinion and

harmony

how

of

articulation, is, I

In

childhood.

from

hand

young,

very

in

result

real

any

STUDY

FOR

PRINCIPLES

there and

are

that

to!

successful

with

a

natural-born

genius,but it would

he

in all the

experience of

assimilation of these of the

of individuality

Fig.

But what And

is such

be merely

a

I.

is a

as

rules

are

a

a

great talent

Correct

and

arm

does in

a

assert

seated

Why,

far to seek ?

system which

part of the hand

positionwhen

good method?

method

to

not

born

thinkers;

the best aids

a

start

guidance and

elementary rules, and

would

call it, to

we

and

when perfectself-expression,

more

a

school,

teaclKTrs

best

the

or

needs, at the outset, the

certain

of

arts

giftedbeing who exceptionally

an

method

any very far without mind For the human

PIANO

THE

PLAY

TO

HOW

S6

of and

direction

the

amassed

the

complete ment the attain-

helps to the

time

itself.

at

the keyboard.

common-sense

exaggerate, and easy

for

comes

one,

No, undoubtedly not !

natural

go with.

surely! It must

that leaves

position. The

hand

every

will

keyboard, and endless time will be saved in arrivingat an easy supplevelocityof the fingers. For the which is involved terrific labour by the neglect of these simple and lightness of articulation,only in mastering swiftness principles, have had the bitter experience of bad those can testifyto who I am. therefore, going to give here a few teaching to start with. I consider the essential pointsto aim at, when of what commencing the learn to piano. then look comfortable

upon

the

POSITION

and

seated

when

at

THE

37

KEYBOARD

far, but

that his

so

the white

notes

when

With

the instrument. his chair

exactlyat

distance, that is

medium

a

at

with

be seated

should

AT

STUDY

positionof the regard to this, the pupil middle of the keyboard,

first thing,then, that presents itself is the

The

body

FOR

PRINCIPLES

ELEMENTARY

to

the

say,

neither

too

near

nor

too

fingersreach and fall easilyand naturallyupon the front half of the he is sittingupright on

chair.

pupil be allowed to lean back, but The seat portion of his seat. always be seated on the forward raised that the be their elbows should at so sufficiently pupil's On

should

account

no

Fig.

2.

Showing

angle will be almost justa littlebelow it as

natural

the

cup-likeposition of the

on

a

level with

the

hand.

keyboard, if

thing any-

in

Fig. i. should be held closelyto the body, and the wrist The 'elbows below matter the keys. Being thus seated, the next dropped slightly should itself. This the positionof the hand to is settling come we be as follows : The fingersshould fall arched upon the keys, the the palm the keyboard, and knuckles raised, the wrist just below this page of the hand on (Fig. 2). forming a sort of cup as shown It is a very good plan with a beginner,to make him take an apple size in the palm of the hand, hold it lightlywith a ball of similar or the fingersspread out round it, and then drop it out of the palrn will then retain hand descends the keyboard. The tiie hand as upon the keys. (See the cup-likepositionwith the fingersspreatlupon Fig. 2.) Having thus described what I consider the perfectpositionof the hand, I will now proceed to explain how to exercise the fingers in order

to

retain

that

shown

position,and

make

it become

a

haf)it.

This

TO

HOW

38

will be arrived

the

by practisingin

at

arched

well

fingersdown

THE

PLAY

on

PIANO

five consecutive

to

Press

followingmanner: white

notes,

the

and

fingerin turn, holding the others down meanwhile, and strike the key with the lifted finger, taking great care all the time that the hand is perfectlysupple and exercise, done every day relaxed, and that nothing is stiflf. This will soon for five miiuites by each hand give the fingers separately, and hands a perfectlyeasy and natural positionupon the keyboard, and preserve the cup shape of the palm of the hand. (See Exercise No. I in compendium at the end of the book.) altogether. Then

down

liold iheni

lift each

POSITION

CUP-LIKE

A

acquiringof the cup-likepositionof enormously useful later on, in the playing of This

the hand

will be found

scales and

arpeggi,as the other fingers. In conof the thumb under it allows easy passage nection I would further with the strikingof the keys by the fingers, it strike with its the fingerand letting say that merely putting down own weight, is no good, as the sound produced thereby is inadequate uncontrolled.

and

idea

My with

a

This

is that

certain

of

amount

should

pressure

lifted,the fingermust

when

pressure

be

produced the key, the

the note upon from the forearm

be

brought

which and

down

is struck.

transmitted

being all the time absolutely arrives at a higher development the student relaxed. Later as on, the be exercised purely from of fingertechnique,the articulation can fingers,but in the beginning, in order to acquire a full round tone, of pressure the forearm the control must be taught from by means

through

from

the

fingersto

wrist

that part.

Again, above for relaxation

of

all,I the

cannot

wrist, and

too

the

much rest

the necessity insist upon of the body, for in it consists,

obtainingan easy and sure be forgottenthat as the piano is a also never technique. It must be to produce instrument, the great object must purely mechanical without the sound all gradationsof tone being either forced, harsh in the production of such stifif. Moreover, the cardinal principle or in complete the wrist, remain is that the body, and especially tone I

am

convinced,

half the secret

for

relaxation. of tone on the piano as any to hardness Nothing tends so much precious rigidityin any part of the body. Also to obtain this most be of the of the articulation must entirely fingers quality flexibility, I have and of the as hand, controlled, generated by the muscles alreadyexplained as regards force,by the forearm.

PRINCIPLES

ELEMENTARY

the recapitulate

whole

39

CONTROL

FINGER

To

STUDY

FOR

matter

and

condense

it,the principle

be established up is that all control on the keyboard should fingers,the hand and the forearm, the wrist remaining

by the entirely fingertechnique,and

set

opinion,appliesto all is essential for arrivingat a completelysuccessful issue. also be taken not to allow any beating of time by the Care must head trick, foot, as this may or easilydegenerate into a nervous of and the movements tends to encourage and certainly rigid jerky the beginner,after each exercise body. It is a good plan to make off the keys and shake it gently from the that he does, lift the hand that that the relaxation is preserved,and wrist, so as to ensure there is no excessive effort or fatigueof the muscles or any cramped lift in the fingers I do not believe action whatsoever. strivingto too high off the keys every time when strikingeach note, because, like the piano, every instrument in a highly complicatedmechanical and naturallyany be conserved as much movement must as possible, effort only tends to lose time, thereby impairing the velocity extra supple. This,

in my

in fast passages.

very

people think high they can get

I do

not

Some

that a

by teaching that

clearer

and

the

distinct

more

fingersbe lifted but articulation,

from my agree with this,as I have always found that if the wrist is relaxed, thus allowing absolute

own

perience ex-

freedom

and with much fingers,they will articulate just as distinctly, added lightnessand qualityof tone, if not lifted too high. The most important elemental stage of thus holding the hands in a natural supple position,having been well initiated,by means such as I have just been trying to explain,the pupil will do well to until he has exercises of all descriptions, proceed with five-finger and the positionin question, it has become a thoroughly mastered second With thus. nature to hold his hands to him a child beginner of from six to ten, after a month for not more than of i)ractising the hands, according to my ten minutes a day, if well watched, sonal perexperience,should be absolutelyin order. The Five-Fingcr Exercises of Hanon excellent in this respect for settlingthe are fingersin the right way, and also will keep a child interested in the different groups of notes better for the presented. I know of none of elementary practising. purpose to

the

TECHNIQUE

We extended

must

pass

on

from

IN

POSITION

EXTENDED

exerci.ses to five-finger

positionsof the hand,

such

as

are

to

be

the

techniqueof

found

in scales,

HOW

40

PLAY

TO

PIANO

THE

here to speak of I propose arpeggi, chords, thirds and octaves. about scales, two scales and arpeggionly,and shall first say a word or exercises I have for which the tive-finger are, just been discussitig of scale But the of course, great difficulty merely a preparation. in how which consists to successfully learning playing, pass the thumb without the other fingers, under causing a break in the continuity exercises, though through them of the sound, is absent in five-finger of holding the hand on the keyboard, the student learns the rightway called upon in the when that it is always ready to do its work so scales, and also the fingersare trained to exert the necessary pressure the key. on

In order

to

STUDY

SCALE

BETTER

obtain this smooth

passage

in scales, I

of the thumb

kept absolutelyloose, and that in is ready to pass, the wrist be raised when the thumb slow practice, temporarily from its usuallylow positionto a higher one ; also the has to pass (in fingerwhich strikes the last note before the thumb inclined be slightly scales it is always the 3rd or 4th finger),should is going to travel. the hand the direction in which towards Taking the ascending scale of C major, in the right hand, for what I want to pointout by a diagram thus : example, and illustrating that

advise

wrist

the

C.

(i).

be

always

D.

E.

2.

3.

F.

(i).

G.

A.

B.

2.

3.

4.

C.

(i). Thumb.

Thumb.

Thumb.

-^Ascending right hand. It will be

the E, which

that upon

seen

is raised

the line underneath

and

inclined

is struck

by the 3rd finger, the direction

towards

the

represent the lifting up of the wrist, and the incliningof the finger. The thumb then passes easilyunderneath has

hand

to

the

fingerson

same

movement

and hand.

so

as

so

go,

to

to

the next is

repeatedfurther

through all the

on

F, without

note

octaves

descending scales,the

For

raised when

the

thumb

up in

falls,and

C.

B.

A.

G.

5.

4-

3-

2.

The

awkwardness.

the scale after the

ascending scales

4th finger,

for

the

The is reversed. process follows the fingerwhich

in the direction the hand

downwards

any

to

go.

F.

E.

D.

(i).

3.

2.

Thumb.

-^Descending righthand.

has

C

(I). Thumb.

right

wrist is clined it is in-

ELEMENTARY

In

left

the the

only thumb,

hand

order in

descending

the

wrist

and

the

wrist

at

In

finger

the

in of

passage

direction the

fast

In

actions smooth

an

and elastic

various

finger

thumb, scales

only

undulating and

passages.

supple

be

before

and

this

in

the

the

is

and

impede

swiftness

and

motion

remains,

articulation,

and

and

finger,

in

the

being this

is

also

gives

lifting the this

facilitates freedom

of

as

ungainly,

which

of

action of

disappears, look

spondingly corre-

inclining

greatly

practically

movement

the

and

passes,

right, at

principle

the

the

raised

fingers

smoothness

ensures

is

4th

or

in

as

tonality,

every

travel,

to

used

the

thumb

41

wrist

3rd

of

similar,

hand

the

at

scales

the

say,

position

all

should

to

STUDY

is

process

and

inclining

fingers the

is

scale,

observed. the

same

that

reversed,

ascending

one,

the

exactly

is

the

FOR

PRINCIPLES

elegant

and

character

tion. mo-

gerated exagbut

a

imparts to

the

VI

Chapter

TO

HOW

HINTS

FURTHER

SOME

THE

MASTER

KEYBOARD

Tone

is another

scales,

for

human

of

fingers

Even

the

weak

the

are

fact

this

the

weaker

are

the

which

upon

transmitted

is here

used

of

pressure

the

compensative by

his

the

which

mind,

and

is alert Later

it will

principle

the

is

gradations

of

expression

the

of

the' mechanical

sounds Scales

black

notes

difficult to

the

should

to

lack

keep

them

space.

that

the

arm forewhen

upon

The

exercises.

pressure

conscious

habit

it works

upon

by practice,

give

to

extra

an

he

as

detects

may

quite

the

tempo,

Finally,

day

of

rounded

42

not

stimulus work

to

piano technique

of

imparting in

and

as

as

light life

fact

the

into

music.

it

on

important

as

the in

does,

so

to

do,

white

the

changes

which

Upon

it will

this

shade,

and

in all tonalities.

slightly extended,

it is

it has

that

part

a

instrument

as

muscles,

is, constituting,

mind

be

working

forearm, the

its indirect

by

illustrate

to

properly.

vital

every

of

conscious

muscles

and

the

control as

again

serves

through

fingers

based

played

fingers

the

of

be

the

the

by

which

in tone

the

insisted

already

pressure

absolute

how

seen

i.iuscles

upon

by

tone

the be

from

fingers, according

it becomes

through

by

struck

it.

on

command

to

on

of

control

action

its direct

by

much

^th From

firmer

and

unconsciously

weaker

fingers, establishes

the

upon

and

ones.

pressure

fashion,

its administration

theory of

the

the

of

equalizing

This how

they require

that

ear

certain

4th

notes

louder

by

established

the

to

pressure

to

performer

the

forces

be

I have

in this

been

having

the

the

playing

that

strong

that

five-finger

in

equalizer,

an

and

mind

the

as

3rd

corrected

fingers, as

the

in

fall.

5th

be

articulation

the

of

speaking

are

only

the

to

liable

4th and

can

and

for

constituted

so

consequence

3rd fingers

and

weakness

This

natural

strive

to

others, namely,

the

ist, 2nd

the

object

physically

than

and

ensues

those

than

is

hand

ones,

1st, 2nd

the

difficult

most

ARPEGGI

AND

CONTINUED

SCALES

be

ones,

the

found

owing

practising scales

that

HINTS

FURTHER

HOW

MASTER

TO

THE

KEYBOARD

43

therefore it is always they should be played absolutelyct)rrectly, each hand separately. to practise

best

ARPEGGI

In

ways in than

arpeggi

jumps, the

which

the method

The

have

idea is the

itself is how

to

of

found

same

as

smooth

Showing

the

the notes,

(in this towards This

case

how

it is the

the direction

3rd

of

the hand

which be

falls

illustrate first

from

and small

presents

C.

On

the

lines under-

raised wrist

just before

from has

placed upon

length away

in

thumb.

fingerwhich 3rd, on G) is raised

fingershould

inches three-quarter

show, by the

the

to

G

between

3rd finger placed with passage

to

arpeggio

problem which

The

jump

I attempt to

for

neath

the

wide

successful with students.

very

in the scale.

over

the

in

master

intervals necessitate

the

negotiated. I will take C major in the right hand,

accompanying diagram

FlG. 3.

difficult to

more

be

to

Lhave

which

even

them

in

scales,as

chord

common

is

smoothness

some

the

the wrist

the and

thumb inclined

proceed. note exactlyone and edge of the key towards to

the

HOW

44,

the

of

back

C, upon is about

keyboard, and the thumb nail away lengthof its own

the

just the a

PIANO

THE

PLAY

TO

quarter of

inch.

an

fall underneath

should from

the

it

key edge, that

Thus:

(THUMB)

aHUMB)

Fig.

4.

Arpeggio.

showing

relative

C major. Right hand positions of the thumb

ascending, finger.

and

positionis reversed, as follows : The thumb and three-quarter-inch falls upon the note at the one positionfrom and it is lifted up by the wrist movement, the edge of the key, when the thumb the case the 3rd or 4th finger, be, then falls over as may to the note below, about one-quarter inch from the edge of the on down

Coming

key.

Thus

the

:

C major. Right hand descending Arpeggio. of from beginning with 2nd diagram), right (starting relative position of the E, so as to show finger on fingers used.

Fig.

The and

5.

movement

helps to

prepare

for smoothness

of the wrist makes the hand *

Arrows

for the show

next

at

position. The

direction.

the

jump

principle

is similar that

in both

is to say,

hands

the left hand

when

KEYBOARD

scales, only reversed

in the

as

THE

MASTER

TO

HOW

HINTS

FURTHER

ascends

the thumb

45

in the

by the the key,

placed one and a quarter inches from the end of it is the 3rd or assumes w^hile going down 4th finger which position,the thumb fallingon the key at the quarter inch from end of the key, as in the ascendingrighthand arpeggio. wrist

and

Fig.

6.

thumb

the

C

Arpeggio.

(starting from on

other

C,

major.

left of as

so

to

Left

diagram), show

the

hand

left;

is lifted

that the

ascending

beginning with the relative positions of

fingers.

