Malwine Bree - The Groundwork of the Leschetizky Method

222 L62 B831905

CORNELL UNIVERSITY LIBRARY

FROM The Department of Music

mm

-

..^ MT Ttie

Cornell University Library

222.L62B83 1905 grpundwork

3

of the Leschetizky

1924 021

method

744 275

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in

the United States on the use of the

text.

http://www.archive.org/details/cu31924021744275

THE

GROUNDWORK OF THE

LESCHETIZKY METHOD ISSUED

WITH

HIS

APPROVAL

BY HIS ASSISTANT

MALWINE BREE WITH FORTY-SEVEN ILLUSTRATIVE CUTS OF LESCHETIZKY'S HAND translated from the german by

Dr.

TH.

baker

net, $2.50 (In U. S. A.)

G.

SCHIRMER,

INC.,

NEW YORK

AUTHORIZED EDITION Copyright, 1902, by G.

SCHIRMER, INC.

Copyright, 1905, by G.

SCHIRMER, INC. 163 84

fi]^^^lP^^ ^.^J

Printed in the U.

S.

A.

TO MY HONORED MASTER

PROFESSOR THEODOR LESCHETIZKY Twenty years

Let

years ago

you have considered

taught

my

be

this

me

am

I

became your

me worthy

this

assistant.

book, what you have I

in turn

have tested

more be formed

a painter or sculptor can

nevertheless,

;

be trained

my book may

welcome reminder

claim a

many former

to

of the Leschetizky School of their early instruction, and, lor the

later pupils, as affording a correct idea

Following the pedantry.

My

work

spirit

of the

more

distinction conferred

latter, I

upon

this

my work

accept the dedication of this book. all

at

pains to avoid

I

am

by the

illustrations

this

Thus

rendered

it

of your

distinction,

own

hand.

and beg you to

only returns to the fountain-

draw.

Vienna, February, 1902.

MALWINE

Hi

is

end by reason of the honorable

thank you most sincerely for

head whence we

have been

and correct piano-playing.

of attaining

desirous

of the basis of that School.

does not aim at a slavish observance of rule, but

to be a guide to fine

I

of your

office

well aware that a finished pianist can no

certain right to exist, if only as a

the

hold the

pupils.

by books on painting or sculpture

meant

and for more than ten

long period, and what

by a theoretical method alone than

disciples

to

pupil,

justification for publishing, in this

throughout

on hundreds of

I

BREE.

(TRANSLATION)

Vienna, Feb. 24, 1902.

Mme.

MALWINE

BREE.

Honored Madam book, which principle

I

of course accept most gladly.

have carefully examined,

personal views, that

I

As you know,

subscribe,

is

word

I

but your

am from excellent

such a brilliant exposition of for

word, to everything you

advance therein.

Your "Groundwork of the Leschetizky Method"

with

hand along the same path on which,

a practised

you have won such striking success with

my

as

my

assistant

for

many

leads years,

by teaching in accord

Moreover, the tone of your work

intention.

your

best thanks for the dedication of

no friend of theoretical Piano-Methods;

work, which

my

I

My

:

is

not monoto-

nously didactic, but enlivened by clever conceits and humor.

Approving the declare your

my

book

to

method, and wish

of

illustrations

my hand

as

genuine and

lifelike, I

be the sole authorized publication explanatory of it all

success and popularity.

With (Signed)

sincerest regard,

THEODOR LESCHETIZKY.

Table of Contents SECTION I.

II.

PAGE Attitude at the Piano

I

The Hand and

2

Posture

Its

III.

Wrist-exercise

IV.

Some General Rules

V.

Finger-exercises

3. 4. 5.

6. 7.

VI.

VIII.

IX.

X. XI. XII.

4

:

One-finger Exercises Two-finger Exercises Three-finger Exercise Four-finger Exercise Five-finger Exercise Finger-exercise with One Tone Held Free Finger-exercise without Held Tones

1.

2.

VII.

4

Preparatory Studies for the Diatonic Scales

Diatonic Scales

XXI. XXII.

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

On

Octaves

Chords Arpeggios

Thirds and Sixths

Paired Notes; Scales

in

The Highest Part

17

Chord-playing

in

.

26 27

28 31

33

48

49 56

.

The Glissando

57

Embellishments

58

Dynamics

60

.

Rules for Performance Melody-plaj'ing 1.

XXVII.

Same Key

Touch

XXIV.

XXVIII.

II

IS

25

Preparatory Studies for Broken Seventh-chords

On

XXVI.

10 II

21

XXIII.

XXV.

10

20

.

....

Styles of

XX.

10

Broken Chords (Triads)

XIV. XV. XVI.

XIX.

9 9

Preparatory Studies for Broken Chords (Triads)

Alternating Fingers on the

XVIII.

.

Preparation for the Chromatic Scale

XIII.

XVII.

.

.....

The Same, One Tone Wider

5

the Pedal

61

Tempo

3.

Rhj-thm

4.

Arpeggio-plaj'ing

Fingering

6S

.

2.

69 70

.

72 73

.

Practice and Study

Movements

Who

Hand and Arm

Should Devote Himself

Addenda Appendix 1.

of the

75

?

.

80

85

:

.

2.

Scale of Arpeggios

3.

Suite of Arpeggios

Conclusion

78

Piano

83

.

Scale of Scales

to the

86 94 97

100

I

Attitude at the Piano one remark by Leschetizky

fflERE erect,

like a

good horseman on

"

:

Sit

at

his horse,

the

piano unconstrained and

and yield

to the

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

horse."

Sit at

such a distance from the keyboard that

bent the finger-tips pedals comfortably.

too far away

but very

when

movc;ments of

movements of

the arms are easily

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

moreover, they should either be on a level with the keys, or be held

;

little

higher.

Too low

a seat, in particular, necessitates

Many

forcible chords, to raise his shoulders,

—even eminent—

while playing.

enough.

The

They

accord with

'^in

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

when playing

his'

which has no very graceful look.

pianists lay too little stress

on

a graceful attitude

seem to think: " If only the ear be satisfied."

listener's

compelled,

is

ear should first be seduced through the eye,

That

is

not

and thus be

rendered more impressionable.

Neither does "posing" meet with our approval.

backward with

a splenetic air

and

to

The

usual pose

play with slow negative

head, the eyes rolled heavenward.

Then

disdainful expression of countenance

;

there

is

is

to lean

movements of the

the nonchalant pose with the

or the player bends over

till

his

head almost

touches the keys, and after every passage turns his face to the audience in smiling interrogation.

All this produces a more or less comical impression, and effect

of the

finest playing.

True

feeling

is

is

apt to injure the

not expressed by means of the pose,

neither does a pianist's art find expression through his mien, but through his fingers

and true feeling manifests

itself

spontaneously,

if

the player really has

it.

;

fal

II

The Hand and

nHE

pianist

must renounce

Its

the so-called

gracefully formed, with well-kept nails.

hand " becomes broader, supple finger-tips.

The

nails, too,

must be kept

in

Posture aristocratic

A

hand,

slender

and

thoroughly trained " piano-

the wrist, and muscular, with broad

short, for the springy

pad of the

finger-tip

yields a mellower tone than the inelastic rail.

Too

large

hands are often

hands are not always advantageous

a disadvantage,

at

the piano

show

superiority

good by means

in

but too small

even though such can generally bear fatigue better

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

;

Large hands,

widespread chords, which small hands have to make

ot dexterity

and suitable arrangement.

