Beruflich Dokumente
Kultur Dokumente
SCO
R.
:<0
M.
BREITHAUPT
SCHOOL OF WEIGHT-TOUCH
NATURAL PIANO-TECHNIC
vol.
II
m
'
>o
F.
KAHNT NACHFOLOER,
LEIPZIG
42 1909
V.
.
2
1
MUSI
Vicr OrgelChoralvorspiele. Bearbeitet von Tfc. Szaito 1. Aus der Tiefe nife ich.
Flelitz,
79.
Alexander von.
Mazurka- Impromptu
Op.
fur
MacDowell,
1.50
E.
A.
.
Op.
. .
19.
fiir
.
X-
Klavier
Gade, Niels W.
blatter
.
. .
Drei Albuni1.80
56. Drei Stiioke.
.
3.
-.80
1.50
Nr.
1.
2.
3.
...
. . .
2.
3. 4.
Spiel der
Nymphen
. .
. .
4.
Allein Oott in
I.
1.50 1.20
Traumerei Dryadentanz
sei Ehr".
Humoreske
Praludium Nocturne
2. 3.
1.
139.
1.
Tanze
fiir
Pianoforte.
Klrchner, Fr.
2.Klavierstiicke.
Op.
Nr.
Zwei
Heft
und
II
2.50
am Konservatoriiim
Op. Op.
Heft
3.
(Eingefiihrt am zu Leipzig.)
.
.
Deux Melodies.
Sechs
Nr. Nr.
I.
I.-
44.
I.
Stiicke.
Landler.
fur
1.50
Nr.
2.
Tyrolienne
8
Genrestiicke
Romanze.
Scherzo
.
fOr
2.
2.
Op.
140.
Klavier
Nstur- und Stimmungsbllder.
1.50
Praludium und Fuge fur Orgel. Bearbeitet von Th. Szanto Beethoven, L. van. Leichte
,
Harmonielehre fiir KoiiserMusikschulen und vatorien, Lehrerbildungs-Anstalten. Heft I, II, 111 a netto
Daraus einzein:
Romanze Es-dur
1.
Heft Heft
II.
1.50
.
Nr.3.
Preghiera.
.
2.-
Sonaten herausgegeben von 1. Walter Niemann Bergcr, Wilhelm. Op. 89. Vier Krebs, Job. Ludwig. QroBe Fugen, koniplett Fantasie und Fuge in Q-dur fur Einzein: Bearbeitet von August Orgel.
g-moll n 2. b-moll 3. a-moll B-dur 4. .. Op. 91. Variationen und Fuge fiber ein eigenes Thema Op. 93. Fun? Capricen komplett Einzein Nr. 1. c-moll 2. A-dur d-moll 3. h-moll 4. c-moll 5. Chor der Berlioz, Hector.
1.
. .
Heftl.Waldvogelein. FriihlingsJoachim. Die Miihie, fiir lied. Bachlein im Tale .1.50 Raff, Pianoferte aus dem StreichHeft II. Freudvoll und leidvoll. quartett Die schone Miillerin" Air Suisse 1.30
.
Nr. 4. Impromptu Nr.5. Nocturne. Nr. 6. Appassionato Op. 50. Nr. 3. Barcarolle
III.
1.50
2.50 1.50
2.
1.50 1.50
33. Drei
. .
Scherzo
Nr.
1.
Vorfriihling
Nr.
1.20
Riemann, Hugo.
Pianoforte
Op.
6S.
15
2. 3.
Reigen
....
.
1.1.
1.20
1. I. Kwast, James. Op. II. Capricclo Op. 12. 2 me. Gavotte 1.20
Stradal
fiir
5. 5.
1.50 1.20 1.50 1.80 1.20
Einzug in Jerusalem. Bearbeitet von August Stradal Das Wunder. Bearbeitet von
....
1.50 1.50
August Stradal
Neue revidierte Ausgabe von Rob. Teichmiiller Op. 44. Soirees a St. PetersSechs Stiicke. Neue bourg. Ausgabe niit Fingersatz usw. verMelodies.
. .
3.
Wagner,
f is-moll.
(
Richard.
Fantasia
Sylphen u. Onomen u. Sylphentanz aus FaustsV'erdammung". Bearbeitet von August Stradal Die Hollenfahrf aus ..Fausts Verdammung". Bearbeitet von
Rosenwunder.
1.50
Bearbeitet von
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...
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afnt Stradal Tanz der Irrlichter aus Fausts Verdammung". Bearbeitet von
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fiber
Sturm und Gewitter. Bearbeitet von August Stradal Die Loreley. Fiir das Pianoforte ubertragen vom Komponisten Zwolf Klavierstiicke. Ausgewahit und revidiert von Eugen
....
sehen von R. Teichmiiller. Heft I. Romanze in Es-dur. Scherzo 2.Heft II. Preghiera. Impromptu 1.50 Heft III.Nocturne.Appassionato 2.50 1.50 Nr. 1. Romanze in Es-dur einzein 1.50 Op. 50. Nr. 3. Barcarolle in 1.50 g-moll Neue Ausgabe mit Fingersatz usw. versehen von R Teich2. miiller. (Eingefiihrt am Konservatorium zu Leipzig) 1.50
Klavierstiicke 1. Arietta. 2.
3.
2.
Mazurka
triste.
Chant
fran(;ais. 4.
Serenade.
5.
Airanglais. 6.Valsestupide.
i.50
Interrmezzo (MarienII.
....
kapelle)
2.
Intermezzo
1.50
d'Albert
1.
Motive aus Der Barbier von Bagdad" von Peter Cornelius 1.50 Chopin, Pr. Technische Studien (Vorubungen) zu den KlavierEtuden, verfaBt von Carl Pleper. 2 Hehe a 2.ComelliM, Peter. Der Barbier von Bagdad. Komische Oper. Ouverture von H. Behn. 1.Cramer, J. B. Beltrife zum
.
.
3.
Stadium
Reater.
der
KlavierMSIIer-
1
.
Die Loreley. 2. Ave 4. Ave Zweite Elegie. maris Stella. 57. GeharLieder: Vor der nischte Es Schlacht. Nicht gezagt. rufet Gott uns mahnend. 8. Un soir dans la montagne aus Troismorceauxsuisses 9. Schnitter-Chor aus Der entfesselte Prometheus". 10. Einleitung aus Die Legende von der heiligen Elisabeth". 11. Marsch der Kreuzritter aus Die Legende von der
.
netto Maria.
Situations.
Op.
Nr.
1. .1.20
27.
I.
Zwei Charakterstiioke.
Idylle
.
1.
Op.
Nr.
7.
1.
Albumblatter.
Rauschendes Bachlein
2.
3.
....
1. -.80
1.20
].Spanische Serenade Op. 28. Sturmmarsch. Studie 1.50 Op. 29. Variationen und Fuge 2.50
2.
Op.
Nr.
32.
1.
Fiinf Klavierstiicke.
Variationen auf
1.80
82. Orel
Romanze
Legende Menuett Serenade des Pierrots
Etiide (iiber einWalzer-
1.1.20
2. 3. 4. 5.
1. I.
1.20
2.
Menuett.
Etudes
.
thema)
3.
Gavotte.
18.
Szanto,
Nr.
I.
Th
I.
Orientales.
1.50
3.-
2.
Ges-dur. C-dur
Ballade
....
1.20 1.80
Op.
2.
fiir
Piano
3.-
Op. 207.
Nr. 5)
.
2.
NATURAL PIANO-TECHNIC
vol. II
=
of
^=
SCHOOL OF WEIGHT-TOUCH
A
practical
preliminary School
by
utilizing the
Preliminary to Intermediate
by
RUDOLF
With numerous photographic
M.
BREITHAUPT
drawings and musical examples
illustrations,
ORIGINAL EDITION
by
IN
GERMAN
/^IP^^^lV
EDITION IN FRENCH
translated by
R.
M. BREITHAUPT
f^^Sl
E.
CLOSSON
vUl^J
\S3^
*
Presented to the
La technique de
la
pesanteur
countries
UBRARYqftte
uNivERSFTY OF TORONTO
from the
PUBLISHED BY
C. F.
KAHNT NACHFOLGER,
Copyright 1909 by C.
F.
LEIPZIG
ARTHUR PLETTNER
ISA
McILWRAFTH
COLLECTION
References,
notes, etc.
to the
new
facts treated
in
this
"School"
by
special
Rudolf M. Breithaupt.
C. F.
Kahnt Nachfolger.
CONTENTS.
PART
CHAPTER
I:
I.
P^g^
II.
2.
3.
8
1 1
p* Combined rotary motions. A. ROTARY MOTION OF FORE-ARM COMBINED WITH EXTENSION OF FORE-
CHAPTER
CHAPTER
II:
ARM.
1.
13 16
2. 3.
36
.... 37
42
46
2.
III:
The
Scale
OSCIL-
4.
TRANSFERENCE
of the
OF
arm
THE
19
fail
B.
47
2.
Deep
and 20 25 28
CHAPTER CHAPTER
VI:
49
EXTENSION OF FORE-ARM.
and
fall
VII:
CHAPTER
V:
Alternate rise
vibrato
52
OF THE
54 55 56
I.
Finger-oscillation
II.
III.
PART
CHAPTER
IX:
11.
FORMS APPLIED.
PLAYING WITH BOTH HANDS SIMULTANEOUSLY: POLYPHONIC AND FIGURAL PLAYING.
I.
III.
Touch
67
IV.
Rhythm
87
V. Fingering
89
art in
II.
57
.
CHAPTER
XI:
HOW TO
1.
PRACTISE.
practising
58 63
Object and
91
.
III.
down 60
2. 3. 4.
Impediments and
Daily Exercises
how
to
overcome them
91
IV. Figurai
Technic
92
CHAPTER
X:
DYNAMICS.
RHYTHM.
I.
AESTHETICS. FINGERING.
TOUCH.
65 66
5.
6.
How
to breathe correctly
94 97
98 99
Dynamics
Aesthetics
II.
CHAPTERXII: CONCLUSION
TECHNICAL TERMS
Terms and names
to convey the ideas of weight-technic, translated from the
by
German
JOHN BERNHOFF.
Ubertragung
Fortruckung
des Gewichtes
transmission
lateral transference,
shifting
Ruckwurf
Fortrollung
rebound
lateral
of the weight
rolling
combination of weights
oscillation of the fingers
figural
playing
arm
stumme Ubungen
Nullbelastung
Mittelstellung
flachgestreckt
medium pose
Spielbelastung
parallele Handstellung
-
playing-weight
-
hand
humps
inward position: pronation outward position: supination
Innendrehung
cocked-gun pose
Hand
low
set
wrist,
Ausi5sung
gebeugt-gestreckter Finger
relaxation
nach
vom geschwungener
finger
Kugelhand
festigen
hand
as
ball
(ball-hand)
to steady
erect
thumb pose
chord
to grasp (sound) a
the supported
PREFACE.
In
comprehension
tlie
Immediate causes are tangible, and, therefore, most easy of hence we are apt to confound the sublime with
;
mechanical.
(Goethe.
am
merely
fulfilling a
promise
made
I
the
first
volume of
my work
Technic".
Myself an opponent of all so-called "methods", undertook the present work very unwillingly, knowing from
and musical comprehension, it is hopeless to look for success. Let us be candid and confess that all we can do is to train and educate carefully such natural talent as the pupil is gifted with.
Our
way,
to
task, in short,
is
to foster the
experience ently simple fundamental principles of technic without the aid of practical demonstrations. Besides, am 1 not adding one more to the already stupendous number of Methods? The Fundamental Principles of weight-produced touch having, however, been
practical
it
how
difficult
is
to cultivate
natural
nature,
natural
and
spirit, intellect,
make up
goal
pupil's
assist in developing the personality (soul, general education, habits of life, all that goes a human being), in the manner and towards
the
the
destined
natural
by
nature.
will
In
the
free
laid
down
theoretically,
it
develop
those
abilities
be
found
the
adaptation of solution so
extremely
involving
simple,
the
and
yet
so
the
repeatedly
mastery over,
gardeners,
and
expressed
of
in
its
wish
scientific
have the substance of my work divested encumbrance and reduced to its simplest form,
to
all,
young
universal,
have
now condensed
that
is
the
work
to
the
present
for
of
carefully watching and tending the them day by day, and pruning where it We may prepare the soil, delve and weed, but we is needed. must trust to nature to furnish the sap, draw forth the bud, and Cultivation can do a great deal, but ripen the swelling fruit.
We
are
plants, watering
it
cannot
replace
nature.
is
Talent
is
innate,
not the
result
of
The present volume, entitled: "School of Weight-Touch" \s intended and must be treated, as a practical supplement to my theoretical
work, its object being to serve in public and private instruction as a sort of preliminary School of Technic for the intermediate grade. Any of the existing good Schools may be used in their
part for the elementary grades, the easier works of Bach being selected for the intermediate grades. With such a foundation laid, one may go on building up the structure. would here oppose the wrong idea that my object is to upset all that has existed heretofore, and to explain music by "psycho-physiology". Our aim is to do away with wrong ideas and to trace back to their real and natural sources the action of our playing members and the effect produced by them. What we purpose to teach is in itself nothing new: we would disencumber the body and thus assist the playing-members in their action, and teach them to play. Our young musicians shall no longer be tormented unnecessarily with five-finger-exercises, their little hands lamed, stiffened and ruined by performing impossible stretches and exaggerated extensions. Moreover, we must not forget that "technic" is not all that
practical
I
born, not made. As regards the technical terms and the names adopted to convey certain ideas, they are either borrowed from the latest investigations of our subject or are dictated by practical experience.
education.
The genius
Wherever
(See Dr.
the uniformity
F.
it
order to secure greater scientific terminology has been correctly applied A. Steinhausen: Physiological Defects and Reform of
possible,
in
was
and
Piano-Technic, Leipzig 1905, Breitkopf & Hartel). strange and even objectionable the new vocabulary
However
may
at first
appear to the teacher, the new words will, I am convinced, very soon convey to the mind the sense intended, provided, of course,
the reader
is
of finger-technic, and confounding cause and effect, but is prepared to think for himself and reject antiquated notions and traditions.
May
this "School of Technic" assist in shortening the mechanical connected with the art of piano-playing, and thus enable part us to devote our efforts to the culture of the soul and to enter
my
faithful
cannot conclude without expressing my gratitude towards friend and counsellor Dr. Paul Kraemer, for kindly
is
required, but that now-a-days, as ever, the chief condition Where that is wanting, still remains, viz. natural musical talent.
e.
reading and correcting the work from the medical man's special point of view, and to the publishers C. F. Kahnt Nachfolger,
Leipzig, for
all
i.
of physical dexterity
in
bringing
it
out.
Rudolf M. Breithaupt.
fig.
la.
fig
la.
fig.
Ideal type of a piano-hand of a little girl aged six, set in a gently rounded natural
lb.
The
same
hand,
hanging
in
natura
pose, showing thick regular fingers with powerful knuckle-joints, the rounded knuckles protruding naturally. Thumb and back of hand are broad, the short fore -arm terminating
in a
massive wrist
fig.
lb.
PART
I.
EXTERNAL CONDITIONS.
Silent'
I.
The
seat.
The height
It
of the seat
depends
in
general
exercises
determined solely by the general size the physique, more especially by those of the upper body and the lower extremities. With regard to the
is
seat is indispensable only at the outset, i. e. as long ^d, a question of making the joints supple, of maintaining '"'^ relaxation of the muscles of the arm, of accustoming the arm
The low
is
as
it
itself
to
assume and
suspension and
fig.
Ic.
fig.
Id.
flat in
(discharged weight).
discharged weight.
fundamental principles of general technic, i. e. to the natural functions of all the muscles pertaining to the parts employed in proThe
scat
of developing the shoulder- muscles. Later on, when all these desired conditions have been acquired, the height of the seat
ducing the tone, and to the relaxing of the muscles of the arm, the low seat is the one to be preferred in the beginning, as permitting of the wrist and elbow being held somewhat lower than
the level of the key-board.
^
i.
be dictated by the general physical proportions of the indiYet the low seat is to be recommended for those with vidual. large bodies and long arms, in order to accustom the arm to a
will
passive
(Tr, n.)
e.
away from
pose of rest, i. e. to hang free from the shoulder; whereas for the short-bodied with short, thick-set arms, the
2
8
'
All depends upon the "perception of seat is preferable. the weight-transmission". Naturally, the greater the energy disThe the more the body will straighten itself out. played,
high
like
the
Hnd-bridge
climax will be attained by direct transmission of shoulder-power, i. e by employing the key-board as a support for the arm fully extended, (p. 33, fig. F.) Sit in such manner that in grasping a chord with both hands
'
on its arches and pillars. arm and hand relaxed, flat upon a table Explanation: Lay Then slide back with the fingers (i. e. draw them in a c). (fig. little), raising and hollowing the palm of the hand somewhat, thus obtaining a hollowed palm, the umbrella-hand (fig. d). The e. the form, it would assume in clutching "ball-shaped" hand,
I I
Experiment
umbreu-hand
i.
simultaneously, the key-board shall be so far below you, as to Sit Bend the body somewhat forward. afford a purchase.
a ball,
by
flexion, is
shown
in figs.
II
b, c.
We
The
more upon the thighs than upon the posteriors, the feet resting The muscles of the lower body and of firmly on the floor.
of the arm.
fingers
must
either
d)
or
Fingers
fig.
le.
fig.
II a.
Transmission of
tlie
middle-fingers
Parallel
playing-weight).
pose (old school) with curved fingers and depressed knuckle-joints Kohler's "school"-hand cf. also Riemann, Deppe, Jaell and others
;
(to
the
abdomen must be
The
relaxed,
and
the
body
itself
free
to
humps
to sit opposgeneral rules in the elementary stage ite the centre of the instrument, at arm's length from the wooden frame of the key-board, etc., remain the same.
Thus posed, the fingers become "stilts", "props" supporting the weight borne by the palm of the hand, arched to form a bridge.
This
is
the
first
part devolving
upon
the
fingers.
The hand-arch must, of course, not be considered rigid hand-pose or one assumed for practising-purposes
n. The arch-set hand (hand-bridge). There is no hard and fast rule to determine one special way of holding the arms, hands and fingers to suit all cases and answer ail purposes. All so-called normal positions are to be rejected. In the beginning one thing is required for weight-technic, e. for the transmission, supp>ort, and balance of the weight of the
i.
as
only.
merely intended to assist in developing an energetically rounded form of the hand supported on firmly set fingers
It
is
Later on, the technical difficulties having been hand may do as it likes, provided the supports mastered, the are strong enough and the tone be located in the bones For // is the hand that must suit itself to the (the knuckles).
and knuckles.
the
hanu
Theoretical
figures
fig.
Hb.
fig.
lie.
Rounded hand
as
if
fig.
Ilia.
fig.
Illb.
Over-tension of the fingers with stiffened knuckle-joints and wrist as taught by the old schools and methods: wrong.
stiffened knuckle-joint:
wrong.
2*
10
It musical or technical forms, not vice versa. adapts itself to the instrument, assuming such postures and forms as correspond
1.
in
What
to
giurd
own peculiar (anatomic) structure and proand as a natural consequence, the arched Similarly, portions. hand adapts itself both to the musical and instrumental forms:
to
its
build
and
its
Over-tension, i. e. the much praised "Jtdl-cock" of the fingers (fig. Ill b and c) is absolutely wrong, when setting viewed from the stand-point of free weight-produced touch,
Ilia).
against:
for
we no
its
fingers;
besides,
bending-in
of
the
fingers
would
fig.
lllc.
fig.
Hid.
Finger raised, old method, with low-set hand and stiffened wrist:
radically
wrong.
Natural curve of the extended fingers lightly thrown forward, the wrist being held high or low: good pose.
i.
e.
there are as
many
hands
The
play of
the
destroy the bridge and hand-arch, and thus, from outset, render transmission of weight impossible.
the
and extension, of rise and fall, of tilting, twisting, turning (inward and outward flexions) and rolling, gliding motions in both directions (in and out) of parallel figures (similar and dissimilar), converging and diverging (of both hands), etc. So that there
are as
When dealing with weak, too loosely jointed hands 1*11, fmgers and unsteady jomts, preparatory i". With lobulated
t
Preliminary
exercises for
awkward
'""^^
many
modifications
of
and steady each joint, more especially the primary joints, and in such manner, that the fingers shall always be slightly curved and in such curved, contracted pose, each finger shall practise separately on single notes:
exercises must
be practised,
to
strengthen
1.
9)
9.
1111
8
11
form, as
it
arm
to
fail
it so as to were, a claw (fig. iV); the full weight of the upon the firmly rounded fingers, grasping
it, without exerting any pressure, while avoiding tension or spasmodic stiffness. any The arch-set hand constitutes the typical form for all funda- The
natural to
with the
hand
o?
tips.^
it
is
the basis of
all
our
we
Practise
this
possible,
until
the
""^
is gained, i. e. until the joints have become firmer, stronger and the fingers "acting as props" will "stand" and "support" the weight of hand and arm.
end
hand
is required only to transmit the weight Later on, we shall recognize only one
and and
fingers
5th
2.
The
25^
and 5*
which
constitute
the
roots
of of
form: the absolutely relaxed, supple hand with loosened joints. III. The weight of the arm. The full utilization of the
^'",.'
points
(which
differs
as to quantity and
fig,
IV.
fig.
Va.
Transmission of weight
Low-set hand with the fingers strongly curved inwards in order to steady the first twojoints (and tip). The thumb rests upon the edge of the key-board
Hand
"i^A
finger).
play-
weighted hand
"in erection".
support
carpus
fingers,
in
determining and in limiting the arch of the metamust be raised to the height of the middlethe principal joints shall describe an back of the hand slightly curving the
all
Ill
each individual), when combined with the elastic muscular tension of the whole physical apparatus set in motion
quality with
so that
line,
arched
(fig.
I
(shoulder, upper- and fore-arm, hand, fingers), constitutes the fundamental elements of piano-technic. The essential condition
of
its
d and
figs.
d and
VI).
i.
employment
Aim
pose
at a natural
e. the and hand must retain a natural pose, must always remain in an unconstrained normal hand intermediate position (figs, la, b, and XII a), which is
Fingers
of energy needed
is
a clear conception of the various degrees the mental control of the heavy, loose,
freely oscillating arm, or realisation of weight. In order to perceive this and put it to practical use, so that E^pei
it
shall
all
I
be
with
The
object
at
its
aimed
This exercise serves merely as a means towards an end, and should of the by no means lead to the conclusion that a clawing, scratching pose hand is what we are aiming at. The touch is produced by the fall of the
'
(fig.
c),
and "lodged" in the finger-tips, lay the arm, muscles relaxed, at full length and flat upon a table arch the hand to form the bridge (fig. d), and, raising
"felt"
I
Arm-. t^ger
the
upperto
and
fore-arm,
set
transfer
the
weight
to
the
hand
strained
tension
of
the
fingers
(as
in
the
and
the
firmly
Leschetizky-Bree-Melasfeld-methods).
The arm, fingers (figs. I e and Va). ^^ ^^ inactive in the shoulder-joint, is "supported" suppc
relaxs
12
by the hand or by the fingers (passive bearing, in contrast to arm by the shoulder-muscles light arm). the arm a while, let it fall again on to the After supporting
experiment
will
table
(fig.
c).
Repeat
i.
this
movement,
until the
weight
is
realised
the withdrawal and holding back of the fore-arm. In all these' preliminary studies we must distinguish (with
in the finger-tips,
is
e.
awakened.
with
It
may
the actual consciousness of weight be useful to make the pupil practise this
until
Steinhausen) between:
1.
to the utmost,
full
i.
e.
the greatest
amount
Thethreechief
consequent owing eyes concentration of mind and will-power, due to non-diverted attention, the feeling becomes intensified, while intermediary senses In (sense of muscular power, pressure and pose) are quickened.
exercise
his
closed, as
to
the
!"lgh"hnic
place of the fable, ordinary weighing scales may be used, in order to determine the weight, and at the same time demonstrate oculariy the amount of pressure exerted, which must be uniform.