C Fic. 7. Arpeggio. descending major. Left hand (starting from right of diagram), beginning with the the relative position of 4th fmgcr on E, so as to show the

fingers used.

rules apply in all the varieties of arpeggio Exactly the same playing. who wish to acquire any for students It is absolutelyimjK-rative of scales in pianoforteplayingto practisea good amount proficiency and arpeggi every day as given at the end of this book, for these *

Arrows

show

direction.

difficulties

get

a

fine

B

easy

which

investigating

C

of

ivho

he

with

morning

keyboard starts

A

the

Therefore,

on.

ever}'

find

are

PLAY

TO

HOW

46

course

a

technique will

be the

the

of

of treasure

to

him

and

a

advantage of

pianoforte

no

will mastery to

one

can

thoroughly

and

arpeggi

and

inestimable house

regularly

work

scales

coming

which

without

piano, his

starts

PIANO

THE

him literature.

gradually over

when

the he

VII

Chapter

SIXTHS

THIRDS,

TECHNIQUE:

ADVANCED

AND

OCTAVES

I

here

PROPOSE

of

pianoforte playing Of

Octaves.

and

this

course

the

But

gives rise.

chiefly intended confine

shall

that

I

in

occur

personally

less

I

going

of

explaining

to

of

stages

student

every

one

bring

him

to

of

To

great

pianistic style" thirds no

instead

they

make

together

with

that

mean

doubt

an

a

it be

preserve

a

point

exactly

of

for

be

aim

the

which

may

art.

in

passages I

precision from

them,

of

it

otherwise of

that

note

necessarily

should

loses

all their

playing,

all passage

into

degenerates

agility and

giving sions, progres-

opinion,

my

I

compose

thus

tone,

A

this

By

one.

"

"player-

a

double

to

in

thirds:

term

notes

single notes,

or

display

the

that

I maintain

For

sixths,

both

pressure

same

away

the

ing play-

note

it must

what

in

striking

the

outline,

notes

double

"pianistically plastic"

charm.

thirds,

in

of

sequences

and

melodic

a

these

play

absolutely mechanical

character

whether

of

study of

the

to

thereby taking

but melodic

seek

people

many

with

then

commence

the

of

modem

as

cuts

I

and

OUTLINE

MELODIC

A

his

of

branch

proficiency in this

are

difficulties

the For

it

now

two

or

shortest

and

out with-

students,

virtuosity.

easiest

the

discover

to

make

to

mastering

in

subject which

to

working

pianoforte technique requires great development and such-like independence of the fingers, so of

Sixths

written

discussion

am

useful

find

complex

technique

Thirds,

been

have

for

that

or

of

study

treatises

practical help

more

these

in the

material

remarks

the

myself

which

methods

few

for

and

the

all

advanced

or

really a highly complicated

is

books

nearly exhausting

higher

found

be

is to

as

innumerable

which

about

briefly the

discuss

to

mere

musical

every

significance. For

whereas

the

embellishments, often prove

the them

case; to

regard

some

on

be

the

elaborate

earnest

musician close

contrary,

intricate

and

reasoned 47

as

passages

will

cal entirely mechani-

realize

analysis

will

embroideries

that

this

almost of

is not

always

melody.

TO

HOW

48

in

Now musical

double

witb

melodic

tbis is all far

ideal remains

with

only having to

results are

one

be

will be C

which

start

and

it is to

to think fin^^^er

managed

USE

Well, I will

more

enoujj^bas at

E.

of

sort

some

line to

But the the

accomplish satisfactory is

of, what

be done

to

when

?

once

CONCENTRATION

MENT.M-

from

obtain

develop. as complicated,especially in as bere, just as mucb

acbieved

be

to

bard

And

simpler case. two

because

notes

PIANO

passaj^es it is easy to tbe l)rain bas only one

note sinj]^le

contour,

THE

PLAY

the

Next

first third come

D

in the

scale of in

F, and

and

major, attempting to will difficulty C

rapidly from the first tliird to the second one a This is the ungovernable tendency of be immediately encountered. each fingerto run apart from each other, and refuse to pulltogether come at all, A purely mental difficulty though is tbis,and it can be overby trainingthe mind, and accustoming it to govern the hands pass

fingersin complete independence one of the other. In fact I am control and can that in general,technical facility convinced only concentration, and not merely through be obtained by great mental mechanical practice. is why some That people are able to learn to play a scale in thirds

and

they possess the necessary power musical talent have quite as much of brain, while others who may six hours a day at it! will never at .allthough they work master one I do not mean to say by this that thirds do not requirean enormous

in

hour

an

quitedecently,because

they do, only to be successful study, because of course concentrated brain effort. be accompanied by much the practicemust efforts of a good pianoforteteacher of the principal Therefore one faculties the mental should be to stimulate in ever"' possiblemanner of

amount

of his

pupils.

Thirds note, on

should

be worked

with

say. in the third of C and the in the third of D and F on

that is to

the E,

of the

pressure E

fingeron

the pressure

F, and

so

on

up

the top

should

be

the scale.

Fig. 9.) In continuing the scale,after having struck C, with thumb the 1st finger or ascending), the (taking the right hand fingeris raised and D is approached with the 2nd finger. The ist fingeron the C is taken oflFvery abruptly,almost as if it was on a spring hinge, whilst the top note E is held by the 3rd finger,which (See

slightlystiffened and is kept raised. (See Figs. 10 and 11.)

becomes been

down The

after the lower bottom

note

one

has

of the third

TECHNIQUE:

ADVANCED

THIRDS,

OCTAVES

SIXTHS,

^ of the value of the top note by the way be released, practically equivalentto the followingexample might

almost

be

49

it should :

W^^ Fig. 8.

Example

show

to

holding

lower

though it

will not

note

of top

on

has

been

note

in Third

Scales after

released.

be

in the sound of the rhythm. distinguishable This method is, of course, only for slow practice;the action will disappearin fast tempi,but what will remain is a clearness of outline the upf"er notes of the thirds, which is the objectto be achieved. on The wrist should be held higher than in ordinary scales, where it is kept low, except at the passage of the thumb. But by holding the

Fig. 9.

Position

of

hand

upon

commencement

of

Third

Scales.

wrist somewhat of the top

elevated

in third

scales, it

ensues

that

the pressure

fingersis accentuated. Although it be held higher than in singlenote scales, the wrist still be kept absolutelyrelaxed, and the pressure be must must obtained through the forearm actingdirect upon tlir fingers. When the be placed on the key on the 5th fmger is arrived at, it should

TO

HOW

50

PLAY

PIANO

THE

raised even a finder,the wrist being meanwhile and the hand inclined in the direction upwards to which little more, it is proceeding. (See Fig. 12.) Desceiuling,a similar inclined position is taken by the thumb. (See Fig. 13.) In the left hand it is the thumb in the ascending scale, and the the position. 5th fingerin the descending one which assumes side

ball of

or

the

Fig.

10.

Position

finger whilst held

At

the end

fingeringto

the

the

showing upper

one

raising of

lower

and

on.

of this

be

the

is slightly stiffened

used

chapter on page 60 I give what for simple third scales,and also

I find the best for chromatic

scales in thirds.

PRACTISING

SCALES

IN

SIXTHS

Passages in sixths are extremely complicated and are rarely to much extension of the hand, be met with, as they necessitate so and it is consequentlydifficult to play them legatoat all. The general that for thirds, but it is as principlefor playing sixths is the same the continued advisable to practisethem not a great deal,,because extension of the position may injurious to the hand, and prove strain

or

cramp

can

result.

TECHNIQUE:

ADVANCED

THIRDS,

OCTAVES

SIXTHS,

Fig.

II.

hand after Third

Fig.

12.

of Position Scale in Third the from to

has

one

ing ascendclined inthe above position in passing gers the 5th and 3rd fin-

Right hand

assumes

from

to

the

Fig of

3rd

13.

the

and

ist.

RiRht hand

fingers to

hand

descending, showing inclined position

passing down the 5th and 3rd. wlicn

from

the

thumb

and

51

ird

progression the ist

the been

next complished. ac-

HOW

St

THE

I have

to

come

now

been

PRACTICE

Octave

continue

and

PLAY

TO

THE

OF

Technique to

be

PIANO

OCTAVES

for which

written.

Now

every

the

sort

of studies

real octave

wrist,

tension and combining great strengthwith high nervous like the capacityfor playing staccato is a giftof nature,

suppleness, bowing on But those who the violin. do not possess the power can develop it of playing octaves, There several methods to a limited extent. are one being with a loose wrist and the 5th fingerslightlystiffened. for octaves This is a good way in a slow tempo, but when speed is of the arm, contraction required it can only be secured by nervous To the wrist being kept stiff meanwhile. accomplish this needs much muscular strength,as the advantage of the loose wrist has to be discarded, and whenever the rapidityof the tempo intreases,the of the wrist must increase also. stiffening As far as the practiceof octaves ing go, I do not think merely playI have there them in scales is efficacious, and, as already said, branch of piano studies devised difficult this most on so are many Those of Kullak are, technique that it is best to work with them. work unwise excellent. It is very to at octave I find, especially ever it is so fatiguing than minutes for at a time, as ten more playing But there are of helping if overdone. and may injurethe arm ways of octaves. oneself to relieve exhaustion during long sequences useful for all, though generally each of these devices are Some of his for himself according to the structure player finds out means muscles. own particular I mean To illustrate what by these helps against fatigue,I will of Chopin. The great give an example from the A flat Polonaise in the passage is a tremendous

octave

which may

become

Fig. 14.

almost

Extract

from

second

part

length,as

for all

the

left hand

pianistsknow,

lasts 34 and

the

bars, strain

unbearable.

the A flat Polonaise of Chopin, showing lasts 34 bars. in left hand, which

Octave

passage

ADVANCED Here

TECHNIQUE: it is

semi-circular

a

THIRDS,

considerable from

motion

relief to

left

SIXTH^ think

right.

to

of

Thus

the

OCTAVES

53

as

passage

in

a

:

(m i Fig. 15.

Diagram four

e

illustratingthe mental Octaves

as

component

device parts

of

of placing each half a circle.

group

of

for the right enormously difficult octave passage hand ance Rhapsody of Liszt,it will be found to be of assistthe from the wrist to keep changing positionof being high Thus low. to becoming :

Again,

in the

in the Sixth

Fig. 16.

First

positionof

hand

This from

very

small

the tension, and

going again. (See most

action of

continuous

sets

the

wrist

sequences

wrist

held

hi^;h in

This of

gives respitefor of the

the momentum

Fig. 17.)

octave

with

playing.

Octave

same

any

a

second

contraction

nervous

apply to length,provided they are movement

can

in scale-like octaves

which

because

here

are

I should

high arpeggio-likeoctave

^v****i

positionof low

of

hand

rather say,

passages

no

has

speed

in Octave

give relief from

to

and quantities,

rate

a

reiteration.

of

action arpeggi.this same has to be occupied with the

the mind

uncertain

very

form

in

move

tlie distances,or

PIANO

THE

in the

or progressions,

Second Fig. 17. with wrist held

where

PLAY

TO

HOW

54

only

to a

would

for

answer,

of

judging

playing,

fatigue.

For can

all be

jurnps possible

Therefore

obtained.

mental

not

matter

feelingthem. eye judgment be

But

device

will be

in

of any

^

^:^ Fig. 18.

Extract

from

"Hungarian Fantasie" Octave

of Liszt,showing

difficult

passages.

of the Octave measurement lower bridging lines indicate the mental passages of the lines indicate the 2/4 time in which the sound in Triplets. The upper rhythm must proceed undisturbed.

The

help

in the

difficulty.This

contrivance

in groups of threes in the mind, no which they are written. I take an Fantasie

of

Liszt for

piano and

imagine the octaves what the rhythm is in

is to

matter

example

orchestra

to

out

show

of the

Hungarian

the idea.

always be remembered,

It must a

creation

the

of

become

evident

mental

measurement

must

in

with

the

proper

interfere it will

55

that the device

of course,

imagination and

or

OCTAVES

SIXTHS,

THIRDS,

TECHNIQUE:

ADVANCED

wise

no

be

is

only

allowed

to

rhythm. But as a negotiatingof rapid

always facilitate the

jumps correctlyand continuously. The last passage in the Concerto for piano and orchestra, also serves of Saint-Saens to in C minor of reducing the difficulty illustrate the method by this calculation of the mind. (See Fig. 19.)

^^ Fig. 19. device

Passage of

below, though

Still where

from

considering

more

the

C

minor

sound

hard

intermediate

of Concerto in groups

Saint-Saens

the Octaves of

the

rhythm

than

so-called

notes

between

must

of

remain

simple the

in successive

to

threes,

as

in

octave

octaves

W

illustrate the indicated

3/4

mental

by the lines

time.

technique is have

to

be

that

struck

progression of rapid chords, such as are in the opening cadenza of Liszt's E flat be found to (See tremendous Concerto. with a Fig. 23, p. 57.) This starts of grand chords in C major, which is extremely difficult sequence and can to play accurately, only be mastered by unceasing practice. In such a passage the wrist should be kept loose and the intermediate notes (in the chord of C major it is the second fingeron G) should of be struck with rather a stiff finger,so as to form a sort of ix)int and 5th fingers, however, fallinglooselyon the support, the thumb together with

them,

as

56

two

notes,

octave

form

a

HOW

TO

C

Octave

and

cup-hke position.

Fia

20.

and than

intermediate

with

afore-mentioned

passage

I

should

when

position of hand

Showing

impression.

hand

be arched

ana

:

imperceptible ; in fact,here

mental

PIANO

The

stiffeningof the intermediate

almost a

C.

Thus

Octaves

The

THE

PLAY

give

in chords

the

playing

notes.

be very finger must sUght again it should be little more fingeringwhich I use in the

out'

of

Liszt

the

concerto,

in

be struggling with that who hoi)ethat it may help some may (See Fig. 23, p. 57.) particularcadenza. scales with intermediate For notes, it is of rapid octave very with the fingerin its note assistance, instead of strikingthe middle interferes here with speed,to strike it upon which natural position, in the following as the key with the firstphalange jointof the finger, the

passage

out

of Saint-Saens'

Fig.

21.

Showing

C minor

intermediate

joint

to

Concerto.

note

taken

help speed.

Thus

with

:

phalange

TECHNIQUE:

ADVANCED

Fig. The

above

is

Extract

22.

from

of the first the whole the tip of the finger simply. This only be used in the right hand. struck

But

only by

with

this last is who

those and

also

a

Saint-Saens'

possess

notes

wide

57

Concerto.

between

the

Octaves

can

be

phalange joint of the finger instead of with is a device for facilitatingspeed, and can

helpingrapidity,to

already reached a

minor

C

technical hint for

have

OCTAVES

SIXTHS,

the intermediate

where

passage

a

THIRDS,

stretch

a

considerable

of the hand, and

be used

tuosity stage of virit should

in

technique! I that it as a curious instance of the little ingenuities merely mention make the greatest difficultiesbecome can possible. broken also continuallyto be met What termed octaves are are orchestral and in adaptationsof pieces from scores with, especially Mozart. These have and in the works of Beethoven to be played with great skill if they are to sound reallywell and make a good no

Cpdcnra

case

be

Grand

adopted by

the

student

of

even

advanced

io*o 5

Fk;. 23.

Extract

from

Liszt's

Concerto

in K

opening Cadenza.

flat,showing

fingering of

HOW

58

PLAY

TO

be

effect,therefore they imist

PIANO

THE

studied. jiatieiitly

For

them practising]; with eciiudstrength,tiie wrist I advise iisin^the ist and 5th rin":;ers and fro as if it and to beinj:;kept stiff and the hand oscillatinjj; of one There made the fingerswere are piece with the forearm. excellent studies for the development of broken octave techniquein Czerny's "Kunstfertigkeit."