For the

rest,

there have

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

The method

k

of holding them

is

the

same

for both.

[3l

Fig.

How

2.

The hand should assume

a decidedly vaulted

form (see Figs,

i

and

irom the unpleasing, amateurish impression made by playing with

for, apart

hands and

fingers, the only

rounded upward.

way

to get strength into the fingers

The wrist must be

fingers so curved that the tip-joints

by the

to Hold the Left Hand

tips

the key not with the

tip,

to hold the

;

flat

hand

held somewhat lower than the knuckles, and the vertically

fall

on the keys, which are touched

The thumb forms

of the fingers only.

is

2)

but the edge

;

it

is

the sole exception, as

it

strikes

held away from the hand, with the

tip-joint bent.

Now

set the finger-tips

and press them down together. the touch

is

slip off.

The

lightest there, but

in

an easy posture on five consecutive white keys,

Do

this

near the front edge of the keys, because

do not hold them

at

the very edge, as they might

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

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

thumb

to the

3d

finger,

and then inward to the 5th

finger.

[4]

III

Wrist-Exercise

Fig.

V

0S

soon

as the posture of the

on the

hand

is

quite under control, press rather firmly

white keys and lower and raise the wrist slowly and repeatedly,

five

taking care (i) that the hand remains rounded upward, (2) that the fingers retain their position,

original position,

Repeat

on

(3) that

raising the wrist

it

does not

rise

higher than

its

and (4) that the upper arm does not follow the wrist-motion.

this exercise for

only a few days, and with the hands in alternation.

IV

Some General Rules

HE

11 after

following fundamental rules are very important even for the finger-

exercises

(i)

It

is

;

they should, therefore, be learned at the very beginning,

best to play

all

finger-exercises at

two or three days one may try

to get

more

first

only with a light touch;

tone, always endeavoring to play

[5] evenly (with equal strength of tone) with

This

the fingers.

all

accomplished by

is

an unequal exertion of pressure on the keys in conformity with the unequal length

and muscular strength of the the

3d

rule,

and

treat the

But

in this case

to

it,

remedy

exertion of force at any given time

sound equal

finally

we do not observe

weakling with indulgence

strongest pressure on

thumb; then comes

the

all is

order of strength by the 5th, 2d, and

finger, followed in

weakest, the 4th.

Strongest of

fingers.

in force.

;

the contrary, exert the

The dynamometer

One must

the ear.

is

the

the ordinary educational

we must, on

inequality.

its

finally, as

for the

hear whether the tones

After some practice the fingers will accustom them-

selves to the necessary degree of pressure. It

(2)

Avoid

is

not well

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

by frequent alternation of the hands.

this

Let us say, once for

finger -exercises are never to be played with both hands together.

hand may

longer

practise

Should the hand begin soon

;

to feel heavy, let

Without interrupting

(3)

When

the finger

By

raised

is

but remain curved (see Figs. 4 to out

After a time each

Should one continue

rest.

and

raise the

may

practice,

one

injure the hand.

hand frequently while hand from

so doing one prevents the

stiff.

(4)

it

it

practice, lower

playing, as described in Section III.

growing

that the

but even then be careful not to overtire yourself.

trembling, or even pain, in the muscles, and this

feels a

all,

stiff

and

straight, does

8).

from the key,

must not change

it

its

form,

Bending the raised finger inward, or stretching

not look well, and

is

a waste of strength at the

expense

of tone and velocity. (5)

with the

tip

(6)

Always keep ;

for that

is

a watchful eye

the only

Let us remark,

way

on the

finger-tip,

and

strike the

key exactly

to bring out a full, strong tone.

in advance, that in playing a

melody /or/e', or

for strong

accents, the black keys are struck, not with rounded, but with outstretched fingers.

The

fingers thus touch a wider key-surface

and

are less apt to slide off.

V Finger-Exercises I.

T

E^

the

start

One-finger Exercises

the simplest

finger-exercises

are

the best, so that attention

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

[6] 4

6

6 I

R.H.

1

34

m

1

» 23,*

2

2

2

^

^5,3

8

3

3

P *

#

I

m

,-»**

2?5

a

1

T

1

1

342

I

I

_J1

While four

2

21

2 2 1»—(

3

3

=^^

H_

3

fingers hold the

and then

the

raise the

thumb

in

hand

thumb

touch with

as in Figs,

just high it.

rises again.

the

thumb

Repeat

4

•

fi

4

^

.^6

5

i

and

enough

2,

S"

r r r r

rt^/

libitum.

press

to let the

down key

the five kevs together, rise to its level,

keeping

4

key down

5

43

(Fig. 4.)

presses the

this

5.

whole notes, one finger plays the quarter-notes.

Fig.

Now

4

-4-ff

Repeat each of the above and following measures

Holding

324

3

6

• • •

21

1

45

the

3

again, holds

it

a

moment, and then

procedure several times, and then continue in the same

[7]

Fig. 5

manner with

the

2d

finger, raising

it

about one-third of an inch and striking the

key repeatedly while the other fingers hold

Fig.

Proceed similarly with the 3d

their keys.

(Fig. 5.)

6

finger,

keeping the others down.

(Fig. 6.)

in

Fig.

7

Fig.

8

^

Now

continue with the 4th (Fig. 7) and 5th fingers (Fig.

must, however, be raised acquire

iese_tw^

8).

as high as possible, so that the hampered 4th finger

more independence and

the 5th

more

During

strength.

may

exercise

this

of

fingers, often repeat the wrist-movement described under " General Rules,"

the five to

}t"i-"-

make

sure that the wrist

is

loose.

After practising these exercises for some time legato, try them also staccato

(compare Section XIV). blow,

flies

back high in

For

is

each finger, after striking

its

key a short,

This renders the fingers more

rounded form.

its

2.

This

this

elastic,

Two-finger Exercises

the application of Exercise

i

to

two tones

n ^^ 2323

r2

-ri»

fl

swift

"vr r r

i

3

4

3

4

4

6

4

S

Lio]

Two down

its

fingers hold

key

down

the whole notes, three play

after striking, while the next in turn to play

4.

is

;

but each finger holds

raised a tempo.

FouR-FiwGER Exercise

R.H,

One

1

2

3

»i

2

3

finger holds

4

3

2

3

2

down, four

5.

R.H.

play, as above.

Five-finger Exercise

m

8

*

»

f

* f

i f

—

3

t234 54 32

L.H.

Press its

key

down

above)

(as

all five

;

L.H.

H |» 31

f»

» >

|

|

.

of ^ i^r r r

11

keys.

N^M^

Then one

finger after the other plays,

and holds

etc.

Finger-exercise with

6.

R.H.

3B

r-rT rrr-irr rr

r:ii

One Tone Held

r

rr r-irrr rr^ r? i

r

rNPr r

r r^i i

-r'frrr?Trrr^"frrrT°rrrr%rrr%rrr'»"rrrr?°rrrr:» Hold

the

first

fingers are to be^ held

note of the measure and play with the next finger.

Inactive

high in their rounded form, excepting the thumb, which

held bent and loose under the 2d finger (see Fig. 12).

is

Be take too

careful

much

finger jerks a

task,

when

little

There

tendon; so

whose

And

strength from the active ones.

the 4th plays.

common

not to hold the inactive fingers up spasmodically, for

it

sole result

the

is

3d

finger plays, or

an anatomical

if

would

the 4th

the 5th does likewise

if

for

this,

The breaking-up

does no harm.

would

reason

do not worry

this

in

the

of this habit

when

presence of a is

a

be, perhaps, a certain stiffness of the wrist.

wearisome

//

S.

