loo

SCO

R.

M.

BREITHAUPT

:<0

SCHOOL OF WEIGHT-TOUCH

NATURAL PIANO-TECHNIC
vol.

m
>o

'

42
1909
V.
.

2
1

MUSI

F.

II

KAHNT NACHFOLOER,

LEIPZIG

INSTRUCTIVE WORKS FOR THE PIANOFORTE

EDITED BY C. F. KAHNT NACHFOLGER, LEIPZIG.
M.

Bach. Job. Seb.

Vicr OrgelChoralvorspiele. Bearbeitet von

Tfc. Szaito
1. Aus der Tiefe nife ich.

Alexander von.

79.

Mazurka- Impromptu

X-

3. Jesu Leiden, Fein

und Tod.
der Hoh'

4.

blatter

Orgel-Fantasie und Fuge. Bearbeitet von Tk. Szaato

.

Praludium und Fuge, e-moll,

furOrgel. Bearbeitet von August
Stradal

2.50

Praludium und Fuge fur Orgel.

Bearbeitet von Th. Szanto
Beethoven, L. van. Leichte
.

Nr.

2.

3.

I.

Nr.

Op.

2.

Drei Albuni1.80

56. Drei Stiioke.

Humoreske

Praludium
Nocturne

Klavierstiicke.

2.-

Op.
Nr.

1.

g-moll
n 2. b-moll
3. a-moll
B-dur
4.
..
Op. 91. Variationen und Fuge
fiber ein eigenes Thema
Op. 93. Fun? Capricen komplett
Einzein
Nr. 1. c-moll
2. A-dur
d-moll
3.
h-moll
4.
c-moll
5.
Chor der
Berlioz, Hector.
.

afnt Stradal
Tanz der Irrlichter aus Fausts
Verdammung". Bearbeitet von

August Stradal
Btuonl, F. B.

1.20

Landler.

Stadium

der

5.
5.
1.50
1.20
1.50
1.80
1.20

Stradal

Nymphen
.

Drei Klavierstiicke.

3.

Nr.

1.

-.80

2.

1.50

3.

Pianoforte.

und

II

1.50

August Stradal

2.50

2.
1.50
1.50

Bearbeitet von

...

Sturm und Gewitter. Bearbeitet

von August Stradal
Die Loreley. Fiir das Pianoforte
ubertragen vom Komponisten
Zwolf Klavierstiicke.
Ausgewahit und revidiert von Eugen

....

d'Albert

Sechs

44.

Nr.
Nr.

I.

netto
Maria.

Heft

1.

Die Loreley. 2. Ave

4. Ave
Zweite Elegie.
maris Stella.
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
.

1.50
1.50
1.50

3.

fiir

Rauschendes Bachlein

3.

Ewig Dein
Im Mai

Sch&fer, Dirk.
eine Sequenz

....

1.

Agitato.

3.

Gavotte.

Szanto,

Th

1.
-.80

heiligen Elisabeth".! 2.Hirten-

Nr.

I.

2.

3.-

gesang an der Krippe aus dem

Oratorium Christus".

Op.

2.

2.
Mazurka

triste.

3.

Chant

5.

Airanglais. 6.Valsestupide.

fran(;ais. 4.

Serenade.

Op. 25. Lebenswogen. KonzertEtude

Op. 26. Zwei Intermezzi.
Nr.

1.

Nr.

82. Orel

2.

II.

Intermezzo

1.

Idylle

].Spanische Serenade
Op. 28. Sturmmarsch. Studie 1.50
Op. 29. Variationen und Fuge 2.50
2.

Op.

32.

Nr.

1.

Romanze

1.-

2.

4.

Legende
Menuett
Serenade des Pierrots

1.
I.

5.

Etiide (iiber einWalzer-

3.

Fiinf Klavierstiicke.

Etudes

....

Ballade

fiir

Piano

1.20
1.80

3.-

1.20

1.20

thema)

Wleniavi'sky, Joseph. Op.