Suspension or removal of resulting from the withdrawal of the point of support of the arm, as when the arm is raised from off the table and held,
borne by the muscles of the shoulder (active carriage) up in the air, a form of muscular action which takes place even during the shortest pause or rest in playing.
The supporting-posture
practised, follow
it
of the hand having been sufficiently with balancing-exercises, causing the whole up
3.
arm
to perform a
pendulous
of the wrist, up and down and supporting This movement and the arch- set hand.
"for playing", i. e. the weight of the relaxed arm, or the normal pressure of the bulk of the arm suspended passively or reposing with its full weight,
all
suspension of the relaxed arm constitute the most elementary forms of releasing the
relaxing of the muscles naturally corresponds to an immediate release of pressure on the key (by weighting the shoulder).
its
weight.
The
weight of the relaxed arm (i. e. of the two to three pounds (1200 is from
ot
mU
swiaf
The arm thus set swinging in its three principal joints (shoulder, elbow and wrist), may very appropiately be compared to a rop>e, the transmission of its movements producing a succession of continuous undulations
(fig.
the hand in repose about V? a pound (250 grammes). The weight in /- or //-style (leggiero, leggierissimo, jeu perie) only about 5 to 8 ounces, i. e. the weight of the lightest hand.
rope
A).
have only to deal with the arm weighted for playing; since the hand weighted to the utmost has nothing in common with the crudest form of touch
we
fig.
A.
All of artistic playing. dynamic gradations of for the intermediate stages of technic, are between the touch, suspended weight and that of the arm weighted for playing.
the
technic
The
Exercise: Take the pupil by the hand as hearty "good day", and shake his arm held at
interaction
if
bidding him a
length.
full
The
that
other degrees of attack are effected by the velocity, by the sweep of the arm and by special tensions of the muscles of the shoulder and back (See Breithaupt, Natural Piano-
backward
Technic.
Vol.
1.
2"^ edition.
C.
F.
of
the
three
principal
will
joints,
more
at
Kahnt Nachfolger,
Leipzig.).
especially
be realised
once.
The same
13
CHAPTER
n.
sutiol^n'T
"
f^ge^"""
Transmission of
Having goHC through these preliminary, but indispensable exercises, wiiich, owing to the discordant effect they produce "P" ^^^ ^^^' ^^^ b^iier be performed inaudibly, we proceed to
study
at thc
i.
e.
that
in
any way
affect orrreeiosci
^J^^"^^
This
with
most important,
certain
piano
itself.
weight
children)
(even
and a
From
silent
exercises
to exercises at
the instrument
fig.
Vb.
fig.
VI.
Hand
Modern construction with protruding "knuckle" (radical knuckle-joint) to bear the weight of hand and arm firmly.
to act as a "support".
I.
which
it
will
take time
and patience
Experiment
The
arm and
In
teacher should hold the pupil's right arm, lay open hand (I. h.), raise the
upon
to
overcome.
pupil's
let
its
Three
suddenly drop back again on to the pupil's knee. the arm, be careful: raising 1. That the arm rest with its full weight, yet without active
a child
The relaxed state of the arm, as we notice in the case of when asleep, or as we may experience ourselves, if we
our arm hang loose over the back of a chair, constitutes in unconscious, practical application (true technic is free from
effort)
first
exercise
Weight without
pressure
pressure whatever, upon the support afforded by the teacher's hand. 2. That it hang loose from the shoulder and oscillate freely.
apparent
The
all
ulterior
14
the arm,
will
be attended
symptoms
last
are,
of course,
felt
in
the shoulder.
They
will
not
by a
slight contraction
in the course of practice. long, however, but disappear wherever spasmodic tension in shoulder and They are felt most, the reformatory process of training the muscles elbow
impedes
Muscular reaction, contraction, signs of fatigue, of "aching" of exhaustion are shoulders, that feeling of being "done up", natural the safest criterion for the teacher, as they prove the muscles and that the movements and actions reaction of the
performed are those required.
Intelligent
to
assume
3.
That the three chief joints of the arm act and react ^^'^^t"""
i.
teachers,
possessing
e. that neither the shoulderone upon the other, to groiv stiff, owing to the continually joint, which is apt the elbow, nor the wrist-joints repeated grasping-action, nor
naturally
fig.
Vila.
set to take sixths).
Modem
erect
thumb-pose (hand
^l*""
some knowledge of physiology will easily detect all this by pressing upon the muscles in question. The absence of these symptoms
is positive evidence of detrimental counteractions or impediments and proves that the movement, the action is wrong. The reason for this phenomenon will be found in the simple contrast between:
show any
tension.
through muscular
Test the weight
After thus testing the weight, each lesson, bear the full-weighted
on the
teacher's
hand) to
which must be repeated at arm of the pupil (supported the key-board, and set it upon the
suspending and relaxing, and life by our arms and hands, viz. in carrying, those performed in daily actions which holding, seizing or grasping. The former constitute The object pursued the muscles are but little accustomed to. the piano-student exacts a different schooling and practice. by
viz.
a black key (C"#, middle-finger placed perpendicular upon or AV) (fig. Va). his If the arm "holds" at all, the teacher may withdraw
^b*
own
Now,
as in
the
training
those
members
to
position,
shoulder has
arm to its own weight supporting hand, and leave the pupil's In order to prevent the arm from suddenly (natural balance). set the hand firmly, dropping below the level of the key-board,
raising the wrist rather high
(fig.
Vb).
15
Continue
5^ingrrs''*''^'"'y
5th finger
this exercise,
2"d,
"P" *he
4th
and
5'"!
weak- (fig.
it
VI) requircs particular attention, as in most cases, the support affords will prove too weak, and for months it will bend in
at
first joints bent in, as the case required and as the execution suited the fingers. The formation of a firm, rounded ,. c finger-tip, for the highest concentration of dynamic power and
.
with the
"=^*'p
= f
rounded
tip
development of energy,
preferable (figs,
lla,
is,
nevertheless, to be
recommended as
and
and give
'^
arm weighted
for playing.
b,
But
s"reI4hen5th
finge?
advisablc so to develop the knuckle-joint of the little even at this elementary stage, that on finger attaining the inter'^
take into consideration the general physique, disand habits of the pupil. position
done,
we must
Theoretical
figures
fig.
Vllb.
fig.
VII c.
Thumb
Used
"crooked"
(in
grasping pose
and
in
legato rolling.
Hand of a girl-pupil showing a weak middle thumb-joint preventing the thumb from forming a firm arch -pose; the thumb wobbling to and fro and giving way through articulary weakness.
exercise will assist in training the 5^ finger to act as a support (fig. VI): Let the hand fall upon the thumb
mediate grade, the "building up" of that finger may be completed and the joint properly "curved", ready for its new work. The
The following
Experim.
no absolutely objectionable feature, Liszt and Chopin sufficiently firm. with a more or less flat touch and almost constantly played
bending-in of the
first joint is
is
posture),
raise
the
arm to hang in the yielding wrist (in low hand from below into a set posture, the
a
knuckle-joint
of the S"" finger serving as Continue this shifting from the thumb to
in
base of support.
'
The thumb
is
the
first finger.
(Tr. n.)
gressing thus
16
may
out,
easily
not curve,
be practised on a table, care being taken to straighten the whole finger, else it is apt to give at the
key-board, the teacher's hand supporting the arm, lift the arm up fairly high and then let it sink back again; the teacher should also
frequently strike the pupil's arm If the limb is properly relaxed, i.
'
pose
knuckle-joint Fingers with too tender nail-joints or middle-joints must, of course, be trained and strengthened, but not before the
preliminary exercises in flexion
died, (figs. IV
suddenly
e.
if
stuin
and IX a).
impossible
martellato.
its
to
produce
the
in
limp, falling back naturally and at once, each time it is struck, steadily resting its weight upon whatever finger is at the time supporting it, we may rest assured that all is going on right and is as it should be. The arm must so abandon itself to its
The thumb
stiff
radical joint,
mostly
own
weight that
it
shall
it
require
its
some
exertion
on the
part of
clumsy, requires preparatory training (cf. fig. Vila). Relaxation and agility of its radical joint, as also its erect pose, are of great importance in forming and training the whole hand.
and
the teacher to
move
from
position.
the weight does not vary, and the muscular sense perceives and discerns the weighting by the resistance which the
As
thumb (fig. Vile) is mostly due to inof the hand, a disadvantage under which power most pupils labour, more especially the young ones whose hands have been strained by prematurely stretching octaves. ConsiThe
flexion of the
sufficient tension
dering how prevalent this articular weakness is, it is high time to introduce into all Institutions and Conservatories of Music the
muscles have to overcome at every movement, no difficulty will be found in testing and determining the. same. The constant ^JZ^'b^tZ will become a habit with the pupil, and what at the s^o""* """ zveighfitig beginning had to be taken in with the mind and practised, will gradually be performed unconsciously: the weighting- act will
by by Menzel, which is furnished with two adjustable key-boards, a normal one and a small-sized one with the keys closer together. The general adoption of three-quarter, and half- sized violins
pleads in favour of the introduction of small -sized key -boards. Besides, the articular weakness may be overcome by firmly
instrument contrived
Professor Zabludowski
and
built
to
proceed
in
is:
to
arm limp upon the key-board, and, with closed eyes, transfer the weight from bedded key to bedded key zvithotit sounding them, the fingers weighing heavily and with their full breadth on the keys (somewhat after the gait of plantigrades). The sensation must recall that felt in walking over a moor, the
the
thumb down (fig. Vila) and by curving the two first joints (see the crooked thumb fig. VII b). Too much time must not, however, be given to these matters. They will gradually come about of themselves, so that the pupil
setting the
tbc
need not be taxed with them unnecessarily. Practice will equalise the dexterity of the fingers, and daily exercise in supportthe weighted arm will gradually strengthen the joints and render them fit to do their work with ease. The arch-set hand and its relaxation is the result of practice, of the adjustment
ground giving at every step. The noiseless bedding of the keys and the careful shifting of the weight exact a concentration of mind, which in its turn facilitates and intensifies the realization of weight. The fingers must not be raised, they merely take turns in carrying and transmitting the weight, passing, as it were, the load from one high, curved knuckle to the other.
II.
ing
by
habit to
learn to
most elementary purpose of technic, support and relax the weight of the arm.'
the
viz.
to
weight -bearing act passive bearing process, is followed by the removal or relaxing of the weight active
This
of^we^ght
^J'^'',^
by
^^
*^l^Z
chiw point,,
and
o^ ^ar greater importance that the teacher should watch control the weighting (see p.l2), which must be done most
'*
'S
heavy (weighted), receding arm, and letting contact with the bedded key, rise with the
while
in
absolute
aud
test
key.
the beginning. The free "suspending" and "dangling" of the arm in the shoulder-joint, the equipoise of its own weight, the loosening of all the muscles, the easy relaxing
carefully, especially in
hangs
and
is
"borne" by
so that
of the articulary
mechanism
the sensation of weight is transferred to the shoulder. "Passive" must always be taken as meaning relaxation; for here, as everywhere else, muscular exertion is never entirely suspended.
Exercise: Bring the weight of the arm to bear upon each of the fingers separately, including the thumb, firmly set on
E='P"n>":
exercise, which, for the first year, will require constant supervision and correction. Thus, when the hand is set erect on the
Oewiditstragung:
literally
weight-bearing.
(Tr.
n)
the bedded key; then suddenly carry the weight by allowing the finger to rise with the key (the key bearing the finger up).
17
heavy arm
playing-weight
passive bearing
light
arm
contraction or stiffness, every joint, muscle and sinew of the limb being relaxed. The arm should oscillate naturally in the
discharge of wfiight
I
active bearing.
Notice the perfect spring in the fetlock-joints which gives that elegant grace to the step of a thorough-bred horse, of a stag or a deer.
wrist-joint.
must be
should also study playing various forms of acand chords, at first without sounding them. Then, companiment he should practise all the exercises with sounding them
pupil
The
fig.
VIII.
Relaxed, limp hand, resting on the bedded keys, with perfectly loose wrist and suspended arm (state of relaxation).
Silent
mercwe
of the arm, can be performed perfectly and with ease, e. without any contraction or muscular resistance, at a moment's notice. Having succeeded in this, leave the (finger) hand on the and let the descent be folloived by instant relaxation. The best key way to do this is to relax the arch-set hand and slacken all its muscles: the hand, becoming soft and pliable, rests with only as much pressure on the key as is required to keep it down and sustain the tone (fig. VIII). Preliminary exercise: Place the hand upon any interval of a sixth or octave, without sounding it, arm and hand relaxed, oscillating, in natural rise and fall (flexion tension), up and down, the fingers bedding the keys without further pressure. Every movement must be supple, perfectly free from muscular
i.
both hands,
in
similar
right
left
and
in alternating action:
deep high
or vice versa.
cudir
It
will
terminate in a gliding motion, i. e. to make the finger in action glide to and fro upon the bed of the key, the hand lightly
resting in the wrist-joint, the to the movement.
arm giving
softly
most
the
whole
technic.
is
The
solution
of
the
feature
essentially of
an
intellectual
18
consisting, as it does, in the faculty of producing an arm relaxed in its joints, on the mental impulse, at any time, anywhere, and utilizing it, without expending other muscular [)Ower than that normally required for the oscillating
nature,
In
all
these
preliminary
to determine the
descent,for the transmission and the removal of that self-sameweight. The mastery of xeeight-technic , the study of its natural dynamic gradations, with perfect alternation between normal muscular action
iody
dynamic must be careful to use the broad fleshy part of the fingertip, which should adhere to the key, as it were, by suction power, until every dynamic degree of percussion enters into the sense
pupil
of touch.
The
tactile
object
is
'''''''
"""
mu-
must become so
refined as
and muscular
relaxation,
Jorms
the secret
of
all teclmic.
Dynamic
(fig.
Va); and, moving up and down with various dynamic degrees of touch, resulting from the natural weight, as they occur between the arm naturally weighted for
playing and the arm released from weight,
in
sense, concentration of the mental perception of tone, awakening of a keen sense for all that concerns the dynamic
produce
^Jef
">e
'
'eve'r*i^
value of the single tone, to render the feeling in the finger-tips more acute, and refine the sense of touch, i. e. the harmonic
ht"gu
weight of "^
"
sJ^
k
The same
in
XE
Xt
jCf"
iXE
XE
rnf
XE mp
XC
XE
XE
J"
PP
PPP
deer esc.
notes of less value:
s
V
jsr
decresc.
o
rnf
and so on.
PPP
PP
cresc.
'^
19
CHAPTER
III.
ACTION
I.
non-legato.
of the
arm.
exercises have been limited to the single tone. the fingers. supported by
held suspended in mid-air (instead of being brought straight down), thus allowing a pause to intervene between rise
We
and
fall,
effect to that
Successive tones
shifting
proceed to the study of successive tones; to the shifting or lateral transference of the weight: the arm, deprived of its
support, or rather
left
now
of
to
its
own
to
resources to swing
off,
now
oscillates
is
swung
and
required. The arm must be raised no higher than is needed to allow of its shifting from key to key. 3. That the descent be effected without the least hesitation, with the full weight of the arm and with precision and
Experiment:
Exercise: Set the weighted arm, supported by the middleCount sharply and finger upon the middle C (fig. Va).
the "timid"
4:!!!
and
4, discharging-'
it
fingers, particularly on striking the black keys), regardless of slips, misses or wrong notes and resulting
5i!!
lightning
rapidity
full
on
4,
swing'
off
the
key,
dropping
it
dissonances.
weight upon the next key D^ and so on, always on the third finger. Then using each finger (except the thumb) as a support to the arm, practise the scale of C-major, to later on, do the same with the scales of begin with Dl7-major,
its
with
4.
D-major, Et^major,
In
etc.
practising
(lit.:
this
exercise,
calls "Stiitz-
The
chief the
schwung"
1.
one suspended mass must descend with swing of a massive iron hammer, this being the marteliato form of the non-legato touch. That the descent be followed instantaneously by the discharge of the weight and the relaxation of the joints, so that the arm shall hang suspended, with joints and muscles relaxed, the hand yielding to its own weight, and
the
The arm
points in
supported
good
care:
shall
The
taking
place
than
that
required to
produce
2.
That
in
scent, no secondary, involuntary action take arm be not raised too soon or too high,
in view.
or,
worse
still,
Abschwung, Aufschwiing: These nouns, derived from the verb "schwingen", to swing, and constantly recurring, cannot possibly be rendered in every modification of the original meaning. What the author would chiefly
reason,
the
teacher
latter's
hold of the
should frequently assist the pupil, taking arm, and suddenly dropping it, when the
it.
Expt
express
'
in
using them
is
soaring or
swoop
of a bird.
lit.:
// is
the
Gewicht I6sen,
We
use the
literal
most adequate
(Tr. n.)
what we may call the "brazen rhythmic tread'^ of the physical organs set in free motion. Each finger having been drilled, the pupil may take up the study of double forms: thirds, sixths and octaves, in addition to
ooub
20
the foregoing, practising thirds with the typical fingering 2:4 with the 1:5 fingers (cf. fig. Vila). (fig. Vb), sixths and octaves Small hands, unable to stretch an octave, should not practise
beyond
sixths.
Although, normally, these exercises begin with the usual position, on a level with the key-board, it will be found useful
to acMoirr of tiuck
to
make
lap.
He
arm
the pupil practise them with the arm star ting J pom the will thus learn to "strike" from that position, setting
in
the
its
full
weight
on the
II.
right key.
fall
and high
fall.
The
is
shown
in the exercise:
6.
21
first fall
to attack,
in
hand alone,
at first,
always
Begin
(the latter
yielding passively), sink back into the extended posture below the key -board (fig. B). From this low position arm and hand are projected upward on to the 2"^ finger by extension of the fore-
beginning with the left hand. Play each exercise with low-fall and
high-fall.
Then
fall
and
In
high-fall (figs.
B and
may
C). to
rw(fig.C).The exercise should be practised in the following manner: using the 2"^, 31^, 4* and S*'' fingers (excluding the thumb, at first), weight the arm at 1; lower arm and hand (on the 2'"'
finger) at 2;
raise
play
independent of each
other, advanced
fall
alternately,
the arm,
set
on the
'i''^
finger,
at
1;
lower
order:
figB.
S: shoulder.
fig.
C.
E: elbow.
H:
wrist.
S: shoulder.
E: elbow.
H:
wrist.
it
at 2,
and so on.
In
all
Left hand:
low-fall
flexion of fore-arm
not raised.
(fig. B).
For the time being, it is a matter of minor importance, whether the finger falls upon the very tip or on the more fleshy,
softer part of that joint.
set
extension of fore-arm
C).
(fig.
The
and
chief object
that
is
pose
of
the
hand,
the
weight
remain
in
the
hand: high-fall
extension of fore-arm
C).
(fig.
five
finger
:
exercises in contrast
to
(9),
be practised ascending (8) and transposed into all the major and
flexion of fore-arm
B).
(fig.
1.
In
groups of three
(10),
2.
In
groups of four
(11).
4
Exercise:
3 4 5
2 3 4 i^//. * 3 3 4 5
22
fig.
iXa.
etc.).
fig.
IX b.
Rounded
Modern
style of holding the hand, somewhat resembling the shape of a bunch of grapes (for scales and passage-work).
In conformity with the conditions set fotlh, regarding the free descent of the weight, the simple five finger exercises are to be followed up with:
J.
2.
All the
triad
Broken chords
as far as they
may be developed:
12.
3.
All
forms
in
chords:
14.
SS s ^S # P
IeIp
I
8
8-
8-
tl^[p
m
bf
'
il>#-
IP
^..)\vn 8- t ii 8'
ill
hh iiM
^
k
8:
etc.
modulate
keys,
in
into
this
all
the
manner.
^i i
*
should
practise
triads
^mw
2!3
tremolo
or vibrato.
15
Daily exercise.
The hands
to
These
latter
formulae emanate, without exception, from the arm swinging as one mass, in nonto
elements subject to, and producers of, the whole complex movement: swing (oscillation) descent, weight -bearing, and weight-
Contrary
the
in
which
fig.
IX d.
fig.
IX c.
is
Old
style of
wrist-tension.
The hand
Grasped or arched octave pose (cock's step). Motion of the fore-arm only, the hand, set at right shaped as if to claw or paw, strongly arched in the wrist; the thumb to the fore-arm. The tone is rough, being produced by a sharp, angular attack
angles
the they are set at the end, they must follow immediately upon exercise on low-fall and high-fall upon single fingers, for they conthe very best, the most efficacious means of loosening muscles in a natural manner, arm, of strengthening the requisite thus early cultivating and utilizing all those forces, those divers
stitute the
the swinging motion of the arm is the principal function of technic, the weight projected from the shoulder, the brachial mass itself, is the source of all simple energy. The normal state of muscular relaxation, i. e. the natural The
As
If. and
ad>
..
relaxation, consti4
tages o natural
24
supreme advantage and benefit of a natural, free automatic technic Each dynamic gradation (potential muscular energy)
tutes the
has
its
source
of the
in central
source and resulting in useless and unnecessary fatigue. The attack with isolated fore-arm must also be avoided at first; being an Later on, it is allowed in angular partial-motion (fig. IX d).
feeling,
temperament,
etc),
upon a
of
greater
emphasizing and
in
is
sforzati.
sweep
p. 12).
The octave
oscillating as a
taken
in
the free
fall
of the brachial
member
active strength
erroneous, misleading ideas, for which we must substitute those of natural and efficacious energy: energy of the shoulder, of
the muscles oj the upper -arm,
rtaitowchue "'''
Technic
is in
reality not
and the weight of the whole arm. much more than alternate up-siving
(high-fall) aiui down-swing (low-fall) of the weight, so that there can no longer be any special rules governing musical figures of double notes: thirds, sixths, octaves and chords are "secured"
by the finger-tips,
kMi,
*"*
iudpoutioiu
tizihs.
i.
e.
they are
"felt",
whole and unimpeded in the shoulder. The weight falls upon the firmly set arched hand and upon the supporting fingers 1 to 5 C* C"* (middle -octave of the key-board), and is then swung off on to the next octave (DD'), and so on. Later on, the octave is formed on the keyboard itself. The hand is set lightly upon the said octave C- C, then the arm is suddenly released, the weight falling upon the bed of the key, the hand yielding or giving in the The wrist-joint, the arm assuming its relaxed, pendent position.
:
and octaves are generally executed in the or in plainer words, "in the descent" (fall or low-swing only, drop); whereas in mixed positions (when both black and white keys are used, for instance in E-major or chromatic scales), the - follows in the high -swing. hand or rather the arm Chords may, however, be executed in either manner. If in the
Thirds,
sixths
When the speed fingers never leave the keys. the arm simply shifts towards the next octave.
is
accelerated,
In half-tone progressions from the white to the black keys and vice versa, the hand (and arm) glides in a curved zig-zag motion from the bed of the white key to the bed of the black key, thence to the next white one, and so on.
all
grasping, binding
ivith
latter,
they are, as
it
were,
lifted off
the keys.
hand must be avoided. Tlu so-called wrist-stroke must be abolished. All active "isolated" backward bending (over- straining) or tension, and all striking "from the wrist" (fig. IX c) is wrong,
being irreconcilable with the principles of a free natural technic, as such wrist-action involves the use and exertion of the wrong
finger-pressure Small hands, unable to stretch an octave, should limit the The practice to sixths and to smaller chords in close position.
substituted
1 5, applicable only in series of octaves played legato, of a melodic character and in slow-time, must be reserved for a later stage of development. In quick tempi the accelerated alternating of "fall" and lateral
smi.ii
hnds
fingering
downward "swing" of the hand results in, and is performed by, the whole arm vibrating in the shoulder and elbow, and yielding
in
a supple
manner
to the wrist-action.
25
CHAPTER
IV.
ACTION
I.
II.
EXTENSION OF FOREARM.
an absolute relaxation of
of the action.
the ivrist-joint is a certain consequence action of the fore-arm, in straightening-out, resembles the motion of the piston-rod on an engine. Exercise (silent): Lay your hand upon the key-board, and
The extension
being one
of the fore-arm has already been mentioned as of the conditions in erecting (setting) the hand (high-fall).