}

i^' /J*

Free Finger-exercise without Held Tones

7.

R.H.

4rrrr rrrN ii

rrrf: rrrr; rrrr: rrrr: irrrr:ii

i

ii

ii

Here, too, the finger must instantly finger strikes.

The thumb,

hand begins on

C and

to

its

key, as

if

fly

after playing (that

ii

up is,

in in

i

rounded form when the next all

exercises

where the right

the left on G), does not go under the palm, but stays close

ready to press

it

down.

(See

Addenda,

p. 83.)

VI

Preparatory Studies for the Diatoni c Scales

r^^lHEN man was made, the Creator surely had no idea that he would even^ A J tually " perfect " himself as a pianist for otherwise, in view of the scales and ;

broken chords, he would have provided him with each

hand,

and furthermore, with

seven

fingers

at least

of equal

seven fingers on

length.

For

the

12

[

]

" piano-man " this would have obviated the unpleasant necessity of turning undar his

thumb

once, at least.

requires

special

But with our

insufficient

number of

fingers,

turning-under

preparatory exercises.

Fig.

9

1

23

at

3l5 R.H.:

i»-t»-

«

g3 #-(

2 i;<

,•

O: t^Q

L.H.g

Two

fingers hold

• •

^

iTrrrr TTR

their notes,

one plays.

form an arch, under which the thumb moves.

The ad and 3d

fingers

must

13]

I

Fig.

io

23

t

o^

R.H.

I

3Z

p ^ p

*

«>

^ p

.| |

> |

^

2 3 2 3 « 3 2 3

,

a*

3,

2

i=g^-f=N^

L.H.=y=^ One

finger holds,

two

I

play.

2

3*3

R.H.^

-H.

^)-

r

3

i

3

r

r

r '»

[

14

1

Bo th

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

coming

_exercises_and the following ones, the fingers

in

just before and after the

these

thumb

shouldjtrike rather stronger than the others, going either upward or downward, so that the turning-under and turning-over

stronger accent are

marked by

may

not be noticeable.

The

notes requiring

dashes.

r 3 2

1

•

I

^

1 32-1 It ^:"Tr Tf: ] 1

L.H.

Two C

leaps from

not allow

fingers hold their notes, while the right

it

but

thumb from C

to

to rise in too high a curve, but let

Take ^7

to F\ the left

unmoved

care in ;

all

neither

Keep the thumb

G. it

rise

when

bent, and

do

glide over the intermediate keys.

these exercises to keep the

must the elbow

thumb, passing under them,

hand

the

quiet,

thumb

and the wrist loose

passes under.

R.H.

L.H.S

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

beginning on C, passes instantly under the palm,

2d

finger

has struck.

From

the

in

a

second measure of

must follow up or down when the thumb turns unaer or

bent posture,

this exercise

when

the

on, the arms

a finger turns over.

VII

The Former

Preparatory Exercise,

Fig.

One Tone Wider

II.

*-»-

R.H.

!I^S

^T-rriH'grfff 22«8 3 333

* L. H.

One

*

i

4

4

>

V'l'l-lfl. .M JJJJ: .\°JJ

J

J

«,

'^,

o 3

3

3

M m

g'Jr rjj.^ ^4444

3

jj4

.t- ,'..

||

3 : |

JJ

1

I

1

g

1

t

1

1

|"8JJJJ:|

|

finger plays, three hold.

1

R.H.ySF*^ «

3

2

3

L.H. «

3

2

3

Two

3

4

4

r r r

34

fingers play,

^1

°"r r r r 4

a

1

I

two hold.

ii

4

^

'"'^

2 4

=g

rrr-'i"iri

r

i6]

I

R.H.

'TTTil^^ 3*14

j;

L.H. ^-

One

4

3

2

3

2

343

[!

r

r r

finger holds, while three play

g34 14 ii

"r

^FfP

i

re mainjjqwn after striking.

and

R.H.^^^^^^ L.

u

3

4

'y^'i

J

14

3

I

All fingers play, and remain

""•

down

fe

after striking.

^

1'

C r

i

38'

L.H.^ The as in the

R.H.

t5'

turn a

strikes

—

'*

3d and 4th

fingers

hold the whole notes_^he thumb

former similar exercise, without describing too high ^ curve]

may now thumb

2d,

ir-

its

^ i —*~—H—S m '^

trifle

in

the direction in which the

hand

is

leaping

The

wrist

moving, when the

key.

'

W

r II

'

L • m —«—

-

I m

.

I

I 1

—«

'A

^_—

i »

^

'

^M

'*

^

I

4

4

2

1

—4-

rrrrrrrr lrrrrtfrTfrrl rrrrrrfr-Mrrrrrrrffr l

i

Lg37T3g ..r-„ L-» -'^

}E3EEjS 1

..

3r.-,r.. «37.~.T3

rrrrrrrr-iirrrriTrrrrr-iirrrrrrrr Free exercise without held notes. p. 14

apply here.

The remarks on

*

-i i

g 3

r

T-

3 g

rrrrrrrrri

the similar exercise

on

ll

-n

LI7

1

VIII

Diatonic Scales

Fig.

1

Fig.

13

L

IS

]

Fig.

D

N

scale-playing

u nder the arm

take care, above

all

things,

t

hat

when

the

thum b Jurns movement

isjiot thrust forward with a jerk, but follows the

of the hand evenly and horizontally, gliding along much like a car on rails. The__fingers Furthermore, h_oki_th£„ffiUst..].oo_sely, without moving it up or down.

As remarked before, the should always retain their curve, even on the black keys. thumb passes under the palm as soon as the ad finger strikes only at the end of a scale (playing up with the right hand and down with the left), the thumb should ;

remain beside the hand, bent and ready to

Fig.

strike.

15

19]

[

Practise the scales at

Not

counting.

first

slowly and with a strong, even

touch,

one gradually increase the speed,

until later should

time counting rhythmical groups of three

(triplets) or four notes,

at

without the

same

but wholly with-

out accentuation.

R.H..

J

jTJjp^

^^,i^

:i'^ [^inrfrua The

left

hand two octaves

lower.

In rapid tempo "detach" the stroke

—

as in staccato

Practise at

first

fingers, that

— which renders

lift

them quickly

after each

the scale "pearly."

with each hand alone, then with both together in contrary

motion, andfin ally parallel

— through

strong, even touch

is

dynamic shadings;

at first/or/^,

all

the keys.

thoroughly drilled into the

When

the slow scale with

fingers, practise

it

with the various

then pianissimo, and finally crescendo and diminuendo

the last two shadings in the variations also, to

is,

shown

in the following examples.

In these

begin with, play slowly.

cresc.

dim.

The

left

Concerning crescendo and diminuendo,

hand two octaves lower.

refer to the chapter

on Dynamics,

ilv-^i

h

[20]

IX Preparation for the Chromatic Scale

t2I

2

R.H. J3i3 L.H.

X Preparatory Studies for Broken Chords (Triads)

2

R.H.

2

z

3333

z ^|-&i

d i:^

d

d

4

"

^

^—

W

z 3

'°jjjj

•

ii

;^j^ ^^^"-.a^

JJ Ji

feE±

II

["J

R.H.

L.H.