Ges-dur.
C-dur

1.
.1.20

Zwei Charakterstiioke.

27.
I.

i.50

Interrmezzo (Marien-

I.

kapelle)

Menuett.

I.

3.

Fantasia

Klavierstiicke
1. Arietta.
2.

2.

Op.

1.20

NachgelassenesWerk.)
3.
Auflage
WelB, Josef. Op. 23. 8 kleinere

Op.

Orientales.

1.50

II.

1.80

2.

2.50
1.50

1.1.

Richard.

f is-moll.

Variationen auf

Klavierstiicke

....
.

Wagner,

1.20

Speldel, Wilhelm. Op.

Dr. W. Niemann. Komplett netto

1.

Albumblatter.

1.

Capriccio
Wichtige Vorsohule
angehende Klavier-Virtuosen.

Nr.

2.

1.50

Vlole- Liszt.
35 ausgewahlte
Etiiden.
Neu bearbeitet von

Situations.

Klavierstiicke.

leichte Spezial-Etuden fiir das

geteilte Passagenspiel auf dem

Nr.

33. Drei

Thullle, Ludwig. Op.

....

Nr. 4. Impromptu
Nr.5. Nocturne.
Nr. 6. Appassionato
Op. 50. Nr. 3. Barcarolle

Vorfriihling

7.

2.

III.

Reigen

Op.

1.50

1.

C. Op. 6. Les
3.- Rflbner,
8 petits morceaux

I.-

Preghiera.

2.

sehen von R. Teichmiiller.

Heft I. Romanze in Es-dur.
Scherzo
2.Heft II. Preghiera. Impromptu 1.50
Heft III.Nocturne.Appassionato 2.50
1.50
Nr. 1. Romanze in Es-dur einzein 1.50

Op. 50. Nr. 3. Barcarolle in

1.50
g-moll Neue Ausgabe mit Fingersatz usw. versehen von R Teich2.
miiller. (Eingefiihrt am Konservatorium zu Leipzig)
1.50

Romanze.
Scherzo

Nr.3.

II.

Heft

Melodies.

3.

I.

2.

Romanze Es-dur

Pianoforte

Daraus einzein:

Rubinstein, Anton. Op. 3. Deux

1.50

Stiicke.

Nr.

Neue revidierte Ausgabe von Rob. Teichmiiller

Op. 44. Soirees a St. PetersSechs Stiicke.
Neue
bourg.
Ausgabe niit Fingersatz usw. ver-

Deux Melodies.

3.

Op.
Op.
Heft

6S.

1.50
1.50
1.50

(Eingefiihrt am
zu Leipzig.)

15

Op.

...

am Konservatoriiim

fOr

Scherzo

Riemann, Hugo.

1.50

Die Legende von der heiligen

Elisabeth. Oratorium.
Daraus einzein:

1.

Scherzo Es-dur

Rubinstein.

CracoPolnische Lieder und

fiir

Walzer Es-dur
Walzer g-moll

-.80 Telchmflller, Robert. Neue

1.50
revidierte Ausgahen von Anton

2.

Harmonielehre fiir KoiiserMusikschulen und

vatorien,
Lehrerbildungs-Anstalten.
Heft I, II, 111 a netto

2.

Einzug in Jerusalem. Bearbeitet

von August Stradal
Das Wunder. Bearbeitet von

1.50

MSIIer-

Reger, Max. Perpetuum mobile

Ll8zt,Franz. Christus.Oratorium.
Daraus einzein

August Stradal

fiber

Eriauterader Teil, netto

Praktischer Teil mit 17
netto
Ftuden-Beilagen
1

Rosenwunder.

Reater.

Nr.

Karl. Aufgabenbuch
.80 Pleper,
1.50

....

Klavier-

Etfiden, verfaBt von Th.

4.

Tanze

fur

Genrestiicke

Motive aus Der Barbier von

Bagdad" von Peter Cornelius 1.50
Chopin, Pr. Technische Studien
(Vorubungen) zu den KlavierEtuden, verfaBt von Carl Pleper.
2 Hehe
a 2.ComelliM, Peter. Der Barbier
von Bagdad. Komische Oper.
Ouverture von H. Behn.
1.Cramer, J. B. Beltrife zum
.