INDIVIDUAL

And

now

for

a

few

CHORD

words

about

PLAYING

individual

chord

playing,as it

important to discover the rightway to produce a fine and noble when sound strikingthese. The first essential here is to find how to obtain Strength there must strengthwithout hardness of touch. be, of course, tempered by judgment, for without it the pianistwill be unable to give out enough and graduating increase of tone when For especially in a dramatic piecewhere one often meets necessary. of tone with an culminating upon a given ever-growing crescendo force he cannot achieve point,if the performer lacks accumulative end in an anti-climax and the whole this effect,and so the piecemay artistic meaning of the work be missed. is to throw the hands Now to produce strengthof tone one way the chords down on by liftingthem high above the keys before striking. I do not advocate this,as it is so uncertain, and disaster by his fallingupon the easilyovertake the playerat any moment may For it needs notes. great precisionof eye to strike many wrong notes togethercorrectlyfrom a height. force be applied without the extra How, then, can sacrificing the tone of notes or quality? With abrupt chords I find accuracy the followingmethod efficacious, namely, a quick contraction of the forearm, as though they accompanied by an action of the fingers, into the keys. were tryingto dig themselves of a great passage, For final chords the same at the end digging should be supplemented of the fingersand contraction of the forearm of the hand turning round upon the notes with a sort by a motion of jerk,as if it was The trying to lock or unlock a key in a door. time having finished th'Mr digging action should fingersat the same contract Passages ending slightlytow^ards the palm of the hand. mence vehethat has to be struck with great power with a singlenote or action of the hand, also be manipulated by this same can is

so

which

adding

I call the extra

chords, where

"lock-the-door

strength

when

distinctive

though successfully,

with

accent

motion."

It is

most

effective

in

in pianissi^no and even necessary, is required,it will be found to apply

these, of

course,

the

turning

and

con-

TECHNIQUE:

ADVANCED

the

of

traction

THIRDS,

will

hand

only

amount

that

with

OCTAVES

SIXTHS,

to

slight

a

59

abruptly

pressure

administered. In

pressure

volume

from

the

should

instrument recall

cases

and

strength

that

advise

individual

abrupt

his

I

general,

a

the

ahvays

See

of

For and

deep and

his

Tables

first

of

aim

Scales

will

legato

chords,

the and

sound,

elements

of

make

in

whether

produced

thereby

to

playing, of

be

resonant

iron

chord

successions should

tone

forearm.

wood

be

in

or

all

Thirds

his

its

pianist

forget.

page.

from

draw

constitution

next

the

concentrated

hard

avoid

audience

on

by

in

blows which

it

TO

HOW

60

SCALES

IN

THIRDS

J,

"

X^'.i'ii^v

PLAY

WITH

^

^'

.

?-."?:.

MARKED

3-,i'3:^3:ti:^'5'',',.T

THIRDS

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5 HJ?

FINGERINGS

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CHROMATIC

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ti

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I

Chapter

ON

Correct

FINGERING

is

fingering conduces

only

not

of

to

the

VIII

AND

essential

very

a

an

but

of

part

piano playing,

supple technique

easy

music,

MEMORY

it also

assists

in

and

the

to

for

proper

giving light and

it

formance per-

shade

to

passages. This some

is because

and

weaker,

are

when

strength

of

some

the

fingers them

by using

required,

certain

a

by

stronger

are

according

natural

their

to

and

nature,

different

of

gradation

is

tones

thereby generated. In to

the

use

thumb

when

later to

early days of pianoforte playing

the

take

time

these

due

admitted

were

key

with

that

the

reason

the

to

owing that

it

the

all upon

at

it

the

this

by

until

even

wrong

keyboard,

still forbidden

was

and

thumb,

perfection

pedal; of

applied

facilitate

jumps

even a

but

free

until

At

main

and

teachers

quite

legato

tone

be

recently it

short

a

on

so

the

pedal had

enjoys,

now

did

people

employment

of

the

thumb.

by

the

skilful

over

flowing, continuity of

the

tone

and

not

it

to

partly

was

black

the

on

still if it

rate

bound

limited

objection

any

be

can

a

thus

was

awkwardly

the

would

which

much.

smooth,

awkward

get

This

mechanism

so

the

But

to

employed.

the

rather

working

impossible

was

help

its

of the thumb

use

its construction.

was

of

of

fact

to

thumb

and

5th finger

considered

was

ago. The

not

two

black

a

the

or

it

black

notes

really

keys

for

not

were

reached

not

was

if the

the the

consequently

was

think

of

using

Nowadays,

of

it to

course,

application of the pedal, be

can

obtained

in the

most

passages. NATURAL

Pianoforte

TECHNIQUE

technique might

be

almost

said

to

be

divided

exactly adapted

to

suit

into

two

schools. The powers

modernized passage are

one

of

seems

the

by writing

unsurpassed

as

if it

were

instrument,

and

Choj)in,

culminated

of

these

both

as

effectiveness

pure and

is that in

which, the

j)rc-emincnt

pianoforte

genius

of

both

peculiar

been

greatly

Liszt. for

composers

technique

brilliancy.

having

the

as

the

The

piano

regards

pression, ex-

TO

now

62

other

The

school,

and

to

even

THE

PIANO

the contrary,

on

lines

having developed on

PLAY

those

could the

antagonisticto of

the

human

almost

be

described

piano'snatural

hand.

Some

of

the

as

tions limitafinest

pianoforteworks, however, are to be found in this category, two of and Brahms. its greatest representatives ( It nmst being Schumann that I am be remembered speaking here entirelyfrom the point of view of purely mechanical cal technique,and not consideringthe musiside of the questionat all.) of the pianofortecompositions of Schumann, This is why many and so are especiallyalso of Brahms, terriblydifficuk; to master. Brahms of

seemed

never

the

instrument

to

he

stop

consider

to

writing for, but

was

creative

facultydevelop unhindered, Thus of technical unsuitability. some written

are

in defiance

almost

in order to pianist, and effect,would significance

and

let his

imagination and undeterred, by questions

of his most

the natural

arrive

the limitations

beautiful

techniqueof

passages the piano,

investingthem with their full often be glad of twenty fingersto play he possesses! them with instead of the mere ten which In this kind of music, tending as it does more orchestral towards the player must often resort efifectsthan to purely pianistic to ones, obtain the that first all to at seems against fingering mastery reason, For in all piano playing the the difficulties. over though in general should be firmlyestablished that the hand look natural must principle be the keyboard, yet here that rule must and elegantto the eye upon thrown overboard, in order to preserve the necessary expressionand so

that the

of

about

much

at

plasticity. MY

There

fit their

hands.

own

is to

method

My thumb

certain

themselves

fingerany

of the notes

are

black

given

of

the first note

on

cover pianistsdisto specially

and most fingering, particularcombinations of

countless methods

are

for

METHOD

or

by startingwith the of whether irrespective any that then use up the fingers,

passage

the passage, white keys. I

of the the contour is to say, 2, 3, 4, 5, as they naturallyfall within But the passage as deploys under the hand, I substitute passage. those the strongest for the weakest fingersupon the notes which weak

fingersshould

strongest and

the weaker

and

shade.

of them If

by

take

would

ones

ones

The

all is the

natural

on

in the

be selected the weak

on

beats,thus

fingersare the 4th, 5th being somewhat it becomes

succession.

the strong beats

advisable

of

to

The

a

passage, natural light

producing and 3rd;

the ist, 2nd

strong

sequence

of

ordinary course

the weakest

stronger than the 4th. take the 4th fingerit

be

should

will enable

this arrangement

possibleby the

wherever

preceded

MEMORY

AND

FINGERING

ON

it

strike with

to

3

I

63

ist

or

2nd

finger,as Thus

power.

more

U^^

i

^e

X3L

Fig. 24.

Extract

Chopin's Ballade

from

for

weak

in A

^1

J

flat

showing

:

'

3 X substitution

of

strong

fingers.

for weak substitution of strong fingering above is as usually played without fingering eliminates the 4th finger completely,thus substituting fingers. Lower

The

the

strong

for

the

weaker.

where In passages whichever I use notes,

there

are

big

fingersfall

intervals

easiest

between

within

the

successive

the radius

of

each

gap.

Fig. 25.

It is account

not

Concerto

has

gone

minor

start

Rubinstein.

a

fingercan he employed, and can same basis, using up the fingersthat finger. best

of

with the 1st passage this is the case before, but when

always possibleto

of what

in D

be come

finger,on

])roceededfrcjm nearest

to

the

the next ui)()n the

starting

TO

HOW

6i

I make but

here

the

employ

iihistrate the

To

example Fig- -'5) Now

using the the

better

the 2nd the

two

way

and

Rubinstein's

fingersnext to is to employ

4th, or 3rd

example given

tlie white

alike on linjj^ers of usinj:^ the thumb

and

below.

each the

of notes.

upon

the black in

Concerto

other

D

ever, keys what-

keys

minor.

I

give (See

pianistsplay these by

in succession

;

but I find that

or 3rd together in trilling,

and

ist

black

and

kinds

some trills,

///('fingeringof

to

as

PIANO

both

from

an

THE

between

distinction

no

PLAY

the

case 5th,as (See Fig. 26.)

as present itself,

may

in

J*

5i

-2E IkenL

t-i^

tl

t-ii(t

tt*

ht["n^

Nu/

Fig. 26.

This

mode

of

The

Fingering

of

CITvJ^

Trills,

trillsgives velocityand fingering

smoothness

with

pianistswho change the fingers in the example given in Fig. 27, page 52. as frequentlywhile trilling, But I do not find that this repeated moving of fingersproduces either its use, and extra smoothness or rapidity,in fact I do not advocate where the trill lay between in any case it would not be possible a black and a white key. of

the minimum

Fig. 27.

effort.

Frequent

There

changes

are

of

fingers during trills which

I do

not

advocate.

When and

with

it trills, practising

graduallyincrease an

even

the

articulation

is best to

speed can

time slowly in triplet rapiditycombined requisite

start

until the

be attained.

FINGERING

ON

MEMORY

AND

65

methods of fingering always inventingnew them easier and in order to try and make for difiicLiltprogressions, One of comparatively recent origin is for quicker of mastery. Slide the 2nd finger scales in thirds as follows : playing chromatic thus using that fingertwice running ; from black note to white one, the third D for instance, proceed from sharp-F sharp taken with taken with the 2nd and 4th. the 2nd and 3rd fingers, to the third E-G I give on page 60 an illustration to show more clearlywhat is meant. This fingeringis a great help to clearness of articulation in chromatic is always so diflficult third scales,which to obtain clearness, moreover, in double-note playing. passage

technicians

Great

are

BEST

THE

It

safely said that the

be

can

applicationof fingeringare

Fig. 28.

GUIDE

Prelude

from

Extract

to

be

in D

found

For

these

kind,

every

form

which

guides for the right

in the

flat (Chopin),

fingers in legato

^rpeggi of

best

very

different scalej and

showing substitution of

passages.

nique. pianofortetechthe principles of on apply the fingeringas

the basis of all

is primarily made passage progressions,and therefore if students every

which Scales and deals with given especiallyin my Compendium -ArpeggioExercises, they will easilybe able with these as a guide to kinds of passages most fingercf^rrectly they may find in their pieces. modifications in certain have to make They may, of course, the on placesupon the lines I have just pointed out in my remarks also because different strength of the fingers,etc., and they will have

to

only

reasonable

suits their

what

individual

best.

hands

For

it is

easilystretch the length of that can from needs fingerdifferently the one notes must only the distance of six with difficulty!The latter, it is hardly

twelve reach

necessary so

discover

much

to more

that

say,

a

is at

hand

a

which

can

disadvantage,

frequentlythan

as

the former

he

has

with

to

change fingers

his

superiorlength

of hand. A

device which

helps to promote

a

good legatotone

is to

quickly

HOW

CO

the

change

from fnii^jers

5 to

it clown, still h(^Klins;

while

without

note

PLAY

TO

break

a

the tcvipo is of This

a

for hands

witiiout

with

a

;

to

1

ready

but

this

5,

the

on

proceed only be

to can

note

same

the next

to

when

used

speed.

fmj^ersis a very effective way of producing using the pedal at all,but it is only possible

long elastic

stretch.

that

it is

the motives

for

HINTS

ON

Sometimes

it may

be advisable

both hands, if by so spread over be obtained. can rapidityor smoothness doing greater brilliancy, In general,unless such a disposition of the passage is specially marked its use be left to the discretion of the must by the composer, fixed teacher or the ingenuityof the student. For there can be no rule about the employment of such divisions ; expediency and cessful sucto

divide

of

be

to

sound

PIANO

from

or

as

moderate

very

substitution

legato octaves

i,

so

in the

THE

a

so

passage

effect

are

their introduction.

MEMORY

Correct

is a And fingeringis also a help to memory. memory it is now the fashion most as important asset to the modern pianist, for him It will, to have to play everything in public by heart. therefore, not be out of place here, if after speaking about fingering I now with the faculty few points in connection to consider turn a of memory. For

study such

will then, especially, pianist,

the

has

he

as

so

much

a

complicated

accuracy

in his memory

For

the

actor

Also

nature.

sense,

while

remind

him

if he

and

support

he

substitute

unduly disturbingthe to

at

and

once,

be

must

of

for

word

one

the

singerhas forgets for a

a

much

greater the actor. without

another

the

serious it is of

often

than, for instance,the singer or

often

can

remember

to

always be

memory

accompaniment But

moment.

with

of the text, both pianisteverything depends on the correctness from the standpoint of his getting through his performance, and from that of the enjoyment of his audience. Now the more logicalthe composition is,the easier it is to learn Beethoven Therefore the works of Bach and are never by heart.

the

so

hard

to

remember

as

those

of

the

modern

such composers being built up

as

The on former, Debussy, Ravel, Scriabine, etc. that quicklyimpress themselves of structural symmetry generalprinciples the brain,

on

depend p:iore on pos.sess

a

Most

piano.

I

are

much

easier to memorize and

atmosphere

harmonic

than

the latter,that

colouring and

therefore

less definite outline to fix in the mind.

people have their myself find it is

own a

way

of

good plan

learning by heart to

look

upon

memory

on

the as

ON

FINGERING

into three

able

supplement These

them.

Ocular, and

MEMORY

distinct parts of the

divided to

AND

the others I

three

in

same

of

case

67

facuhy, each

one

failure

of

lapse or

the

distinguishseverallyas

the Mechanical

being of

one

the

Harmonic,

memories.

DIVISIONS

THREE

is that which

acquiringthe of sounds, development of progresknowledge of the combinations sions, of a composimodulations, and general musical construction tion. be obtained This kind of memory can by dissectingthe music into so many periods,subdividingit into harmonic sections, figuring the mind and thus stamping upon out the various changes of tonality of the music. a clear perceptionof the form Visual is generated by the impression The Ocular or memory transmitted the brain by the written pages of music made to it as on and notes to seeing the various by the eyes. These get accustomed in the lines in certain placeson the pages, and in definite dispositions different periodsof the piece,and the reflection of their vision on the The

Harmonic

memory

eye of the brain remains music has been removed.

inner of

The

third kind

of memory,

after

from

comes

visible written

the actual

the Mechanical

one,

page

from

comes

the

of practiceand repetition and the habit of playing the groups unconsciously. This last is certainly ence unreliable of the three memories; ilie most because, if by inadvertdifferent fingerfrom in a passage the pianisttakes only once a his hand is accustomed the one to, it may put him completelyout, and

fingers,which from continual during study, take passages progressionsof notes almost

a

breakdown

him

to

can

if he

ensue

retrieve his momentary

mechanical

has

got the other

not

memories

be

solelydepended

I call it sometimes of rescue,

the three therefore

without

upon

the modes

the

help of

LEAUN

In any

fail, the others

of memory must

the other

only.

Auxiliary memory

all three

aid

lapse.

Therefore, like everythingmechanical, this fingermemory to

to

be cultivated

BY

BIT

as

much

two, case, come

can as

is not in fact ever whichto

the

possible.