^Jii

umj I

I

^ ):4

L.H.

L.H.

ID

^^^

SE

I

u

-^ :^"

OLD

l-«-2

•i-^

l

5"

i^ r

I

I

*

n»r rr i-e-2

r

i-o-

4

-1

p -n^ivr

-

f»

i

i

^ r

_

-i

i

F^-F-^i

«"

^1

a^

F^^

4

^ ^=it

^F

n! is^ r F

"»

'

'

the whole notes as long as the quarter-notes are played, keeping

down

Often move the wrist up and

the hand arched and the fingers curved.

down without

interrupting the playing.

m

ii i'i-vjTy^

R.H.:

J

2

L.H.

r

l-»-

4

r » r zn:

1

l-»-8

rr

I

i-e-

•

')

.^

ir I

Let each finger

4

r

lie,

2

^m

«

4

6

»

_

2

4

^

Ei

after striking, until its turn to

wise, observe the directions for the preceding exercise.

4

6

4

'^

¥

pky comes

again.

Other-

[23]

Fic.

3

1

—«—

3a;

R.H.

II

14

fingers

R.H.

«

or rrr

"

¥===¥

J

' £ Jl II

1

J

•

'

J ^

J J ' ^

t

-

'

. ^1

r r

I

-

r r

r

11

Free exercise.

r

r ^ r

From

r

'i

'

1

',

a

f

1»-

^l

r

'

3d and 4th

the

m

_

2

:i

2

4

I

T#-

-

1 I

2, -I I

-I

^

_

I

I

3.

I

=—I-

^^^

?^^^

the second measure on,

direction of the next tone to be struck.

'

1

passes.

eJe^

4

1»-

Here, too,

quarters.

8

fl

J

Z

L.H.

r

the whole notes, play the

I

1

4

must form an arch under which the thumb

J

-j^r^

^1

4 il

Hold

i!

hand and arm move

The thumb

in turning under,

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

^

g

^ 4

g

in the

and the

[24]

Fig.

L-i31 m

R.H.

4

i

n

r

19

F

F f

.

1

n

1

r

'

I

r-r A

L

4 I

i r

>

r

r

Triad-exercise in the

L.H.

*)•

r

r

r

Same same

I

I

r

first

^1

|;'oO #J :*

the tones are convenient to hold, therefore the pedal need be taken

only on the second half of each beat, so that the foregoing harmony has time to die

away without producing

a

dissonant

effect,

which would be unavoidable

the pedal

if

were taken directly with the bass tone. In the above example, besides, smaller hands must change the pedal quicker in the fourth beat of the first measure, as they cannot hold the bass tone with the fingers.

In (i)

cases,

all

observe the following general rules

In chords the bass tone must sound with

cannot be held with the fingers

in

:

its

chord.

wide-spread arpeggio'd chords,

When it

the bass

must be held

with the pedal, which should then be taken simultaneously with the bass tone

;

e. g.,

L.H.

X

f %5.

(2)

The

pedal

may

be more freely employed in high positions than when

playing low or in the middle of the keyboard the treble produce a shorter resonance.

bound by as

the pedal which in themselves

such by the

ear.

;

because the shorter soundwaves of

In the treble, therefore, tones

would form dissonances, yet

For example, play the chromatic

scale

be

are not felt

upward and downward

the thrice-accented octave with pedal, to convince yourself that the above (3)

may

is

in

correct.

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

higher ones, because of their prolonged resonance

must be sooner

released

by the pedal

in

;

consequently, low bass tones

ascending passages.

[64]

For the

(4)

however, pedal-dissonances may be overpowered by a

weaker tone being always covered by the succeeding louder one.

scendo^ the this

ear,

by playing rapidly an ascending diatonic

both hands and

scale with

pedal a tempo with the dynamic principal tone, the highest and loudest.

produce no dissonance,

luit

Chopin Etude op.

No.

25,

supports purity of tone

cre-

Verify

lifting

the

This

will

rather a stylistic effect, for instance at the close of the 11, in

which the heavy fundamental chord likewise

:

-*^' crescendo

With

the Organ-point, too, a pure pedal-effect

dissonant chords sound together

;

obtained, even

when

e. g.,

8

^

is

H^

^44 ^1 ^tt¥ llh.

I

X5

%5r

The

soft pedal

was not added merely for the sake of symmetry, but

as a counterpart of the loud pedal, by veiling the tone.

frequently at the

end of

assists the fingers, for the

that yields a "

To employ

husky"

a diminuendo, to taper

it

It

may

down more

be used

delicately.

is

valuable

\xv

pp and

Here

it

reason that they must not strike too softly in a pp, as

tone.

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

a "false" pedal,

though not

for

prolonged tones

;

as in

Chopin's Fantaisie:

0=

I

m

sfe

^

ii

d

!i''

J

Sf ^

tt

^i-!^

i

kt

''''i

^

I'

«ri^

^

•or

r

r

f

«%!.

%;).->:* %i^.

(The dotted lines show the places where the pedal

is

taken or released.)

XXIV Rules for Performance Melody-playing

I.

D

T

is

probably true,

in a general

matter of feeling and are

delicate

not

common

feeling are, like

taste.

all

things

Where

Beethoven, Sonata, op.

Play a

on the one hand, these

spiritual,

but as

its

bound

to

melody

a

taste

Do

a

fine qualities

and most

the material world,

prove superfluous.

is

the

not consider

helpers.

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

must be played louder than the

(2)

as,

will hardly

as fetters for the imagination, (i)

But

property, and, on the other, the best

Rules for Performance given here

them

way, that the performance of

shorter one, because

lo.

No.

melody upwards

Schumann's " Des Abends

" :

it is

to

sound longer;

e.g.,

2.

crescendo,

downwards diminuendo

;

e.

g.,

in

[06

r^'Wi.

fi

^^

But where the melody is

J

rises

or

by

falls

a

wide interval, the crescendo or diminuendo

executed with greater intensity. (3)

softer.

weaker.

The

beats are unequal in accentuation,

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

first

f In 3-4 time the

first

beat

mp

r is

y -\

are played louder, those

tone loudest, the third tone a

the second weaker, and the fourth weakest,

if

p

r

r

as

on weak beats

trifle less

shown below

loud,

:

strong and the other two weaker, thus;

mp p

[67l

Exceptions to the Above Rules (i)

When

a syncopation, (2)

a short note

on

a

tied to the following note,

is

considered as a long note, and

it is

When

is

Chopin, ^b-maj or Impromptu

When

it

v\

:

ii

rp

^^

^ A

downwards,

fe

weak

beat,

it is

it

;

for

falls

on

a

weak

beat,

it

example, the notes below

'^T

w

short note which

either ascending or descending

;

is

lifted after a

e.g., in

^ The above remarks on (especially important for in

longer one, should be played piano

Mozart's Fantasie

:

^m ^

-^.-Ui

i =?=

melodic passages,

a

C-minor Variations:

^ (4)

on

:

a long note, in playing

* in Beethoven,

falls

e. g..