Traumerei
Dryadentanz

die

1.
I. Kwast, James. Op. II. Capricclo
Op. 12. 2 me. Gavotte
1.20

1.50

Fantasie

Spiel der

3.

Taubert, Ernst Eduard. Op. 56.

Sylphen u. Onomen u. Sylphentanz aus FaustsV'erdammung".

Bearbeitet von August Stradal
Die Hollenfahrf aus ..Fausts
Verdammung". Bearbeitet von

2.

Heftl.Waldvogelein. FriihlingsJoachim. Die Miihie, fiir

lied.
Bachlein im Tale
.1.50 Raff,
Pianoferte aus dem StreichHeft II. Freudvoll und leidvoll.
quartett Die schone Miillerin"
Air Suisse
1.30

1.

Heft

Sonaten
herausgegeben von
1.
Walter Niemann
Bergcr, Wilhelm. Op. 89. Vier
Krebs, Job. Ludwig. QroBe
Fugen, koniplett
Fantasie und Fuge in Q-dur fur
Einzein:
Bearbeitet von August
Orgel.
Nr.

19.
fiir

vlennes.

Nstur- und Stimmungsbllder.

2.-

Op.

Noskovk-ski, Sieg. Op.

1.

Tyrolienne

140.

1.50
1.20

A.

E.

Vier Stucke
Wald-ldyllen.
Pianoforte, komplett
Nr. 1. Waldesstille

Zwei

139.

Klavier

1.50

Strmtel

Klrchner, Fr.

Praludium und Fuge, G-dur, fur

Bearbeitet von Ai|Mt
Oirgel.

fur

1.50

Kaun, Hugo. Op.

Allein Oott in

sei Ehr".

MacDowell,

Op.

Klavier

Gade, Niels W.

X Ach bleib' bei uns, Herrjesu

Christ.

Flelitz,

18.

Souvenir d'une Valse pour le

Piano
2.
Op. 27. 3. Polonaise. A-dur 2.

Wilm, Nlcolal von.

Kleine Suite (G-dur.

Op. 207.
Nr. 5)

2.

NATURAL PIANO-TECHNIC
vol. II

^=

SCHOOL OF WEIGHT-TOUCH
A

practical

preliminary School

by

of

Technic teaching the natural manner of playing

weight of the arm

utilizing the

Preliminary to Intermediate

Grade

by

RUDOLF

BREITHAUPT

M.

With numerous photographic

illustrations,

drawings and musical examples

ENGLISH TRANSLATION BY JOHN BERNHOFF

ORIGINAL EDITION

IN

GERMAN

R.

Die naturliche Klaviertechnik

translated by

f^^Sl

M. BREITHAUPT

Band

EDITION IN FRENCH
/^IP^^^lV

by

E.

Technique naturelle du Piano

vUl^J
\S3^

11

vol. II

La technique de

Schule des Gewichtspiels

All rights reserved
Property of the publisher for

all

countries

Presented to the

PUBLISHED BY

UBRARYqftte
uNivERSFTY OF TORONTO
from the

ARTHUR PLETTNER
ISA

McILWRAFTH

COLLECTION

C. F.

CLOSSON

KAHNT NACHFOLGER,
Copyright 1909 by C.

F.

LEIPZIG

Kahnt Nachfolger, Leipzig

la

pesanteur

References,

notes, etc.

to the

new

facts treated

are not allowed in instruction-books, methods

by

special

in

this

"School"

and hand-books, except

permission of the author and publisher.

Rudolf M. Breithaupt.

C. F.

Kahnt Nachfolger.

CONTENTS.
PART

I.

THE ELEMENTARY FORMS OF WEIGHT-TECHNIC.

CHAPTER

I:

EXTERNAL CONDITIONS.
1.

2.

3.

CHAPTER

II:

2.
III:

ARM.