The
'pi*J^
As
Osdllation
this
actions:
os-
so
extend
the
of the fingers, it calls for special attention and special study. Extension, or straightening-out, of the fore-arm means the jerked extension of the fore-arm, proceeding from shoulder and
cillation
out.
fore-arm, that the hand shall be In other words: Let the hand
(passively)
fall
(drop)
This used to be called: "bending -in", and was prohibited. Of course, one does not actively bend the hand in,
fig.
D.
fig.
E.
S: shoulder, E: elbow-joint,
H:
wrist.
SE
nonnai
parallel pose,
S E H,
emphasized extension.
S E
S: shoulder, E: elbow-joint, H: wrist. posture of the hand after fore-arm-extension (lowered wrist).
psive exini
Upper- arm and producing a passive extension of the hand. The extension of the fore-arm is equivalent to a stretching-out in the elbow-joint. The important object of this action is in the first place to remove the habitual stiffness and limber the elbowjoint. The constant practice in jerking the fore-arm forward tends
the elbow-joint and render it flexible, thus counterthe static fixation produced by our daily grasping and acting bending actions and gradually paralyzing the same.
to
stretch
In the
automatically bent in, i. e. it is passively straightened out, owing to the fore-arm being extended (figs. D and E.).
it
is
much
ease as possible.
The hand,
lowered,
with
all
its
joints
perfectly
relaxed
the
wrist
sunk.
The bending-in
must
second place
and
this is the
experimentum crucis
automatically with ease and flexibility. As soon as the mechanical part has been learnt, begin practising single tones, thirds, sixths, triads, octaves.
26
Examples
1
16.
1111222233334444^^55^^^ # F w~w~w
5
1
4
2.
5
3-
rrr^rr \ff^
6
1
rP+ht
uu
In all
etc
E=E
--9
be observed:
1.
the hand must not actively press against the key-board with any muscular exertion or tension, but must fall
relaxed with sunken wrist-joint.
longitudinal swing of the arm and panying the simple fall (drop) of the It is of special importance:
1.
in
the
movement accomchap.
111).
hand
(cf.
more
particularly
when
thumb
is
to take the
must not press dmvn the keys. The tone must be produced solely by the jerked extension of the fore-arm and the sinking of the hand, caused by the
2.
the fingers
black keys.
Example: Mendelssohn:
Variations serieuses.
Var.
8.
passive straightening-out of the fingers, resulting from the extension of the fore-arm, releases the fingers from any active pressure, thus producing the absolute relaxation
the wrist.
extension.
The
Allegro vivace.
17.
etc.
of
The extension
action
of the
fore-arm
rotary
(even
the rolling
or
occurs
in
the
2.
In all
such figures
in
to be
taken:
or
tie
?
'
27
Special exercise:
5
1
^
^
m.
etc.
19.
m
Special exercise:
the low position of the hand (thumb) to the high position (5*h finger) extension of the fore-arm (cf. for instance Liszl: La Campanella and also by the whole finale of the D-miiior concerto by Rubinstein which contains many
similar forms).
From
f
20.
etc.
16.
Allegro vivace. 3
21.
\>
,^,?. iE3;S:
p
fe
cresc.
I
fea
^^g^ i
L^A
I :#=fcf
3.
In all termitiations of
numerous
22.
in
^m
Jr
etc
i\>
very short and quick, with a vigorous jerk of the fore-arm and raising of the hand on the Srd,
^^m
23.
*
j^ie
41*!
or 5"i finger.
28
Rubinstein: Concerto D-minor
(finale).
24.
a
the
combine
to give
power and
In
all
4 5 3 or 2
1
1
&
5 5
26.
Liszt:
3 4
22
Rhapsodie VI.
25.
10,
No.
7,
Vivace.
27.
II.
fall
(of
vibrato.
member
in its
descent,
is
quite
The
is
alternation in rise
for
at
the
more than a slight vertical oscillaalready imperceptible, scarcely executed as gently tion of the hand, a vibration which must be manner as possible, so that in fact the hand and in as rippling a
is
kind taken
mid
Actio,,
is the action
producing
the octave-
at last
supported, as
i.
it
with
them,
e.
abandoning
entirely
to
the
repeating-
Schlagzitiem
by
per-
octaves" ivith the execution of the virtuoso, the so-called 'lightning in the fastest tempo. greatest velocity relaxation This is the key to the passive action and absolute to discover. in wrist-vibrato, a key which we are the first
29
Practise in the
I.
same manner:
(2830)
Octaves
in quici< time:
28.
11.
Figures of accompaniment
in
form of cfiords:
31.
JMIM
^
Op. 26
(1
etc.
32.
Op.
53.
See also: Beethoven: Op. 14 No. 1 (beginning with the left hand) Beethoven: Op. 7 (beginning in the
bass)
Beethoven
var.
II,
st
movement,
17.
Ab-major.
Schumann: "Faschingsschwank".
Schubert- Liszt: "Erlkonig".
Mendelssohn: Variations
s^rieuses, Var. 3,
30
Mendelssohn, Variations s^rieuses.
34.
Var. 5.
Var.
12
Agitato
f nra
f /tf?5
'
fe^s
^m
jj
^
of
JJ
!)i
Instances
the
in:
grand
style
vibrato
occur
35.
Liszt:
Petrarca-Sonetto V, 104,
Chopin Polonaises Cj-minor.A-major, F|- minor, A b- major, and Sonata Bb- minor (Scherzo). Schubert: Fantasia C-minor. Schumann: Toccata C-major.
:
Liszt: Dante-sonata.
Rubinstein: Etude
vibrato).
C-major
(staccato-
KZK
')='><l "ll
w-ar
1 3 |3
^^
-5-
.^
Brahms: Paganini-Variations. Liszt: Rhapsodies I XV; PaganiniCaprices; Mephisto-waltz, etc. Alcan: Etude E-major, op. 35. (octavevibrati).
^:^
Also
delssohn, Chopin,
Rubinstein,
masters.
Brahms,
Liszt,
*)
Liszt's
notation.
The
vibrato
in
common
in
violin
and
violoncello-technic
which
(left)
31
CHAPTER
V.
ACTION
III.
ROLLING OF FORE-ARM.
Rolling'
of the Weight.
Lateral
I.
Natural
rotation
of propulsioti wltH whlcH we have hitherto become acquainted, consisted in a lateral shifting or displacement.
Thc
fortTi
The second
chief
category
of
motion consists
in
rotary
fig.
Xa.
fig.
Xb.
Hand and
Hand and
the
All the movements were the result of the free vibration of arm relaxed in all its joints, and they bore the character of vertical motion of the whole arm and of its parts (rise and fall flexion and extension of the hand).
Just as the former motions emanated from the length, so the latter (vertically) freely at full
arm
are
oscillating
produced
rotation
the fore-arm.
Rotation fore-arm
we mean
'
the latter
is
exact equivalent in English. not always the exact rendering of "Rollung". (Tr. n.)
We
have chosen "rolling" purposely and not "rotation" for the heading, as
32
naturally
ment.
on its So that
is
own
this
axis, the
hand
in
/>assive/v
5. 6.
7.
All
movement,
not generated in the wrist (as passively, old methods), but in the cubital joint.
maintained by the
number
of the
of accompani-
ment
In
all
We
with
the
may add:
hand,
the outward twisting of the fore-arm together showing the palm turned upwards, is called
rotation, fig. Xb), the
i.
the right and in the left hand. forms of the tremolo, one of the
most important
weight
features
is:
"supitiatimr (outward
corresponding term
e.
of the
arm brought
fig.
XI.
Hand
turned down, open by fore-arm rotation. This figure demonstrates one pfiase of the motion; rolling-pose, tilting of the hand in rolling, in executing tremoli and other balancing movements on terminating scales, passages, arpeggi, etc.
is
transferred
laterally
to
two
fingers
alternately
by fore-arm
"outward
rotation
or
supination";
unscrewing
of
movements
rotation (balance of the weight, equilibrium). The process of the motion is analogous to that of see-sawing: secsawiug The motion a plank laid and oscillating across a raised form.
is
rolling.
The commonest and most frequently recurring forms of the above movement consist in the tremolo, and the other analogous
technical elements, such as:
1.
Broken
and chords.
2. 3.
4.
Triads and four-part chords, broken by a lateral Shakes (trills) and all their derivative forms.
All
movement
so-called
motion results in a vibration of ///<' hand which, to distinguish it from a trembling or vibratory percussion produced by the free descent of the arm (fall and rebound through tension and flexion alternately of straightened fore-arm and hand), we shall call rolling -vibrato or shaking, as the effects thus obtained appear to be shaken out of the arm or out
accelerated, this
When
vibration of '*"
ti
figures
connected
with
the
erroneously
of the sleeves.
In tremoli, etc., the
"lateral-stroke".
passive; the
33
thumb -action is mostly combined with the rolling action of the elbow. The feeling of fatigue, experienced by almost all players in tremolo-technic, has its origin partly in more or less violent
cramp
fact
These exercises
will
facilitate
produced
by
the
incessant
exaggerated
action of a
that
thumb
the
(rolled)
on the
A Principal Exercise: Let the fingers fall on the sixth, C^ (centre of key-board), raise the arm, arch the hand and bring the full weight of the arm to bear on the slightly raised wrist
.,
At the ment
bedded keys, are rapped out with the fingers rising and falling, in which case, those muscles which effect the rolling add to the useless labour of those which have to hold the arm in the air and to support it (in the shoulder), hence the fatigue. In no other playing must the arm be more loosened in the shoulder and set with greater surety and "quiet" upon the key-
IX b). Then with a slow see-sawing motion of the hand, and without leaving the keys or raising the hand, roll from the thumb to the S"" finger (fig. XI). This is the rotation with erect fingers
(fig.
(and bedded keys), the hand raised on the key-board, rollmg or rocking to and fro, following the rise and fall of the keys.
,,,,.
Rotation
set finger
bedded k
The
essential
condition
is
yet heavy.
feel as
down
F).
The
board on erected hands, the elbows slightly turned outwards and the tremoli, shaken chords and double trills are executed with
all
the muscular
the upper
power of the shoulder, assisted by a rolling and fore-arm swinging far out. (See p. 36, under
of
II:
Practise shakes
every day
rotary motions; and also specially p. 47.) We may add that all forms of shakes (tremolandi, trills, etc.) and other varieties should be practised daily, as they really drill and cultivate the rotary joint. This advice holds good all the
Combined
more, as nine-tenths of
fluous.
There
lateral
is
all
do
stroke
of
hand
The term: "lateral stroke" is wrong; lateral stroke of the hand is even a nonsensical expression, as the hand simply and What passively follows the rotary movement of the fore-arm. we term its lateral stroke is nothing more than the natural effect
resulting from the vibratory or oscillating power peculiar to the rotary joint (cf. the anatomy of the elbow with the construction
c)
vibration
of a wheel
and
axle).
playing-axis
Preliminary Exercises:
from the
^-
Aw.
^^^
Totary joint
must be
perfectly loose,
ease.
in
i.
e.
the fore-arm
S: shoulder
E: elbow, H: wrist.
inttrument
must bc
2.
flcxIblc
S D H:
direct tratismission
straightened
arm.
E D: E X:
rope).
by
Free oscillation of the arm, hanging loose and yet weighted (swinging
is
Until
above condition
must be gone through, first with the arm suspended free and hanging heavy from the shoulder, and then rotating in the
cises
air,
Graphic
(flexion
velocity.
representation
tension) of
of vibrato: alternate raising and lowering arm and hand (in vertical sense) with increasing
etc.)
the
evolutions
the
utmost
5*
34
Some
rise
Later on, in the free action of the fingers (cf. chap. being raised but very virtuosi perform the shake with an almost imperof
ceptible
the
fingers,
apparently,
simply
by a rocking
of the
first,
be noticed that the greater the diameter or the axis the hand rocks, the easier and more perfect will be the motion; the smaller the diameter, the more difficult will it
will
At Require no Special exercises of shakes may be taken up later on. *""' all the forms of rotation are practised with set fingers '?'j"' bedding the keys (without leaving them), then with raised hand
(the finger leaving the keys,
fig. XI).
on which
be
1.
There are three kinds of rotations: High rotations, with curved hand (high-arched hand and
wrist).
Hence it is that the various forms of the trill present the e. all such forms in which the most difficult forms of rotation, is to be shared by two adjacent fingers: 12, 23, weight 3-4, or 45. The most convenient position for rotary motion is that
i.
2.
Rotations on a level with the key-board (the hand straightened out flat).
3.
Low
hand
(the
arm suspended
The best
from a relaxed wrist). These three forms are constantly occurring in every variety, and their execution depends upon individual disposition, habit, upon the anatomy and build of the hand, and the nature (position and intervals) of the passages in question. It has been determined by objective observation and testing, that:
1.
36.
In trilling
5,
or 3
5 and
34
low
move
^""
rotation
2.
answers
and
In rotations
on a level with the key -board, it is best to rouo turn the hand slightly /zfar</, towards the thumb (fig. XII c). ^^^,
40.
41. -4
5
tremolo.
3 4 2 3 1 3
/ /
/ / /
II
kc procwdi m lerv-anB
It follows that the shake is chiefly the result of the rocking motion of the fore-arm and twt of the rise and fall of alternate fingers, which, so far, do not participate actively in the motion required by the various forms of the "iremolo". They merely
3.
In
all these movements, the fingers more naturally touch xhc finger-tips '"''' """^''' the keys with the tips, than with the flatter soft fleshy parts, for the sake of obtaining both technical precision and a sonorous quality of tone.
35
Figs. XII
lateral
a c
to
for a moment.
is
in
innumerable forms
for technic
is
It
continually
The
typical posi-
fatiguing as a forced inward bending; it is, indeed, even dangerous, as it distends the tissues, and the resulting friction frequently produces inflammation of the wrist-joint. As how
wrist
just as
t,
positious
(fig. Xlla), because, the one least constrained and best suited
outward bending of the hand, which is required only in 'Vg^rt/o"-rolling (See chap. VI and fig. XVI), it must be employed
to the
^'0*1^0^'
"<=
fig.
Xlla.
of the hand.
fig.
XII b.
fig
XII c.
Natural
mean pose
Hand
in
Hand
thumb
of
(adduction).
to
the
natural
build
the hand
(fig. lb).
hand turned outward (fig. XII b), still preposterously advocated (notably in the "celebrated" Piano-Method by Lebert & Stark and others) nor that with the hand turned absolutely intion with the
in
with the greatest suppleness of wrist. The whole art consists never remaining in these extreme positions longer than isNeverre necessary, and in restoring the hand to its natural intermediate p^juon
ward, upon which the Deppe-Caland system is based, are natural Such postures of the or appropriate as studies of position. hand may serve temporary purposes and should only be resorted
pose as soon as possible. In difficult and dangerous passages, in which upper or inner parts have to be sustained, (e. g.) in polyphonic playing, in chords with large intervals, arpeggi requiring long stretches, etc., our advice is always to let go immediately
36
ttrtttlus, tni:dutcl]r let go tc* that ttrain
the notes that strain the hand, and, after stretching the interval, to restore the hand to its normal pose with a supple turn
(chap. IX).
In the case of
Exercise: Practise
all
forms of broken
,
triads
Experiment
hand cannot
interval
rrsrenoDor
J poutioa'i
stretch,
the
chords with large intervals which one rule applies to let go the too large
it,
chords "quasi arpeggicvido'" releasing the intervals fifths and sixths) instantly, after they have been
rolling over them), the hand rising on the
5'Ji
sounded
(i.
e.
or to break
(cf.
it
imperceptibly-
"Stretches" a
Leschitzky-Bree
the
numerous useless
figs, illustrating the chord-positions in those works) are perfectly nonsensical both for individual and for physiological reasonsThe same principle of letting-go applies equally to the rolling
finger (fig. XI) or off from one part of the key-board to another. simply swinging Fundamental rule: All spreading or twisting of the fingers must be but of the shortest possible duration: the movement
Kuiuiameatai
'"''
rapidity.
must
release
the
moment
and chords of four notes. Hence, away with In all progressions of "norma! positions and postures"! broken triads, for instance, the hand "folloivs", e. it does not
of broken triads
rigid
loMfcr trvtn, b roll*
i.
who
sounded, provided, of course, that the not intended to be sustained or prolonged. A player can roll the figures as successive sounds, will never be tempted
execute stretches shifting according to position along the key-board, but rolls without tension or distension from finger to finger,
always maintaining the unconstrained form or a medium position and of loose, not wide-spread, fingers.
to play broken triads or four-part chords (chords of the sevenths) with a spread hand, shifting by a series of angular move ments, from one part of the key-board to another: he would find it far too
II.
The rolling-motion
in
A
5
'J*
short,
jerked
extension
the
(the twisted part of the corkor screw-driver, or the lines in the barrel of a rifle, or screw)
4.
The
cannon.
I.
5"! finger,
and swing of the arm or of the hand on to the preparatory to its again falling on to the thumb:
Preliminary Studies.
D^
etc.
is
rfiii(ncxcr-
After the pupil has practised the rotations sufficiently and able to utilize in a practical manner to some degree the loose
the
rotary joint of
at
once with
The transmission of the weight from one finger to another weight now means of five successive attacks, as described in chap. Ill, onrrotl'too'''^ by now becomes one single rotary action. Instead of executing "''' 5 swinging and falling movements or 5 rises and 5 falls, one
rotation
joint
'J|,j,j
'"
the extended five finger exercises: roulades (florid passages). In the roulades:
(as
if
suffices
to
driving a gimlet) of the fore-arm in the elbowcause the weight of hand and arm to bear,
or rock
(fig.
upon
d).
upon
XII
fingers themselves do not take any essential, active part. for the time being. They need neither rise nor fall, as the actions required (about 10 in number, viz. 5 rises and 5 attacks), even
The
Fingers j.assive
the following
1.
2.
movements are of importance: The fall of the arm upon the thumb: C-. The transmission by rotation of the weight from the thumb to the other fingers: 234 5: D^* E^ F G*
(from key-bed to key-bed, without raising the fingers).
though executed with the greatest possible dexterity and lightness, would cause a loss of time and waste of muscular energy, which were better saved. The simple rotation of the fore-arm in one
single rotary action renders the other actions superfluous. The rotations from the thumb to the 5* finger are the outer and iimer '^"'"' ascending or outer rotations, those from the 511 finger to
37
the thumb, the descending or inner rotations.^ They be executed either by a direct attack of a rotary form passing from the low pose of the hand arm
(the
may or
all
II.
by
in
"hanging"
problem of
loose wrist) to the high pose, according to individual habit and the position on the key-board, of the figures to be executed.
it is
to the mechanical
etc.
spheric.1 shape
"
and
that the
important, however, that the weighting remain the same hand assume the spherical shape (over firm protrudin
the vibratory
scale consists of two roulades, a shorter and a longer one one roulade with three, and one with five fingers), instantly (i. joined one with the other by rotation of the fore-arm, each time
e.
The
no more
ITa^I^^
^^^ ^J""'
Figure XII d
tical
is
also of theore-
on
its
fingers,
performing
progresses
like a
on
its
five
wheel, assisted by
fingers rotation
not
observe
in a practical
manner
by watching
following
For
this
purpose
we would draw
rotary
attention
to the elegant
fig.
XII
d.
motion.
If
the
elbow
is
inclined to be
stiff
or
awkward
in action,
the rotary stroke with five fingers should be preceded by exercises in straightening the fore-arm of the joint will suffice to render
by
it
jerks,
supple.
This means: doing away with the old style passing-under of thumb, as also ivith the passing-over of fingers j and 4 (and
jj
should be followed up by broken triads and four- part chords executed on the same prinfive-finger rotation exercises
The
and
and
zvith all
lateral
hand without
rotation or
(Tr. n.)
extension of the fore-arm, as taught by the old school-methods, is inadmissible. As a model exercise we would select the B-major
ife
^:wfft
38
not the C-major scale, as, for reasons to be given later on, is by far the most difficult scale and can only be mastered by "finished" hands.
scale,
the
latter
suTteV-jfingci
So the C-major scale shall be taken up last. The scalfs best suited to the rotation of the hand are: Fj}- or Then follow Ab- and Eb-, EGl>-major, B- and Dt>-major. and A-major. Finally the remaining major and all the minor
scales.
the fingers is effected by cubital rotation. Hence the illustrations''"-""'"""' of the rotary action of the hand and of the greatest curves, to show clearly where (above or below) the rotation takes place
and what
it
really
is
that rotates.
Practically, superference
and
re
of
\
subterference
'
thumb
subterference are the action of one single moment, and it would, They therefore, be absurd to try to divide this movement into the action^
three
or
performed by
fingers, or the other fingers over the thumb) is rotation of the longitudinal axis of the fore-arm,
moments depicted, which are only intended to assist teacher. Arms and hands instantly sweep on. The fact is
the
that
"'""='
fig.
XIII a.
l^i
fig.
Xillb.
OW
style of passing-under: the thumb is forced into the hollowed palm of the hand, with set or rigid elbow: very bad.
Pose of hand preparatory to passing the thumb under; the thumb placed on B' {B-major scale).'
the finger over or under which another passes, acting as pivot. In other words, in subterfercnces, the hand, tilting inward, is
swung
3'^''
or 4""
may
be, to
fall
it is not a question of forcing the thumb the point lying in the instant removal of the under the hand, 2'"', 3'''', 4"' or S"" finger, under which the passing takes place,
in
subterfercnces
back and
on
to the
thumb
b d),
in
whereas in superferenccs, the hand is swung over the supporting thumb and glides in a curve (circular motion) above the key-board
(figs.
superferenccs, in the instant removal of the thumb, over rolls with a swing on towards the next keys.
rule:
If
Fundamental
afforded
it.
a supporting finger
naturally
is
withdrawn from
Kul<-
XlVa-d).
XIII a
Figs.
d and
figs.
XlVa-d
illustrate
moments
latter falls
single
Untersatz, Obersatz:
t>rackets,
we have adopted
them.
(Tr. n.)
and subterfercnces each finger in turn relieves the previous one in bearing the weight.We would also add, as an important feature, that the sudden extension of the forearm, assisted by rotary action of the same member, constitutes of itself an exceedingly elegant execution of both movements.
So
that in superferenccs
Extension of fore>arm
39
llg.
Xllld.
2nd Pose of the hand with the thumb passing-under. Turning of the hand (by rotation of the fore-arm), the 3rd (middle) finger on acting as pivot. The thumb glides towards E' describing a curved line on the key-board.
The
Maximum
D|-
rotation of the
hand
Dp
to about C*.
fig.
1
XlVa.
fig.
XIV b.
4*''
!l
Pose
of the
Thumb
action.
used as a
Hand
A|'
over
thumb
acting as pivot.
Second
action.
40
fig.
XIVc.
fig.
XlVd.
pie
passing-over or rotation completed, the 4*1! finger supporting the weight. Rotation from D* to Bb' (Btvmajor triad). Third action.
Maximum
rwmiil
Ira-
Be
1.
careful:
2. 3.
That the arm hang loose, That it remain in weighted pose. That the off- swing and descent be performed with perease and steady assurance, That the rotary action of the fore-arm be utilized to the utmost, and that the pupil banish any feeling of timidity
fect
hand
slightly
raised,
tilt
rotation of
The thumb
the
new
thus most easily and most naturally brought into pose required. Any movement or action performed
is
4.
with the object of gliding the thumb between or under the other fingers, without participation of the rotary action of the elbow
is
leading to involuntary, unnatural contraction of the muscles, impeding the free rotary action of the cubital joint and
nullifying the effect of weight
5.
and
relaxation.
That simultaneously with the subterference, the fore-arm be extended forwards with lightning lapidity. The jerked exten-
exercise (inward rotation) with the 4"' finger used as a pivot, also on Bb' [A# -Bj? and Et? D|( furnish each a fulcrum in the keys of F# or Gb-major, B-major,
must
be rejected
(fig.
XIII a).