;

should be played louder than the one preceding

marked

forming

played loud.

the highest note, in playing upwards,

played louder than the one preceding

(3)

weak beat

Ji

g

3 ^I'j

3

.

i)

I

the performance of melodies also apply to passages

Chopin) and accompaniment-figures.

which the melodic motive

here, as for instance in the JE-minor concerto

(The three melodic notes

is

to be

by Chopin

* are to

be brought out.;

And

not merely

brought out, are meant

168]

but also non-melodic passages, consisting of scales and broken chords, should be

shaded

;

from Grieg's Concerto

e. g.,

:

& Do

not be afraid to

'^

m

^ Why

shade" even Bach.

should

this

great master

enjoy the invidious distinction of a colorless, dry, rectangular interpretation coloring

is

The

not an invariable sign of sentimentality.

the tempo, e.g., in a ritenuto either too

marked

latter resides

Tone-

?

rather in

many

or wrongly placed, such as

Chopin-players cultivate. In the melody one ought not, tones with equal dynamic power

;

strictly

speaking, to play several successive

for this causes a hardness of tone

which one might

One may play evenly in piano, one may obtain a tender effect in

be inclined to attribute to the great volume of tone.

and yet not tenderly;

\n forte,

on the other hand,

by an opportune toning-down of dynamic energy.

a figure

Contrast in shading

dynamic expression — a phrase,

is

—

that

in

it

which occurs twice

special

the repetition of the

same phrase with varying

For

also of fine effect in melody-playing.

in succession, forcibly the first time,

an &c\\o piano (with the soft pedal) lend

is,

;

or play

The

emphasis on repetition.

It

piano at

first,

instance, play

and repeat

and thtn forte,

style of contrast in

like

it

as if to

shading to be chosen

any given case depends partly on the meaning of the phrase, and partly on the

player's taste

An

;

the following example

is

from Eduard

Schiitt, op.

observance of these fundamental rules does not

the play of original fancy or subjective emotion.

the guidance of these delightful attributes

35

:

in the least interfere

One may

rely implicitly

— when one possesses them.

with

upon

[69]

Tempo

2.

be the

life

and movement of piano-playing.

day monotonous routine, of

charm of

life,

from contrasts

There

is

dexterity.

— not

style, in like

a

metronomic movement.*

in exercises this

is

is

so that the end

in

its

tempo must be

not drag

get going altogether too trifle

faster,

appointment. at the

is

;

fast.

in the

style

is

;

otherwise the

gradual diminution of speed exactly,

ritenuto it

many

play the final tone a

and gives the hearer

a feeling of dis-

should quite often not be taken

of one or two measures, one would regain the original tempo Paderewski, Legende.

Tempo

^

W^

P

However, where the

I

^

^

e

dim.

one may not

in an accelerando, that

In a ritenuto, moreover,

an a tempo follows,

rail,

by no means

performance would sound

very outset, but the former tempo should be led up to gradually

''=r

pp

f

Thus, ;

;

in the course

e. g..

^

f^~f

^

character of the composition requires

Tempo

p. 84.

I.

literally

— beginning

it,

a tempo immediately at the original pace, as in this Prelude by E. Schiitt

Addenda,

tempo,

so delicately graded that the hearer notices

and conversely

which abbreviates the

Where

taste in

the reprise of the theme like an improvisation, for instance.

See

the spice

expression devolves chiefly on dynamic changes.

in a ritardando, calculate the

may

variety

of every-

allowed only in those practised solely for finger-

neither their beginning nor their end

Thus,

life

played in a uniform tempo from beginning

In the performance of other etudes,

The changes

As

manner, flows from continual changes

no composition which

excluded, although in them

" choppy."

But not the treadmill

would

movement.

in the

Even

to end.

the term " color " to musical dynamics, the tempo

we may apply

If

begin the

[

Rhythm

3-

Rhythm

does not depend on a

on the contrary, of of the bars.

lengthened e. g.,

Thus

at their

a freer disposal

70]

observance of the measure, but permits,

strict

over the beats, but only between the boundaries

individual beats

may

be abbreviated to the profit of others, or

expense, but not whole measures in proportion to other measures

Schumann's " Grillen "

in

:

^ m^

i

f

At

p

i^

-^^

ffi

*

the sign * the quarter-note

prolonged

Is

expense of the

at the

a little

following eighth-note.

This

is,

made by many

however, not pianists, of

in the least

hurrying over the end of one measure and so beginning

For such

the next too soon.

intended as an absolution for the blunder

"fever of rhythm " the best remedy

a

is

the counting

of beats or half-beats, like eighth-notes or sixteenth-notes. In slow tempo.

more allowable is

emphasized or any

" Grillen "

commencement of

slightly to retard the

special rhythmical

^

:

effect

is

marked

exactly coincides with the

*

is

first

;

e. g.,

in

far it

Schumann's

m if

9

octave

is

the next measure In case

desired

I i

The

It

If.

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

upper bass tone

is

struck together

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

An

abbreviation ot the

rhythm,

for instance,

carrying

it

first

beat after striking

by accenting the bass tone

In the

over to the second beat; the resulting

it is

permitted in waltz-

accompaniment and rapidly

— however

slight

— abbreviation

[71

of the

first

beat

the third beat

movement one

may

here be

]

made good by throwing

somewhat more Ughtly,

staccato,

gives the accompaniment " swing

otherwise the rhythmic effect becomes

and ;

the wrist

upward

in exact time.

;

By

then strike the wrist-

" but guard against overdoing

it,

trivial.

Wrist-movement

In the 3-4 time of the Mazurka, the accent the second, and again on the third beat

Chopin, op.

;

falls

now on

the

first,

now on

e. g.,

7.

Leschetizky, Mazurka.

Leschetizky, Mazurka.

* ^ r*^

^

g^

J

r

In a Polonaise-accompaniment, on the other hand, the bass tone must be accented and then followed by a minute retardation, the loss of time being

good

in the next

normal time

;

two sixteenth-notes.

The second and

e. g..

^^

ac r czl: n: cJ: r

Retardation

made

third beats are played in

72

[

Arpeggio-playing

4-

One must play "

flat."

not always arpeggiate only such chords as are too wide-spread to

An

arpeggio

also

is

order where a tender or delicate effect

in

Tn such cases the right hand plays arpeggio, while the

desired.

chord

]

flat

;

is

left strikes its

e. g.,

Paderewski, Legende.

when

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

hand

strikes

its

tones simultaneously and the

a very swift arpeggio

;

left

arpeggiates

;

but

this

the right

must be

e. g..

Chopin, Scherzo.,9 a.

etc.

An

arpeggio

out more distinctly

;

and the other begins

may

also be

employed where the polyphony

to be

is

brought

but only at important points, for instance where one part ends at the

same time

;

as in

Schumann's Romanze

:

[73,1

Similarly in a canon

Theme

Paderewski,

:

varie.

Lento,

gva

Neither should bass together, but the melody-note it

more

relief

and

tone and

may

a softer effect.

melody-note always

be

taken

However,

this

can be done only at the beginning

of a phrase, and usually only on important notes and strong beats. for the

hands

to coincide precisely

so swiftly as to

make

precisely

be struck an instant after the bass, which gives

on weak

the pause hardly

beats.)

noticeable

is

better

The melody-note must

follow

for

(It

the uninitiated

:

e. g.,

in

Chopin's Nocturne:

XXV Fingering

FINGERING

is

good when easy

Only the easy player can therefore,

it is

;

— provided

also play confidently

not feasible to

fix

that the effect

and

finely.

In

is

the same.

many

the fingering in advance, because

it

cases,

must

be accommodated to the size and stretching capacity of different hands.

To

the rules for the fingering given in preceding chapters, only one

more

can be added, namely, that loud tones should be played, wherever possible, wilh

strong fingers.