Releasing the Weight

16

THE LONGITUDINAL
LATION OF THE ARM.
ACTION

I.

TRANSFERENCE

1.

The supported swing

2.

Lateral transference (shifting).

High
1.

OSCIL-

OF

Deep

fail

I.

CHAPTER

VI:

20

EXTENSION OF FORE-ARM.

Participation of the Fore-arm

Alternate rise

and

fall

The

4.

Extended Scales (Passage-work and Ar-

42

Scale

46

ROTARY MOTION OF FORE-ARM AND

UPPER-ARM COMBINED

47

COMBINATION OF THE WEIGHTS (TONE

TO TONE). LEGATO

49

THE NATURAL REBOUND OF THE

WEIGHT (ARM OR HAND). STACCATO

52

B.

and

25

......
ACTION III. ROLLING OF FORE-ARM.
LATERAL ROLLING OF THE WEIGHT.
2.

3.

.... 37

19

fall
II.

Preliminary Studies
Exercises preparatory to the Scale

peggi)

THE

arm

of the

36

2.

1.

13

CHAPTER IV: ACTION

V:

p*
Combined rotary motions.
A. ROTARY MOTION OF FORE-ARM COMBINED WITH EXTENSION OF FORE-

1 1

Testing the Weight, weight-bearing

LATERAL
WEIGHT.

CHAPTER

II.

TRANSMISSION OF THE WEIGHT.

1.

CHAPTER

P^g^

The seat
The hand-bridge
The weight of the arm

vibrato

CHAPTER

VII:

28

CHAPTERVIII: ACTION IV. FREE OSCILLATION

FINGERS.

Absolute rolling motion.

Finger-action with weight

54
55

III.

Various methods of weighting

56

III.

Touch

67

IV.

Rhythm

I.

ROTATION OF THE CUBITAL (ELBOW)

JOINT

II.

31

PART

OF THE

Finger-oscillation

11.

FORMS APPLIED.
CHAPTER

IX:

PLAYING WITH BOTH HANDS SIMULTANEOUSLY: POLYPHONIC AND FIGURAL PLAYING.

I.

II.

III.

The "independence" of the hands

Melody (Cantilena) with accompaniment.
Sustaining the tones, leaving the keys

IV. Figurai

CHAPTER

X:

DYNAMICS.

RHYTHM.

57

CHAPTER

XI:

HOW TO

PRACTISE.

58

1.

Object and

down 60

2.

Impediments and

63

3.

Various kinds of exercises

92

Technic

AESTHETICS.
FINGERING.

87

89

V. Fingering

TOUCH.

I.

Dynamics

65

II.

Aesthetics

66

art in

91

practising

how

to

overcome them

91

4.

Daily Exercises

5.

How

to breathe correctly

94
97

6.

Fundamental works for studies

98

CHAPTERXII: CONCLUSION

99

TECHNICAL TERMS
Terms and names

to convey the ideas of weight-technic, translated from the

German

by

JOHN BERNHOFF.
transmission

Ubertragung

lateral transference,

Fortruckung

des Gewichtes

shifting

Ruckwurf

rebound

Fortrollung

lateral

Bindung der Gewichte

combination of weights

Fingerschwung

oscillation of the fingers

rolling

playing

figural

Figuriiches Spiel
- Langsschwingung des Armes
Grundfoimen des Gewichtsspieles

of the weight

arm

longitudinal oscillation of the

elementary forms of weight-technic

stumme Ubungen

silent exercises

Nullbelastung

discharged weight or zero-weight

Mittelstellung

intermediate position,

flachgestreckt

flat-straightened

Spielbelastung

playing-weight

medium pose

pose
curved fingers

parallele Handstellung

parallel
-

eingezogene (gestreckte) Gelenke-

gebeugte, gekrummte Finger-

depressed, sunk (stretched) joints

Kn6chel-(Haupt-)Gelenke

knuckle-joints

Handbook
Rundform (Hohlmuschel) der Hand)