A|'
E-major,
Db-major,
t.
hand to continue its flight proper. That the thumb be loose and remain relaxed when in
sion
it
is
Ojt
Off-swing, imvard
in the scale of A and E, etc.]. Proceed similarly with the supcrferences, e. set the thumb, supporting the weight of the arm, on B Cb or on E Fb
C^ Db
Ab
2.
and F^
F-major;
A-major;
Kxpcrnacal:
Preliminary exercise :\. Place the 3"^ finger,supportingthe whole weight of the arm
(fig.
XIII b),
upon
(for the scale of F|- or Ob-major), the arch-set hand raised high (fig. XIV a), tilt arm and hand describing a circular motion, the
thumb (posed on
These
its
tip)
with an arch-set
preliminary
c,
d).
of
which
Thcacmai
stud
table) are
41
to
be followed
by the free fall of the weight combining the rotary action with a light rotary swing of the hand.
Tht thumb
ginners and amateurs. On the contrary, weigh upon the key to the very last, in order (as in jumping off a spring-board) to gain thus a firm and sure purchase and swing-off. In falling back
and
4, set
Bring the weight of arm and hand to bear upon fingers 3 upon any suitable point of support, swing off sudfall
upon the thumb, the arm should regain the key-board, by the most direct way, not by describing a large curve. The pupil
should eventually forget the old-fashioned notion of passing under and over altogether, and with a free swing of the "weighted"
denly and
Follows the
movement
the hand
of
must hang perfectly passive, being at the moment of transition, neither doubled under the hand, nor yet stretched towards the key it is about to fall upon. It must mechanically follow any movement of the hand, and fall,
which for the time being
as
it
arm
fall
at.
The rotary swing, with extension of the fore-arm permits of the notes of any interval being connected (examples 4551).
Describes a
ing,
it
were, accidentally, upon the key. This is important. In tilta segment (fig. XIII d), effected describes a circular line,
slight
segment
How to practise:
what
to
by the rotary action of the elbow. Its active participation is limited to assuming and bearing the total weight of arm and hand. At the moment of the rotary swing, arm and hand That is the "shift" or rather "leap" towards the next position. time for the thumb to be "at its post". After swinging off, guard against the arm being raised aloft,
solely
swing-off from the "pivot" will suffice to carry, or Natural There is jhratu to any point on the key-board.
it
not regain its position, or that hand and fingers will miss their aim. Their own weight is a sufficiEven ent guarantee for sureness and precision of the attack.
will
subterferences on the black keys can be executed without special preparation or difficulty. Thus the pupil should practise:
fuard
against, what to
its
weight,
common
fault
with
all
be-
Subterferences: (4548).
observe.
From
45.
4
hsh
4
3.
M=
IZ_
I
From white
2=^
s:
to white keys:
From black
to black keys:
From white
48.
to black keys:
fe^
r'T irT
i
'
etc.
ir
"r
6*
42
Practise also rotary swinging off from the pivot, in combination with double forms, etc., from thirds, sixths, octaves, triads on to the thumb, finally from a third to a third and from a sixth
however unfinished
in
to give steadiness to
Whatever applies
to a sixth.
exercises constitute the basis of sai/es in thirds and sixths of a turn-legato character: f and ff (4Q 50). If F>ossible, follow this up with scales in thirds and sixths,
latter
These
equally to the left. Practise the superference in a similar way, i. e. first from white to black keys, then from black to black and finally from black to white keys (51).
From
Sixths:
Chords
of the
50.
seventh:
4
I
in in
the the
TT
1
221
etc.
B-major scale
ossia
etc.
51.
i^3
Iff
We
sakMHer'.
w lf^fi
l
In
the
same manner
are
12.
f^
these simple
ll
flJ fl
ll
would draw
all
*'*
hanging position of lowered wrist, thus enabling to intercept the descending weight, whereas in the
icith
at first, to
i.
e.
with
it
the
weight
of the arm
on
to
the
Experiment
thumb:
(by rotary swing-off, the 3"" finger: D^'^ Now add directly as pivot) directly on to the thumb E-'. acting the second part (coda) of the scale by a simple lateral (outside)
:
III.
The
Scale.
exercises, which, pass on to
After these
however,
dw
the
difficulty.
it
will
long
itself,
to
master,
will
rolling'
of
which
we now
present
no
hand determining the successive touch of the five fingers by one single action (fore-arm-extension) and without striking. How to overPupils experiencing any difficulty in executing this, should begin come diffi.. ,, -ii iir by practising three and four-fmger exercises with subterferences, cuuies
tilting of the
,
.rr.
We
'
shall take
(52).
taking care, at the moment of transition, to straighten out the fore-arm with a short jerk, thus securing at least the "on-sweep" of arm and hand: the difficulty in rolling is generally due to the
fact that the pupil is apt to stiffen
straighten out
fore-arm
Rollung der Skala, rendered by rolling, however strange at first, is in keeping with the style of execution, and we have therefore adopted quite
it
impeding
jerk,
(Tr. n.)
its rotary action (examples arm Relax the elbow-joint and extend the fore-arm with a sudden (like a bullet leaving the barrel of a rifle) in the direction
53 56).
much, thus
Guard against
too
much
43
of the
5*
finger.
This
When
scales.
playing the
last
etc.,
rwt.g""'"*'^
formed with lightning rapidity, steadies the hand, when executing the scale with the utmost velocity (chap. IV). Once these various points have been mastered, "turn". as it were, the whole octave B^ B^ with one rotary swing and as if in one piece.
S3.
render
These exercises and these rotary motions with extended arms all the old-style special scale- studies superfluous and
the key to the
jhese
cises
ar
to
key
furnish
problem of
"velocity".
Aniru
ririrr
on the
and so on,
in
every key
fail
set the
hand
for a
moment
(after
raised
thumb:
F'',
etc.
In the
same manner:
This progressive
method of I
daii>
Practlsc this fundamental scale, embracing one octave, every day^ JH every key with the same (C-major) fingering throughout,
till
a rapid
and
brilliant
execution
is
manner
(57):
cution
57.
3i*i^f:r
2^ii?f:::z
etc
Trainioy of
hand
In playing the C-major scale, slightly contract the fingers, and transfer the weight more to the finger-tips, to prevent contact with the black keys. This modification, slight though it be, of
the naturally straightened pose of the hand, combined with the concentration of the fingers upon the narrow space representing the surface to which the curve is limited, renders C-major
the most difficult scale, the study of which
old-style
(in
Hands with long fingers of very unequal length, and shori How to thumb will experience greater difficulty. The only thing to be i^l^Z^^ done is to curve the hand in such a manner that it shall resemble a "bunch of grapes", drawing in the fingers to about the length of the thumb (fig. IXa). Having perfectly mastered the rolling of one octave, the pupil Master o
should take up the second octave,
octave to the
the execution
first,
first
contrast to the
'"*
''"
school-idea) must, therefore, not be taken up, until the roll B-, Db-, Gb-major, etc., from the fore-arm,
(examples 58
(in
the keys)
of
both octaves
51).
In
two
roulades,
Finale.
Beethoven: 32 Variations.
(Var. XVIII).
rniBiieitke "*
*^
The
scale).
treatment of the
left
hand
is
roiling
to E-
superference-rouFirst of
all,
{2'^ point of support in the B-major scale), then on to A point of support in the same scale), finally, "complete roulades"
Dp
(1
(inward
tilting,
with
regard
to
the thumb).
B^
(62).
62.
s-
^H\tM
umimm
45
In superferences, and immediately after balancing over the thumb, pupils with supple hands and gifted with an innate grace of motion, may glide the thumb rapidly off the key, drop it and allow it to hang relaxed below the level of the key-board (fig. XV).
Ab. XV.
Thumb drawn
off,
hanging
free (in
inward roulades).
An
the
excellent technical
study consists
in
subterferences,
which may be
said
to constitute An
exc
study
frame-work of
chroiii.tic scale.
more nor less than a succession of broken semitone intervals) come under The the forms executed by rolling or gliding of the fore-arm. But chromatic and diatonic thirds. same applies to chromatic thirds are often executed by a graceful oscillation of the wrist
Ail
chrottiattc
scaUs
(in
reality,
nothing
up and down (flexion tension). The same applies and chromatic scales in sixths, octaves, etc.; but
sixths are executed as
(p.
to diatonic
thirds
and
often
by means
56).
of
"vibrato",
forte
(con
bravura)
46
The
tones
in
In every
ference
varies
d^;rees; in
degrees,
it
r^ular scale the distance of subterference and superfrom one half tonal degree to three half tonal the harmonic minor scale between the 6* and T*
pupil should, therefore, practise intervals of 34 the manner shown in the exercises, and later on
whole
fill
3-4toneiutc
up
simultane- Awkward
Ritikra ciMM'dt
even attains four half steps. In broken chords of three or four notes (arpeggi), however, distances of from 3 to 4 whole tones, etc have often to be
superferences
and
''"'"'*
have already been met in the studies (see above under II) where we practised the preliminary
bridged over.
Gt?-
But these
to
and D|?-major,
difficulties
C-major,
etc.
(examples 6467).
rotary
swing on
far off.
1*
position:
6*.
l3
fe^
^P^B^g
a
3
w^
47
Similarly: 20? position: Db-m^jor, A-major, etc.
up
to C-major.
the
of
all
is
based upon
pi
3;:^ position: D-, A-, Bb-major, 0-, C-, F-, Bb-minor, C-major. Exercises in chords, octaves (Chopin: Etude in Ot>-major, Liszt, etc.). By adding major, minor, or diminished sevenths, and inter-
fifths, v^^e obtain the numerous combinations of chords of the seventh and others of the same four-part-chords, kind, which, in their innumerable variety and inversions, furnish
Thus: transmission of weight, steady and sure balance of The the weight, no exaggerated raising of the fingers (they passively follow the movements of the hand), securing points of support, correct off-swing and attack by rotation of the fore-arm.
ascending scales, arpeggi and passages, the last roulade of 5 notes must be rolled with one single action by a
In simple
all
swung
B.
In
new
enters:
ossia:
68.
''
T^)
as in rowing.
17.
h.
48
Chopin: Etude Al'-major, Op. 25 No.
1.
Allegro sosteiiuto.
71.
^^ U
In the "return"
E* E'
(example
68), the
shoulder, describes a large cun'c back-wards counteracting, by this elastic oscillation, the too acute angle determined by the movement in question which might compromise the general equilibrium. Thus,
Tkc bwkward the
>wp
oi
am
arm describes a very arched curve, backwards, or a mower's backward movement hand. This back curve of the arm is essential,
^gjjpg seed,
like a
sower
thumb
Fig.
right especially in
of the
S'h
finger
H.
very rapid passages, to secure a puriing, liquid flow and elegance of form, and affords the most natural solution of many a difficult
passage, etc
Physiologically this form of movement is nothing more than a combination of upper and fore-arm-rolling. All these rotary motions describe a curve from the outside
to the inside: (example 71)
In performing the former rotary motions (outward curves, Chopin: Etude Ab-major) the hand is set high and pivots on
Chopin: and swings (with a rolling motion) towards the thumb. These rotary motions afford excellent practice for small hands
rotary motions (inward curves, Prelude Eb- major) the hand executes inward rotations
with limited stretching capacity. This completes the second principal group of the various forms of movement, comprising those having their origin in the
rotation of the fore-arm.
5h finger
^*Fig.
O.
The elbows
the inside to the outside, (the elbows being turned in towards the body) (inward curves):
under "Legato". and passages may scales, arpeggi also be rendered "non-legato", e. in the first form of the fall of the weight (lateral displacement) by alternate rise and fall (armThe massive fall ff is also to be included in these vibrato). and must be diligently studied and practised daily together forms, with the rotation, rolling, balancing and tilting exercises.
For other
details
We
that
i.
4Q
CHAPTER
VI.
legato
is
the
result
of
fore
and
and fore-arm.
in
This
constitutes
the
relaxed
shoulder,
the
arm
The connecting
Legato,
how
produced
proceeds, properly speaking, from the rolling of the fore-arm. The natural transfer of the weight from key to key, the finger-
approaching the body in descending roulades (ascending in the left), and moving away from the body, in ascending roulades
(fig.
XVI).
fig.
XVI.
by rolling of the upper-arm.
in,
tips
remaining constantly and closely in contact with the same, produces of itself a natural "legato". And yet the legato thus obtained rather constitutes a rapid non- legato, a relative legato.
resembles
This action of the arm (which in its curvature somewhat the typical form of a sabre) recalls the action of
sawin
A
i.
strict
movement:
e.
absolute
or
legato,
necessitates
a further
the rolling
outward rolling of the upper-arm, of upper or fore-arm combined with the extension
"sawing" as naturally performed by a professional joiner (i. e. the arm oscillates from a free shoulder, not through active muscular tension, the fore-arm curving and straightening out alternately)
(fig. J.
p.
50).
1*
50
fig- J-
S: shoulder, E: elbow,
Brachial
H: hand.
pendulum,
flat
tension)
right hand) which it is possible for the arm to describe, by piaying-curve or displacement of the upper- arm and by gliding of fore-arm and hand.
(C C
means
of
Rou
(far
w<%)ii
The arm,
before
rolling
it,
as
it
were,
as
rolls
thus
suggesting
it
the
is
by a uniform, steady and sure gliding of the arm over the key-board.
This fact 'must constantly be borne in mind. Provided the playing member or members be uniformly weighted, such weight being
equally distributed in the rotary action, the change of key and finger must follow as a natural result. The weight being balanced,
rolls
or
a
pushes
AwricsoiiiMKsThis
or
it
drawn.
out
The arm
(ascending)'.
rolling
hew cenccwd
qI
rotary
action
and unrolling or gliding of the hand by means of the fore and upper-arm, constitutes the
principle
in
fundamental
legato,
connecting
series
of
tones.
Real
as
the
from key-bed to key-bed, the sound continuing as long The only thing to be guarded key is weighted.
is
Guard
again
legato aesthetically technically perfect, depends the equality and the purling, smooth flow of the series of tones to be played, and is obtained with the aid of the
and
upon
iase^f
wd
question, by the rotary action of upper and combined with the extension of upper- and fore-arm. fore-arm,
in
i.
movement
e.
We
must
-
finger
action
is
consisting
in
in
"Roll" scales, passages, arpeggi, etc., first de(with the right hand, i. e. ascending with the left). In scending order to demonstrate the action called integral displacement of the arm, let the master take hold of the pupil's elbow (by the
Exercises:
Experiment
which
UMicMpractkr
moment
and push the latter's arm, as the scale is unrolled over the key-board. The hand is to remain turned in, maintaining as uniform a position as possible (figs. XV and XVI), and remaining perfectly passive. The same with the fingers, which,
coat-sleeve),
lifted more than is necessary) rest with suppleness on the keys and, in tripping over them lightly as if on "tip-toe", The pupil should now propress them down almost furtively. ceed similariy to practise "unrolling" the same forms. The gliding action will be most clearly grasped and executed in passages in which the change of position is only
All
a thing of the past, involving superfluous conscious pressing with the fingers,
(without being
the keys, all spreading, seizing, clutching exerted by digital power, with the object of connecting two tones, exhausts energy, strength, wastes time, and is therefore wrong. In reality,
neither
down
Gliding
this
connecting
is
effected
'
The author
(Tr. n.)
by
participation
of
the
upper- arm,
for
51
72.
or better
still:
This requires
an
equilibrium,
and we must not lose "footing", as it were. The hand must descend and bed the keys at the right moment, to proceed, or hover on, quitting its support on the key-board, with a light
oscillation of the arm.
relatively
speaking,
ir
The
all
arm
better.
FinRer,
hand,
"fly along" with the simply "drawn out". The arm, as a whole mass, glides with suppleness over the keys, pushing the broken chord in front of it, as it were, and drawing it out again in one
,
,
fn
hand.
^,
The
figure
is
technic of violin or violoncello. As in the latter, the species of motion: "bowing", at once and absolutely determines the quality of the tone and secures the "quiet" and equality of harmonious legato-eff ects the ethereal flow of the melody, so, on the piano,
bowing in
is
bow^lfi
action.
Theupper-arm
sentiment, emotion can only be obtained by harmonious action in the circular sweep of the whole arm. Hence, the well-known axiom in violin-technic:
the pure, ideal legato,
expression
of
^uorml^liLcpUvin'rnd"fn declamatory
style
and rounded action of the entire arm may be Said to dominate in all melodic and harmonic connections, facilit^*'"S *he execution and determining the character of the same, All Icgato playing of an aesthetically superior order, e. all forms of pure legato and all particular, characteristic effects relating
flexible
i.
The
"economize the bow" holds equally good of piano-technic. True legatissimo, the ideal connecting of tones, the "grand both in slow movements, and in those of a more lively
Legatis
"'"'
line"
the cantilena of the classic style, the purely expressive lone -connecting, the graceful curves and lines mentally conthereto:
It is the outcharacter, is in reality a purely mental process. come of musical feeling and has its origin, psychologically, in that perfect concentration of the mind bent upon avoiding the
smallest
angles
and the grandest extensions, finally all passages requiring the grand declamatory style of rendition, depend every one upon the participation of the upper-arm, the whole arm hovering
ceived,
lightly
The
artistic
legatissimo
extreme
sensibility,
come
of innate grace
and a most delicate touch. It is the outand emanates from refinement of soul.
52
CHAPTER
VII.
Cn it
When
is
an
elastic
in
body
the
thrown back
it
is
exhausted.
elastic
This
faculty
of
But in ordinary staccato, with the classed and taught as such. natural rebound of the whole arm, as one mass, released, neither hand nor finger participates actively in the movement: With this
fact falls the old-style wrist-technic.
take
Still
ibr
nnh
dw
;
rebounding
is
that
from
to admit
it,
is
to
mis-
The more
the
cause and
nor6accr
participatrs octiTeiT.
The
ami*actioa
is the rebound.' And the greater the velocity (energy of the impulse), the more powerful will be the effect, i. e. the quicker, more violent and more lasting and vice versa: the lesser the velocity of a will be the rebound,
because the
the
The hand rebounds, trembles, shakes, whole arm is set vibrating. An isolated motion of the wrist-joint does not take place. The shoulder-joint
effect.
falling
will
be the rebound.
From
the
in the slightest oscillatory motion To jerk the hand back flexion or tension) of the hand. (whether ivithoiit the participation of the said other joints, i. e. with set or
above
let
we may deduce
the compact mass with a free swing upon the key- board, and rebound naturally, we obtain a tonal effect corresponding to a sharp and short
marlellato sound.
the following practical points: If we of the arm (arm, hands, fingersj descend,
IX
c) is
is
ugly, from
an aesthetic point of view. Staccato is not the result of wristaction, but of the whole arm oscillating in its three principal
joints.
Uxhmc
greater the precision and rapidity of the fall, the greater will be the precision and rapidity of the rebound, and the sharper and shorter will be the effect of the tone pro-
The
The
''tremolando''
of
the
hand
in
staccatissimo
is
the
duced.
Special staccato
rxercisca Brvno
loMiscr rcqoirrd
drop-staccato is a non-lcgato, shortened both as regards attack and duration of sound. Hence, that tonal effect which we call staccato, is, mechanic-
The
We
that the greater the physical apparatus set in vhcgrcur physical ap the effect delicate ("feinschlagig" [Kraemer]) ratus set
is is
or rather the percussion. The most elegant staccato A finger -staccato (cf. chapter VIII) by the arm.
produced
motion,
mora dt a
the
efl
ally
speaking, nothing more nor less than the rebound of the The more rapid the fall, i. e. the more intense striking mass.
is
impulsive muscular tension is, the sharper and shorter will be the staccato effect. In rapid movements, the staccato closely resembles the tremolando (quick repeat of the key) (cf.
the
chap.
Ill),
speak of finger-staccato, of course, we do not mean method of the old school that taught raising the fingers to strike the keys from the "full-cock" position, thus hammering out an unmusical, hard, detached tone. We refer to the
the nonsensical
loose, swinging weight-produced touch, the freefollowed instantly by the weight of the reboundescending fingers ding hand, as explained in detail in chapter VIII. When executed perfectly, it sounds like so many padded cembalo-sticks"rebounding"
When we
conclusion
'
staccato
is
produced
by wrist -action
and
is
natural
rebound of a
A drum -stick striking the tightened drum -skin (playing the cemBesides the balo) rebounds faster than a ball thrown upon the pavement. natural condition of the ground or the base struck, the elasticity of the falling
mass
striking the base, naturally, exerts a telling influence.
on the
strings
(cf.
53
Finally,
i.
e.
upon
"brilliant" play depends upon the staccato -effect, the rapidity of the descent and the rebound produced.
Beethoven: Op.
73.
7.
Largo
This species of tone, sharp, clear, of metallic ring, sounded and stopped with absolute precision is the result of a sharp, short
stroke of the arm (with hand) of a non-legato quality,
etc.
produced
by an exceedingly rapid impulsion instantly followed by the staccato style. repulsion. The brilliant tone is the non-legato
l-;
The
pupil only needs to study the fall of the weight (chap. II, III) with the repulsion, i. e. let arm and hand rebound quickly and suddenly. This movement in combination with the stretch-action
among
Op.
movement,
No. 3 (Scherzo).
of the fore-arm must be performed automatically, the fore-arm alone executing the staccato, the hand drooping and dancing
sudden weighting of the arm (in its dcsceut on to the key produced by a swinging movement) to as Tnglmidden relaxing suddeu 3 relaxing of the weight (when the arm rebounds) must be made with lightning rapidity, without the least interruption
Change from
must have the sensation, as though he were furtively pressing on the ivory button of an electric bell, the tone being, as it were, drawn out of the key, produced, not, as in reality it is, by pressing down, but by raising the finger from the key. (Chap. X under "Touch").
player
The
The
se
produc
or hesitation.
After practising the free descent of the lifted hand, take up the study of staccato starting from the key, i. e. cause the weight assumcd by the finger forcing down the key, to descend sudthe weight of the arm) then Then reverse instantly rebounding just as suddenly and lightly. the action: Touch the finger to the key, and suddenly lift arm
(i.
The
(a
term
technic), generally produced by the hand the arm) gliding off the key, in a manner resembling the (or by action of "wiping" or sliding". (Chap. X under "Touch").
If
Icendw^wrfst
e.
fore-arm,
e.
in
scales,
rolling the
Piaicato
and hand with a quick movement (lifted staccato). This latter variety (pizzicato) produces the most perfect effect, but is only suited to passages of a definite character in slow tempo, for
instance:
hand
in the
subterferences.
subject to
same
rules.
(Chap.
IV).
54
CHAPTER
VIII.
ACTION
I.
IV.
na(CT-OK3b-
Finger-oscillation. So far, fingers have scarcely been spoken of, their "activf^ part having been limited to passively supporting a weight. This once mastered, arm and hand having been trained to fall upon loosened, relaxed fingers, or to roll on upon them, etc.,
the
of
Do
the
same with the 1^, 4!'' and 5"" fingers and finally with the thumb, practising the usual three, four and five-finger exere.: thumb on C^, swing cises on the before-named principles,
i.
puticipatioaof
tbc ftaf ers
the
flngers
may
participate
in
the
general
oscillation
of
the
of the 2"i finger and instantaneous descent of the brachial weight on to D-, rise of yA finger and instantaneous descent of the
fig.
K.
in
fig.L
repose, the four
posture: the fore-arm hanging in low position. Weight resting (reposing) in the sunk wrist (A). The loose fingers thrown in the same way as in fig. K.
Oscillation of the fingers in the joints, projection. a,, b,, c c,
Natural
pose of hand
in
Low
Lightly thrown fingers (without curve): straightened finger-touch, a b, a, b, shortest way of motion described by each finger. A: raised wrist X y: parallel plane of touch.
:
ap-. projection.
theirown weight, i. e. with that of the hand, arm or of the whole brachial mass, on to the keys. Models: Paderewski, Carreiio, Busoni and others.
EspcriacBt
organs of percussion. They should now be thrown lightly forwards and allowed to co-oscillate in their knuckle-joints. Exercise: Set the weighted arm with raised hand on the
middle finger: E 3t
sharply:
weight of arm and hand on to the y^ finger on to E-, rise of 4* finger and descent on to F*, rise of 5"' finger and descent of
weight on to O^, and so on. Remarks:
the finger must resemble a light "soaring", a sudden tilting, an elastic jerk, the motion of upward swing, the fingers themselves resembling that of arrows darted from the
1.
in
repose, count
relaxed
The
rise of
"one",
^"
"two";
at
swing
it
the
2nd
and
at
"two"
string of a
from the
weight bjoicflUtioB
height to
bow. The greatest mistake is made regarding the which each finger should be raised.