74]

[

Contrary to

all rules,

one may sometimes

By

so as to save turning under.

as in Weber's " Concertstiick "

let

so doing, a swift

accented and the following one

made

The examples

wrist.

In general, every one

may go

that the passage

them sound appears

better.

good

;

who

well played.

mere wantonness, but

a black key,

easier to reach thereby.

way, as in the

when

the tone

This turn should

but with a swing of the

scales,

amount of

has sufficient courage and the needful

Still,

of fingering

he

as

disregard of rule

provided only

will,

must not proceed from

make

to facilitate the execution of difficult passages, or to

First, try the fingering

otherwise,

is

:

as far in the irregularities

is

better be carried out;

from Leschetizky, " Cascade,"

ind Rubinstein, Fourth Concerto

confidence

made

in the regular

are

tempo can

:

Moreover, the thumb may turn under on

not, however, be

the fingers run out to the 5th,

seek

another

given in your piece, and retain

fingering

adapted

to

it

your hand

if it

and

individuality.

The

pedal

the hand cannot

prepare the next. pedal

when

is

of great assistance to the fingering.

stretch,

It binds intervals

and permits the hand to leave one chord

In the melody, too, a tone once taken

the finger

is

may be

required elsewhere, and another cannot take

which

in order to

held with the its

place.

75 1

I

...''-.

XXVI

Practice and Study

m

RT

most unique possession of man.

the

is

must be acquired by the

heredity, but

crown would be

artist's

It

slight desert.

says he learns everything without effort, he either learns

Thought

valueless.

is

Were

individual.

won, but of

easily

not obtained by birth or

is

it

When

How many

any one

an untruth, or what he

tells

alone springs effortless from the brain

of every art must be acquired step by step.

otherwise, the

;

the technics

strokes of mallet on chisel

were needed, pray, to fashion a Venus of Milo from the rough block of marble?

How many

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

and before he knew how

makes

Practice

perfect

;

to guide the

Madonna?

brush aright, what pains did he have to take

and through practice no

talent

degraded — not

is

?

even a

pianistic talent.

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

number of

the hour or by the

fingers, the

and exercise thought

last

bear

move

correctly

you

will

you

evening; that

is

rendered easier by practising

are sure of

your ground.

harmful to health, and

is

to

arpeggios, they

is

are at

study of pieces, most

at first

it is

is

very slowly, not playing

not rapid at the beginning,

sitting at the

piano from morning

till

impossible, besides, to pay close and sensible practice are quite enough.

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

devoted to the repetition of

As soon

hand

see whether the

for the

If progress

Four hours of

careful attention for so long.

one has

must

be convinced that they

Then,

do not fancy that you can improve matters by

When

He

directed to the mental side.

Thinking faster until

must be the simultaneous

he must listen to each tone he strikes,

;

growing independent and trustworthy.

may be

it

After the fingers have been controlled by thought,

in all.

applied, for only a few weeks,

attention

fruit,

simplest finger-exercise demands, for untrained

undivided attention of the student.

held right and the fingers

rightly

The

and hand.

training of head

To

repetitions.

as

may

pieces.

;

one has thoroughly mastered the finger-exercises, be applied in the study of the etudes.

etude-playing, in particular,

to play

when playing them

them

—

after

-

faster.

A

point for

they go well and quickly

several times in succession without stopping, as long as

promotes endurance.

Play these

slowly with each hand alone, and while practising

slowly play louder than you afterwards do is

and

Begin with Czerny's

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

scales,

you can keep

it

up;

—

this

[ 76 ]

Thought

most

is

memorized, goes from brain

are learned, or rather

from fingers

direction,

way

essential in the study of pieces

to brain.

to possess one's self

To

permanently of

and never

to fingers,

new

Go

piece.

about

grow accustomed

measure, two measures, or

at

most

and determine the fingering and

through only

it

— according student — up one

to the

take

harmonically,

it

Observe, however, that rapid passages

pedalling.

and pedalling might be suitable

Determine them, therefore,

in fast.

the best

is

as follows

it

a phrase, at a time, analyze

tried rapidly, because fingering

tempo and not

it

in the other

to a faulty fingering; then

of the composition or the mental grasp of the

difficulty

way by which they

acquaint yourself with the piece in hand, read (play)

once, so as not to

must be

a

for the

on memorizing, because

lay stress

I

;

in the

slow

in

given tempo, only then

returning to the slow study of the piece.

Except

abstain for the present from fine shading else

it

and the secondary parts

to play the leading parts louder

may happen

Now read

that

you waste your

and emotion,

finest feelings

Matter

until

is

softer,

conquered

your practice-measure or measures through carefully and repeatedly

with the eye, until the notes stand out clearly before your mental vision, and the notes a few times either aloud or mentally

measure or phrase from memory, but no

and then

;

faster than

If you forget a note, do not try to find

it

— not

memory

before

then glance

fail,

When

can dictate the notes.

by groping with the fingers on the

and

"memorizing

is

Take up

also try to play the

in the

each time the portion

whole by heart from the beginning.

form of addition."

Next day, should you have apparently forgotten what you discouraged,

feel

and

rapidly,

Now

it

filing

and shade.

You

over again as before.

few such days of practice you

proceed to

distribute light rizing),

but practise

after a

Should

and without hesitation by heart,

faultlessly

proceed further exactly in the manner prescribed.

This

the

at the music.

you can play the phrase

just learned before,

name

— play

keys, or play on by ear, but try to recover the forgotten note in the mind.

you

;

on wrong notes.

will

learned, do not

rememorize

will

have made

it

it

yours for ever.

and shading; impart animation to the phrases, and

Proceed dynamically and technically

(as

when memo-

only step by step, suitably dividing long passages, for instance, and practising

each division separately.

One repeated as

in

This

;

never forgets a piece learned by

and neither memory nor

the case

method, even when

fingers are so apt to

fail

one

it is

not often

at critical

moments

of players accustomed to practise unreflectingly with the fingers.

latter class, to

to learn

this

be sure, will find brain-study hard at

two or three

lines daily

— and

that

first,

not at one

and must be

sitting,

satisfied

but with long

[77]

More advanced

intervals.

students, too, should interrupt

study

frequently, to

During such pauses they may busy themselves with

prevent overtiring the brain.

One

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

through a piece much

arrives at the point of being able to think

finally

than the

faster

fingers can follow.

Leschetizky says

Even in

if

one learn but

" Learning by

:

this

method

a few lines daily at the outset,

only

is

and

most

later at

one day, and assuming that study must be suspended

apparently slow. a

whole page

for one-third of the year,

the finished year nevertheless shows an outcome of over 200 pages learned, to

which one may add some 100 pages of In the very

pieces.

first

repetitions, such as occur in almost all

year, therefore, a considerable

number of

been learned, which the growing routine of following years

will

pieces will have

double or treble

annually."

To

after glancing will find

it

through

and

easy,

I

it,

it

recommend

also

correctness

will insure

When

he appears

when playing

therefore,

make

a point

it

beginning to end the first

from the very It

Should you break down, or make considerable pause,

method while and

finally,

to

it,

as

is

of no

when

There

play

it

were, another "

and begin again

time."

first

is

practising compositions already memorized. to think.

While

this

Thought

best

way

to

of nothing but what you

at the piano, think it.