BIT

memorizing, as well as for the general mastery of a piece,to learn it bit by bit,taking eight bars or reiteration is bad, for it only fatigues the Constant at a time. so brain without imj)ressi()n.It is better to producing the ref|uisite play s(jinethingonce or twice over, carefullynoticingeach detail and It is advisable

for the purpose

of

then

stop

it. (lii^cst

to

separatelyby

heart

so

PLAY

TO

HOW

68

A

as

PIANO

THE

is to learn each hand's part way visualize it mentally with such distinctness

good

to

recjuired. play any given bar by itself be able .to commence and unhesitatinglyat any point in a piece, it is effective to study a piece in asked Sometimes when to do so. the evening,then go to bed and think the music over mentally,note wards by note, and chord by chord, as if reallyperforming it,and aftersleep. Having done this, the student, upon going fresh to work next piece of the evening before morning, will often find that the new returns clearlyto his mind as if it was already a familiar old friend. if the power of learningby heart No need be downhearted one does not come immediately. For nearly everybody can obtain it in considerable a degree by training,though some people no doubt have natural talent for it that scarcelyseems to need a exercising at all to keep it vigorous. Certainlythe pianistwho by possesses has trained it and also arrive nature a carefullycan good memory music the incredible in most at by heart. To wit. rapidity learning the story is told that he Van Bulow, the great pianist,of whom in F Major for the of Tchaikovsky's Variations learnt the whole and played St. Petersburg and Moscow, piano in the train between the same them evening when he arrived ! by heart at a concert the

that

student

doubt

No

the music

he will learn

if

can,

more

musical

the easier possesses, longer he will retain it. It is

talent

by heart, and

the

a

man

of the though one greatest enhancements to extent prejudicial reliability The in the of memory following way. during publicperformance He temperamental player loses himself in the beauty of his music. imagines that he is improvising,he feels as if what he is playing soul. is really the expression of his own Suddenly the dream and finds that he is stillplaying ! He awakes vanishes to actuality is perhaps ! He set pieceby a certain composer a certain part of a He of douche consciousness. cold bewildered by the sudden ! next realizes his surroundings, he falters,he forgetswhat comes this kind suffered terriblyfrom Rubinstein, greatest of pianists, he put down which of lapse of memory, entirelyto being carried

equally

away

certain

by

Rubinstein student

that

temperament, of talent, is to some

his than

is not

Still, better

temperament.

by

the any

exactitude manner

of

of means

the a

the

temperament pianola! However,

Rubinstein, and

what

of the was

the be conceded to genius cannot forgiven to his commanding the temperamental player will find ordinary mortal ! Therefore will generallybe a source in his publicperformance that memory than comBut this anxiety ought to be more of anxiety to him.

FINGERING

ON

for

pensated

and

patience be

by

reasoning

compositions

are

writing, distinguish workings.

the

is

for

to

where

many

that

be

a

of

gift

developing found the

the mind

different

ME

memory

while

power,

but

adapted

admirably

reflection

the

simulated,

even

AND

true

God.

a

most

must

parts

MORI

69

can

be

acquired

temperament The

precise

music

can

of

with

always each

is

of

forms

on

their

most

in

For

complicated be

never

Bach

memory.

by

the

his

phonic poly-

alert individual

to

Chapter

COMMON

SOME

MISTAKES

IX

ADVICE

AND

HOW

TO

AVOID

THEM

When to

student

a

how

study,

"

:

I have

any

likely no

are

Master,

what

I

serious

has

some

of

in my

of

of

worst

they

beset

the

formance per-

"

He

has

probahly which

most

common

those

which

faults, and students

of

tuition?

careless

players, just

the

piano these

Well,

difficult

very

eradicate.

to

much

as

the

at

their

as

gifted brethren. WRONG

To

begin with,

damaging its

very

dangerous

pedalling There

glamour the

pedal

is

piano

quite capable

otherwise

might

should

pedal

regarded

and

variations

sort

of

passage Misuse

be

be

used

as

a

of

general and

the

fine

for

means

tone-colour of

hot

becomes

pedal

is

of

but

producing at

vapour

to

to

certain

precise or

hear

pedal,

really

the

much

they first

be

allowed

Yet

bad

the

effect

cover

steam

up,

by

and which

start

play

to

of

use

of

and

the

what The

music.

definite

moments,

special

should

tone-effects not

each

as

horrible 70

fault, and

can

affect

great

a

note,

enveloped. a

a

notes

by of

sort

a

piece of

a

never

it

when

marring

rendering

enhance,

to

mist

chord of

a

is

produced

with

ambition.

completely

the

execution.

clamouring

greatest

of

of

more

yet enthusiastic

to

sound

children

even

always

It is their

pedal.

of

blur

pedal carries

that

are

pedal and

one

of

use

The

inexperienced

the

the

so

much

too

deficiencies

that

its own,

than

alluring temptation

many

doubt

no

failing, or

usual

places.

the

to

PEDAL

more

wrong

an

so

up

of

no

another, also

covers

is

the

is such

one

learning the with

in

attraction

It

into

welling

is

piano-playing,

application

performer.

OF

USE

there

good

to

and

be

his

to.

most

talented

most

desires

is, whether

me

himself, and

generally

are

he

finished

fellow!

attention

the

whom

tell

to

you

Poor

his

various, and

has

playing?

unsuspectingly through

and

he

discovered

drawn

the

with

really want

yet

some

artist

when

playing!

not

ever are

fall into

his

the

to

ask,

faults

has

then,

time

many

in

he

one

Aloreover, less

he

faults

What,

may

does

which

several

same

often

very

Serious

play

to

comes

and

COMMON

MISTAKES

AND

alike ; it should

small

it

state

which

produces

the

on

of

in the

even,

ardour

comes

for

the

along beauty

"^A Fig. 29.

Examples

Prelude

TO

AVOID

71

the

listener

is similar

the that

to

lungs,namely, fatigue,nausea,

alas, drowsiness!

ANOTHER

Now

HOW

carefullyguarded against. Indeed, mind

air creates

overheated

lassitude,and

be

ADVICE

the of

BLUNDER

temperamental student, burning the music, longing to make

the

with noble

Pfd7

in C

Sharp

minor.

S.

Rachmaninoff, Op.

3,

No.

2.

the Prelude from in C sharp minor an of excerpt written and (below) as often played by by the composer, enthusiasts with the rig^hthand tion striking each note in the first two bars a fracafter the left. In the third bar of the lower example the chords will be seen arpeggiocd instead of together, and again the right hand coming in after the left in the last two chords.

showing

Rachmaninoff,

(above)

as

{\

elx

Fig. 30.

chords

of

pitfalllies enthusiasm

Prelude

some

fine

ready that

in C

to

the

Sharp

minor.

S.

melody speak

out

cntr.ip his zealous

melody

in

Rachmaninoff, its

Op.

message!

endeavours?

I"otli hands

slionld

3, No.

What

2.

special

Why, in his Ik- j)r")perly

HOW

72

brought

out,

fraction of

he

TO

gets

second

PLAY

hand

one

after

the

THE

PIANO

playing

after

loft hand

the

other!

Only

a

tloes the

right hand strike, but in that the whole sound grandeur in the irritating after which the performer is strivingwill he dispelled effect of one at a part of the harmony always reaching the ear This is a most slight interval after the other. frequent failing musical enjoy tremendously what they people who amongst very does it occur in slow movewith them are ments, playing; and especially when the two hands they will arpeggio the chords between much that it sounds like drawling in speech,or even like to me so enthusiasts lose their sense of the symmetry stuttering. These in their intense of the sound its component pleasure over parts, a

loss of

it is hard

and

music

can

siniultancousncss

that

thus

lead

the

virtue

very

them

of

into

taste, and

of the

line between

guiding

to

a

true

HURRYING

Hurrying by

nervousness,

the

is

the

certain

judgment, proceeds The fervour. player who it to

nearly as

a

of

want

sentiment

THE

of

error

and

lack

of

of

sense

artistic

perception sentimentality.

TEMPO

bad, though indifference,want tempo

of

danger.

Dragging the time, another tiresome of overcause generally from the same this blemish suffers from mostly owes

proportionand

lies in their love

that

and of

is sometimes

caused

confidence, and

the

generalmistake of looking upon a crescendo as an accellerando inclined to be nervOus also give rise to it. People who when are playing before others often get a queer kind of defiant sensation hover in sight; the let's get when technicallydifficult passages with of feeling,which it it over and be done makes them sort hurry in an extraordinary manner. Of course, hurrying may justas well arise from a lack of instinct Where this is the case, it is rather a for rhythm in the student. hopeless look-out, as it is so hard to inculcate a real feeling for is not who with it. But naturallyendowed rhythm into someone it has often been experience to listen to students who were my of rhythm, and yet who highly-developedsense giftedwith a most difficult passages, their technically until I over hurried, especially This kind of increasingthe began to get positivelybreathless. of nervous control. speed was, of course, due to want very

"

"

FAULTY

As

hurrying and somewhat

with

RHYTHM

dragging the tempi are both errors faultyrhythm, I will speak of this next

also

nected con-

as

a

MISTAKES

COMMON

AND

HOW

ADVICE

TO

AVOID

73

highlyunsatisfactoryfailing.Rhythm is no doubt to a great extent individual instinctive,and is bound ments, temperaup a good deal with it be and But must carefullydevelopedby teaching analysis, be bestowed for too much giving every emphasis can never upon from its proper other in music note value, apart rhythmical any factor is essential For rhythm in piano-playing so consideration. a that it is imperativeto cultivate in obtaininga good tone-production, .

it with great attention

to

of outline.

correctness

rhythm, or faultyrhythm, will take all character from musical performance, and will leave an impression of insipidity a where there is no and monotony rhythm, and of irritation where the rhythm is inexact, as the case be. may of always the weakness Close on the heels of bad rhythm comes kind of tone while performing. Plenty of variation using the same for inspiredand is absolutelynecessary of tone-colour interesting playing on the piano, as, indeed, on all instruments. than difficult to arrive the the piano this is more at On on the wind instruments, and needs much study of stringed or even For frequentlywe the techniqueof touch. cannot understand, after coming out from a concert, why what we appreciatedas a really had not arrested attention work fine performance of a musical our of monotony keener aroused or pleasure. A certain sense more, while listening. dullness had crept over us or of feeling, rather want is almost always the Such a feeling, or of his the possibilities result of the performer's failure to grasp in relation to tone-colour. instrument Everything he plays is in Lack

a

of

of tone, therefore a sameness It is a strange pervades the whole.

similar hue

contrast

of

the

and

lack

of

anomaly that

life and the

more

instinct,the

more pianistby in the he is apt to fall into the fault of using it indiscriminatelv same strength,because he takes so much personalpride and pleasure of singerswho in it. It is like the case are gifted with wonderful forth top notes, and. therefore,are always inclined to warble them

beautiful

in

is the

full but

touch

natural

volumes

monotonous

OTHER

of

sound.

FAULTS

SERIOUS

faults which

pertaining hamper pianists, for instance, is, sticking purely the the tlinuih.instead of always keeping it ready underneath out palm of tbe band in order to facilitate its rapid passage during the changes of positionon the keyboard. This is an important affair, is not checked, it will impede if this stickingout of the thumb as There

more

to

are

other serious tecbnical

matters.

Such

the

TO

HOW

74

technical

PLAY

THE

PIANO

perfectionof passage-playingand and

it

cause

be

to

ward, awk-

laboured.

heavy fall into, which is Kccpiiuj the clh(K\.'Sout is a trick that many IxDth unsightlyand tlctriniental in tone-production, because it forces into unnatural the hand a nd stiffens the wrists, as well as positions, and impairs rapidity supplenessof execution. E.x-cessiir movement of the body, too, while playing,is disturbing of elasticity, to the player'spower to the sight and yet it is a bad is much habit which to help people indulged in. No doubt it seems to intensifywhat they are feeling,but this is an illusion. Exaggerated gesture,

on

the

contrary, tends

rather

to

diminish

an

be deep, and weakens it, by a impression which might otherwise the suggestion of hysteria,while too frecjuentlyit borders on the impression is altogetherlost. ments Movecase ridiculous, in which of the body while playing can be divided into two classes, namely, jerky movements (generally confined to the head and ments shoulders),wdiich produce stififness and tension,and swaying moveof the whole frame, which disturb the rhythm.

don't

make

faces

playerspick up the peculiarityof making extraordinary This is a very absurd faces during their performance of music. habit that is terriblyhard to get a fault,but it too often becomes it is done quiteunconsciouslyas a rule, and is also rid of, because of emotion, and instigatedby a desire to express the maximum for the sometimes provoked by the physical exertion necessary making performance of a technical feat. The only remedy for mirror is to have faces a hung in front of the culpritwhenever he is practising. who better the student loves his right hand how about And of not letting the Bible maxim Pie seems than his left? to follow his left hand is doing, chieflybecause what know his right hand that it is is not doing much his left hand at all! By this I mean is generallythe weaker bad to neglectthe lefthand, which member, with notes anyhow, and not to allow it to develop its fundamental work obvious and sonority as the more significance just as much should be the left hand Of of the right hand. never course, it should sustain and the right hand, but permitted to drown harmoniously support it. Young players also err very often by incorrect style in their Bach be played cannot performance of different kinds of music. should pervade with the highly-colouredromantic passion which Some

"

"

COMMON

MISTAKES

of

renderings

spirit

played classical

with

me

is

lurking

always

this he

and

the

one.

sounds

of

spark if

only

the

of

Chopin pedantic

most

and

unnatural

his

You

well,

his

may

but

lessons

which

play remember

genius,

when

And

evils

many

commonplace

right

the

will These

player. the

it.

even

here,

great to

the

lie

may

is

all

hope

to

of

manner

:

you with

play, your

they

I

if feet

must

their

all

would

upon be

pupils,

that him

in

the

result the

talented

pianoforte after

heinous

nothing,

say

only

of

greatest

dejected

his

to

"

exhortation in

a

possesses so

real

many

remains

mentioned

sustain

to

palliates

forceful

most

following manner

up

faults

being

Leschetitzky,

finishing

of

so

there

but

man

the

are

discovered.

be

remember

well

in

which

there

hindrances

fire

individual

genius can

of

grave

divine

that

the

still

only

no

each

it

that

from

are

has

done,

teachers,

the

detail

which

I

French

had

have

direction,

every

one

every

prevented

be

in

reflection,

from

suffers

of

ability

too,

weird

modern

rubato

think

to

pianist

the

consoling

deficiencies

them

for

thereljy

the

with

the

appreciation

of

precision

distorted

disheartening

perhaps

pitfalls

said

dryness Bach

I

75

effects.