55
It
amounts
to
about one inch (23 cm) from the surface of an inch (12 cm) from
medium tempo
it
is
about
'^|^
of
Curved pose
^
nrst^'"
rapid fingers rise to the greatest height, when simply straightened out to their full length. \{ js wroug to start training the fingers from a strictly curved A free, natural style of movement or action can only position.
an inch (2 cm),
but
is
reduced to a minimum
in
more
tempi.
The
The rise, swing-off (extension) and descent (flexion) of the must be condensed into one single movement, the whole finger forming one undivided action. Great care must be taken, however, y stm ' cial ex that the upward movement of the extended fingers, and the alternate action of two fingers be executed perfectly, and with the utmost precision. A slight oscillation of the hand responds
5.
to the rise or swing-off of each finger. After the finger has fallen and struck the key, the weight
of the hand,
fingers.
be acquired from a free, natural pose (exempt from any strain) and from a natural curve of the naturally straightened Long, flexible fingers having the natural swing in extension and flexion may with impunity be "curved" in playing, but not the other way about. Our experience, at least, has been
pupils taught on a wrong method) the curved pose the fingers and prevents their free co-oscillation. paralyses Raise (oscillate) each finger with ease and let it descend in the
that (with
must be released
at
once.
The muscles
of arm,
are to be relaxed instantly, the key being weighted only just as much as is required to keep it down and sustain the tone.
All
is
active
spasmodic
as
pressing
down
or
crushing of the
key prohibited, infringing the law of friction and relaxation. The whole secret of finger-action consists in instantly relaxing hand and finger, i.e. releasing them of any exaggerated
pressure, tension,
etc.,
the
moment
the tone
is
sounded.
Law
oi friction
to be raised (straightened out) only to such au cxteut as to cause the least possible friction (internally and externally), according to the law of friction. Only in a few exceptional
the natural
movement
requires
(figs. K and
L).
II.
We
cases,
produce
What
to avoid:
certain accents,
may
or
to
of beginning with the active raising of the fingers (a perfectly wrong conception), that exercise (raising the fingers) must not be taken up until after studying the free descent of the weighted arm upon
2.
Any
actlvc tension
pistol
of the fingers
still
cock of a gun or
and pupil
I.
(figs.
,
Ill
the
set,
and
learn
not upon the raised, passive fingers; as first of all, arm hand must be taught to remain supple and loose and
is
prohibited,
as infringing
the
how
to
Gun-cock
ingers
pose o
of frictioH for, besides the loss of time, waste of energy ^^^ ^^^ vvrong and pernicious muscular exertion which results, the realisation of the most important feature of the whole
lajv
is rendered impossible, viz. the free, loose swing of the and the unimpeded descent of the weighted brachial mass. fingers The tension must only be dimomentaryon&,\\V.t that of the bow-string. 3. The swing of the fingers (tension flexion) must in no
development of
mastered.
If
assume and transfer the weight, eveiy detail and which must have been studied and thoroughly
is
strength
let
lift
movement
the the
hand fall into the keys. If much strength is required, arm a little higher in the shoulder, or descend with greater rapidity.
The descent
of the weighted
member with
the
swing
of the
way impede
a.
Cramping,
it
must uot
yoj/ or
4.
in
the flexibility or action of wrist or elbow-joint, i. e. the least interfere with their relaxation; therefore
retained
that the
fingers always produces a non-legato. The legato style can only be obtained by a soft pressing down of the keys with the fingers weighing upon their surface.
emnj
^^
until
3.
it
member must not be stiffened or cramped. The weight bearing upon one finger must be is assumed by the next finger; which means
Tooeariyreie. of weigh.
weight must not be released simultaneously with the rise of the Or, to put it practically: If the weight rests on the ^.^^^^
it retained on C% until the swung 2"'^ finger, is beds the key D'', and is able to relieve the thumb of its descending, weight, as it were, and assume it itself. So that the combination of the attacks in passing from one key to another must
But the sharp or sudden rebound of the mass, the swung finger having fallen, may thus produce a staccato. when the fingers descend, we allow the hand to tap the If, e. to strike them with a thrown action or keys vigorously, motion of the hand, we obtain what is called the "cow bravura"
i.
thumb: C-,
style.
rest or remain steady If we allow the hand and fingers to and cause the weight of the hand to sink lightly into the key, producing tone by tone with firmly set finger-tips (without raising
unimpeded swing
of the fingers.
One
''jeu
perle".
we
56
headed or not), to descend and
rapidity of, drum-sticks, the effect
rebound
produced
like,
is
III.
Various methods
is
of weighting.
of the various free
The following
modifications:
recapitulation
and
RecapUuiati
Slay
employ
staccato (in scales and passages) which we call "leggieremeitte". Nothing is here employed but the natural weight of the fingers. that of thc hand (from a loose wrist) lightly following the descent.
and of
i.
their different
Free
...
full
weight-produced-touch.
brachial weight in oscillation upon the or several fingers: thirds, sixths, octaves,
to carry to ooiyu..^ This free and natural "play of the fingers" (very difficult, to a higher grade of study Binfaiknri perfection), however, belongs rather "^ than to the elementary exercises. Nor does it belong to the rudiments of technic, properly speaking, but rather constitutes a
I.
Descent of the
^gj.j.
martellato touch.
the study of special part of technic (a technical "nuance"), had better be left to finished hands.
which
to the
1.
The leggiero
and fingers
style,
produced by a very
light
in repose, rather
known
Fall of the brachial weight from the surface of the key bed of the key, viz. On to the lowered wrist, yielding to the weight (hand resting on the key-board, wrist sunk below the level of
must not, however, gather from finger-exercises are henceforth to be done away with. The contrast between: finger-action and weight-produced touch
The
pupil
2.
On
upward
(erected
(weight-technic) of matters.
owes
its
origin to a perfectly
wrong conception
III.
Effect:
non- legato.
We
Finger-action
is
altogether wrong,
vibrato
IV.
the fingers, and Finger-action with weight, which is the only correct action. To what extent active muscular tension shall participate,
tires
by rolling
of the fore-arm.
Effect:
6l
CxccaaiTe
depends upon the technical requirements and difficulties of the comfKJsition, and must be decided by the individuality of the player who knows what he is capable of doing. What must be discarded, as absolutely wrong, is: excessive tension and faulty manner of holding the arms and hands, stiffening of the joints, exaggerated extension of the fingers, obstinate and
non -legato.
j.
V. Lateral rolling of the brachial weight by rotary action of the fore-arm alone or in combination with the upper-arm.
Effect:
legato.
VI. Natural
upward
Effect:
VII.
staccato.
in a complete Txumumiina- continual drilling of each finger separately, resulting iaf o( each or partial stiffening of the wrist or elbow-joint, which while it
Sharp descent of
unnecessarily wastes muscular energy, impedes the free, natural oscillation of the arm by preventing its utilizing its natural weight. He that commands a loose arm and can "play with weighttouch", may use the fingers as much as he likes and whenever
rebounding hand
con bravura
(brilliant).
no matter where.
of the
As long
as the fingers
vibration,
Rolling of a light
whole arm and hand, they do anything; but the moment they perform their movements may without participation of arm and hand, everything is wrong. Finger-action, finally, becomes a question of dynamics, or aesthetics.
the
oscillation
finger-tips,
with
short,
weight of the hand over firm-set great precision in the arresting of each tonal
of finger or key. Light, loose on the keys (not swung style, i. e. the fingers resting naturally and without active rising) with the least possible weighting of
precise descent
however, a very important one. Finger-action without weight, i. e. the old style, produces a thin, wooden, sharp, dry tone, very different from that of weight-produced touch, which
This question
is,
down
jeu perl6.
embellishes the tone rendering it full, sonorous and round, enabling the artist to put expression and power into his playing, never dreamt of by the old school (See chap. X. under "Touch").
scending upon the keys and rebounding like drum-sticks, the hand following the descent of the fingers or retaining its pose.
Effect:
leggiero
leggieremente
leggierissimo.
57
PART
II.
FORMS APPLIED.
CHAPTER
IX.
The
The
plied
foregoing
principles ap-
in
application foregoing principles presupposes an equal and completed training of both arms. The independence of the "hands" an erroneous idea as conceived by the old school is acnothing more nor less than the
The
the
faculty,
quired by practice, of utilizing each arm in all its functions and with its integral weight. As soon as the left arm (hand) has been
trained to hang, to weight itself, to descend with an elastic swing as soon as a supple, relaxed cubital joint enables it to "roll"
do as they like, without contraction, pressure or cramping of hands and fingers, all caused by wrong and detrimental muscular tension, their immediate effect being to impede the transfer and rolling-on of the weight; sympathetic, intermediary &nA secondmovements or action, the outcome of imperfect habitude and ary insufficient intellectual discipline and training. The latter defects
Conditions
(secondary action) are particularly dangerous, as they not only take up time, but will often impede the simplest and yet most
indispensable movements.
In playing with
1.
freely
its
own
weight) to
move
steadily
it
and
like
will, in the
course of
natural
it
ence which
development, soon acquire that independrequires, and the faculty of relying upon its
elasticity
in
own
weight independ-
2.
3.
Each arm
and
movement
etc.,
No wrong
This means that the retention of iveight in every gradation (from the discharged to the play-weighted member) constitutes the fundamental principle of two-hand, or rather of two-armSo that the object is to abandon each arm to its own playing.
weight, and to interfere in no way with its movement or action. But that is more easily said than done. Two-hand-playing
muscular tension be produced, which whether it be the resuU of nervous timidity or of voluntary movements or action may interfere with the natural
presupposes the combination of innumerable similar and dismovements, the contrast of which is often so great, that at first the arms experience the greatest difficulty in persimilar
Each arm perform only those movements, which, though e. movements leading by the shortest simple, are essential, and quickest road immediately and unconsciously to the achievement of the technical object in view, and that with
i.
amount
of physical exertion. of
naturally,
without impediment
pia>.nc
Such impediments are chiefly due to nervous hesitation, ^i^jj,}, prevents us from allowing both arms perfect freedom to
aforenamed eleimpede progress, such as: movements: For instance, when one arm or one Sympathetic hand is executing such and such a movement in a certain direction, the other imitates it unconsciously and unnecessarily.
This
presupposes
the
exclusion
the
what
8*
58
Intermediary tuovements: While one arm or one hand has to execute a principal movement, however short or quick, such as skipping to a distant key, the other arm, the other hand or its
fingers (or even both arms or hands together) participate in a manner and in movements which interrupt the former, wasting
2.
time and physical energy by superfluous oscillations, spasmodic suspensions (the "pause" with the hand in the air), groping,
most perfect manner, in the least of which the whole muscular system and the joints participate. In polyphonic playing, the hands and arms constantly rise and fall alternately or together, the one performing gliding motions or oscillating, while the other is rolling,
so that each member must gradually learn independence; i. e. the whole organism must gradually be so
etc.,
fumbling for the keys, etc Secondary moveimnts: Instead of simply executing a certain
set movement, the hand or arm will (owing to a contrary action on the part of adjoining muscles) commence describing other movements which have nothing whatever to do with the principal movement and only impede its execution; such are, nervous agitation and spasmodic curving or contracting of the fingers, clawing with the hands, sudden stopping with the arms raised
aloft,
weight and
to interfere
left
flexibility shall
with
it
one arm, by virtue of its own not allow the other in any way or with what it has to do: "Let not
hand know what your right hand doeth." your In other words: Allow nature full freedom of action; employ both arms resolutely, intrepidly, to attain the particular or common
the only way to acquire "independence of the freedom or dexterity of both (left and right) nervehands", centres by a steady, gradual development of the organism.
object;
this
i.
hitting
fingers,
technic
wrong notes, stumbling, "stuttering" with the repeating (common faults, characteristic of a crippled based on false methods), in fact, all awkward movedisciplined, systematic training, a general
is
e.
II.
Melody
^^^^^
'''""'
The
remarks
1.
practical
is,
conclusion
to be
The
simplest combination
(cantilena)
that:
melody
and
its
Each imagined tone, to be rendered audible, requires but one principal movement: rise, descent, transfer and rolling of the weight. It should be added, that each movement is
solution of the problem is not difficult. 1. The cantilena is obtained either by: erecting the hand, or it of weight), thus (74): by: lowering (low-fall
74.
12
12
^
V
=l X^l
4
etc.
I:
*
2.
^
tLtE
in in
i.
? ^
Each raising
(of the
hand)
is
the hand), preparatory to the next rise or vice-versa. Thus: at 1, the hand is raised on to B", to sink bacic, at
^^
All
once
after the
stroi<e,
same
(C),
etc.
forms of accompaniment
e.:
left
hand
upon
hand
are
executed
initiated touch,
Sle
a.
I
movements
in
s,
Single tones are obtained by low-fall or high-fall; as for instance all waltz-accompaniments, etc.
figures (as in the above example from Chopin are treated tremolo (alternate raising and lowering fL h.J) of hand or arm), the chord being first felt and formed
must support the playing members, oscillating with the weight borne by the former.
b.
Chord
solution lies in the natural equilibrium of the aided by the perfect repeating-mechanism of the weight instrument.
The
59
Single chords may be taken in low-fall, or with the erection of the hand. The same refers to: figures in thirds,
sixths
c.
All
(75),
e.
Bro
''''''**^
and octaves.
In
quick
movements
tremolo-action
(vibrato) predominates.
1.
Final
movement.
I
So
also:
all
W^
five-finger "roulades", figures
in
scales,
florid
3.
Op.
28.
No.
carefully avoid stretching the hand or spreading the fingers, the intervals being taken with a light
Rowing motion
of
Legato: steady
lateral
the
arm
skip or greater extension of the (upper) arm. In certain figures the arm executes a "rozving" motion,
arm and
how
Skips ezecuted
to avoi
and down.
d. All
what
arm
skips are executed by a free swing and descent of the (and of the hand), connecting tone with tone as
Staccato: natural rebound of the arm and hand as a whole. These various points must never be lost sight of. The training of each arm separately to execute its divers functions, independent of the other arm, constitutes at once the most essential and most difficult part of piano-technic. It is or each arm shall of the utmost importance that each hand
Train<
^,',"f^
''*
of
technic
deveio
*^a*'-^ '"*''^"
e.
accomplish its task, allowing nothing to interfere with its free action. Thus, for instance, if one hand has to play legato, the other non-legato, each hand (or arm) must execute the functions
keys must
be avoided.
immediately, one with the other, by one principal movement (curved projection of the arm), excluding any intermediate or secondary movement of the hand.
%,
Dynamic
3.
With this object in view, the passages in question must form the subject of a special preparatory study for the hand (arm) executing them. Dynamic gradations, more especially the three principal
non-legato , legato, staccato, are to be rendered
gradations
styles of playing:
by each arm or hand in a manner absolutely independent of the functions and movements of the other arm or hand; the equilibrium of both hands and both arms
by any change
in
the
and the movements required of it, with absolute independence; the other must really "descend", etc. e. while the one "rolls", Bach: Short Preludes and Fughetti No. VIII. Two-part Inven(See tions, among others. No. VIII F-major). All further ulterior technical development is based upon this training of each hand to independency of action or movement, and the teacher must attach the greatest importance to the freedom and the independent motion and action of each arm; he must not tolerate the least deviation from that which is correct, nor allow anything to pass which the arms and hands do not execute with the utmost surety and in the most natural manner. The unconscious mastery of all technical and musical contrasts, of action and motion is the key to technical automatism
i.
60
and to the development of individual freedom of rendition and
execution.
is
legion.
furnish of themselves,
interpretation
different combinations:
Uft hand
61
of
hands and fingers which are only too apt to do the mem-
Examples: 1. A sustained note with figurated bass, a. For the outer fingers (4 or 5) (77).
Experii
etc.
i
^
ciUs-'^iriZf^ytrUfiofiil
cf.
Schumann: "Bittendes Kind", "Oliickes genug" (from "Kinderszenen"). Beethoven: Sonata Cj-minor. Op. 27, l^t movement.
Observe:
begin with the low-fall lowering of the hand: let the weight descend on 5' on to the wrist bent in under the weight, and take the figuration, while the hand rises, exe'" t^ls instancc,
in
low-fall, the
tension
of the obsen
at
relaxed
on
Avoid:
cuting a gentle rotary motion: low high, the hand not awkwardly tilting, but carefully retaining its equilibrium; the sustained tone 5' must not be pressed nor held down with too much strain
finger, weighting the key B'^ just sufficiently to hold down and sustain the tone. (So that we change from the
5*!"
i.
e.
full
fingers
(1
or 2)
(78).
by the
little
finger.
^I^H
<|
jJJJJJjJJJJJ|JJ^JJJ^JJJ^J
thumb:
Execution:
low -fall
the
on
to
the
D\
light
rotary
The same
principles hold
left
hand.
(7Q).
Left h
Avoid
motion from straightened (low) position of the hand to The thumb must not press on the raised or curved position.
;
Observe
the key, but merely support the light weight of the hand, without
J.
B.
h.
any way impeding its action. See also Bach: Short Preludes and Fughetti (Peters-Ruthardt) No. 4 part. I, No. 4 part. II.
in
Observe
:
79.
outer fingers)
metacarpus by setting the outer fingers 4 or 5 generally necessitates an inclining (lowering) of the hand towards the thumb-side. The sustained tones held by
Note:
steady
the
fingers 4 and 5 (example 77) raising the hand (erection).
To
^ fJTJ FF4=
Here,
for
"^
etc.
instance,
we may
in
and 2 must, however, always in certain cases, it is better and begin with low-fall, although, more convenient to erect (raise) the thumb. This must be deterSetting of the inner fingers
habits.
Whereas, when the thumb is set, (80) the stitutes the simplest and most usual method.
M
J.
B, Cramer:
Etude
III
(Bulow)
gU
^
r
^
^
'ti
tt^
cj
i
13.
etc.
We would add that in slow time, in andante and adagio movements, whenever it is a question of sustaining a tone with the inner or outer fingers, the accompanying notes (changing-notes, passing-notes, figurations, etc.) may be played with a steady hand alternately falling and rising (low-fall erection) or vice versa.
in sustain
'""' '"''
"=
2.
Two
sustained
with chords (thirds, sixths), etc. a. With the outer fingers: (81, 82).
Beethoven: Op.
or bars 27/28.
will
be found
in
Bach,
etc.
the
arm
oscillating,
The passages
in
alternate lowering
question can only be rendered perfectly by and raising (tensionflexion) of the hand with
the hand, set lightly, holding down the thirds, b. With the inner fingers: (83, 84),
J.
B.
83.
S7^
Beethoven: Op.
10,
mjj^
f
No.
3.
Largo e mesto
b=..
1,
2nd movement.
In
the
first
example the
low-fall
is
followed by an
alter-
nating motion (rise fall) or, if preferable, by a rolling-action. In the second example the hand is lightly raised on to F'^
etc.,
fingers
lightly
on must not
no
cru.hi
be "crushed".
63
Then follow:
3.
Here
3"^^
we
finger,
ail
with figurations
in
have to deal with passages essentially harmonic,', in suspensions, changing-notes and passing-notes
,
the middk-paris and which, as the whole hand only be executed by straightening out the arm (86).
is
set,
can
notes
whereas
85.
Etude
Vlll.
etc.
and
fall
5"^
(fall
thus for instance, when the hand rests on the li' fingers holding an octave (85 and 86), alternate rise and and rise) of the metacarpus is the only motion or action
S'
possible.
t
etc.
Beethoven: Op.
86.
10,
No.
3.
li';^^r^'ir^ 'i^fi
Just as the violinist is obliged to economise the bow, the pianist must here be careful to seize the inner notes in question
ployment of the weight and the quiet flow of the principal movements will overcome or prevent all dangers or difficulties. The following are, briefly stated, the points to be observed:
1.
The
in
passage of one,
two or
All
be ob
aggerated extension occurs, which it is impossible for a normal hand to grasp, the single or double notes that were to be suswhmioreiMse tained,
keys
taken in "descent."
to
to
in
must be released without the least hesitation, according the principles before stated, more especially with reference some of Schumann's and Chopin's works, numerous passages which no small or middle-sized hands can execute.
88.
^
All
zz:
Polyphonic playing, as a whole, is based upon an exact distribution of the medium weight and upon a mastery of all gradations of weight, from the discharge of weight to the full weighting As such, it comes under the laws of of the playing member. and aesthetics, i.e. the theory of tone-shading, and therefore dynamics
in apj
appoggiaturas
in
connection with
1, 2,
3 or 4 notes,
as chords, are taken according to the principal movement of the hand (of the arm), i. e., they are joined to those
had better be
dealt with at a
of development.
The
in
Otherwise, position and direction determine the manner In consideration of the difference executing them. between the black and the white keys: height
conse^
ee^,
^^iac
playing, is also subject to the figural motion of rise and fall, or rolling, as the case may be. alternating Whereas, so far, the difficulty lay solely in purely mechanical action of the fingers, the isolated, or to be isolated movements
The
tcchnic
of
Appoggiaturas from the black to the white keys are taken in "descent", appoggiaturas from the white to the
black keys, in "rising".
similarly
to
appog-
of
which caused
the
greatest
confusion,
henceforth,
the
em-
M
3.
downwards
Whereas,
2'^ and
3'^''
4.
5.
Double appoggiaturas, in alternate rising falling, or vice versa, according to form and position. "Turns" beginning with note above or below are "rolled" with a sweep of the arm and a supple, elegant curve of the hand starting from the low or the high position, according to the position of the hand or the musical forms, etc.
In polyphonic tttoventetits. the sustained notes determine
the outer fingers are "set", the thumb, the fingers must execute the figure in alternate
if
ith setrm
rising falling;
6.
The
and
all
similar
forms
fore-
of the
arm, i. e. their execution is related to that of the tremolo (pp. 33/34). The same holds good of figurations in form of shakes in connection with one, two or three held notes, and also with pro-
the motion,
i.
e.:
longed shakes (chains of trills with or without notes of complement). The examples under Nos. 1 to 5 (appoggiaturas to turns) are also to be executed with the assistance of the rolling-action. (See
"Natural Piano-technic", vol.
pp. 186, etc.)
I.
then the sweep of the arm will afford the best and easiest means of execution.
I.
No.
II.
65
CHAPTER
X.
DYNAMICS.
I.
AESTHETICS.
TOUCH.
tension,
force,
RHYTHM.
FINGERING.
Dynamics.
Piano-dynamics are determined by contact of the living organs of percussion witfi tfie inorganic material composing the mechanism of the hammer-repetition-work: on the one hand, the
instrument, its construction, resonance, mechanism, etc., on the other, the form of action and contact of the organs of percussion
upon the development of more or less accentuated upon the sweep of the arm, involving the instant transfer
As, moreover, every form of motion, action (percussion) of the living organism has its origin in a mental impulse, it follows
that all instrumental
dynamics respond
to the
to the l<ey.
The
richer, the
more
a tone "ready-made" in the construction of the instrument, the volume of which depends upon
duated the psychical scale of sentiment or emotion, the richer and more varied will be the dynamics of the tone diversified
How
formed
the vibrating
capacity of the
of the inpartials).
by the most delicate gradations and shadings. Mental capacity and sentiment, quantitatively and qualitatively speaking, limit and
qualify
possesses a peculiar "timbre", more or less uniform, determined in each instrument by the qualities of the vibrating
also
the
touch
of
the
individual
in
those respects.