The

is

like reins for the fingers,

in the right road. is still

another stage

even the recognition of one's

step to their

after a

Also observe

in correct

piano-playing

—

self-criticism.

ever has got so far as to criticize himself as sharply as his neighbor, for

from

faultlessly

right only on repetition.

it

a mistake, stop playing,

however sure you may be of

keep them

intending concert-player must,

start to play a piece avail, to

It

learning etudes and pieces, or their several phrases and divisions,

avoid mistakes, are playing,

making

has two distinct individual-

artist

The

enough of it.

time.

In his

in public.

he leaves part of his security at home.

in public,

foliows, that he can never have

method of

the above

domestic privacy, and on the concert-platform, the ities.

memory study. They

students whose talent permits of their playing a piece from

faults

advanced

is far

means much, although there

is

Who;

yet a long

amendment.

Those

piano-players, too,

who have no mind

to give concerts, but play only

" for their own pleasure," really ought to prefer to do Let them might this diminish " their own pleasure " .?

humane motives

;

for

everybody

likes to

show

off.

it

try

What

well it,

and

correctly.

anyhow,

if

only from

should we not have been

forced to endure, had not a merciful Providence invented " stage-fright "

the genuine artist finds

it

a

Or

?

True,

stumbling-block which can be done away with only by

[

who accustomed

with the Dragon,"

Let him knock

others.

having reached

this stage, let

their criticism, he

his

at

like the

hero

in public,

in

whereby

Schiller's

" Fight

horse to a painted dragon before introducing

much

playing

every door and request a kindly hearing.

And,

and take the edge off

him. to the real one, to

Let him do

of confidence.

a feeling

J

way described above, and by much playing

dint of study in the

he gains

78

dread of the public by

his

him play before

If he can meet

fellow-artists.

his

proof against the dragon himself.

is

XXVII

Movements of

BIANISTS

of fiery temperament often execute acrobatic marvels with their

uplifted hands, as if to to

all

Hand and Arm

the

show the audience

earthly trammels, and

make

a

mere play of

fancy tricks not wholly devoid of piquancy, and

when accompanying movements of

virtuoso performance.

that they have risen superior

These

difficulties.

may be viewed

with indulgence

In contrast to these are the necessary

the wrist, which serve to facilitate the execution of phrases, to support

the rhythm, or to rest the

hand

after the tension of/or/f-playing

by relaxation of

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

an involuntary reflex movement

ments should be

The

destitute of

necessary

of the piece played.

I

mean

hands are

is,

lifted

melancholy

after striking vigorously.

movements of hand and arm vary according I

do not mean

to the character

that in a Scherzo the fingers

in the air, or creep

may

execute

along sleepily in a Berceuse.

abruptly from the keys, differs from that in playing softly, or in

strains,

where they

are raised slowly

at length in a

movement, whose aim

and the arm

rises as

much,

or, still

wrist-movement demands.

The upward, downward, and

the next notes.

of these move-

the influence on the tone, which in energetic passages, where the

better, as little, as the

been treated

None

upward by

freedom and grace.

merry gambols on the keys or

What

are

it is

twisting

former Section. to bring the

movements of

Here

hand into

I will

mention only the sideways

a convenient posture for taking

In the Chopin Etude op. 25, No. 5^

the wrist have already

i,

for instance,

79]

[

one can take the melody-tone

more

E\>

turning the right hand (not too

sideways

far)

and render

easily, ;

the

left

hand

it

more

by

expressive,

also turns in following

the accompaniment-figure.

Talented students wrist,

and how

acquire

by

it

will

accommodate

to

find it

the

instinctively

proper employment of the

to the varying position of the

hand

practice, whence arises a sort of " preparatory

must

others

;

the

technics " for

promotion of an easy and sonorous execution.

The

hand

leaves the

marked

is

again very helpful.

By holding and prolonging

assume the next-following position

free to

;

it

may

also

it

chords

as at all the

add to the section on preparatory technics a device which

These

easier to play clean basses.

are not such a matter of course as

might imagine, as the appellation " pseudo-basses," invented

The

the tones,

* in Chopin's Fantaisie:

We makes

pedal

usual reason

eyes from the

is,

proves.

Liszt,

hand divert the

that difficult passages or leaps in the right

The

left.

by

one

device for getting the bass clean consists in touching the

higher octave of the bass tone with the

thumb, without depressing the key

left

;

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

of the octave

in his fingers.

Also practise

trick

this

without looking

the left

at

hand, or in the dark.

Another device which may be mentioned leaps

—

a fertile source of incertitude.

take such leaps with certainty

knack which ought

For

a leap

;

Through

in this connection,

practice alone

one cannot learn to

one requires presence of mind, and likewise

to be taken advantage of

when

practising leaps

on white keys, the hand should not describe

swiftly over the edges of the keys, striking the tone

the leap with the outer edge of the the wrist

must drop.

little finger,

which

not with

is

which

striking.

is

necessary.

a certain

namely

;

:

a curve, but glide

the objective point of

its tip.

At

the

same time,

This procedure has the further advantage, that the hand

does not hide the key to be taken from sight, one being able to it,

concerns wide

It aids accuracy greatly to

name

fix

the eye

upon

the tone mentally before

80

[

For

on black keys, the hand

a leap

]

the finger (preferably the 3d) does not strike with

For such

leap

a

on black keys, the

keyboard

also held close to the

is

edge, but

its

with the

flat

wrist cannot be dropped, but

it

;

but tip.

must not be

raised too high.

Do

Through them

hand. also

many

not be discouraged by so

rules for the training of fingers

the fingers finally acquire exquisite sensibility, and the wrist

soon learns to follow the movements of the

remains

clumsy

a

exercises

fellow, always

one should look

when playing

to

it

lest

arm does not

arm, to be sure,

he throw fingers and wrist

Consequently, in the

that the

up, and drag backward

The

fingers.

having to be guided

by faulty movements.

off the track

and

and chord-

first scale-

press forward too rapidly

when playing down.

XXVIII

who

Should Devote Himself

DELICATE

question, indeed

and sharp

reply, short

consideration

:

"

I fear

!

No

of the opulent,

one

"

me, an echo from the World

But

!

Piano?

to the

glorious

this

were wrong,

literature

of

deserves that an unbroken line of interpreters should arise mission, of course.

mission for

it

And

here

we have

the

—

if

the reply to our question

only in

which

piano,

interpreters

will

with a

Those with

:

a

should devote themselves to the piano.

But what

qualities justify this claim?

Were

to say

I

:

" Only a talent of

the highest order," one might just as well assert that only miUionaires have a right

In music, too, there must be a middle

to live.

Qualifications which one ear, a

good hand,

artistic

must have

temperament,

to

class.

become

a

thorough pianist are

fine sensibility, intelligence,

a

good

and persevering

industry.

The

musical ear naturally varies in quality.

recognizes absolute pitch, and can instantly

produced by

tell

tell

another key-tone previously struck on the piano.

but

is

any tone from

the ear which

all is

name of any

a musical instrument or the ringing of a glass.

recognition of comparative pitch, which can

class,

the

Finest of

tone, whether

Next comes the its

This kind of ear

relationship to is

only second-

capable of further development; musicians possessing this ear have

frequently a refined sense for shading.

The him

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

to sing correctly any tone he hears.