It

when

and

the

false

Yet

AVOID

with

of

totally

a

caricature.

the

and

manner,

limelight

not

all

in

TO

nor

music

the

thus

merely

becomes

to

surrounds

approached

HOW

Tschaikovsky,

or

that

Music

school. its

Schumann

atmosphere

ethereal

ADVICE

AND

faults,

telling with

of

gentlemen, was

keyboard feet."

a

satisfying if

only

it

Chapter

TO

HOW

EXPRESSION

WITH

PLAY

"

interpretative artist

true

letting

music

the

critics who

phrase of those as

looking

shoes, to

feel

originally For at

of

power

music

by

life

and

controversies

about

this

pianist whose

part

it is to

interpretation

of

Of

the

of As

from

of the

most

of

varied as

regards of

this the

have of to

but

such the

masterpieces distance

mainly

to

that the

to

diverge,

till the

ideas

certain

of

means

the

should

separates fact

find

must

basic

the

in the

profession. the

and

kept carefully rules

guide

to

it is about

and

these,

music,

classical

called

up

the

music

that

opinion

my

creations, it comprises

written

were

school

to

are

be

must

some

are

modern

or

treasures as

"

whole

as

most

Beethoven

of

death effects

are

recognized

and

and

for

the

distinct

greatly amplified and

though

genius of the composer,

great

arisen

was

continual

interpretation

commonly

remain

similar

very

features.

structural

finest

it

speak here.

and

the

to

his

perversion impossible

now

of

kind

main

the

Around some

that

of

between

there

to

is

expression,

according

which

interpretation in

but

music,

line

it is

presented by

part

forms

this

In

music

in the

There

appeal.

kernel

the

romantic

the

rekindle

public performer

the

and

I wish

compositions

1826.

be

reason

which

what

regards

distinct

aspect

boundary

that

these

to

poser's com-

imagination,

his

demands

that

art

of

music

this

student, from

doing

merely

the

into

individuality with

and

distortion

for

and

view,

some

in

of

vices

odious in

the

course,

of

is

photography.

step

poignancy

so

effect

highest

the

to

ality individu-

its creator.

essentially an

its

least, for

felt,and

by

is

the

with

fantasy,

endowed

endeavour

interpreter

he

and

standpoint of

the

stereotyped

a

attitude

passive

a

with

content

borrow

(to

Such

from

imagine

to

what

again

all the

the

must

be

regard personal thought

art

USE

TO

HOW

only

not "

itself

reproach).

musical

the

at

rather

No;

of

source

a

should

for

speak

AND

PEDAL

THE

The

X

of

contains

thought, which

musical

tions tradipianoforte literature, many the methods interpretation by which of

be

approached. from

us

the

This

time

pre-eminently

some

76

of

is

due

their

great

partly

creation,

performers

PLAY

TO

HOW

EXPRESSION

WITH

AND

USE

PEDAL

77

periods,which their pupils and followers, teachers on a lesser plane. Thus became themselves who afterwards teacher from to student, until by degrees the tradition grew up definite point of view itself into a prescribedand it crystallized given renderings of these works dov.n by renderings have been handed

have

that has

into account.

be taken

to

various

at

TRADITION

ON

LIGHTS

NEW

preter to-day,as always, the mission of the authoritative interthrow to amplify and new lightsupon these traditions, and which his less-gifted to accept the general version content

It is

be

not

have

brethren

subscribe

to

and

for

him,

in music. written

down, like hold

critics who

to

so

poetry it ought

to

people who work of

sort

should

older

express.

is not

to

that controls

get any

to

that

conviction

natural

feelingand

It is difficult to

understand

how

of the great classics

It

performance.

musical

the

arrogant

further

these

sure,

radical to

seems

than

a

sort

submit

genuine music lovers many educational duty. It is, I am

temperament

by

of interpretations

called

of colour, fine

power

which

of

the

on

more

to

their

life

task

much

been

a

were

of

shadow

exactly a authority about be interpreted. They like to invest it with dryness of expression which tends to render

talk with

traditional

the especially

able

be

thought

at

because based

are

music, the

a

same,

line of

emotion

recited without

often

views

such

the greater the

musical

guiding musical

of

school

a

effort

words

masterpieces of music

the

the

or interpretation the be given just notes as they

any

many Artists have

expression.

or

like

They

is

that there

I know

course,

condemns practically

which

the

remain

principlesmust student, they will form

for

Still,even

vision.

his mental Of

for the

as

faith.

reverent

fundamental

great artist the

the

with

to

mere

to

of trial of tediousness endure

good deal divergencesof a

that

me

only

to

a

hold

arrangements

of

as

kind

a

of

matter

ideas

about

such

views

detail

and

majesty of the pictureis missed. times met I have many truly musical people who found liach and Beethoven dull, and were surprised at having been stirred by a which sonata appreciated before. they had never great fugue or been allowed the because And I am certain it was they had never For can opportunity of realizingthe full glory of such music. one

imagine

wealth

great

the true

while perspective,

narrow

of

a

nobler

or

wider

imagination, intellect and

sonatas

of

I'cctbr)ven.

range

in

wliich

feelingthan

to

find

is to be found

every

in the

TO

HOW

78

PI.AY

THE

s

PIANO

of was written in the pianoforte nuisic we know such of simple dance form alleinandes, measures as courantes, These were performed upon very gigues and so forth. pavanes. the best known instruments, being the primitive-keyed amongst only suitable virginals,harpischords and spinets,and they were of treatment. to the plainestmethods Indeed, the story is told of Dr. Arne, the celebrated eighteenthments, of those instruthat he said about one century English composer, earliest

The

"

devil's

It is the

instrument,

own

like

masters,

my

the

quillwith a squeak at the end of it." veloped, dehave Only since the variety and capacity of instruments the complex and polyphonic created and also since Bach which revolutionized harmonies pianoforte music, has the scope of harmonical so greatly enlarged, and the expression become problems which surround it so complicated. The discovery of the the on pedal,too, changed the whole complexion of interpretation technique it seems strange to piano, while in the lightof modern scratch of

a

of

the advent

before

that

think

the

Bach

the

of

use

and

thumb

absolutelyforbidden by the best teachers. 5th fingerwas the hand held high and stiff; a In those days the wrist was the also used for sittingat doubt instrument, no high chair was of rigidity have been one attitude while playingmust and the whole and precision.Any rendering of this primitivemusic was necessarily employed. All violent crescendo very quietand limited in the means effects were fined condiminuendo impossible,and the rhythm was or lilt of the gigues of that the swaying but monotonous to of the pavanes. Certainly statelymeasures day, or to the more to play a piece of it would to say the least of it,indecorous seem,

also of the

the

sixteenth of of

music

Liszt

Chopin

artist

in

his

on

even

Rhapsody, or

a

or, vice versa,

of

of

the

render

to

coldness

the demure

sense

conception

pianofortewith

modern

a

Liszt with

is where

This

masters.

the

a

century

style should different

come

the

the

donment aban-

passionate the

of

in, to

aspects of

early help

musical

composition. STYLE

MUSICAL

And

what

is musical

impression reflected upon modes of thought which was

kind

written.

arts.

has

had

I think

the music were

by

it the

be

can

in former

its diverse

characteristic of the and

and

customs,

epoch

when

suffered

the

it

every

only each just now, of expressing these things in the

centuries ways

explainedas

manners,

For, after all,people lived, loved

of emotion

period

style?

as

we

do

PLAY

TO

HOW

EXPRESSION

WITH

AND

PEDAL

USE

79

of music itself interpretation for the purpose performance? Is it not the employing of all technical means of life into the inanimate to infuse the spirit possible musical it to be kindled into a definite sound-picture form, and cause On the pianoforte this is done of the Hstener? for the mind by tone-values of and variations of accents, diminmeans (crescendo ritardando) {acccllcrando and ticndo), variations of rhythm Accents and the enable of manipulation pedals. varietyof touch, of the pianistto bring into prominence certain notes, or groups tions might be comparable to cries,exclamations, interjecnotes, which bursts in the elocutionaryart, or of sudden colour in to

then, do

What,

we

by

mean

the

of

,

painting. These

scale of human

being

the

of the is

for

emotions,

does

the

to

his

aesthetic laws

same

possible,when

RULES

As

far

give a

of music.

blend

distinct

from

and

Time

should

form

of the Skilful

to

time,

also

be

enable

be

must

to

well

with

descending passage

without

manage

will

notes

to

held

be

always

the

Rhythm,

too,

as

so

indicate

to

atmosphere.

create

sound

which

on

its assistance.

to

diminuendo.

a

harmonies, in order

the

to

clearlymarked,

fall, and

ought true rhythm

accents

a

changed according

be

not

played without

and

is

INTERPRETATION

OF

crescendo,

a

tlie tones,

fingers could where

as

concerned, I are general rules of interpretation few which appertainto what might be called the syntax the following. An Such are ascending passage should

played with The pedal must

as

as

material

and

circumstance

many

far

the

as

be

to

of

what

And

in their work

all these

govern difference

the

him

to

into account.

taken

will

the

imagination, represents painter,or the voice to the actor. of

plianttool

the brush

up through the whole of the pianist, well-trained hand

other similes could be followed

and

colourless

and

preserve

the

defined, that it may

Music

insipid. general

composition.

use

of all these

it is for the

makes

means

mentality of

the

the

up

pianist

to

art

of

employ

interpretmg.

them

in their

dispose of them, and thus invest the whole work with the pulsatingbreath of natural exist in the interpreter a actuality. No doubt there must his outlook, and this can only .spring good taste which will govern from musical and instinct education, trained sound by hearing a by there are without that artists For it saying perform. great goes

varying degrees,

no

absolute

rules

to

mould

about

them,

combine

them,

There interpretation.

can

and

but

l)c

some

now

so

TO

PLAY

THE

PIANO

styloand taste to stimulate the imagination of the student, and help him in his task. I have As already pointed out, thq interpretationsof the of music established tradias masterpieces by great artists become its tioiis. Still the personalthought of the performer should make of the most influence felt in the rendering of all music, even classical type, if that rendering is to be of any and real value to the general dicta interest, only this personalityhas to conform of the style. Thus it will be found fine artists will that no two There be a thousand interpreta piece in the same way. may outlines of

broad

Fig. 31. I.

"

Opening subject

of

Chopin's Prelude

in F

major.

Medium very one

Accompaniment Tempo. legato in the right hand and fingers very the keyboard. No crescendo The diminuendo. or impression is of complete tranquillityor twilight. near

differences

of

particularperformance, and each of them This fact only illustrates how in much imagination and colour may be infused into interpretation well be compared variety. For great musical compositions may beautiful landscapes, which to are ever-changing in colour and effect through the action of atmospheric conditions. On two no days does the country look alike,yet its composition and outline remain fixed,everlasting. It is told of Beethoven that he played over of his own one idea of the compositionsto a talented pupilin order to give him some side,and then asked the student to play the same interpretative piece the ing remarkand This master was again. done, complimented him, that although it differed greatly from cidedly dethe original,it was better.

expression in equally correct.

their

EXPRESSION

WITH

PLAY

TO

HOW

reminds

USE

AND

PEDAL

81

of

asked, after conducting Tchaikovsky, who was of his did he do in the not a so composition why own, before. had done he once as same "My friend," the master way "if conduct this see me again, it will be different repHed, you ever still. It is merely a matter of mood." show different be how To renderings of the same piece may of the w^ork being in any way altered, possiblewithout the structure of the opening subject of I give on interpretations page 80 two in F both Chopin's Prelude Alajor, which equal merit. possess (See Figs. 31 and 2^2.) This

Fig. 2.

"

me

32.

Another

rendering

Slow in the Accompaniment Tempo. fingers left-hand melody brought out hand undulatirfg movement expressed birds of movement impression is one "

"

Another mind

detail which

is that technical

of

the

ripht hand with

subject.

same

accents

half-strength with thrown marked.

as

by a diminuendo singing, or water

it is necessary

for the

and

In the crescendo.

right The

rippling. student

to

bear

in

if they to be played as ought never of purely digitaldexterity,as this method of such makes were only hard, uninterestinginterludes of display,wearisome passages of no value musically. All technical to the listener and passages, even

of

the tht

difficult ones,

most

main

passages

harnK^nies;

composition. Melody also should the

not

shfmld

in

considered

fact, they

are

the

knocked

out

with

be

entire detriment

be

of the

as

embroideries

rhetoric

unbalanced

of

the

thusiasm en-

accompaniment, nor should of a meUxly be given with two tonenotes exactly the same any of sound. colour, for this will Create Every single tone monotony should l"e on a genera! .scale of gradation, each having its own the mechanical lone place in the scheme of chiaro.scuro ; because to

HOW

8'3

TO

PLAY

THE

PIANO

it imperative piano itself,with whicli wc arc deaHng^,makes device that every to conjure up perspectiveand cliarm should be into all typewriting effects of precise service, and above hroui^ht be strenuouslyavoided. strikingmust of

the

THE

In

ATTITUDE

OF

fact, the keyboard ought

Irgato passages be keys must obtain

or

in

caressed

melody with

a

THE

HANDS

to

never

be

struck

hard

at

all in

of

On the contrary, the kind. any of almost sort stroking movement,

And in connection with this requisitetone-values. there is another thing to which I attach great importance,namely, in its attitude on that the hand the keyboard should reflect in some degree the spiritof the music. to

For

the

instance, it

formally when century

music.

would

not

be

natural

to

in the

playing Chopin as Again, in a vivacious

hold

performance piece the hands

the of

hands

as

sixteenth-

should

look

sprightlyand full of energy, while in slow cantabile movements For the they should present a soft and sinuous appearance. even fact of the hand looking hard and stiff during playing will assuredly affect the sound adversely,and rob it of beauty of quality. All these things are with the preparation intimatelyconnected fine of a touch the piano. The word touch," as a musical upon term, signifies reallythe mode by which the fingersattack the keyboard. For the great difficulty with on the piano to be contended w'hen it is necessary to produce a singing tone lies in this, that by its mechanical a composition, if once key is struck upon the instrument, no further modification of the sound-qualityis possible. No vibrato or be afterwards can mellowing of the tone plied apas on stringed instruments; with the piano, all is over when the finger has once fallen and the hammer has struck the strings. Therefore the tone must anything that can be done to sweeten be attempted before the strikingof the note. that By this I mean time should the action of lifting the an infinitesimal elapsebetween fingerto strike and the definite fallingof the fingerupon the key. Touch be thus prepared in the playing of all melody and must and of the hand singing passages with a slow pressing movement fingers. This caressingtouch could not, of course, be employed in where direct quick blows of the fingers rapid difficult passages, time. In such cases, and in the are indispensablein order to save higher development of technical brilliance,no more liftingof the fingersis necessary than is compatible with distinct articulation. "

SOUL

THE

83

PIANO

THE

OF

PEDAL

USE

AND

EXPRESSION

WITH

PLAY

TO

HOW

sustainingpedal,which Rubinstein is the best friend the soul of the piano." It certainly aptlycalled the to overcome the pianisthas at his disposal for helping him it drawbacks of the pianoforte'sconstitution,and without material no legatoplaying or prolongationof tone would be possibleat all. there are two Of course, pianoforte,even pedals on the modern is only used, as its name sometimes implies. three, but the soft one The loud pedal,as it is called,is the real for deadening the sound. I speak of the pedal in future as a important factor, and when that I am referring. The general term, it is always to this one "loud name pedal''is reallya misnomer, as its function is rather I

loud

the

to

come

now

or

"

to

sound

the

sweeten

brilliance

to

and rather

than

that

beat, as

bar

to

DO

The

pedal can qualityto

that

obtain

in the

the

also

open, loudness.

IMPAIR

be

tone,

used

be

used

the

pedal be

never

best

the

example

NOT

also

actual

should

it should

harmonies;

first beat of the with

and

more

also

to

add

pedal is a if badly employed. also l)ethe worst possibleenemy terrible than the general blur cast over everything it is appliedwithout expert knowledge. A few

the tone

good friend it can Nothing is more by the pedal when it simple rules about how I have already mentioned different

it

render

are

If the

follows.

as

be

must

changed

on directly

taken

in

results,but

on

the

syncopation

below.

DISTINCTNESS

in

though

passages here care

to must

give be

a

more

taken

taining sus-

not

to

be applied pedal can the bass note without is given on on causing any blur if an accent is built. The which the passage pedal may be applied in a greater degree in the higher than in the lower registersof the instrument, the higher tones can as stand, and also need, more sustaining

impair distinctness,but

than

the lower

of

sustenance

the

gentlyand

ones,

tone,

a

whilst and

pedal it should gradually.

great

deal

more

last possess of themselves a certain therefore blur more quickly. When plying apthese

never

be

banged

on,

but

pressed down

possess a good knowledge of harmony in order for it is necessary when to be able to apply the pedalcorrectly, using It is essential

to

All of chords. something about the structure of tone by the pedal produces a most unpleasant blurring over be the and must rigorouslyguarded against, impression upon ear, in a when, some particular specialeffect is required. except passage, it to

understand

HOW

84

such

as

F

this

only

TIANO

THE

liallade of

minor

in the

I'LAY

TO

Chopin,

in the

example given

below. But

the most

to

outlying instance elaborate study of tone-colour. is

^^lf^iy".

an

which

reallyappertams

The

generalelementary

^C

% Fig.