Instru-
body
How^ modulated
f^aduated
mechanism, which varies only according to the respective volume of tone in the different registers (bass, tenor or treble). The modulatory capacity of the tone is dependent
its
and
dynamics, as such, are of no importance. The touch becomes or proves expressive, is full of emotion of the soul or is meaningless, void, becoming mere outward show, according
mental
the predominance of spiritual depth See further on Touch" pp. 68, etc.
to
or external sensuality.
in
power of gradation; so that in speaking of the solely upon of the tone" and "timbre" on the piano, where the "formation
tone
is
already made,
we
Tone-colour
Nnances
tonal intensity; for we cannot really speak of a diversity of "toneIn colour", and of "forming a tone" which is already formed. we can only refer to such "nuances" admitting "tone-shading",
ability
not invariably indicate poverty of emotion of mind or of musical and feeling, any more than richness of tone and colouring
of,
necessarily presupposes a superabundance of soul or sentiment. Every tone is. in fact, the product, the expression of a mental and moral effort of emotion passing through a sensory appa-
playing -body, i. e. from the different degrees of zveighting the keys or from the greater or lesser intensity of pressure and from the velocity imparted to the key. All forms and manner of percussion
(touch), without exception, differ only in intensity,
in the
i.
ratus
extremely complicated
in
its
coarser or
more
delicate ele.
and weight
e.
in the force
applied percussion (touch), which again results from the product of rapidity and weight, (pp. 12 and 24.) Hence every "stroke" and every tonal effect are dynamic products:
all
ments (sense of pressure, muscular sense, sense of position, and necessitating the co-ordination of muscular functions not less numerous. the moment "percussion" How Hence it will be admitted that, has taken place, e. the key or keys have been played, there is no "^^^^
action, motion)
i.
weighted arm
intensity.
tonal effect corresponds to a certain degree of dynamic Generally speaking, the modulatory capacity of the
to the
of affecting the tone or tones sounded, except by the pedal. The tone continues as long as the key is held down or is sustained by the pedal, and ceases, the moment key
further
means
long?
tone
is
or pedal
is
released.
discharged arm up
upon
the
of
weighted arm. All other effects depend the stroke or upon particular muscular
From
practical
may
be deduced herefrom:
66
1
.
a.
2.
must be tested and determined with a view of training and refining muscular sense and sense of touch (pressure) (p. 17). The greatest importance attaches to the sustaining and prolonging of the sound, as long as the damper permits, and
b.
c.
upper-arm above the keys, to effect binding: Made to rebound: staccato, and
legato.
d.
Thrown
hammering (percussion) with the fingers, preceded by their "preparation" so contrary to nature and purpose.
3.
The
1.
with a sharp, short jerk upon the key: con bravura. "crescendo", both in single-tones and in a series of
increase of the weight (weighting degree
The gradual
degree).
by
Having limited all dynamic shading or grading of tone to time and action between release of weight and weighting,
modifications of the normal attack can only be determined or diversified by the amount of weight employed.
all
2.
3.
The The
e.
upon
the participation
TiMraisDDndi
From
instrument
the
it
is
description of the mechanical structure of the evident how absolutely useless it is to cnis/i the
it it
The same,
"ritardando".
bedded
sical
If it is true (and true key. to affect the tone in any way, once
is),
is
that
it
is
it
impossible
is
sounded,
nonsen-
Weight and velocity need not exclude each other, even though weight-produced touch is based upon relaxation of the
muscles, muscles.
the
pressing the key, and holding it down with the finger. For, what good can the continued pressing do, if is attained thereby, the tone being in no way affected? nothing
to
continue
The
of
greater the velocity, the greater the tension, the True! But just as true: that the whole secret,
Away
is
then
with
the
strength -robbing,
tiring
our
technic,
in
spite
of
these
facts,
consists
in
nothing to press. Let us now determine the various degrees of dynamic intensity in their relation to the forms of playing, treated of in the
closing words
Dcfrcnof djrna
a.
following up the laws of inertia and retaining the weight (though our motto reduced), even in the highest degrees of velocity being: never lose the weight nor relaxation!
leggiero,
leggierissimo.
jeu perU.
b.
One fundamental principle in cultivating dynamics requires that the fingers shall remain in constant contact with the keys Leave ting and that every tone shall, as far as possible, be formed upon the "i^'Te" """ '"' and not ivith the arm in the air.
key
itself,
suspended
Weight
c Weight
d.
modified,
i.
e.
degrees of tonal intensity may be considerably reinforced or softened, with the aid of the loud
and the soft pedals. In all elementary grades, the pedal must not be put down until the key is played.
count:
89.
1 zz:
3
-G-
etc.
etc.
Practise octaves
in the
I
'Sta.
^ib.
^id.
^. 2:
g'k
'Sid.
.2:
'SSi.
2:
9u^.
^^a
e.
II.
Aesthetics.
consequence from the faculty to transfer and I'oll the -weight (i. every degree of weight) wherever, and whenever, it is needed.
Essential
Boot;
I.
of lone,
The
kMT
aesthetics
pro-
weighting.
of tone also largely resolve into a question of Beauty of tone results as a natural, inevitable
conditions being:
the
whole
physical
ee.ui.i
ditions
67
action
any and every action or movement contrary to the object to be attained at the time), delicate touch, instant relaxation of muscle the moment the key is struck, a flowing, smooth action of hand and arm, and uniform velocity.
of
the
hand
(i.
e.
the
exclusion
of
action
to
is
correct,
when
free,
the
whole member
(the arm) is
allowed
weight, rolling the weight with perfectly relaxed joints and extension of the rotary muscles, etc., the factor of the intended velocity being given.
descending with
its full
Principal
Axiom:
the rounder, the "action".
A general
error
an almost unlvcrsal error to believe that to play with the arm produces a hard, dry, a non-aesthetic tone. The very opposite is the case. Nothing lends the tone (with however much power it be struck) so much sweetness, fullness and
It
is
the
The musical form sounds the more beautiful, more perfectly its technical form is adapted to
We
it
when
consider a scale, a passage, an arpeggio flowing and elegant, their execution seems bound up with the action producing
roundness as the swinging (elastic) fall of the whole weighted mass with fully relaxed muscles and loosened joints, moderate or
(natural "oscillation", rolling, etc.). Hence the popular expression: "to do it from the wrist" probably derived from piano-technic,
really means: to play so lightly and naturally, that it shall as though one were witnessing a feat of sleight of hand. "appear" If the free fall is correct, the arm is enabled to bend and straighten itself in a natural manner, i. e. it can perform the rise
produced by action of the larger members, not by that of the smaller ones. All partial action is harder and more angular than that of the whole arm, since the velocity imparted to the key by smaller and more agile
little
The
finest tone is
and which
varieti
members
is
involuntarily greater.
and
fine,
fall,
Avoid:
velvety, mellow chord is struck in the descent of the swinging arm, the whole upper- body participating in the action by a gently swaying motion. Active partial-motion (finger, hand, forearm) of single parts must be discarded, on principle, both from an aesthetic and from a dynamic point of view. If the motion of great velocity is short and violent, all raising of the fingers,
itself
instantly,
thus
producing a
of fore -arm -rolling assisted by the action upper-arm, with an equal distribution of (propulsion) weight, produces the most perfect legato, the sound being sustained
The combination
the
staccato.
or elbow, impeding the free action of the all tension of wrist Besides, arm, produces an unpleasant, inaesthetic tonal effect.
as the
of
If raised (from the key) "as a whole", the result is a "porwhat the old tato", which effect it is also possible to produce, by
tone can
of
only be
obtained by
in
lap,
stroke,
hearing the
material
question, parts (joints) unpleasant noise accompanying the drop of the mass of joint and bone. Whereas any and every secondary
effect
is
one
the
one
e. by means of a gliding motion. method terms: "wiping", The leggieroleggierissimo touch, or "jeu perle" is nothing more than the result of the fingers falling or sinking loosely
i.
(entirely detache)
into the
rise);
the least
precluded
by the
fall
on
to the key,
owing
amount
in
enough
to press the
key down,
fall,
to the very fact that, instead of first tapping or beating upon the key, the hands at once sink into the same with the descent,
addition to the natural weight of the finger plus speed. The con bravura is determined by the rapidity of the
pressing
of
It
it
in
one movement
the
full,
(action) that
hand and
is
by a sudden, sharp jerky transference of the respective weight to the arch-set fingers or hand, followed by instant retraction
i.e.
just as
wrong
to
condemn
lever-like action of
the arms, from a plastic point of view, for is it not an admitted fact, that in the arts of acting, dancing, gymnastics, skating, rowing,
fencing,
movements are the most beautiful, the most natural and most appropriate? From our practical point of view, all this simply means
etc.
the
full
the fingers participate in the swing, care must be taken that the attack actually producing the tone emanate not from them alone (which would be isolated action), but also from the
If
Avoid
'
that: the tone is "beautiful", when the rhythmical action producing The is a correct one, i. e. a natural and an appropriate one.
it,
simultaneous vibrato of the hand. Hence it follows that unity of movement and weight produces dynamic and aesthetic unity.
III.
obsei
Touch.
of
How tastes differ, and how little importance is attached to human body! Speaking perdevelopment of aesthetic movement (action) in the
'
the
1.
The
psychical
elements
beautiful,
at
the
sight
of
singing
in general.
expressive tone constitute a part Man himself is the sound emitting and expressing
of
68
personality, his human and his musical character, the emotions, and the temperament of his artistic nature.
his
own
4.
The momentum, rapidity with which the key is struck. The manner and form in which hands and fingers touch
chirt fac
might say: energetic Generally speaking, possess 3 Well defined, energetic tone, individuals of a gentle, The lyric nature are gifted with a soft, sweet tone, and so on.
gentler the nature, the deeper the character is the richer and deeper will be his power of expression. The real source or origin of touch (attack) must be sought for in the
individual's gift, ability or power of mentally conceiving sound, in the highly developed feeling for, and appreciation of, the i. e
of the individual,
we
characters
the keys is immaterial, in as far as only their own velocity, and the velocity imparted to the key determines the tone. It makes
difference in the worid, whether the key is struck with a soft with long, loose hand, or with one of a certain, thick-set form whether with the soft fingers, or with curved, round fingers
no
part,
or
with
the
tip,
of
the
finger
whether with
raised,
grand, the powerful, the beautiful, the soft, colouring and intensity in expression, a feeling educated and cultivated by Before being sounded, the tone must association and practice.
straightened or sunk wrist, etc. A powerful tone requires a powerful touch a soft tone Tone-pr. "" exacts a fine, careful observance of, and mastery over, the playing
members and joints. Expressed in physical terms nothing else than: bulk multiplied bv velocity.
5.
this
means
be
Edwatioa.
train-
perfectly cultivated
Hence
the
whole
and developed as a
The The
in
mind
may
for the
6.
higher, active muscular tension, which, in certain cases, moment combine with the weight, to modify the speed.
"
towards,and concentrated upon, the cultureof the musical personality in man and upon its mental development and enrichment, as also
the refining of the mental conception of sound (sense of tone) and upon his taste (idea of style, aesthetic and critical mind).
almost
less
build and shape of fingers and hands, which differ each individual. Thin, bony hands and fingers have
Physioioi
upon
condition of every style of touch is the physical of the individual to strike the key in such a way, as to produce ability an ideal tone. The ultimate and highest finish in his art the pupil will learn, not through abstract contemplation, but solely through
essential
An
than thick, fleshy hands and corresponding fingers with broad, '"""" soft tips (cushioned as it were with flesh), powerful, massive As regards the expressive joints and strong, muscular arms.
of the fingers singly, we may say: The second finger has amount of singing power. It might be called the Then follows the third. The fourth and "declamatory" finger.
power
the greatest
fifth
the
medium
The
effects of
tone-colouring penetrate so deep and are so lasting, that many a talented person has solved the problem and secret of touch
by
listening, not
by
practising.
fingers mostly produce a tone of less power of intensiveness, of inferior quality and not so great in volume. Yet, the latter is often better suited to subtle, soft tone-shading, and
to the "portato" style. The thumb excels rather by than by gracefulness of touch, and yet it is the finger strength best adapted for characterising passages and for executing the dynamic signs, making up, as it does for its want of flexibility,
of certain
peculiarities of rhythm and dynamics, of refinement in phrasing and style. Perfect models and noble masters, both as artists and
especially
of
good music
perfectly
rendered
essential conditions.
II.
for
its
action,
by
its
itself,
depend upon:
A certain disposition of the nerves. Mental ability, bodily constitution (full-bloodedness, anaemia, red or white blood, thick or thin blood, etc), nourishment, climate, weather, indisposition or disposition, inclination or disinclination certainly affect the execution.
1. 2.
dramatic declamation, to which its massiveness (more especially the ball of the thumb) lends itself most admirably.
cantilena
7.
The manner
of attack,
upon the
and the degree of control acquired by practice. 8. The motion in executing the attack, which may be:
a
executive, playing,
and leading organs, which must be under absolute control, and the player must be able to employ them and put them to use singly, or as a whole in the manner needed for the touch, to
produce the exact
3.
'
swinging motion,
effect required.
is
used: whether
it
be
finger-,
hand- or
arm-weight
may be a motion of the whole arm (from the shoulder), or a motion rather of separate single parts which must, of course, always be seeking to complement and assist each other, just as.
69
for instance, the
arm
participates
with
swinging, rolling or
any action of fore-arm, hand or finger. The best motion: The best motion is: That m which all the joints and members participate equally to produce a imiform style of touch proceeding from the arm set
in (swinging, rolling or gliding) motion. Viewed from this point, (viz. from
ghding motion
in
The deep swing of the hand produces a round, full and sound tone, provided the weight and velocity required are given. The high-swung hand is calculated rather to produce a more
accented tone, in consequence of the greater velocity gained by stretching out the fore-arm.
pointed,
thc
moti
thei
that
of
an
undivided
motion or action of arm and hand), the question as to the fingers are to be raised, the muscles exerted, must be left to the discretion and artistic taste of the individual.
effective
how much
Preparation.
It
The rolling motion adapts itself advantageously to soft, sweet, delicate tone-production, provided the motion of arm, hand and finger is a pliant action, or in other words, provided the
velocity imparted to the key is slight. Similarly, the gliding motion effects a grand singing quality and The fact of this form of possesses an ideal charm of tone.
'iTtiuch"
important that every motion or action preceding, or producing, the touch should be prepared and resolved (after the
is
attack).
The
effect of the
in
the
touch not being the result of a sharp, pointed action but of a liquid, gliding motion of the hand (sinking into, or rising from,
the keys) renders this form of motion and contact the softest (the degree of velocity being the least), and the tone the most
beautiful of
all, owing to its being held (spun) somewhat longer as the damper permits), and thus being brought out and (as long developed to the fullest effect of its over-tones.
brain before the note is sounded, and after it is sounded, it must again be softened (preparatory to the attacking-motion that is to follow). Such preparation and resolution are best effected by:
light (gentle) and soft undulating or tilting motion of the wrist, or the loosening action produced by rolling the fore-arm. The shape assumed by the hand in attacking the key differs of hand
Action
Thus then
in
practising
the
exercises
written
specially
to
almost with every individual: one person takes the key from above, another plays with long, spread-out (flat) hands, a third person produces the same effect and beauty of tone with a lowset (sunk) hand. Expressed in physical terms, the formula is
we must
The volume
2.
fullness,
etc.).
always the same: bulk mtdtiplied by velocity. If we put this into e. the practical terms, and say that in general the sunk hand, hand softly posed and sinking into the keys is best suited to produce soft tottes and shading, w^htxtdi's, the raised hand (attacking from above)
i.
Pri
is
e., gradation, power mentally conceiving the various degrees of pressure or weight; in other words, we must train and refine our senses of consciousness: sense of position, motion, pressure, muscular exertion
the
of
The
presupposed determined degree of velocity. It is self evident that the dynamic energy increases from the descent of the finger to the heavy drop of the great mass (bulk) light of the whole arm falling with a full sweep from the shoulder. The more powerful a forte is required, the higher the hand must be raised, in order to allow upper-arm, shoulder and back full play. Ohc form is certainly the best one, in any case: That of the hand in a state of perfect relaxation, looseness
and of touch.
The
by
the
"felt
tone"',
i.
e.
sense of touch,
every gradation of weight. The gradually refined sense of touch and pressure alone can develop the faculty of "gauging" the
specific
numerous
varieties of in-
and
repose.
strumental tone, from to///, to cultivate rhythm and precision, and educate the musical ear and the general conception of technic.
3.
ppp
the gliding action and a third, the rolling motion; this depends upon individuality and varies with individual ability, or,
The player must be velocity, rapidity of the action. therein by the tonal effect to be produced, by artistic taste, guided
it
may be
Intensity, i. e. the power of mentally conceiving the idea of sound, concentration of the mind upon emotion and expression.
'
by the style of composition, the ideas contained therein and the composer's intentions.
Fijhlton:
to feel
the tone
70
4.
Exercises to develop dexterity and sense of rhytlim. Velocity, lightness, grace and rhythm.
5.
7.
effects
Acquaintance with, and mastery over, the various musical and styles of playing, such as:
legato
Colouring,
i.
and of
tone (harmonics).
is
the
more
it.
staccato con bravura leggiero portamento jeu-perie the dynamic and agogic terms: crescendo diminuendo accelerando diminuendo forte piano sforzato and discrimination
non- legato
,
Exercises on pedalling.
connected
with,
The
art
of
and
which the artist must observe, dictated by the nwlodic form and varies with the same. We distinguish between:
III.
The
style
of touch
is
Axiom: The pedal must be used in such a manner as to produce the most perfect effect of the upper-partials blending
with the tone.
tally
1.
The dramatic
All actions
tending
detrimen-
the effect
of
tures)
by means be abandoned.
the upper-partials (disturbing, impure of using the pedal (cutting off the tone)
mix-
must
a. Demanding vigorous transfer of power from the raised arm (from the shoulder), broad setting of arm and hand, the weight of arm and hand bearing on the key, mostly with highfall (up-movement of the hand, raising the wrist, the hand set in high-arched position) on to massive fingers.
Fuga V.
Allegretto
71
93.
.
Allegro
g SjnJ J?
J)
j3i^
^ XtB J
b. Similarly
on
to sttig/c fingers
or on to
(Finale).
two
Schumann: Carneval
94.
^f^
3^
3
)
2
h
1^ ^^ I
Chopin: Prelude No. 24
95.
.
>
^ y
(3 u.
rr
c.
alone.
Finale.
2.
a.
Tu c -I The Cantilena
style:
concentration,
Which demands
and
hand and arm, carefully .avoiding ^^^ j^^^^ unsteadiness in the joints, and as carefully observing a uniform, uninterrupted flowing and gliding motion of the hand.
perfectly
balanced
action
of
97.
Lento moderato.
-uv
33
pp dolce
i
1:^
10
& S^
Tf
72
Beethoven: Sonata At>-major Op. 110.
98.
g^ff
b.
i*
m
11.
ri frt^ rt^
i
i
if
With a
light,
99.
^^
Sostenuto.
10,
fZJ
9-.
^
with
^r
i.
The question as to whether the hand should rather pose on or sink more into the keys, is one which varies with, and depends upon, the individuality of the player. The hand must assume a perfectly loosened (relaxed) state
and
a broad expanded form, the fingers constantly remaining in contact with the keys, which should be raised, as it were, by the suction-pKJwer of the fleshy (cushioned) part of the rounded tips.
With deep (down-) pressure of the finger-tips, e. cornan active tension of the whole muscular system participating, up the arm as far as the shoulder, varying according to the volume of tone required: e. with pressure exerted by and hand, arm or shoulder. finger
c.
bined
i.
No.
3.
te^a
73
The tension or pressure must last only until tiie note is sounded and must be released immediately after the key is struck, This pressure -cantilena is not so soft and not of such a rich sombre timbre as the simple, broad weight-produced touch, but is all the more of a decided, clear, pithy and energetic character,
Bach-Tausig: Toccata and Fuga.
102.
It is
style,
and
essential
The non-legato touch: With a short, energetic sinking-action of the hand sinks into the lowered, extended
the
hand (deep-
wrist-joint.
Allegro.
non-legato rotations.
b.
With
vibrating
hand
(vibrato),
when
greater
velocity
is
required,
often
combined with a
rolling
broken forms.
Beethoven: Sonata Op. 31, No.
2.
103.
^
8
Allegro.
#-a
-#
JE3t
#-#
^m
creso.
#-# I
c.
With
high-fall
vibrato.
Prestissimo.
J^^ ^J
i
10'
74
4.
a.
Staccato melodies:
passages: staccato
brillante.
a short jerk (often combined with a rolling motion and extension of fore-arm) in executing brilliant
106.
Allegro vivace.
^=v
^
^40-^0.
p-i^
^^^P^
^
107.
i
VI).
m
^f if
Con fuoco.
3
m
I
^
tti
sempre staccato
to
m
e sforzato
etc.
2^
/"
Schumann: Cameval
108.
(Paganini).
Presto,
:_
^g
staccato
jy molto
'^^^4\i^^w^
m^^\^^
staccato
combined with
rotation.
109.
^^^^^i r%
Liszt:
Concerto Eb-major
(Finale).
sempre staccato
75
b.
if
in
melodies of a
portato).
Etude de Concert.
110.
cantando
>!/[,
^-//Wp-zl
dolce con grazia
-/p-/
7p7|
Liszt:
Au Lac de
Wallenstadt.
111.
dolce
Beethoven: Sonata At'-major, Op. 26.
112.
Li^hUUi^mi
113
Mozart: Fantasia D-minor.
^ ^.
WKL
Mijf^^
cresc.
?f
c. With rolled, e. dancing, or suspended (drooping) hand and march-rhythms): leggiero staccato.
i.
i ^:
y~~. t rf.-StH.
ir\
'I
i^_ its
76
Mendelssohn: Rondo capriccioso.
115.
^
tJ
^"^^nfg
^gpi^Y^j^rlcrtf^
V
},
Mendelssohn: Spinnerlied.
116.
Presto.
p ^a^
\^
^
'^
)i M-M-M
>
|}l
^iiliii
if
117.
9.
ur
Hg^
Beethoven: Sonata Op. 31, No.
3.
UU
'"^^
Scherzo.
* ftg=a
i^J^Jb^-Tg .
^Ep
^?j*P -77
77
Liszt:
Gnomenreigen.
staccato e legger.
119.
U
d.
:^
-^
i S
J
/
pp
pi
Mendelssohn: 120.
^
Friihlingslied.
'"^^
s
finger-tips,
^=1^
:?
^-^
7~^P^7
m P
7
in
so-called "harping-style".
si
i^^
"Du
Schubert-Liszt: Der Erlkonig. liebes Kind, komm geh' mit mir".
;*
121.
#s:
^^'
ii:
rsG
Rubinstein: IV. Concerto D-minor, 2"^ movement.
SZj
r^
s: s^
espress.
Meiio mosso.
a tempo
^^
I
sfe
ffirr
^ %
l^
m
-?fe
78
Chopin: Polonaise
A b- major,
'^
Combined with
of the
a short jerk
whole
arm.
e.
In
non-legato
style
wilh
short,
sharp rebound
No.
3.
" movement.
^^m
Beethoven: Concerto Et'- major.
More with
'u
II
^y
1" movement.
126.
(|b'-
^^
p
>
?
FFbFF
P
Left
^m
ti|tl
pg
Y ^tfTMr''f^^
(con bravura)
n
}
f:
ffHP- ^
MM
fhi
^^^,^^
f.
With
off -raised
hand or arm
(staccato
portato);
hand
in "set"
form
(cf.
portato).
lil
movement.
^m
f
128.
bf
'\,^k ^p,^\
2.
i
to be lowered a
little.
i^
5 5j
etc.
The hand
14,
No.
^ ^ =ry^^ 5 ^S *
Andante.
.^
^^
?ii-y
sinks,
51
^ ^^
P
iZTM
>
<n
v;
I
1*'
ii
n v
is
grasped and as
it
were Ufted
r^
0-0
^ ^
-^50
m
ten
s5
for the next chord.
movement.
129.
fe
\>
-S0
1
^*-^-#
0^
r^0 i
etc.
PP
k
leggieremente
a f
fer:
tea
%
Right hand "set"; staccato -vibrato,
left
fe T7g4^
*
hand "raised
off".
11
80
g.
With a
the fore-arm.
arm-vibrato; the hand in a "fixed", set pose (held just above the keys), s^iAccaXo pizzicato. Frequently with a short "tapping" action with curved finger-tips:
light
or jerked,
with extension of
150.
m m^ ^
w^ ^ ^
Beethoven: Sonata
in
Beethoven: Sonata
in
D- major, Op.