handbridge, arch-set hand

Hohl-{Schirm-)Hand

hollowed palm, umbrella hand

Boden der Taste

bed of the key

Beugung der Hand

flexion of the

Buckel

humps

Innendrehung

inward position: pronation

outward position: supination

AuBendrehung
Gespannter Buchsenhahn
tiefgestellte

cocked-gun pose

low

Hand

hand (hand sunk, with depressed

curve of the extended finger

gebeugt-gestreckter Finger

vom geschwungener

set

relaxation

Ausi5sung
nach

hand

Finger

finger

hand

Kugelhand

thrown forwards
if closing on a

as

ball

(ball-hand)

to steady

festigen

thumb pose

Daumenstand
den Akkord greifen

erect

Aufhebung des Gewichts

der Stutzschwung des Armes

releasing the weight

to grasp (sound) a

the supported

chord

swing of the arm

wrist,

below the key-board)

Immediate causes are tangible, and, therefore, most easy of

hence we are apt to confound the sublime with

PREFACE.
In

made

publishing this volume,

the

in

first

volume of

am

fulfilling a

merely

my work

promise

entitled: "Natural Piano-

Technic".

Myself an opponent of all so-called "methods",

undertook the present work very unwillingly, knowing from

how

difficult

to formulate these appar-

experience
ently simple fundamental principles of technic without the aid
of practical demonstrations. Besides, am 1 not adding one more
to the already stupendous number of Methods?
The Fundamental Principles of weight-produced touch having, however, been
practical

laid

down

theoretically,

those

develop

it

wish

Also, yielding

its

in

order to render the ideas clear to

universal,

to

the

repeatedly

have the substance of my work divested

encumbrance and reduced to its simplest form,
to

of

scientific

is

became more and more necessary to

in a gradual manner from practical

principles
experience for practical use.

expressed

it

have

now condensed

volume, which contains all

the elementary development

and the "neiv theories"

work

to

the

present

and important
a natural manner of playing.

that

of

all,

the

is

essential

for

The present volume, entitled: "School of Weight-Touch" \s intended and must be treated, as a practical supplement to my theoretical
work, its object being to serve in public and private instruction
as a sort of preliminary School of Technic for the intermediate grade.
Any of the existing good Schools may be used in their
part for the elementary grades, the easier works of
Bach being selected for the intermediate grades. With such a
foundation laid, one may go on building up the structure.
would here oppose the wrong idea that my object is to
upset all that has existed heretofore, and to explain music by
"psycho-physiology". Our aim is to do away with wrong ideas
and to trace back to their real and natural sources the action of
our playing members and the effect produced by them.
What we purpose to teach is in itself nothing new: we
would disencumber the body and thus assist the playing-members
in their action, and teach them to play.
Our young musicians
shall no longer be tormented unnecessarily with five-finger-exercises, their little hands lamed, stiffened and ruined by performing
impossible stretches and exaggerated extensions.
Moreover, we must not forget that "technic" is not all that
practical

required, but that now-a-days, as ever, the chief condition

Where that is wanting,
still remains, viz. natural musical talent.

is

i.

e.

where nature has denied the rudiments

Berlin.

of physical dexterity

comprehension
tlie

mechanical.

(Goethe.

and musical comprehension, it is hopeless to look for success.

Let us be candid and confess that all we can do is to train and
educate carefully such natural talent as the pupil is gifted with.

Our

task, in short,

and

way,

is

to foster the

mind and body by

to cultivate

germs implanted by
means and in a

natural

nature,

natural

thus

assist in
developing the personality (soul,
general education, habits of life, all that goes
a human being), in the manner and
towards

spirit, intellect,

make up

to

the

destined

goal

the

natural

pupil's

extremely

simple,

and

will

the

found

free

the

adaptation of
solution so

so

yet

mastery over,

involving

We

In

be

nature.

by

abilities

and

complicated, of all problems

success in, any branch of art.

carefully watching and tending the

them day by day, and pruning where it
We may prepare the soil, delve and weed, but we
is needed.
must trust to nature to furnish the sap, draw forth the bud, and
Cultivation can do a great deal, but
ripen the swelling fruit.

young

it

the

are

gardeners,

plants, watering

cannot

replace

nature.