[8i]

An

inferior ear can be developed, raised to a higher grade,

singing-exercise; not actual vocal studies, for the singing voice

Merely sing some

account. find as

tone, which

again at any time, and find

it

its

not taken into

so natural and easy to sing that

is

name on

Now

one from which to derive others.

is

by a sort of

Hold

the piano.

you can tone,,

fast to this

try the following exercise

Strike a

:

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

and the other one interval

intervals,

you can sing

until

Also

upward, then downward

intervals in regular order, first

try,

and

of

all

and keep

at

correctly.

it

without looking

last

;

at the keys, to

chords, played by

name

separate tones, then harmonic

some other person

at the piano.

If a

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

show

progress.

Touching the hand and Section II

;

here

I

will

its

qualifications,

some observations were made

only add, that even an imperfectly adapted hand

moulded, by industrious and well-directed practice, into a " piano-hand "

accommodate

On

itself to pianistic

the contrary,

it

and

Is difficult

temperament.

It

is

all

to change the

move

an easier task to restrain

also emotionally dull

when

somewhat

awakened

refined, or

good

the other

playing will never

his

—

it

be will

requirements.

pupil, even should he possess distraction,

mav

in

playing.

And

in case

It

temperament.

phlegmatic

qualities, can drive a teacher to

his hearers. it.

A

A

Better an overplus oi

player without temperament

is

emotionality cannot be created, but only

only sleeps.

Musicians themselves, however, should inveigh against the belief that music

and not

This

needs only emotion,

feeling,

only to make up

or at least to hide, a possible defect In talent.

However

for,

Intelligence as well.

last Is

needed,

if

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

great the talent

industry and less talent than industry will help over

many

a hard place,

a respectable eminence In music

;

and enable

its

possessor to attain at least

but talent without industry runs to seed.

the arduous summit of Parnassus can be conquered only behind

Industry and Talent,

In

fact,

the double-team.

83

I

J

Addenda To page

II.

anomaly manifests

There

itself

whose

are hands

most frequently

in the

This

finger-joints are too yielding.

middle (second) joint of the thumb;

this knuckle-joint either projecting too far outwards, or

bending inwards unnaturally

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

under, and the firm, confident striking of a chord or octave.

This weakness of the

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

Practise

the following exercise ^/fl«o, with each "hand alone.

E. H.

I

ll\

P

=^^

L. H.

:^^-

I P Take,

care to

hold the thumb

in

its

normal

should not succeed, support the joint for a time with the finger,

anomaly,

overcome by the following

^d

finger,

stiffness in

exercise

and with the other hand

then, with the 4th finger, strike wrist.

4th

This treatment may

'finger,

finger

which

is lifted,

note,

E

may

be

for instance, with the

the 5th finger by the tip as high as possible

repeatedly and as forcibly as you can with a loose

also be applied for loosening the knuckle-joint of the

by nature comparatively stubborn; only

33.

When

in this case the

the octaves go smoothly and easily, practise

in scales, without interruption until fatigue sets in.

point to breathe quietly while practising, for the opposite habit

To page

59.

When

the

trill

is

learned, practise

ruption or changing fingers, until you are tired

Even when you will

outwards.

the knuckle-joint of the cth finger,

Hold down any

lift

it

4th

while the 5th repeatedly strikes G.

To page one tone, or

is

F

:

you

of the left-hand fore-

tip

which should touch the inner side of the joint without pressing

.Another

If

position (Fig. i).

can

trill

;

do

this

it

It is

is

them on

an important

unhealthful.

rapidly, without inter-

with each pair of fingers.

but a minute with the strongest fingers, your technique

have made a decided gain.

v/

8tl

i

To page

One

62.

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

the audience better than the player.

more

distinctly

if,

tronome. tivity,

down

the pedal for a time and

resonant waves.

At

69.

can hear the dissonance yet

latter

without playing on, he holds

listens attentively to the

To page

But the

this

Strictly speaking,

'tis

we may venture

point

wooden

a

a

word concerning the Me-

Capellmeister, without an

though useful when not employed too

often.

It

atom of subjec-

not merely a timekeeper,

is

but likewise a good instrument for training a defective sense of rhythm. quently, every player should

make

trial

of

it

or pieces with metronome-accompaniment.

he

may

once

in a while,

Then

he

will

and play

Conse-

scales,

etudes

discover precisely where

lose time in difficult passages, or gain in easy ones.

Those who

are

exercise, either at the

weak

in time, are

advised to practise the following metronome-

keyboard, or (simply by feeling) away from

it

Quintuplets and Sextuplets

ad

Do

not set the metronome on too high a number, and

notes, during which the exercise

is

repeated, at

first in

libitum.

let- It

mark

quarter-

regular succession, and then

skipping.

One ought

also

to play

his

another reason, namely, to learn

temperament but influence of the

like

tempo

metronome

is

in

pieces

how

through once with the metronome for

to carry

on equally two themes of different

one and the same

certainly valuable.

piece.

For

this the controlling

135

J

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

I.

n

HE

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

should not be taken up

till

the player can execute swiftly and evenly the

ordinary scales and broken chords.

through without a break,

for

Each

section

is

intended to be played

which purpose the connecting fingering

is

given.

The

Scale of Scales, in particular, requires great endurance.

Let no one, however, overdo these rest before continuing.

The

exercise?,

requisite endurance will be acquired little

Play these exercises through once every day technique, but increases

it.

but stop when too

;

this

tired,

by

and

little.

not merely keeps up the

86 1.

kjp??i^ «« C minor. (Aarm.)

80:-

C minor, (melod)

Dtmajor

Sa-

16384

Scale of Scales.

87 C^ minor, (harm.)

H

-^^ JT^^ jjjj i

««-

CH minor, (melod.)

D

major

^^^

16384

D

minor, (harm.)

D

minor, (nielod)

1

ijj

iirrff^ jjjjj

I

^^^^jjjj

88

-^^^lrr^ff%r f|^^

-|f^^

r

r^^^

Sq-

Et minor, (harm.)

E!>

minor, (melod.)

E major

E

minor, (harm.)

^aaaufiflK''aiift;^

I6.S84

'5^^

89

E

minor, (tfielodj

F major

F

minor, (harm.)

F minor, (nielod.)

F# major.

sa16384

90

FjJ

minor, (harm.)

jam^ ,j|—^^iP^iii Fil

G

minor. (tn.elod.)

major.

G minorJharm.)

Q minor, (melod.)

8Qr-

16384

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^f^n ^^

UiUi^

i

91

k\>

major

Gtt minor,

(harm.)

Sra

Git

A

A

16384

minor, (melod.)

major,

minor, (harm.)

22

A

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B

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major.

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m

major.

(melod.)

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93

B

minor, (harm.)

^Etit

B

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8-va.

f ft>ffV^ i,p-

i^M^'^^ ^ 16384

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^ ^ '^

,

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f ft>fft>f-ph p

94 2.

Scale of Arpeg-g-ios.

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

C major.

it

stands, only with the regular

C minor.

d.'^ Dl>

m

,,

,

D

major.

P

.

minor.

D

major.

01'^;^

^

WU^

minor.

*=p£

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Sva.

Sva.

16.984

95

E

E

major.

minor.

<

^ra

F

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a

SW-

•

,

^ ^^^^ major.

^iE#'%

F minor.

•^^^'v^

^1

§^ eg 5

^

^m.

Fjt

major.

^^

G major.

5^

16.^84

P

^^g^ (S^i'-

iwifes..

0_

G minor.

j^.^^>^

S

minor.

^^^^^ F|t

96

m^ G^ minor.

^

^m A

^

>=

major

B? major.

A

minor.

B!?

minor.

^^^ !/

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a

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