10,
No.
3.
1'*
movement.
.ff
^S 1*=^
7.
^^
El'-major, Op.
2"^ movement.
13L
semp re tenuto
sempre staccato
Beethoven: Sonata C-major, Op. 53.
ll'
movement.
132.
m
m
IP
?S
^
i a
iffrzl
decresc.
^
?>
i*
itJ
1i
81
f,
'^
jvi
"'g^^
I
?
f^^
play the accompanying chords "jerked".
^^^m y^
Beethoven: 32 Variations C-minor.
t^=F
h?^'^'p?^
Theme
134.
(Finale).
f
135.
'!
r ^U^^ r
i'^
^^=^
=:?
staccato
pizzicato.
V'^''
}]y
Moment
/i^
^ E^
Guitar- and mandolin-like accompaniments, bell-like tones and harmonics, the notes being struck with lightning rapidity,
h.
^ ^m
Schubert:
,
like
cat).
J,
Allegro moderate.
ss
t
ti
m ^ m
P& &
3Q.
t J*
Menuetto capriccioso.
136
Presto assai.
^m
*
g-
1#
1^
u^ur^^ ?
-r
k^i 'm'XT
^9
p dolce
^^
t^ t^
9
Jbffljl
11*
No.
19,
Vivace.
83
Beethoven: Sonata Op. 10Q.
141.
Var. H.
Leggier emente.
*fe
^
??].?
^
.1
9-
?W??^??te
JJ^
S l^^
(In
classic style) with a light but decided depression of the arm, the
its
wrist) set
on
lightly
fixed fingers:
set
special action).
2"^ movement.
142.
143.
^ ^
)
CBBi
a
3
-3^
ifcr^
jpjp espressivo
\ixs%i^~^^^m\^ .^ji
1" movement.
*
H feiUi^
t
p
6.
first
.ib*l'
\?i
P#-i
1^
P#-|
^
.
!>#.
etc.
a.
The
JJY
is
nothing but a sustaining of the notes, being therefore of an agogic nature, to produce which,
the finger-tips suffices.
Lento.
t>
mezza voce
m^
-
84
Bach-Busoni: Orgel-Choralvorspiele ("Wachel
145.
auf, rufi
S gg
b.
M
Bi
l.
^-^
i_^
The
sforzato-kind:
Sj
or p
I
is
mostly produced from a raised pose of the hand and with a short extension of the fore-arm.
(Var. 8).
sf
Beethoven: 32 Variations C- minor (Var.
26).
P
148.
JP
2).
^^.ri^
i'i
>
i^r
in
El
fe
Hand
Beethoven: Sonata Cft-minor Op. 27 (Allegretto).
149.
4 ^\K
c
Similariy
all
'i
4j
^
2/"
E=l
3
2/"
/"
y^
t->-^
2/^=^
accents: f f f,
/^
although
here
finger
and hand-pressure
will
85
150.
151.
^a
f
e/"
/"
d.
All
heavier
falling
firm,
C- major
(Finale).
152.
R. H. 3
\>m
i^-0-(^
i
A/ L. /
// //.
a::!:
9-^
i
zz:rinf
Chopin: Polonaise
153.
A -major.
Liszt:
Concerto Eb-major
l?i
movement.
154.
b.
fe
etc.
i
It
ffa.
g
fe
:^
E
^55^*?
86
155.
^
ff
7.
1*
movement.
etc.
g^
\^
1,5:
1^\
To be
played "jerked", the hand and wrist slightly "fixed" (clawing like a cat).
??#---^(XfifSi
Fig^rated melodies:
Mozart: Sonata A-major (Var.
III).
156
Beethoven: Sonata
A I'- major
Op.
26.
(Var. 5).
JE
dolce
f^
^^^
animato
slight
^m
(Var. 2).
style
^ ^^r^\^'^f^
by a short pressure of the
in
the hand,
rotary
finger-tips,
by a
tilting
of accentuation, position, movement and direction of the tones of the melody. The effect of rendering the tones of the melody
swing,
broken
forms,
roulades
and
staccato-like
passages.
prominent
is
produced by a
87
In
polyphonic
melodies
the
same
of several
The graceful style: Bach, Haydn, Mozart, Schubert, Weber, Schumann, Mendelssohn, Liszt, Chopin, Brahms.
chapter on Polyphonic Playing Action; weight and active pressure combine to produce the various dynamic gradations. The same holds good of melodic double notes (thirds, sixths and octaves) and chords.
Form
hand).
be:
from weight-produced touch or finger-pressure is placed upon that note or exerted on that All such melodic key which bears the accent of the melody.
principal stress proceeding
The
delicate,
pleasing
(staccato
portamento
>
tones
are
Form
Tonal
and
elegant.
brilliant,
play of the virtuoso is merely a question of the action of the joints and short impulse, and the result of them
brilliant
The
bravura (leggiero
con
vibrato).
style
of
technic
termed con
IV.
Rhythm.
upon
feeling,
Rhythm
principles
is
based
essentially
sentiment, rh
technical
governing the
need scarcely add that, of practico-melodic touch. or are, modified by individual habits. All course, they may be,
We
emotion, i. e., like so many other things, it must be innate, it cannot be taught or imparted to those who have not a certain
amount
essential conditions of
dependent upon the intentions of the composer, the idea embodied in the composition and upon the momentary disposition and special nervous affections (imagination, ear, tone-perelse is
In thc art of
1.
T/ic
we distinguish the following principal styles: or plastic style: Bach, Beethoven and others; here the form of touch or action must be: clear, precise,
touch
classic
playing pure and simple, viz. a certain amount of innate skill, natural appreciation of what is meant by softness, supple looseness and relaxation of the joints, etc. Yet, while no amount of physical training can make up for the want of a natural sense of rhythm, it is possible, in cases where that sense exists, even though in the most rudimentary state, to develop it to a degree undreamt of, by releasing the physiological faculties,
of
all
stiffness,
of
all
contraction.
more
2.
3.
and vigour. The tone produced must be: grand, powerful, metallic, non-legato). perfect in form and noble in quality (legato The lyriro-sentimental (romantic) style: Schubert, Weber, Schumann, Mendelssohn, Chopin; also Liszt and Brahms. The form of touch must be: soft, liquid, gliding or rolling; the tone: singing, full and broad, full of emotion, fervent and sweet (legato portamento). Thc pathetic style: Beethoven, Liszt, Chopin and others. Form of touch: full of life and passion, violent, powerful, elemental (i. e. imbued with elements of one's personal nature); the tone produced must be: grand or pompous,
full
of character
all
as the physical organism interposes between mind and expression, it is evident that mental rhythm and freedom of force can
in
the
harmony
in
of the
natural
their
pi,,
'''^
movements
component
of
all
the organs
required
playing and of
parts.
sublime or overwhelming,
4.
fiery
or dramatic (martellato
Sense of rhythm emancipates itself, the moment the brachial In this manner mechanism works freely and spontaneously. alone can the sense of rhythm, at one and the same time, find embodiment of expression and realize it in sound. Innate its
alone (body and mind being indissolubly bound together) can directly transmit its own individual rhythm and impart to the physical organization (provided the latter has not been moditalent
Form
mony
of touch: very calm, with full mastery and harof motion or action (quiet motion of hand and arm).
portamento).
by wrong methods) a natural and harmonious rhythmic swing; only genius divines by instinct the proper action expressing at once in motion and tone the rhythm and spirit of
fied
and
spoilt
88
^oOsir
maun
Practically speaking,
organism do its work. the greatest. It requires from the minutest to members are released from constraint and
have to do, is to let the physical Nature has provided it perfectly with all
all
we
12 3 45 6
I
The moment
left
its
It
to themselves,
is
different
their movements assume a rhythmic form, which, if exercised their freedom of naturally and simply, with nothing interfering with
the national music and dances of the Northern tribes and Slavs.
In these the
second quarter
art.
and change
in,
Hence we must eradicate every injudicious, inexpedient movement or action and follow the fundamental rules of twohanded playing. All difficulties arising from contrary action (or movements), dynamic or rhythmical opposition, will be removed
in the
care
should be bestowed on
as
commonly known
In
"two against
in
three"
most
is
the weighted part by a soft and supple "flow" in hand and arm. The root of all rhythmic difficulty will be found in stiffness
If the body is of the body. supple, i. e. if its members sway obedient to its will, every movement becomes rhythm. With a few exceptions, those postures and movements are correct which
the other, 3 against 4, 4 against 6, etc. imperative that each hand follow its own
its
course, boldly and steadily executing of what the other hand is doing.
part,
independently
the
muscles
members perform without self- perceived tension and which do not consciously stiffen the
of
the
All such rhythmic figures should be played martellato and with both hands from the very first. It will be found useful to allow the accompanying hand to play the figures in question
1
or 2 bars
in
if
casually joining
in.
joints.
The
ately
will
(Kraemer.)
clearing up mental difficulties in the music, the technical obstacles, as the very difficulty
Dancing-rhythms must be practised with graceful descent ^j^^ of the free-oscillating mass. That is the way to study waltz-, mazurka and polonaise-rhythms: the left arm swinging steadily and u'i//i absolute certaintv from bass-note to bass-note, from chord
to chord, to descend
legato". heavy Teach the arm to descend properly and without hesitation, not timidly groping for the keys with hand or finger and it will, of its own accord, fall to the rhythm and measure, however quick
in
Should
paniment
(i.
timidity
e.
continue,
let
the
S ^-^) emphasize
part,
con-
''nmrtellato"
or in
"iioti
taining the notes of greater value and contradicting the rhythm of the part above it. Then reverse the order, for it depends upon the individual, as to which of the two methods (one
the tempo.
It
may
of
last
beat
here be noticed that in waltzes and polonaises the the bar is slightly more emphasized and lightly
first
emphasizing the rhythmic figure, the other, paniment) will prove the more successful.
that
of the
accom-
linked
to the
beat
of the
next bar.
Thus
one
is
counts:
one.
The second
somewhat
shorter (staccato), and so should be rendered by the hand on the rebound and treated as syncopated between the two principal bars.
in syncopation: syncopassages should be rendered with a steady but heavy touch, and, after mental analysis, should be played with both hands simultaneously. The passage in question will be then found to flow of its own accord naturally. It must be left to
syacopatic
pated
This applies also to the rhythmic essentials of the accompanying figure, which may be divided into three periods: 1. fall; 2. rebound; 3. fall, with purchase or swing-off to the following
!*
each individual to decide which hand shall be used to support the rhythm with the slight accent, and which shall play with
greater freedom
and
in
fact
all
genuine Viennese
waltzes are played (as Kraemer very correctly points out) in */ lime, i. e time grouped together, the resulting rhythm being:
the adverse part. I would suggest to musical with a keen sense of rhythm to conceive of synplayers gifted copated passages as written in that vein of impetuous urging forward, characteristic of syncopation: one hand "urges onward" while the other "holds back".
2X%
all Accentu.i
89
melodic accents) or by low-fall (in dramatic style in martellato or by a sudden (jerked) extension (straightening) of
utmost
limit,
character)
the attack.
The
exacted a previous testing and regulating of difficulty in fingering according to the old
the (fore)
finally
possible
by
falling
upon
2nd or
3"^''
finger.
methods, lay less in the fingering itself than in the difficulty for the overstretched fingers to aim at and strike the right keys. In all rolling-forms in legato style, for instance, it is
best to play without raised fingers. A Ct- minor scale descending two octaves required the fingers to rise 29 times and
V. Fingering.
No more
gering
set fin-
As regards ''Fingermg'\
it
may be
said
to
be a matter
strike
29 times, and
of individuality, depending, as it does, entirely upon the build of the hand, its stretching capacity and general dexterity. All the puzzled-out systems of fingering with their encum-
the fingers
how we
">
must also
7.
difficulties
involved in
f^^
bering impediments are useless. Weight-produced touch renders any set-down special fingering
superfluous.
Fingering analysed
1.
playing"between thekeys",oneof theterrorsoftheold school. As the weight of the finger tends towards a natural pose
of the fingers, regulating their normal action, all the exercises of the old method are rendered useless, teaching as they do a certain fixed manner of holding the hand and
setting the fingers
movements,
consequently:
2.
3.
4.
outcome of the technical apparatus set in even fingering; uneven motion; hence: even movements movements uneven fingering. Transmission and balance of weight necessitate between hand and fingers from the outset: a steady flow and a reliable posture. Let them have their own way. As the tone is chiefly formed upon the surface of the the fingers rather resting upon the bedded key to key, the weight, the rules of fingering which the old support methods dictated, with active raising of the fingers to regu-
They
are the
We
in impossible postures and positions. advocate passive action of the fingers loosely thrown and
oppose the antiquated method of raising the high as ever they will go {active finger- motion)fingers This solves all problems of fingering, which is finally determined by the intensity of the impulse, being, after all, a question of individual energy and temperament which require but two things: full freedom and determination. For the typical forms of fingering (in scales and arpeggi) those tested and sanctioned by general practice are the ones to
extended,
and
as
be observed.
movements, are disposed of as useless. Absolute relaxation and loose oscillation (passive action) of the thrown fingers can only proceed from "isolation".
late their isolated
5.
Common
we shall observe the natural we shall shift the hand as we observe a regularity of
determined solely by the sense of touch, the perception of weight (sense of pressure and muscular
Fingering
is
sense) and by that of movement and localization, associated with the above sense of touch.
6. All active
isolated fingering,
i.
e. all
wrist or fore-arm, must be abandoned, as the various symptoms of fatigue and injurious effects (tightening of the hand and fore-arm) have
stiff
e. retain as far as possible a constant, uniform mean movement, pose of the hand. Exercises in changing active fingers on one key (repetitiontechnic) must be abandoned. In passages requiring quick change i. e. trembling of the of key the vibrato should be resorted to arm with one finger or alternating fingers, according to personal When the student has learnt to "roll" talent and circumstances. (with loose action from the fore-arm), he may, but need not ne,
-^'
cessarily
change fingers
in
playing long
trills
or chains of
of loose,
trills.
their origin in
In playing embellishments,
Such
fingers are also the chief Hence, the finger-changing method, formerly resorted to for the sake of a clear and neat touch, may be abandoned with
dancing
and assurance
touch),
it
in
playing (as
secured by weight-produced
and technical
its
and index
that
impunity, as the weight furnishes and constitutes the best guide to a plastic manner of playing, provided care be taken
each
finger
is
actually
properly
"weighted",
i.
e.
that
it
12*
90
supports and bears the weight of hand and arm. Any loss of the weight renders the fingers weak and causes the well-known,
there
is
no longer the
least
reason
to
avoid
or
restrict
their
in scales
and passage-work.
in
noiseless (silent) change of fingers (on a bedded key) polyphonic playing and in the cantilena must be executed
tilting
The
employment. The time-honoured rule exacting the same fingering for both hands, whenever possible, still holds good, not only as regards
isolated
fingerings,
but
scales,
also
hand.
the
analogous figures,
passage-work, arpeggi,
The
Anrid oTr.tn>.
typical
1
:
The adage
before applying
is
of analysing
it,
black keys
'**
4.
is
and mentally studying every fingering too logical to require repeating. But what
all
'^'="''
The fingeHngs
to be recommended, owing danger of over-tension. Where the stretch is too great, release at once the upper or the lower
tone, whichever is not absolutely required in the melodic comAs a last resource we have still the pedal. The pupil bination. shouldjtherefore, be taught in the beginning to release tone or key and
trust to the pedal to
in
is
forms,
is:
required to solve
recognize exactly what and execute the technical oscillation of the joints) and
to
omega
rke p*4*i
Assisted by individual talent and habit, the spirit of the music and personal taste will determine what fingering should be chosen.
No
nothing
is
more
foolish
theory, no system of fingering in the world can of themselves produce the quality of tone required.
nervously or timidly.
equal distribution of the weight affords, moreover, the advantage of strengthening and thus enabling the so-called weak
fingers (4*
An
and
S"")
to
of them, so that
no longer to concentrate all our energy what might verily be called "digital" upon but rather to develop and refine the intuitive and unintellect, conscious perception of position, motion, rhythm and dynamics.
well
We
would do
the
cultivation
of
91
CHAPTER
XI.
HOW TO
1.
i''pcur4'"^
PRACTISE.
the knuckles joining finger and hand. The fingers must become so loose and flexible as to cause the least friction in their movements. And this is the final reason, why in our technic stress
Object and art in practising. Friction and relaxation. The object of practising has hitherto been grossly misconthe
idea
strued,
to
be
""'
work"*'^
jmnastics,
a|^
performed by and hand, a hundred or a thousand times, they were actually "practising" something which, as we now see, does not require "practice" and is not even worth the tremendous sacrifice of energy and time expended on its acquirement. The methods of old pursued but one object: the develop^^^^ ^^ ^^^ muscular mcchanism of the fingers, e. digital acrobatic feats, gymnastics, in fact. The most important item: "economization of energy" was entirely overlooked; whereas the real object of practice and study must be: to produce the greatest
finger
i.
identical with mechanical practising, teacher and pupil believing that in mechanically repeating certain movements
the condition (manner of holding and the positions, pose) of the playing-organs, but solely upon the form of their manner of action or motion. The normal action of hand and
is
not laid
upon
fingers results in a passive movement of descent or extension. So that it matters not in the least how we hold our arms, hands, fingers, so long as we are able to move them correctly, i. e. so as
to cause as
if
little
friction as possible.
We
move
their
about
relaxed swing does not exceed the medium height of one inch. Friction in a psycho-physiological sense is
inability.
S"""
Practice involves mental exertion, is a mental exercise proceeding from the "conscious" to the "unconscious", obeying the
The The
friction).
same laws
of strength-economy
(of
more
:
of
our
common memory
to
and pursuing the same aim as which musical study is a part), viz. tm
therefore,
is:
how
to
become
train
automatic.
The
We distingtion)
To
the
mind
and
to suit itself
muscles, joints, sinews, ligatures) and external friction (resulting from contact between the playing-members and the instrument,
follows: the execution and reproduction by the playingof the process of consciously or unconsciously assimilated organs
Then
and the resistance it affords, more especially as the velocity and muscular effort increase.) The only means of diminishing the friction consists in relaxation, both psychologically and physiologHence all training and educating must be ically speaking. directed upon the solving of the mental difficulties and upon rendering the playing-apparatus (members and joints) flexible, pliant and obedient to the will. The greatest amount of physiologcaused by muscles which are brought into play movements (e. g. those used in gripping and into conflict with those required in artistic and bending) coming skilful piano-playing (e. g. the muscles used in extension of the
ical
in-
motion.
It
tised
must be accepted as an axiom that nothing shall be prac- """ before the technical means have been mentally conceived nTc^'
or unconsciously imitated. On the other hand, daily experience Powe teaches us that the mental solution of technical problems also Teuv!
involves their physiological solution. r 1* gifted mdividuals.
This
is
""
of mi
friction
is
ordinary daily
2.
to
overcome them.
as
Friction
im-
pediment
produces
and
friction
signifies
impediment.
fore-arm, rolling,
It
etc.).
is
Hence the object of the exercise must at first be directed the removal of impediments: Negative exercise.
upon
92
may be
deficient,
nature, for instance: the visual perthe mental grasping of the musical
skill
in
And
itself
figure takes too long, too much time is required by the brain to take in the visual message and telegraph it to the executive
centres
are:
and defects of an intellectual nature, affecting the musico-technical side and producing difficulties in grasping the harmony, rhythm, melody, time, tempo, dynamics, agogics, rendition, phrasing and style The chief impediments are afforded by the notation, the manner of writing music
peculiar
to
different
late.
Chief
causes
Such are impediments attributable to the build of the playing- organism (arms, hands, fingers); for instance: too weak hands, hands with a small span, or too narrow or of too delicate a build; thin bony fingers, too short fingers; hands with immovable, stiff, tough sinews and ligaa stiff thumb; flabby, tures; ruined hands and fingers with shapeless, thick-set and spungy forms, and other defects. Still more hopeless cases are hard, bony, stiff shoulders and elbows.
nature.
4.
Of anatomical
composers;
the
various
historical
styles
Of
(classic or romantic) and the ages and periods of music. The chief considerations in, the means and ability of, removing those obstacles
These mechanism
5.
a purely mechanical-instrumental nature. are: the impediments offered by the construction of the instrument. a general
and
practicability of
Of
human
nature:
sonal tem(>erament, climatic influences, willingness or unwillingness to study, and also upon the intensity of melodic or rhythmic incentives or impressions, and the greater or lesser personal inclination or disinclination to the work of art and the style of composition.
2. Of a physiological or functionary nature. The arms, hands or fingers may be stiff or
weakness of character, lack of temperament, energy, perseverance and concentration (apathy, absentmindedness); bodily weakness (more especially anaemia, deficient nourishment, nervousness and other inherited or acquired ills; defects and pathoform abnormalities). To these we must add external
of personal nature,
clumsily
built.
impediments
in
life:
We
must distinguish clearly between stiffness and clumsiness or awkwardness: The former is absolute inability of the individual to move his members and joints (loosely and flexibly) in the manner required, and is, therefore, rather of psycho-physiological nature; whereas awkwardness or clumsiness is. in most cases, merely a psychical defect, attributable to ignorance and want of practice. A stiff joint cannot move correctly, though the attempt be made, while an awkward, a clumsy one will perform the right action or movement, when it is shown how to do so by proper training and correct practice. Awkwardness is, however, often less due to functionary inability than to timidity and lack of confidence. An absolutely stiff joint can but seldom and with great difficulty be rendered loose and flexible, whereas the psychical awkward, clumsy member can be trained and its dexterity developed. We must also distinguish between: stiffness of the body, back. neck and shoulders; stiffness of the upper-arm in the shoulder-joint;
stiffness
joint
financial difficulties.
The removal
of
impediments
signifies
an advance towards
This negative practising continues, until absolute perfection. relaxation has been attained, i. e. up to the moment when a feel-
ing of perfect ease and disencumbrance sets in: then and not till then, when we have fully mastered the executive organs and command and control them absolutely, does the positive
practising proper begin. all difficulties with ease.
pupil only in
Now we
The work of
and manner of
3.
Various kinds
of exercises.
Exercises
to
to
concentrate
of
straightening out the elbow, stiffness in the rotary the elbow, stiffness of the wrist and in the knucklein
the attention (upon the tone, the intensity of expression). The principal exercises in concentration are exercises
for the
of the impediments in the joints, of itself, brings about the correct action of the muscles, or muscular system. Therefore, we must direct our chief attenfingers.
joints of the
The removal
memory. All talent depends upon the central energy (power) of memory. The chief characteristic of the prodigy
is
its
phenomenal memory.
is
Viewed thus, pianoloosening of is a display o\ not one of muscular action pla)ring joint-action in the sense of acrobatic feats. What the student must aim at,
tion:
fo
the
the joints.
,
Memory
a.
developed:
is
By
best
piece
when
playing
it,
etc.
93
b.
By
critical
analysis of the
harmony (explaining
the struc-
these exercises
ture,
therefore: light, flowing, soft, elegant, shortest action. The shortest movetiient is the quickest
is,
finger.
The
position. d. By correct exercising of the muscles and joints, based upon the principle of relaxation. Our experience has
taught us that
all
those
who
encumbered by few or no
e.
have, without exception, a good memory. By educating the sensations exerted on the threshold of
produced by: fore-arm-rolling (trills, tremoli, and other forms of rolling) and fore-arm-extensions (lightning-octaves and forms of vibrato). The shortest or quickest movement of the hand is its passive vibrato-motion, produced by fore-arm-extension (extension The vibrato). shortest or quickest motion of the fingers is the light straightening out of the same, combined with hand-vibrato, leading to that staccato effect which we characterised in treating
movement
is
4.