Example

Prelude

33.

showing

tlie

pedal

(Chopin). syncopation with

flat

in D

taken

?^t

in

the

beat.

noticed that the pedal is taken directlyafter the note is struck and not 1 he clamp it the finger not being released until the pedal ,s pressed down duration the pedal. of holdnig down the bass part indicates the exact

It will be on

Snde'r

remains

rule for the student, however, the

pedal is bad"

in fact, it is

commit

Professional

amateurs,

but

Fig

Example

34 ^'^'

the the

taken

for

oedal '=. is two P^*^^' "^^".ff"-. ".

faults

the

his

takes

pedal in

a

correct

is

way

minor

Ballade.

bars instead of being changed at each bar. This the wind whisthng through the surging water, or

duration

of

holdmg

pedal.

harmonicallv, upset

than

more

apparent in their playing. This

exact

the

pianist can

much

pedal very

unfefthe'bS'pa'rt Trelr^^L^X indicates the down

a

by

tones

special blurring effect of pedal in Chopin's

showing F

Here Here

so

experiencedartist

the

because

be

blurringof

of the worst

one

use pianists

it will not

that the

so

that

it blends

the'outlines, while or

harmonies, clear colour.

the

and

the

the

tones

player who

neglects to

training thereby produces a

naturallyand

does

not

change

smudge

possess the

of

does

pedal with

sound

not

standing the under-

mstead

the

of

HOW

the

managing

beautiful

by

the

it

sound and

many

is

vivid

most

varied

binding

EXPRESSION

WITH

pedal

The

by

PLAY

TO

indeed

wisely

the the

there

be

can

combinations

together

will

pianist

satisfying

and

of

essence

more

no

different

to

conjure

impressions,

which of

life

PEDAL

USE

AND

pianoforte,

the

up while

out

to

fascinating the

pedal

tone-colours.

85

of the

study is

able

his

and music of

lovers than

to

the obtam

XI

Chapter

HOW

What the

is the

most

time

the

same

acquire

must

produce

to

The

of

most

of

study

the

is

as

of

and

the

at

the

of

instrument "

to

sing! the

make

play fast,

different them

player

people "

and

and

artists

others.

or case

in

those

generally of

of

muster

pass

sound

part

will

In

sound

it

gives

makes

matter,

the

namely,

play clearly,

to

requisite

the

by

tone

all these make

to

or

full of the be

day,

so

lack much

and

of

of

soft,

or

the

this

much

kind

harmony

subtlety And 86

this

of more

quality

music

more

the

as

Schumann,*

variety of of

the

romantic

and and

than

in

forte,

messo

or

to

painter,

keys always

modern

indifference

the

interested

Chopin

as

to

that

the

more

such

elaborate

felt.

of

mainly

striking

easily, as

less

colour

this

does

colour

not

are

compositions own

TONE

loud

performance

the

our

that not

done

play softly;

to

perception

with

either

way,

more so

a

content

are

same

finer

pianists

some

but

OF

pianist what

the

to

musical

of

schools and

the be.

may

whole

the

mechanical

a

he

enough

not

with

STUDY

possess

Besides,

study of tone, less

belongs

atmospheric.

represents

some

is

the

the

How

say,

of

of be

can

"

kernel It

the

only

not

properly

qualify

to

alive

THE

Tone

much

play loudly,

to

be

must

that

or

world

in the

itself

standpoint

and

sing."

play slowly,

to

as

how

vary

is the

instrument

the

heard

are

This

gradations

real

to

varieties

inspiration.

and

realize

to

infinite

its

anything

much

from

power

instrument?

within

also

interpretation

it is wonderful

taste

but

piano merely

Constantly

out.

it combines

For

pianist

a

purity, of abruptness,

of

absorbing

and

attainment,

province

instrument,

to

intricate

all

at

yet

the

surely

not

his

in

and

which

powers

from

tone

teach,

to

Is it

pianoforte

the

on

all the

art?

in his

singing

technique.

Looking skill

necessary

tone

highest technical to

of

thing

softness, of roundness,

and

musical

difficult

and

SING

PIANO

THE

successful

fine, noble

sensuousness,

of

elusive

be

to

a

loudness

MAKE

TO

is

tone

in

will

itself

in its combinations tone

on

the

especially

player's upon

the

HOW

TO

MAKE

THE

PIANO

SING

pianoforte,which yieldsa good full tone struck too directly. not But when playing classical music a dry or

modern if

87

without

effort

any

prosaic tone is a terrible drawback, it renders it,even to musical people,tedious and wearying to listen to, because of the dead monotonous delivery of the performer. Whereas if each chord, each phrase,each melody is reverentlythought out and made to glow with beauty and variety of the great music of tone, all the glory and worth be brought can home otherwise to those might have been bored very listeners who by it. be obtained the on Beauty, and with it variety,of tone, can pianoforteby several means. Rhythm has something to do with it. Pressure of the fingers when affects it ; striking the notes of the wrists help to attain it. In melody. supplenessand elasticity should be caressed of the piano, rneltingone into tone out note another of the hand. In sparkling by an undulating movement technical it should be outlined ot conciselyby means passages in some rhythm, in the w^ay of accents places,and in others by divisions of values, with careful regard to the balance of light for

shade

and will

of the passage. Such conciseness relief for the technical ornamentations

in the structure

produce impart to them

a

fine

vigour

of tone power for chords struck

hand

will

emit

hard,

and

brilliance.

and

AVOID

Great

of tone

is very with metallic

HARSHNESS

difficult to direct sounds

and

produce without powerful blows

that

must

shock

ness, harshof the

the ear.

and appliedthrough the forearm strengthis concentrated into the notes if to the keys, the fingersbeing pressed down as of the piano, the harshness will about to force a great weight out will be the result. be avoided, and full, deep singing tone a the piano is left with the orchestra in a concerto Sometimes alone suddenly to usher in a grand and powerful phrase, the and orchestra tone having just before been playing with immense of sound. This wealth hay)pens,for instance, at the end of the last movement Concerto. of Grieg's Pianoforte (Sec Fig. 35.) his In such a place,unless the pianistcan tone thing bring up to somerichness which the orchestra the volume and approximating to he now has to bring has just left off giving out, the pluase which His performance of it will give in alone will miss its whole effect. of the orchestra, imitation the impression of a poor, stilted,hard like the effort of a mouse trying to carry or, in fact, it will sound But

if the

TO

HOW

8S

the

on

of

of

work with

tone

a

a

So

Concerto

Pianoforte of tone

of E

chords

halanee

be pianistmust and sonority. (Iii)th in the (i|HMiinij^ bars of Liszt's

tlat is anotlirr

the

instance

where

hardness

with

atmosphere

an

in

tremendous

against him

the wh(^le passa"::e unbearable, instead of, as it should the rightqualityof sound, profound, and fraught

makes

be. if given

this acconii)lisli

to

orehestra

cadenza ii^raiuhose

The

PIANO

THK

ji^reatstrenijth witli

able to combine

with

lion.

whole

PLAY

of

impending

excitement.

(See Fig.

27,, page

57-)

Fig. A

35.

The

minor,

end

of

showing

the

last

after

two

of

movement

bars

that

Grieg's

piano

Pianoforte

is left

alone

to

Concerto

in

continue

in

triple forte. if

For the of

chords, it

as

some

do

when

mere

sledge-hammer

a

to

obtain

noise, and

can

upon

great power contain

none

grand sequence of fortissimochords much the same should be invested. In pianissimotone of thing sort appliesas regards the qualityof it. if the tone produced is only a quiet sound, the result of a very gentle fall of the finger on the is there in it? be soft, but what It may key and nothing more, without aesthetic value it will remain cold, impersonal,insii);d, any business is to put warmth or significance.Therefore the pianist's into the softness, so tenderness and that, though pianissimo,the the sound clingsand appeals to ear. chords and of a passage at the end outstanding notes Abrupt without also difficult to play with sufficient terseness are sacrificing concentration the of force of the of but here tone again ; beauty blow given will rob it of the hard noise of the impact, without losingone jot of its energeticcharacter. of the

w^hich

like

endeavouring

degeneratesinto

only epicqualitywith

tone,

down

pianistjust comes

a

a

HOW

One is

to

be

TO

of the best able

to

MAKE

THE

developments

strike

the

PIANO

of

note

same

SING

89

tone-productionon

the

piano

several

each

time

times,

and

diminuendo crescendo of the sound, but a or a only to make actual change in the character of the tone. also to give an In a where the repeated note has dccrcsccndo die away, it is most to it is so true to nature. essential to get this change of tone quality, as again the tone loses a little Every time a natural echo resounds and the qualitydiminishes,and of its significance thus, too, more it be managed on the piano. must It is a good deal owing to clever manipulation of the pedal be produced, and also to a constant that such an effect can tion modificaof attackingthe note. of the mode Upon each occasion that it should approach closer and closer to the strikes the note the hand the merest of the key, until at last the action becomes pressure fingeron the note to bring forth the final vague tone, that floats into nothing at the end of the echo. not

BAD

The

pianistwho qualityought to be

INSTRUMENTS

attained

has

perfect development of toneable to make well on a melody sound any piano, tin-kettle sort of variety one the old cracked sometimes finds even in country villages.This will be no partlydue to his high technical makes skill,but also because the artist who a great study of toneof intuition,after he has played on colour to obtain sort comes a any

instrument

best

results

for

from

a

few

it,even

moments, when

the

a

as means

to

how at

he

his

can

obtain

disposalare

the very

limited.

Therefore

it is not

disadvantage to the student to to only an practiseon at home, for far he is obliged to take more pains to arrive at a fine tone[)roductionon his poor piano. lie will consequently learn more of the particulartechnique necessary for its achievement, at the outset and will possess wider of experience to apply when a range the possibility of more be reaches of expression. adequate means The pedal,of course, is the greatest adjunct the pianistpossesses and enrich his tone, though it may to sweeten equally well ruin its quality unless and technical standing. undercare applied with much For if the pedal is carelessly used, and blurs and slurs of it save over a everytbing,nothing comes heavy atmosphere of have

indifferent

unclean This

always

a

instrument

tone.

fault is almost

worse

than

harshness

or

monotony.

And

in any

it is monotonous

PLAY

TO

1K)\V

DO

nuich

just as

case,

PIANO

THE

tone

as

that

is unsweetened

bhir of this murky sound the continual because pechil, But ahnost .beyond en(hirance. the ear wearies intelHgentstudy in changing careful of the effects of the pedal, and management of the music alter, can the basic harmonies it when develop it and life into the most precious essential for imparting warmth

by

to

the

tone.

the player's on dry and hard tone-production beautified by applicationof be entirelytransformed or part cannot the pianist's This is because it is done. the pedal,however skilfully hard and direct in the actual strikingof is at the outset finger-attack is nothing to be there the keys, instead of being caressing,and So when until this fault is eradicated. practisingit is a good done initial

Still,an

to produce a melting and sustained thing to endeavour melody without first applying the pedal at all ; and the same

be

done

with

tone

in

should

chords.

pianistshould learn to attack them with power and volume of sound, avoiding harsh blows, before evoking the pedal to come he is able to produce beauty of tonehis help. Then, when to ment qualityunaided, he can study pedal effects with profitand enhanceto his playing. The

A

Some

people no

pianist's

best

doubt

endowed

inspiration

for facility piano, generallyowing to the

are

with

a

natural

producing a beautiful tone on the elastic particularconstructions of their hands, which are pliable, But I think sinuous and that, with sufficient careful by nature. study and attention given to the subject,every player can arrive at it seems its acquirement, even a though to some greater difficulty than

to

others.

Anyhow, it technique,and to

is

of the

one

necessary

possessing it

without

make

most

charm

the

branches

of

pianistwill

poetry of expression emanate

or

pianoforte find

possible it im-

from

his

instrument. I

of

can

tone

of

think than For

to

refer that

conclusion fitting

more

no

to

Anton of

to

Rubinstein's who

a

chapter on

attitude towards

beauty this

undoubtedly one of how the piano," used always the greatest exponents of to sing on to tell his pupilsthat he had acquired his knowledge from listening the singing of the great tenor He to Rubini. happened to hear and Rubini was so sing one day, impressed by the wonderful question.

master

"

touch,

was

HOW

quality remained his

to

reproduce

voice

which

every

THE

is

the

student

something

that of

Rubinstein's best

idea

tone-production

of

tone

that for

91

afterwards

ever

the

inspiration of

SING

PIANO

sound-production

Certainly,

piano.

human

one

his

of

MAKE

TO

the the would

his

Rubini's

voice of

sound

pianist do

ideal

to

well

a

upon

beautiful imbibe

to

follow.'

is

Chapter

LESSON:

SPFXIMEN

A

chosen

HAVE

of

beloved

It is, therefore, first

I will be

The

"

the

Quasi

Opus creative

during second

period.

Grove

invented

this

on

then, wanting he

"

by

of

to

the

title

"

In

place.

of

Lichnowsky, "

the

the

this

G, and

in

Rondo

Contessa

edition

own

the

been

discounts

Princess

the

to

the

gave

my

Moonlight

the

compared

But

Lucerne.

Beethoven's

popular "

of

first movement

romantic

it

edited

the

of

various

Le

L' Absence,

the

atmosphere

C and

not

as

the

in

Retour,"

minor

mysterious 92

on

the

order

etc.). to

Sonata,

light

and

I

the

a

several

make

to

Lake

from

name

"Pathetique,"

inappropriate

sharp

scene

critic,

publishers, christened titles

given

musical

the

received

of

public (such

"Moonlight"

moonlight

a

it is

been

have

to

contemporary

have

custom

by

sonatas

to

also

the

after

with

celebrated

a

may

supposed

w^as

first movement

Adieux,

Les

title

Moonlight,"

The

is

which

Sonata,

Liechtenstein.

of

Princess

the

to

by Rellstab,

Sonata

more

the

and

away

dedicated

be

publisher who, of

something

rather

her

gave

has

romance

herself

lady

dedicated

was

one

The

who

its

much

great

Master's

the

as

gether to-

produced

works

his

and

of

were

sharp minor

C

in

the

1802

forming

published by Hallberger in Stuttgart in 1858. and of the Beethoven, Moscheles, pianist, a personal friend

old

stated

to

in

also

written

sonatas

general classified

Beethoven

how

dedicate

to

Rondo

the

took

Sonata an

But

two

and

Guicciardi, and

score.

by recounting

romance

learn.

by Beethoven

1802, and

March, 1801

is

Sonata

Gulietta

Contessa

the

of

Beethoven,

what

to

the

that

known.

should

this

as

as

universally

so

entitled

was one

of

of

part

belong

says

in

years

the

activityon

which was

published

These

27.

this time

to

Fantasia,"

and

it is

Sonata,

the

sharp minor,

C

Sonata,"

students.

to

una

1801

year

of

minor

sharp

people, and is so well of the pianoforte must

of

history

C

Moonhght

lesson, because

all students

short

a

in

Sonata

himself in

give

in

Sonata "

the

as

conditions

which

one

special interest

of

known

and

all sorts

by

the

of

specimen

my

SONATA"

(BEETHOVEN)

movement

commonly

subject of

the

first

the

Beethoven,

"MOONLIGHT

THE

MOVEMENT

FIRST

I

XII

them

ale," "Pastor-

myself think spirit of

the

reflects

the

which shade

connected

with

the

nothing

has

of

presence

all is

where

emotion,

the

moonlight, biit represents cloud, wind and fury.

annoyed

about

of

storm

he considered

it,as

of his other

many

sonatas

"

"

mains reMoonlight Sonata musically;but still the the lovely favourite. Probably the fact,technically,

warm

a

slow

great

a

POPULAR

IS

be finer works

to

last movement

a sharp minor was great favourite from the and Beethoven publication, jokingly even pretended

of its

be

to

IT

93

in C

Sonata

moment

certainlythe

But

moon.

WHY

The

(BEETHOVEN)

with

do

to

MOVEMENT

FIRST

LESSON:

SPECIMEN

which

with

movement

it

is well

commences

within

the

reach

performers on the pianofortemay help to account its fellows,since so many amateurs popularityover their own able to derive pleasure from are rendering of it, in all,of which Beethoven wrote certainly thirty-twosonatas half still and beloved admired ever as are as they were, and nearly continue to form an absolutelyessential part of the repertoireof form to its highestperfection, every pianist. He brought the sonata of his predecessorstoo stilted and and, having found the models formal tions innovafor the wider expression of his thoughts, he made in those days were considered the most of what daring kind, Like forms the he all found. of and improved upon originalmen could and his tolerate not genius,he being fettered by conventions, untrammelled. soared mighty spirit is one The of Beethoven's most original Moonlight Sonata second of his the so-called period of compositions works, and in freedom it he shows his of thought by commencing the Sonata which is not in sonata with an adagio movement form, and which of very moderate for its extreme

"

"

time

the

at

was

innovation.

entire

an

the end

after

without

each

Sonata's

freshness

the

represent the

whole

that

This

work. has it

ensure

"

an

subito

Attacca the

three

thread

continuous

a

work

is

unusual

of and

imparted to it a everlastingplace in

il sequente

movements

"

were

thought running free

treatment

modernity the

of and

literature

of

consists

of

pianoforte. THE

The a

puts

showing

structure

which

He

break.

movement,

designed to throughout the

a

fact, the whole

According to Beethoven's own to be played straightthrough

of the modern sonata. precursor directions the three movements were

a

to

In

first movement

haunting

and

MOVEMENT

FIRST

of

beautiful

the

"

Moonlight

melody,

full of

Sonata romance

"

and

pathos.