Dynamic or pressure
of the leggiero style of playing (Chapter Vl!l, p. 55). exercises (gradation of tone). Exercises
By developing and refining the sense of sound and the power of mentally conceiving tone. to develop power and stimulate perseverance 2. Exercises (volume, power and fullness of tone). They are met by weightproduced touch. The means employed consist of: strength emanf.
muscular pressure, motion, position and touch, which teach us the gradation of tone by the resistance thus perceived when practising on the instrument. Here also touch forms the basis. weight-produced We must practise from the very first what is synonyto develop the sensations of
ating from the back and shoulders, greater members and accelerated velocity.
3.
sweep
of the playing
mous
with the perception of weight, viz. the conscious or unconscious senses of looseness and flexibility of the
Exercises
in
dexterity, skilfulness
(precision
and
rapidity
arm and
of tone and velocity). The chief aids are: Energy of mind educated to grasp, determine, and execute ivith rapidity. The "reproductive" is the art of combining quick resolution with the greatest presence of mind. Velocity depends upon a certain disposition of the nerves
(or of the will) to urge the arms,
power
of its parts: hand, fingers, and the mental of discriminating between relaxation and tension
of the muscles.
This state
for
it
is
only acquired through continual practice; impossible, especially in the case of stiffened arms
is
hands and fingers on to movements, actions occupying from '/lo to V40 second. This kind of lightning energy, which is closely connected with the blood and with race and temperament of the
individual, has a telling influence upon the development.
with hard, vigorous, thick-set muscles and inelastic joints to acquire, at the outset, or even in a short time, the
sense of loosened and relaxed muscles, and of the passive It suspension of the arm as a mass. requires patience
Many
the more, as the muscular system needs to to this new state, and must first gradually cause this new mode of working, this action, to pass from
all
itself
skill;
who
lack temperafat,
corpulent,
lazy
cannot expect a "rusted" digital muscular machine to adapt itself at once to a mode of action diametrically opposed to that it was
to
unconscious perception.
We
To possess
talent,
quantitatively, a
accustomed to. The moment the arm hangs free from the relaxed shoulder, the perception suspended
formerly
of weight will locate itself in the finger-tips, under the control of will-power. The sum of
all is
i.
must
be, qualitatively,
e.
will
come
nerves and quicker powers of perception, with a greater intensity of mental expansion and radio-activity of the nervous fluid.
and substance
Our
art
in
felt
a display of artistic skill and dexterity, in which the finest actions and movements of the joints
nothing more than the perception of the resistance the muscles, i. e. the by perception communicated to the brain, of the pressure (sensation of muscular tension)
exerted by the
passively
full
mass
of the
arm
perfectly relaxed
and
play a chief part, so that grace and elegance of action and movement are what must be aimed at. The object of
key-board.
pendent, bearing with its full weight upon the With a view of increasing and refining the
04
we perceptive faculties in dull pupils, in this respect, with recommend the use of an ordinary weighing-machine,
to test frequently the weight and state of relaxation. Exercises calculated to bring out the aesthetic qualities (formal beauty of tone) of the instrument. Knowledge and development of instrumental effects, utilizing the positions, the resonance
6.
7.
fall
freely.
which
Roll the weight on, i. e. execute the rotary articulation with a soft movement of the fore-arm.
5.
8.
Practise fore-arm-extension
fall
of
the hand.
If
Exercises
develop musical
style
(musical
10.
on harmony, rhythm, mdody. dynamic shading, agogics, time, tempo, phrasing, style and varieties of style. We must also here include the exercises non- legato of the usual dynamic varieties of playing: legato
beauty of tone).
They
consist of exercises
not tolerate a single movement other than the natural and rounded principal motions.
Do
11.
Do
and
roll
the arm,
etc.
Always
allow
fingers
to "rest"
on the
The object is to a perfect blending of the upper-partials and the harmoacquire nics, a chief feature being the artistic use of the pedals.
Tonal exercises (harmony of tone).
key-board, raise them only as far as is absolutely necessary to enable them to shift, and always let them run freely
(remaining in constant contact with the keys to be played). Entrust all the rest to the natural abilities of body and mind
(energy, patience, temperament, musical taste,
etc.).
difficult
lesson
we
have to
It
Hence
friction
learn
is:
to
train
art.
is
impediment is felt (in the muscles and joints). So that exaggerated muscular tension, pressure, stiffening the joints by exaggerated motions of extension, and other injurious, inexpedient The hands may, however, be exactions are to be discarded. to the utmost, the joints may be stiffened, now and then, panded in cases where the composition requires it, provided such action
4.
Daily exercises.
Exercises
t
''
Only such exercises are to be practised daily, as are required to train the bodily functions to render the whole organism
supple, and to
their relaxation
'''"""'
naturally
and
freely, retaining
be of but short duration. In a state of imperfect relaxation, all When exercises are to be studied loosely, softly, p. and pp.
the greatest impediments have been removed, the exercise be studied with the object of obtaining musical, artistic
fection.
in the
is
to
per-
The extension
(hand
of the fore-arm:
sixths, octaves,
chords
Having recognized
tion
of
the
joints
the
fundamental
study,
1.
we may Do not
means:
Let the
formulate the elementary laws as follows: hold or restrain the arm in the shoulder, which
vibrati or tremoli, oscillations) quite loose, in a quick tempo. The rotation of the fore-arm: tremolo, various trills, etc.
2. 3.
4.
(shake-movements with rotation), more especially broken three and four-part chords (sevenths), etc. Five-finger roulades, scales, broken three and four-part
chords, arpeggi (of 2 octaves), passage-work. Upper-arm flexion and extension of fore-arm (gliding of the shifted hand) in legato-scales.
Transmit
4.
whether
5.
moving or
Free
it
stationary,
i.
e.
6.
The
natural
in
and
relax
naturally
it
fit
for its
work.
octaves.
95
An hour and
into
all
the
159.
etc.
S
fc!
Eg ra
25
F P1
ri
I "T"^
i.
rst
arms should be rendered supple by loosening-exercises: gymnastics of the shoulder, arm, rotation of the fore- and upper-arm.
Stiff
on
Preliminary Exercise: extend the hand, in a state of repose, to an interval of a sixth or an octave and rock it (up and
raising and lowering it in a natural manner, the fingers never quitting the bedded keys, which, however, are not to be pressed or crushed (Chap. II. pp. 17, 18) In the same manner study chords, and finish up with exer-
down),
hands
in similar
and
in alternating
motion.
These
it flexible is the "oscillating" (swinging) alternation of the hand and of the five fingers on one and the same key, e. the repetition of one key by means of the hand oscillating upon fingers 1., 2., 3., 4 and 5 in succession, but in such manner, that the fingers retain their posture in the firm-set knuckle-joints, the arm sinking into the yielding wrist, following the elastic movements of the latter with spring-like action. Try to do the same in rising which is not easy. (from below), The "Natural Piano-Technic", vol. I. pp. 115/119 will be found
work
of art;
Teci
loosen
more
joints
and,
if
develop dexterity
we
would, however, draw attention to the great importance attaching to both,technical and musical analyses, and the benefit to be derived
^
must not omit those exercises which render the wrist viz. For example: supple, rotary motion and lateral flexion. place the hand loose and relaxed resting on the thumb bedding the key C-, and describe a complete circle with the hand (the thumb acting as a pivot, the key remaining bedded), from the low to the high and back again to the low position, (i. e. from the extended posture of the hand to the curved position and back again). Practise the same exercise on the 2"'', 2"^, A^ and 5'*" fingers, more particularly on the 5"' finger, as at first it is the most awkward. Practise these exercises "silently". The relaxing of the hand and its sinking back into the relaxed wrist (fig. B. p. 21) must always be practised thoroughly. For example: set the hand supported on the high arched
We
mus
lysh
from them.
lations, etc.;
Study form,
structure,
Analyze, for instance, the structure of difficult scales, passages or arpeggi, train the eye to take in quickly what it sees, and to convey it cleariy to the brain, translating the dead notes into
the ideas they are intended to express, animating them and thus
mentally creating corresponding, definite, living forms, which it becomes the task of the trained hand to reproduce through the
medium
phrase,
of
in
technic.
fact
Every line, every period, the shortest bar and rhythmical figure has an outline, every
its
a ^^physiognomy" of
own.
to
V^
finger (fig. C), the wrist raised; suddenly sink the wrist, so that the hand assume its straightened-out posture (fig. B), the fingers, however, remaining straight from the raised knuckle-joints.
life
into
of the greatest importance Men and p in musical education, both from a technical and artistic point of
is
The
becomes independent of the firm set knuckle-joints and fingers. Practise the same exercises with the other fingers. To relax the wrist is more difficult on the 5"" finger, the knuckle-joint of which at first always gives with
relaxing of the wrist thus
the wrist.
view, and we cannot too urgently recommend frequent, constant, close mental study of the work of art, inaudible practice and
trying to unravel and resolve intricate passages, suiting them to the hand. The conscientious student will derive more benefit
Among
who
can,
perform this wrist-tilting movement correctly. This exercise also may be practised on a table. A very good exercise for loosening the hand and rendering
left
hand,
its
in
order to compensate
natural inferiority to
right
companion.
13
96
2.
Never
limit the
of a so<alled stationary hand, but practise each exercise with a shifting hand only, according to modulatory prin-
every figure must be referred to the general movement, to the hand-formation in taking the keys required. Every violinist and 'cellist practises and plays with an absolute perception of the
J"'""'"'
order to accustom the hand to a steady unrolling of the musical '-floii^. in any position between the white
ciples, in
3. Practise
He never loses sight of the formation of the hand in position. relation to the notes or intervals to be stopped. And the pianmust do the same, for it is easier to discriminate and pick out the special from the general, than to reconstruct the latter from the former, i. e. from the reunion of notes of every value
ist
or the black keys. exercises and pieces evenly and uninterruptedly from beginning to end.
4.
Rhythmic and polyphonic difficulties should be practised If the whole study is based upon a certain separately.
musical
figure
it.
analysed
of
definite
formula,
make
special
study of
5.
its harmonic basis, suit the hand, form a clear idea of the meaning and object of form and figure, elucidate its symmetrical or asymmetrical structure, and determine the technical form of
singly:
reduce everything to
detail
to
6.
Do Do
not practise the same technical figure every day. not always play "forte", in the non legato fall, but
often
7.
or
p(> in
Never
strive
leggierissimo rollings, etc. leggiero to attain technical perfection for the sake
attack aesthetically best suited to an artistic rendering. In thus training the eye to take in the whole at a glance, to analyse, divide into groups and resolve with ease what we are about to
play,
we
of technic alone.
8.
success.
We
shall then
overcome
in
that
Never spend more than one or two hours a day actually at the instrument; only those who choose the art as a
profession may extend the time to three or four hours. Technical practice should be usefully complemented by
purely intellectual work: write an analysis of the piece, commit it to memory, read it over and over again.
us
in
the
shape of figures
semi-demi
quavers with their innumerable dazzling and puzzling made the page or passage look so black.
A wrong
matter?
correct.
note,
slip
to
begin
with
(action)
what
does
it
Avoid
timi
so
long
as
the
movement
the
is
anything
like
go by without reading some piece at sight, and devote a few moments to polyphonic music. Never lose sight of the one master whose name is Bach!
Never
let
a day
"Timia accuracy
fell
is
curse
of
liberty'\
He
that
that
never
off a horse,
ride.
He
never struck
ftmvntoTf
""^
practise, analyse the piece as to its harmonic structure, rhythm, dynamics, fingering, technical form,
Before proceeding to
forms, etc, simultaneously committing these to memory. As regards the aids to learning music by heart,
"Natural F*iano- Technic",
Technic".
In
vol.
I.
see
chap. V.
"The Psychology of
with
exercises
the
elementary
stage,
commence
on
never play correctly. Only by boldly swinging out and bringing the hands firmly and resolutely down upon the keys, can technical assurance be acquired, which is nothing more than determination and independence of mind, will and action. And this applies to everything in connection with piano- playing: skips, glides from bass-note to bass-note, from chord to chord, octave to octave, etc., which can only be sounded propeHy, if hands and arms are allowed full fling and
the
wrong
note,
striking,
[See Hugo Riemann: Catechism of hearing and in dictation. musical dictation, Leipzig, M. Hesse; Max Battke, Education of musical perception, Oross-Lichterfelde, 1905, Vieweg & Son,
also:
E.
Jaques
Dalcroze:
Rhythmic
Gymnastics,
Neuchatel,
freedom of action. Another fault requires to be eradicated, viz. the lifting and suspending of arm and hand in mid-air during the rests. If a hand has nothing to do, let it rest on the key-board, till it
is
Avoid:
Jobin
Sii
* pi>
&
required
again, or on the
if
time
and of the
permits.
In the
Ad:
the parts to him several times in polyphonic passages; play he following with the eye or voice. succession, Above all, let us do away with the wretched old-fashioned
the pupil
elementary stage, we would urgently recommend that be taught to desist from pedantically counting bar ^
'^""""''
system of mechanically reading and playing "notes" and signs. Every phrase, line (scale, passage) or figure is to be conceived of as part of, and taught in connection with, the whole, i. e.
far too much else to do. To read the music, with arms, hands and fingers and count into the bargain, play are three actions which a child cannot possibly accomplish He will be found to stop counting of his own simultaneously.
by bar; he has
97
accord, unless he plays wrongly or contracts hand and finger. Let us have patience and not uselessly torment and rack the brain of the poor little ones, rendering the task still more difficult,
warm
Those
hands,
courses,
and
their
even to the finger-tips, where the warm blood tone is of a warm quality, full and round.
instead
of
facilitating
it
for
them.
flexibility
will
learn
time
sit properly at the instrument and breathe have cold hands, the blood not coursing to the wrongly, always finger-tips; their touch, and the tone produced, is consequently cold, dry and lacks all colour.
that
do not
All that is Tcqulred is conscious, conscientious study, with concentrated attention and freshness of mind and body. Physical What cannot be done to-day, will exhaustion requires rest.
generally acknowledged, must, therefore, be considered one of the most important fundamentals of the whole technic; the pupil should be trained
The importance
of deep breathing,
now
^re
succeed
the
better
to-morrow.
Patience
and pleasure
in
the
accordingly
when
is
work
is
what we
require.
where music
yet in the elementary grade, and those Institutes taught as a profession, should include it in
The
by
pianist
on
5.
the
system
adopted
correct
the
is
How
to breathe correctly.
is
taught.
The only
freely
in
method
that in
filling
breathes
How
to breathe
of
vital
importance
in
with
air
the
same manner.
exe
Exercises:
1.
To
manner
his
train
is
the pupil to take a deep full breath in a natural the first and principal condition towards awakening
moving
the
soul to music's inspiration: everything depends upon it, not only rhythm and the broad, melodic flow of the real cantilena-style, but also the successful execution and mental command
the greatest technical problems, a perfect highest and ultimate degree, of physical and
of
All
is
fill
is
"set",
then
when
attained,
X^
to
retain
blending,
to the
for
moment,
producing a tension
air-column
trembling,
shivering,
stumbling,
anxious
becoming
air
steadied;
then
begin
exhale the
sight of lengthy passages containing technical difficulties, the timid shrinking from cadenzas and the fear of coming in at the
Those
gradually to of a weakly
Weak
persons
movements and uncertain, imperfect rhythm and other faults too numerous phrases, to mention, may all be attributed to improper management and economy of the breath and wrong breathing. Ncrvous anscmlc ladies, when the least excited, suffer more
wrong
or right
moment
in
nice or complicated
constitution should practise these breathing-exercises every morning and evening in well-tempered air from 6 12 times
every day.
by
2.
practical application:
"idn''ui'^m
shortness of breath, accompanied, as a natural consequence, by a state of utter helplessness resulting in A pitiable bungling, for which there is no other explanation.
as
the retention of the breath, producing, does, through compression of the air, a high pressure upon the heart, leading to an acceleration of the pulse, the result being
is
it
especially from
playing the up-beat, make the pupil take a full, deep breath; then with perfect composure and ease play the introductory bar (or even a single chord, to begin
with); then exhale to the bottom of the lungs.
When
3.
Make
most dangerous
habit
the pupil take a deep breath simultaneously with his striking the up-beat or first bar, and retain that breath with
this,
until
he can play
a highly
outward
signs
wrought nervous
state,
loss of
in
As
in all
same
principles
in
c.
ii
ma^CT'of
breathing
Teach the pupil to breathe in a free, natural manner, gud mental composure will prevent nervousness, heart and lungs being supplied with all the oxygen they require. This will also affect and Those who breathe improve tone and touch. correctly, inhaling fresh air as nature requires, always have
rhythmical long passages, cadenzas, A systematic passages and such as terminate in presto time. training in deep, slow, steady breathing will also be found to
tell
bravura
^^^
most
beneficially both
art
and music.
13*
08
Amid
natural
technic,
presented
of
It
by
internal
and
external
frictions;
it
is
the
result
we must
1.
abolish:
purpose of which and "equalizing" the fingers "precision", "detaching" (as all these are acquired by employment of weight),
All mechanical finger-exercises, the sole
is
looseness
in
of joint,
more especially the unnatural exercises with "set' fingers" and changing-fingers, and all special exercises, such as (Mssing the thumb under, octave-studies, etc. All scales and exercises, the sole object of which is to
develop "velocity", independence, equality and other
illu-
must begin at once with polyphonic arms and hands. Excellent material
Bach: The
Haendel:
first
studies. studies.
The
first
3.
sionary ideas. All purely acrobatic or gymnastical exercises intended to develop extraordinary muscular power or exaggerated
Bach: Short Preludes and Fughetti. Bach: Two and three-part Inventions.
all
mechanical practice on
4.
Jackson, etc.). All monotonous, interminable, useless repetition of one and the same musical figure.
(Virgil,
dumb
are also to be
recommended:
ad Parnassum.
New Gradus
Canons.
Philipp: 25
V^Mttf, k<r
rapidity,
is
the product of
activity.
It
i.
two
factors:
mus-
All
"studies"
must be
suited
to
and lightning
is
attained
simultan-
staccato
fore-arm.
(wherever
e. limp, joints (more eously with the acquisition of loosened, of the shoulder and the rotary articulation of the esF>ecially
dbow), of a
also a question of relaxation and of increasing agility of hand and brain. Attain an independent free, attack with the arms, independent balance
is
free, loosely oscillating arm, performing the shortest and least movement. Independence of the fingers and hands
hand
and fingers
As soon as the
to soften
roll
the weight,
and
liberate arm,
hand and
of
art',
and
train
the musical forms dispersed (in ever in an endless variety of the typical forms
ail
6.
Fundamental works
is
here analysed) throughout our musical literature. In art, as in life, the most sublime conception of the object to be attained demands the elimination of "technical obsession"
for studies.
and pleads
for a
speedy
initiation
into the
outcome of a light arm and Rnger dexterity hand acquired by steady and regular consciousness of relaxation, by control of the impediments and by removing the obstacles
the natural
rigidly set
work
itself.
Life is too short, art and its study too difficult, its domain too vast, for us to neglect the least opportunity of penetrating into its secrets, the moment mind and body are so far trained
on the keys.
(Jr. n.)
of
art.
CHAPTER
XII.
CONCLUSION.
We now
body,
is
i.
e.
close our theory of the technical education of the of the development of its natural playing-faculties. It
we have seen, upon the observation of the principle arm must be weighted and yet loose in all its movements. The elementary movements, in their turn, are based upon four
based, as
that the
simply mean a slight, momentary fixing or a light holding, setting of the joints and muscles of arm and hand, or finger, justified by aesthetic reasons, for artistic or technical purposes. Fixation practically means: to set arrn, hand, fingers in
a
in
rigid
(fixed)
pose,
part
all
fixed
actions:
RecapituiaUon
1.
The
fall
longitudiual oscillation of the arm (alternate rise or vibration of the arm). /"^ action.
2"'' action.
certain
of
the
chord or particularly delicate legato or portato passage. This, naturally, requires a particular muscular tension. Prolonged
2.
Upon
fore-arm
(rolling or shaking),
however, such as we encounter in virtuosity, Is it exceptions which do not come into account. advisable to teach such things methodically? That is the great quesimmobilizations,
constitute
actum.
4.
natural participation of the loose fingers articulating freely to the whole motion of the swinging arm. ^'* action.
The
According to the author's practical experience and personal feelings in the matter, such technical peculiarities should be left to the artistic impulse of the individual, as they present
tion of dispute.
These four points of view, corresponding to the natural functions of our body, must be accepted as norms both for the technical education in the elementary grade and for the middle and higher grades, even up to the stage of virtuosity. All that which corresponds to the idea of immobility, of "fixation", and which practically only belongs to the artistic eduof the professional pianist properly speaking, has been omitted from this "School" which demonstrates rather the general,
themselves.
individual
certain
It
In
passages
of his
calling for a
certain
effect,
gifted
will,
own
has already been practically demonstrated that "looseness" and "flexibility" are not all that is required. may even safely
We
cation
affirm that in certain technical cases, and considering merely the quality of tone, the effect produced by the descent of the loose
arm
is
from a
lightly
methods, Contrary from the principle that we must begin by developing looseness, flexibility and suppleness in the physical organism, before attemptExperience ing to strengthen and fix the muscles and joints. teaches us that he who can let go, when and wherever he will,
can hold
about.
fast
to other
we
start
ing with steady, regular action and ease. Such is the case, for instance, with regard to the absolute rapidity of certain forms,
will,
such as: lightning-octaves, staccatissimi, rapid rolls (such as trills) and other tremolo movements. As to the sonority itself, the timbre, the difference between the weight- touch and that with
lightly
way
set
joints
is
(On exactly the way we have to take. the theory of "Fixation", cf. Natural Piano-Techhic, vol. I, 2"'' ed., Leipzig, 1905, C. F. Kahnt Nachfolger, pp. 31, 107/8, 146, etc.,
This
247, 250, 361, etc, 376,
etc.)
necessarily very great. Dynamic shading the latter. Swinging and throw-
ing the arm, releasing the weight, the descent of part, or of the whole physical playing-apparatus, though the free descent be
norm
of technic
To make
it
more
clear,
we
will
add
that
by
"fixation"
we
always do produce
material effects.
The
100
order,
the
finer
gradations of tone,
artistic
perfect ease
delicate
gracefulness,
attention"';
it
is
midway between
relaxation
and
rigidity,
and pro-
balance
between
medium moment
of descent and heavy fall. Nor is it less true that the the arm or hand has descended or been thrown upon
retention (active stiffening) of the joints. Consequently, fixation indicates perception of mean muscular tension, of (immobility)
the instrument,
we
have
lost the
power
means
of producing the tone and consequently over the tone itself so that (presupposing rapidity as determining factor) the character of
the descent and the weight set in action determine the quality of the tone. If free descent of the weight be the object of
natural technic,
its
it
is
the perception of
The
ated
to
object
is
to establish
retention
its
is
that
of "artistic" technic.
its
The volume
conjunctions
and
maximum
art -work
resistance -power
and suppleness
Since the
ject,
the playing-organs.
power and grandeur to that ponderous brazen tread as of elemental powers. The retained action, the delicate touch, glide and rise, such as we observe in the rhythmic flight of a hovering butterfly is what lends
after
all,
the
the
sole
ob-
organism
an absolute
essential.
but a perfect mastery over both these great of form, the free and ihe Jixcd styles uu7/ lead to complexities a f>erfect equilibrium of the forces, and thus to that perfect hargrace.
And nothing
mony between
technical
and
Those that would diffuse amongst others the fullness of life e. those that and their enormous wealth of tone and colours, would be artists and bear the name deservedly, must be in possession of means of expression, sufficient to meet every dei.
artistic
mand which
'
art
may
lay
upon them.
rhythm, perfect equality and uniformity in the melodic outlines can only be attained by will-power with an organism at its disposal not only loosened and ever ready for action, but also possessing that precision and spring which alone
secures
equality
is
logical theories of
This psychological explanation differs greatly from the rather physioMr. Jaell, of Deppe-Caland and others. Viewed from our
standpoint of a free and natural action of the arm (arm-swing), self regulated
To
play
(determined) entirely by artistic inspiration (will), the "active fixation" of the third phalanx, of wrist and elbow (by rigid abduction and pronation), constructed by those methods, affecting the natural reciprocal action of the
three principal joints and paralysing
fixed"
perhaps
same as
to
play
"with
concentrated
can
no longer be upheld.
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