HOW

!)t

TO

PLAY

THE

PIANO

of undulating harmony. continuous stream The a on tloatiiig should of be it of the highest imagination,glowing interpretation with a quiet radiance of fantasy and feeling. The tone employed and melting in quality,imparting at the same be warm must time the mysterious resignationand the vague of the music's unrest atmosphere. The opening five bars should be played in a manner kind of rhythmical stream to to the triplet a convey figures,and thus create an impression as of a continuously undulating back-

CUO)uy^ CJ-bo

1

I

Example

ground

for

the

melody

which

No.

is

i, bars

1-4.

presentlyto

The

start.

octaves

louder than the triplet played somewhat figure in the right hand, so as to produce the requisitedepth of of sound should not overstep the bounds tone, though the volume of "piano" {p)."Ex. No. i, bars 1-4. The melody is introduced in the fifth bar, and must give the idea the accompaniment. of floating on in

the

bass

should

be

At

change major here

Example

No.

2, bar

10.

the

bar

the tenth of into

the

harmony the G

note

right hand "

Ex.

there

No.

a

comes

from

the

key, and (the first G) in

minor

should 2, bar

be

tuated. accen-

10.

Proceeding onwards to the last quarter of the fifteenth bar and insistent temper, leadingto the sixteenth,the melody adopts a more which be rendered by emphasizingthe notes B and C of the may melody in the right hand, especiallythe C. In fact, this note C

SPECIMEN should seems

LESSON:

to

longing these

arpeg^ato

be taken to

me

which

same

pianissimoas

represent cannot

notes a

MOVEMENT

FIRST

of kind

a

with cry

the of

(BEETHOVEN)

95

accompaniment underneath. unutterable

heart-ache,

a

It

sudden

appeased. In the following bar, where be repeated appeal appear again, they may Ex. No. 3, bars 15-18. of echo. be

"

Example

No.

3, bars

15-18.

to be like a second Coming to the twenty-fifthbar, there seems in the voice appearing with a question in the treble and an answer In these bars base, and then another question,and the answer.

the

amount

of

tone

expressionimparted 28-31.

be

can

to

the

somewhat

increased

questioningphrases.

Example

"

No.

4, bars

28-31.

and

Ex.

a

No.

plaintive 4,

bars

TO

HOW

96

A

similar bar

At

one.

development thirty-twoa

PLAY

is to

THE

be

PIANO

fouiid

in bars

begins to rise

storm

and

continues

thirtyand thirtyin the to

harmonies,

increase

with

graduallyascending crescendo

a

of

and

tone

acccllerando

until

movement

it reaches

of its

culminating point on the first note (B sharp) of the thirtybrought Example

No.

5, bar

force.

36.

should

bar, which

sixth

"

out

Ex.

From

here

considerable

with

No.

be

5, bar

onward

36.

the storm

intensityuntil it returns with a bars to the subdued spirit rallentando in the fortieth and forty-first It is of the of the originalatmosphere of great importance piece. from of the music the of stress down during the gradual calming itself bars thirty-seven to forty,that the melody w^hich has embodied should be brought out thus. of the harmonies in the inner structures gradually diminishes

of emotion

"

Ex.

No.

6,

bars

in

37-40.

^..'^jr^r""^ "4 1 n A

A

Example

No.

6, bars

37-40.

opening melody, with the original, its course variation on and then continues some In the of key and both in modulation progression of passages. and fifty-seventhbars the melody should be especially fifty-sixth the rhythmical figuresof brought out and made apparent above Ex. No. the accompaniment. 7, bars 56-57. The

next

part of the

movement

resumes

the

"

The to the

movement

now

sinks towards

fourth bar the fateful sixty-

its close,and

notes

from

in the left hand

the sixtieth

rightdown

SPECIMEN

No.

Example

in

the

bass

still

with

bars

of

an

ominous

the

movAnent.

Ex.

Example

Again, notes

should

time,

though

soft is

as

thus

tinged

from

speak

possible, brought with

vague

like to

like

out

equally

No.

the

as

echo

of

conclusion

foreboding.

8,

of

a

these

of

knell

they

former an

last

few

60-63.

before,

in

the

pervade

sixty-eight,

to

but

mezzo-forte,

60-63.

bars

8, bars

the

than

should

ringing

distinct an

a

No.

97

56-57.

louder

not

sixty-four

bars

bars

which

emphasis "

7,

though

resound,

must

(BEETHOVEN)

MOVEMENT

FIRST

LESSON:

doom, be

should

ones.

atmosphere

deep

The of

bass

but

given

this as

movement

melancholy

XIII

Chapter

PLAYING

It

is

is to

that

success,

and

almost

art

an

the

at

performer's

been

mastered,

been

of

none

his

I

audience.

of

his

hall,

on

quite

shock

a

and

this

because

is

activity of such great time

the

brains

their

and

(and

experience before

moods to

of

receive

his

people

some

for

during

moments

almost

out

in

the

of

his

its small

to

the

at

not

Hence

noise

outside

a

attention

the

hypnotism.

of

audiences.

impressions

have

nificanc sigquite

moment

them

acts

of

most

learns Once

from

to

his 98

the

is

stimulus student in

only

a

acquired

public,

it will

be

are

throbbing to

who

the has

becoming

question of

instinctivelythe

feel

having

a

the

succeed

who

it), there

possess he

those

public ; as

To

imagination.

special gift, or

a

in

appearing

around

crowd

interpretative artists and

ideas

GIFT

SPECIAL

predisposed

temperament

a

or

proportion

was

his

the

performer of

out

mind

his

that

doubt

no

of

the

of

and

sudden

any

completely

so

composer's

state

great

actuality.

temperamentally expectancy

to

complete medium,

certain

of

sort

a

a

three

player compelling

the

startle

will

him

into

at

fact, that

the

slight,

its

of

A

There

only

hope

oblivious

become

to

as

the

that

in him

give of

sentient

netism, Mag-

the

may

himself

throw

to

between

magnetism

noticed

however

him

persuaded

am

often

wits, and

naked

there

these

performances

transformed

be

listeners, creates

I have

pianist

the

platform

the

thus

the

performance

in his for

transmission,

of

which

the

are

a

has

means

For

Concentration,

of

good

in

much

public platform.

by

imperative

and

surroundings, vehicle

for

count

to

Power

stimulate

while

work

his

the

and

to

is

essentials, it into

of

or

technical

much

how

how

matter

no

the

to

hearers.

order

in

And

seems

commimication

of

convince

this

satisfaction

less

or

For,

through,

gone

Personality sources

more

audience,

the

to

with

public

in

play

to

give pleasure

achievement.

atmosphere

exposed

and

afford

to

of

sense

has

training

time

itself

and

interest

to

say,

same

acquired of

be

to

PUBLIC

IN

this his

ing vary-

ness sensitive-

privilege

PLAYING

,to

compel

them

99

PUBLIC

in all he

him

follow

to

IN

thus

does, and

standing under-

an

And perfectlyestablished. found that the this understanding is accomplished, 1 have when of his surroundings any be conscious to more, performer ceases them

between

because

all adverse

himself

in his

with

him.

But

will

be

have

elements

secure interpretation, as

long

as

the

soon

become that

reconciled mind

the

artist is conscious

and of of

he the

their

can

lose

public is presence

and

lessness, restthem, coughs, whispers through unquietness amongst will he put all Then woven. etc., so long is his spellnot of his technical equipment into play to endeavour the resources himself from to the audience. to produce the magnetic current of tone which be a monotony prevents him Possibly it may this he will try to change and vary reaching them ; to counteract the feel that he may his tone-colour with greater subtlety, or rhythm will then strive to put more is not charged with life. He pulsation and of the public to give a into it in order to focus the attention their that he is settingbefore them, so finer relief to the music fail to apprehend its beauty. For minds cannot though many little nothing and care singleindividuals in an audience may know of a great big public can for music, yet the general collective mass sponding be galvanized into becoming like one single vibrating nerve, reinstantaneously to every variation of colour, rhythm and

passion. "

"

MUSICIANS

ABSOLUTE

I call what are play instruments absolute musicians, that is to say, they depend entirelyand solely for their expressionof thought. They are the music independent on to and their appeal is a direct one of all gesture, word or scenery, of of sound, combinations the emotions, through the medium in the widest music sense has variously presented. Therefore of nationality, bounds no stumbling blocks of race or language no Terra or ])e felt as well in Kamschatka to confine it. Its api)cal can and Paris. del Fuego as in London I have played the Beethoven "Moonlight" and ".\ppa.sssionata" .\frica, in South and empire bnilckMs alike to gokl miners Sonatas States of America, to niiliinnnires in the Western to cowboys and in New in Canada, to Maoris ranchers and railway magnates even found and in Vancouver, they all listened Zealand, and Chinamen And understand. when interested even and were they did not (|uite of music it is a curious fact that I have noted the finest niasteri)ieces inferior works than on almost always produce a greater itni)r(ssi()n

Now

audiences

all

good musicians

which

are

more

who

or

less uiufhu

atcd

musically.

HOW

100

Another that

THE

PI.AY

strangle thing which

sitinctimes

when

1

for

greater

one

alert to

overcome

I have

am

but

me,

doubt

no

personallyexperienced is, at the crucial physically,

I do

not

to

mean

usual.

The

effort

mind, having

my

bodily weakness,

all around.

PIANO

feelinguntit likelyplay better than

1 will very

moment

it is

TO

acts

say

to

be

is

a

more

consequently more fully powerfor a moment by this that in a weak state physically;

advantage in publicplaying to be that would obviously be an absurdity. In fact, there is of course no publicprofessionwhere good, sound bodily health and strength an

necessary excitement are

of and

to

success,

continuous.

so

controlled

temperament

by

But the

because the

mind,

the

mind,

wear

and

tear

and

must

imagination always be the

of every sort of condition and remain undisturbed And in this dominance conditions over unexpected eventualities.

dominant

by

essentials

not

are

lies what

factors

technique of the platform, and comprises also of such things as different acoustical the mastery propertiesof the place the pianistis called upon to play in. This may often prove difficult problem and a cessfully, experience to negotiate sucrequire much if the for short has artist a especially only to appear in where he and that has not played before. a building performance But less tell after or by long experience the pianistcan more strikinga few preliminary chords the kind of acoustical difficulty which he will have to contend with. If, for instance,a hall has too much for the piano, then the music be taken at a must resonance slower In places emphasis than elsewhere. tempo and with more like the

I call the

Albert

Hall,

this is the

in

London,

the Free

or

Trade

Hall, in

chester, Man-

is,of course, a good deal also a matter of perspectiveand that a atmosphere. For it is quite obvious which would be perfectin a small placemight be entirely finenuance lost in the Albert tion Hall ; and vice versa, the emphasis and deliberato give the right outline to a big declamatory phrase necessary in the Free Trade Hall might sound rough and exaggerated in a Now the business of the true artist buildingof lesser dimensions. and the best amateur is to propagate the finest art wherever they For of the the be. to moment tune happen though popular may have any the

an

immediate

case.

success,

abiding impression. imagination

of

even

But

the

it will once

most

a

not

last,neither

can

it make

has struck great musical work mind, it will leave superficial

fact it is

quiteastonishinghow manj quite unmusical, yet will though otherwise people there are always go to hear and enjoyone particulargreat work, such as one certain symphony, or opera, or sonata. And this, just because the to make some unforgettableimpression specialwork happened once an

unefifaceable

It

memory. who

In

PLAYING

them,

upon

anything

so

they reallycontinue

that

about

more

PUBLIC

IN

music

other

to

enjoy it without

knowing

before.

than

HOLDING

101

PUBLIC

THE

magnetic spellwhich should this bind performer and audience together,I wish to show how be it is sometimes of holding the public,as termed, can power To

return

turned

advantage if

to

occasionallyin

occur

when

connection

I

Brunswick, Canada,

performance floor of the

rather

only

way

The

arises,such emergency of life. I well remember concert

a

St.

may

in this

John's, New

hall,the being no available concert big public meeting-room on the first to the room was by one only entrance

there

that in

a

The

the

staircase,and

wooden

in

once

as

staircase

same

was

the

out. room

all,and

hall at

giving

building.

narrow

walk

every

held

was

outside

an

was

of

the kind

to

more

once

was

crowded

so

people were

In the middle

of my

that there

was

no

space

to

pass in the the platon form.

crowding everywhere, even first pieceall the electric lightwent out crowd plunged in the blackest darkness.

suddenly,leaving the vast narrow They began to get up and grope for an outlet to the one have would soon stair,which in the congested state of the room in absorbed so caused a panic if it had continued. Luckily I was what I was actuallynoticed that the lightshad playing that I never disappeared and I went on playing quite unconsciously (I think it fugue of Bach). And when the audience realized the music ing was proceeding as if nothing had happened,insistent and commandinto their seats and of Bach, they subsided the music is ever as did not attempt to move again till an attendant, after a short time, found candle, lit it,put it on the piano and eventuallysucceeded a in extemporizing enough lightto keep things going. in Sydney kind happened to me once incident of the same Another was

a

about place,and there were five thousand people in it that night. During the performance a and affected the electric dynamo, so that broke out tropicalstorm foolish people shouted there also all the lightwent out, and some noticed anything this time either,so engrossed was "Fire!" I never if nothing had and I continued as I was I in the music j)laying, still going on Here occurred. again the publichearing the music

Hall, in Australia.

Town

It is

a

vast

supposing regained their trancjuiliity, much

wrong

if it

was

not

listeningwithout Becoming .so absorbed

remained

necessary

that

even

to

cease

panic till lightwas in the music

be very playing,and they

could

there

has been

not

procured. a

of peculiarity

mine

earliest

since cost

nie

future

my

and

when

in

there

was

then

at

given

a

this

cadenza

did

they

terribly

dismayed,

I

to

came

and

had

back

modulate I

playing

mv

arrived

I

managed the

point

Duke,

who

at

the

into

get

looked

Suddenly

original

key,

stopping

Without

ally gradu-

and

again

orchestra

the

where

the

music

right

orchestra

!

at

was

chords.

of

gressions pro-

developing

conductor

from

away

series

a

I

and

ing perform-

The

the

me,

concerto

alone,

began

keys.

what

miles

was

by

to

catch

to

understand

not

found

other

into

meant

musical

the

and

Duke

the

While

in

play

to

talent,

play

again.

in

the

Grand

had

to

toy

of

was

of

had

I

nearly

fine

one

the

middle

the

doing,

was

how

could

he

I

know

I

interested

so

wandering

not

myself,

to

got what

and

thoujj^ht

joined

orchestra

forgot

if

which

very

I

which,

In

piano

somehow

progressions aghast,

sat

the

the

I I

and

a

before

music.

in

it

nine

me

play

to

orchestra

study.

to

for

point

that other

Moscow

cadenza

a

the

performance,

my

gained

interested

of

boy

little

a

father

my

was

with

with

remainiiii;

mv

who

concerto

satisfied

by

taken

was

only

incidentally

and

Dukes

pianoforte

was

1

Grand

Russian

able

were

pick

to

up.

me

Grand

The

over

was

he

time

same

I

wanted

boldly

said

thing

and if

the

a

I

had

he

was

asked

but

me,

;

beauty

wandered

TchaikovsJcy

in

it

the !

was

off

I

into concerto

that

fear

no

improvisation 1

one

this

him

time

was

all

able

in

the

At

give

to

a

father

my

middle

only and

steam-engine

toy

give

about

The

me.

And

me

I

an

of

the

the

myself

extricate

to

present.

would

ance perform-

contretemps.

complimented

of

amazement

I

been

like

should at

had

only

not

world

the to

so,

he

what

me

I

that

pleased that

by

entertained

the

when

laughed

musical,

was

been

so

imbroglio,

the

from

I

PLAY

career,

!

entwine

steam

a

chiUlhood,

PIANO

THE

TO

HOW

102

got

engine cadenza

it

too.

now

of

XIV

Chapter

EPILOGUE: HOW

AND

the

during of

powers

spirit of as

accessibilityto

everyone

yield pleasant

effect

and

a

gentle strumming

who

never

many

to

it

make

of

conditions

and

sorts

rattling

polkas

out

the

helps

presence

its

prevent

being

a

the

my

piano

from the

cokmrs

can

that

has

even

out

stokers come

It is tf)ld of

XIV,

dance;

cheer,

by

or,

vulgarize for

vehicle

it

when

OF

SPELL

also, I think,

hard

West,

people.

business

the

under

the

the

of

music 103

it does

art

of

the

with

not

sion expres-

softening influence

and this

so

much

amongst

rough

lonely prairies,sailors, people

of

all

times some-

and

races

all

piano.

Fouf|ti('t.the splendifland

speaking

adaptability

this

pioneers, backwoodsmen,

ship's hold, spell of

place of

music.

of

found

I have

on

ently rever-

remote

any

highest

viding pro-

PIANO

THE

humanizing

men,

farmers

from

a

but

the

little,yet

the

village

a

indispensable

its

contrast,

a

all

tunes

in

merrymakers;

the

to

hymn

where

go

science

amongst

voice,

instrument

institution,

or

truly noble

unexpected

most

travels,

miners

the

the

sound,

the

piano of

old

to

lives.

occasion,

life

its tin-kettle

much-treasured

and

THE

on

cracked

can

joy

of

which

musical

interpretation in great masterpieces

and

The

of

in

of

in their

of

sort

its

labour,

of

combinations

every

It

playing.

music

vantage ad-

to

great deal

a

of

its

measure

amount

developments

The

for

go

tends

piano perhaps

the

of

moods

it enlivens

where

entertainment

the

waltzes

hospital

soothe

to

in

nurturing

and

the

on

; the

homes

country

of

out

form

people.

plenty of spiritand fingered

higher

wonderful

for

of

great

any

too,

the

serve

most

evolved

has

men

hall

of the

one

any

its scope,

adaptability to

its

of

of

great

a

divine

the

and

instrument,

piano gives

the

on

with

meet

wideness

The and

without

once

little

little of

a

in

its popularity

unparalleled

its

to

elementary stages

in the at

the

friend, is due

household

real

a

tribute

homes

universality of

in

growth

best

humblest

ONE

FOR

CARE

enormous

is the

the

to

even

This

music.

the

fiftyyears

last

bringing

AND

and

piano

the

FRIEND,

HOUSEHOLD

A

AS

CHOOSE

TO

of

rise

rapid

The

PIANO

THE

ill-fated one

of

minister

the

Court

of who

Louis was

HOW

101

not

he

amateur,

an

music,

do

TO

PLAY

THE

PIANO

exclaimed, "How,

Monsieur,

for

not

care

you

for you, you are play the clavecin, I am sorry indeed condemninj:^yourself to a dull old age!" He was thinking no doubt of the joy which all can experience, without being great performers,in picking out favourite tunes even the piano,stumbling over the themes of well-loved on masterpieces and of enchanted hours passed in the thereby reviving memories you

hall

concert

We

not

or

house.

opera

all know

the

unutterable

haltingtravesty of the devotee, and What

a

without best,always sympathetic,unchanging, patient, for the outrages it sometimes has to suffer,at all times

never-failingresource. No

to

boon, therefore, is the piano in the home ! comforter, a magician, all in one! Always

give its

to

rancour a

most

1

friend, a companion,

ready

the

even

to the imagination of the thing a nd of expressionmake enthusiasm intensity

inestimable

an

which

affords

real

much

for lack of execution

up

A

how

satisfaction

musical as

the

those

who

has

instrument

from

ask

THE

that to know

means

how Of

everyone does seem

larity poputo

give

desires

to

CHOICE

RIGHT

If, therefore, the piano

quick

so

something strangely anywhere throughout a house.

be found

to

universal

handle,

to

easy

indeed

and

a

surelyfollows

so

such

it. Therefore, almost

piano in the home, lackingif there is not one have

it is

piano, because

attained

ever

much

so

choose

to

so

people, it many instrument at the

good pianos, like everything else, course, according to the degree of reputation to

a

important. are largelyjudged and selected enjoyed by their respectivemakers, and the person who has no special advised bad instrument well of what is is a good or knowledge first-class his look for at firm, who can show him examples to a piano by all the best producers. At any rate, he is safe to get a good is very

outset

article from

qualityof the by any maker But

of the

utmost

into

room

is

also

instrument. auction

at an

find experts

pivise

to

It is very unwise unless it can room

to

be

him

sure

through

importance to and

and

vases

to

upset

the

see

fine

a

piano

full of flowers, one

hinges

of of

the

after

look

as

it well.

covered

often

one

vases,

the lid ruins

over

and the

the

about

the

and

buy a piano one inspectedby some-

go

professionalknowledge. possesses it is not everythingto have a first-class instrument

who

a

and

them,

I cannot

with does. water

action ;

;

it is also

bear

to

go

graphs, family photoThe

housemaid

tricklingdown while the family

PIANO

THE

EPILOGUE:

AS

HOUSEHOLD

A

FRIEND

105

thoven jinglemerrily as an accompaniment to the BeeSonata or the exquisiteChopin study, and generallyend by with a bang, scratchingall the polish off the top, tumbling down not to speak of the to their owner, and causing terrible trepidation wath feeling,from grim experience! poor performer. I speak

portraitsdance

and

ITS

ENEMY

WORST

people know^ that a piano should not be kept in a draught, and the door the between the w'indow, nor neither just under A long time of standing in such a positionwill spoilthe window, months in an unoccupied best instrument, and if it is kept for many phere it will deteriorate room badly unless a fire is lit to dry the atmosthe piano can time to time. from Damp is the worst enemy wish to preserve It is wise, too, if you have. piano to the your and examined best advantage, to have it constantlytuned by a firstdifficultto repairsatisfactorily a It is very much class tuner. more scarcelyever neglected (it can piano that has been systematically regain its originalexcellence)than to look after it carefullyfrom Most

the

beginning,when Size

is

urgent

an

it will last for

point to

be

years.

considered

selection of

in the

a

is

obviously nothing unsuitable for a small privatedrawing-room, Boudoir than a or Baby Grand. better for a moderate-sized room are to be despised,for these means A good Upright is also by no and excellent instruments provided they have plenty of resonance, piano.

An

enormous

and

powerful

Concert

not

too

stiff in action.

PLAYERS

MECHANICAL

One homes

there is

and

and

are

Grand

scarcelydiscuss without mentioning can

of

modern

nowadays

the

in connection

musical

merits with

invention, the

of

them

pianos in the

mechanical

our

velopmen latest de-

pianopiano-

affect contempt for the mechanical musicians players. Some playersand ridicule their value, but I do not agree with this view, the to be said to contribute doubt, they cannot for, though, no expression,still I think they possess a highest realms of musical enable the public taste, and in that they educate real value very people who would otherwise have no inclination or impulse to hear parage with it. Therefore, let us not disfamiliar good music to become though they are trying the mechanical piano-players,even is working or sleeping. one neighbours in the next house when it is not quite the same thing,choosing a piano for Of course,

HOW

106

one's

private

point

of

give weeks

habit

If I

I

for?

look

middle.

perfectly

fingers,

and

But. such

the

And my

of

work

the

human of

its

give

the

as

in

same

of

to

of

possibilities.

its

the

they

must

temperament, secrets.

piano the

have to

like

and

tone

the in

"

in

am

hall.

It

fact, it is

well-trained

a

be

equal

let

horse race-

the

all

to

only

make

be

w^ill and

inspire

the

a

keys the

how

to

and

as

sound

glorious perseverance,

friend and with

eulogize

he

hears

it possesses,

those

to

to

produce It

to

richness

ambitious un-

pleasant those and

tired

easily

who extent

or

companion,

above life

its

its stimulation

interest

and

of

few

a

yet prove

not

only

enthusiasm.

away

are

a

it is able

all the

perience, ex-

wonderful

when

excitement,

pass

of

by experts.

marvel of

of

judge

myself

satisfaction

instrument

the

under

where

what

again

difficultyand

such

the

to

firm

more

wealth

it disclose

for

in

opportunity

after

but

pedal,

sounds

superhuman

the

once

laughter,

charming

can

me

can

the

if

knowledge

looked

and

power

even

as

pliable

first-class

a

are

complete

And

real

to

Who

good

a

registers

and

should

promptly.

emphasize

me

seek

bass

had

let

with

one

is easy

go

what

by ascertaining

not

and

it is.

time

and

it takes

is to

house,

own

for

act

has

tears,

it, and

desire

master

touch

soul,

who

evoking

instrument

an

and

effects, the

devotees moments

the

fitting finale,

emotions,

at

action

kept

mechanical

great

the

one

ingenuity

its wonderful

can

a

adjusted

my

treble

before,

are

for

pedals

thing

instrument

variety

such

best

as

now,

the

If

instruments

beloved

try

said

next

of

1

some

I

of

power

it may

search

all

the

whether

oneself.

things

of

in

whether

have

I

that

piano

a

first well

and

also

as

first-class

buy

should

I

which

properties

pedals

so

instance, when

ones

its

to

professional

a

piano-maker

my

special as

the

l'\)r

and

me

acoustical

race,

from

it.

to

as

Next,

repeat

its

I should

throughout,

tone

by

perfect condition,

into

upon

going

were

Grand

bisj^hall.

a

tested

the

to

PIANO

several

is

It

it starts

imposed

demands

from

regulated,

brought

before

in

is selectctl

concert

action

and

prepared

Concert

reference

the

tuned,

the sclectiii};

playing.

with

resonance

THE

piano

the

of

PLAY

performance

a

my

before

the

is

for

view

recital

a

or

use,

TO

all

and

talent master

couraged, dis-

only and its

TWO

PART

THE

BEING

EXTRACTS

ARPEGGI

PIANIST

DAILY

EXERCISES,

FIVE-FINGER

FROM

AS

OCTAVES

THIRDS,

MARK

HAMBOURG

PRACTISED

SCALES,

BY

XV

Chapter

SCALES

EXERCISES,

FIVE-FINGER

ARPEGGIO

AND

EXERCISES

I

advisc

STRONGLY

Exercises

the

of

of

articulation and

student,

too

the

advances,

is also

It

fingers.

play through

to

advisable

some

but

gradually attention

scales in

break

a

the

to

the

play

to

without

straight through

Exercises

Arpeggio

he

as

day, increasing the Tempo rapidly, and paying careful

every

them

playing

never

the

each

key. hand

given

Exercises

the

All

should

here

always

played by each

be

separately. following Exercises

The and

be

may

repeated

three

be

can or

played

either

Forte

or

Piano,

fatiguing the

times, but without

four

hand. bar

Each

semibreves

The

1.

Right

the

with

played and

be

to

liftingthe

repeated four

under

marked

fingers different

and

kept pressed down,

be

to

times.

them,

fingers about

counting the

from

inch

an

the crotchets

while

be

to

aloud

keyboard.

hand. 5

i

^^^Vrrr'^^Wi^'^^-^-^-^-'-^^-

iir

5 4-

i

^

MUA'''^^jjj:^'^JAC^un The

2.

5 4-

Left

for the

exercise

same

left hand

to

be

way.

same

hand. /

/

/

/

2

Z

2

2

3

3

g

2

3

3

'V

4.

^=fe4^^=f^

4

^)

the

played

4.

4

4

"

3

3

3

?

2

f rrrpr-^rrrrl-ferrrri i 109

sj

4

4-

S

5

g

3

HOW

TO

SCALE

AND

no

scales

These

arpeggio arpeggio

in all the

EXERCISES

day with

practised every

in four

exercises

PIANO

ARPEGGIO

be

should

TFIE

PI.AV

different

tonalities will

keys.

be gone

the

Thus

through

ing accompany-

every twice

and

scale

during

the

week.

Thus

:

First

C, D

day"

Second

day

A

day" Fourth day

Scales

to

be

"

flat,A, B

m

in

C

and

practised as being paid

Arpeggi.

^^

y^^

flat,B.

Begin again

separately,care of the wrist. flexibility

Scales

flat.

E, F, F sharp, G.

"

Third

flat,D, E

Right

below to

the

hand.

on

every passage

C, etc., etc. day slowly of

with

the thumb

each and

hand to

the

AND

SCALES

Scales

in

C

and

Arpeggi.

Left

ARPEGGIO

EXERCISES

111

hand.

^W..^..'^-

HOW

112

Scales

in

D

flat

and

Arpcggi.

TO

Right

PLAY

THE

PIANO

hand.

-ikL..

SCALES

Scales

in

D

And

flat

and

so

on

Arpeggi.

throughout

ARPEGGIO

AND

Left

EXERCISES

hand.

the

different

keys.

U3

114

fingering

The

keys

of

fingering

Scales

in

B

!":. V,

D.

flat

is

and

the

HOW

TO

given

in

G, same

Arpeggi.

A, as

PLAY

the

and

that

Right

B.

PIANO

THE

C For

given

hand.

example

major the below.

E

flat

and

is B

similar Hat

in scales

the the

AND

SCALES

Scales

in

B

flat

Arpeggi.

and

2

Left

ARPEGGIO

hand

/

"^'j^^"'^^

(

:;"5-

2 1

.v^^^"/

f4 " "* "

t"*r t'^^

"

w w

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TiP^^r-Tr Sw

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"

iirr

^^

EXERCISES

115

The

Scales

in

F

fingering

I

"t ^

and

sharp

J,

for

Arpeggi.

the

F

sharp

Right

PIANO

THE

PLAY

TO

HOW

116

scale

is

as

follows

:

hand.

g#^^k":a^^

4.

^m

WW

W

w ^^m

4-

-f

"

r

in

Scales

^

F

sharp

and

ARPEGGIO

AND

SCALES

Arpeggi.

Left

^^ P

^^^^^^^^m

i^^^^^#

hand.

EXERCISES

117

Chapter

SCALES

SCALES

4

i a.

FINGERINGS

WITH

THIRDS

IN

OCTAVE

AND

EXERCISES

MARKED

hand.

Right

I.

THIRDS

IN

XVI

s

}

i

3*

3l

34.

'

^^^ -^gr These II.

Left

be

fingerings can

used

in

all tonalities.

hand.

"t""

CHROMATIC

III.

IV.

hand.

Right

Left

hand.

Minor

Minor

THIRDS

thirds.

thirds.

-f^rri

rrn "

I

^

^m

_J

135454' V.

VI.

Right

Left

"3*si.

hand.

Major

thirds

hand.

Major

thirds.

Il8

I

i

IN

SCALES

THIRDS

AND

OCTAVE

To

be

practised

slowly

EXERCISES

OCTAVE

119

EXERCISES

and

very

#

pm

32:

wrist

staccato,

very

loose.

fi

m

TO

HOW

120

PLAY

THE

PIANO

II.

^flw

^m^

mtfW^m

mm

m

J ^

^^_

iz::

I

f

m

^ :SP~Tr

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s

i

:#:

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I

I

I

=f _" "

".

SCALES

IN

AND

THIRDS

OCTAVE

I.

\^\

II.

J

JJ ]^

OCTAVE

JUMPS

EXERCISES

121

HOW

123

TO

PLAY

THE

REPEATING

PIANO

OCTAVES

^^JJlJlTJib^ m

r

rr

rr

imtf"'

4

i^

"

"

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i

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1=3=1

=3=3

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1Z3 4

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i^

EXERCISES

CHORD

fiu

lUi

i

i

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f s

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555s

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2

2

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33:

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