The genius

Talent

is

innate,

not the

result

of

born, not made.

As regards the technical terms and the names adopted to
convey certain ideas, they are either borrowed from the latest
investigations of our subject or are dictated by practical experience.
education.

Wherever

was

F.

and

order to secure greater

scientific terminology has been correctly applied
A. Steinhausen: Physiological Defects and Reform of

it

the
uniformity
(See Dr.

is

possible,

in

Piano-Technic, Leipzig 1905, Breitkopf & Hartel).

strange and even objectionable the new vocabulary

However

may

at first

appear to the teacher, the new words will, I am convinced, very

soon convey to the mind the sense intended, provided, of course,
the reader

is

not bent upon maintaining an erroneous conception

of finger-technic, and confounding cause and effect, but is prepared

to think for himself and reject antiquated notions and traditions.
this "School of Technic" assist in shortening the mechanical
with the art of piano-playing, and thus enable
connected
part
us to devote our efforts to the culture of the soul and to enter

May

into the spirit of the compositions.

1

my

cannot conclude without expressing my gratitude towards

friend and counsellor Dr. Paul Kraemer, for kindly

faithful

reading and correcting the work from the medical man's special
point of view, and to the publishers C. F. Kahnt Nachfolger,
Leipzig, for

all

the trouble they have taken

in

bringing

it

Rudolf M. Breithaupt.

out.

fig.

fig

la.

la.

Ideal type of a piano-hand of a little girl

aged six, set in a gently rounded natural

fig.

The

pose, showing thick regular fingers with powerful knuckle-joints, the rounded knuckles pro-

massive wrist

Copyright 1909 by C. F. Kahnt Nachfolger, Leipzig.

hand,

lb.

hanging

in

natura

intermediate pose, the pendent fingers slightly

curved.

truding naturally. Thumb and back of hand

are broad, the short fore -arm terminating
in a

same

fig.

lb.

PART

I.

THE ELEMENTARY FORMS OF WEIQHT-TECHNIC

CHAPTER

I.

EXTERNAL CONDITIONS.
I.

Silent'

exercises

The

seat.

upon the individual.

and proportions of

The height

of the seat

depends

in

general

determined solely by the general size

the physique, more especially by those of
the upper body and the lower extremities.
With regard to the
It

is

fig.

The hand straightened out

The low

seat is indispensable only at the outset, i. e. as long ^d,

a question of making the joints supple, of maintaining '"'^
relaxation of the muscles of the arm, of accustoming the arm

as

it

itself

is

to

scat

retain a position of passive

Ic.

flat in

fig.

natural intermediate pose

suspension and

Id.

Hand-bridge with protruding knuckle-joints (hollowed palm or umbrella-hand

(discharged weight).

The

assume and

discharged weight.

fundamental principles of general technic, i. e. to the natural functions of all the muscles pertaining to the parts employed in pro-

of developing the shoulder- muscles.

Later on, when all these
desired conditions have been acquired, the height of the seat

ducing the tone, and to the relaxing of the muscles of the arm,
the low seat is the one to be preferred in the beginning, as permitting of the wrist and elbow being held somewhat lower than

be dictated by the general physical proportions of the indiYet the low seat is to be recommended for those with
vidual.
large bodies and long arms, in order to accustom the arm to a

the level of the key-board.

passive

i.

e.

away from

the piano, or without sQundin|( the keys.

(Tr, n.)

will

pose of rest, i. e. to hang free from the shoulder;

whereas for the short-bodied with short, thick-set arms, the
2

8
'

All depends upon the "perception of

seat is preferable.
the weight-transmission".
Naturally, the greater the energy disthe
more
the
body will straighten itself out. The
played,

high

climax will be attained by direct transmission of shoulder-power,

i. e
by employing the key-board as a support for the arm fully
extended, (p. 33, fig. F.)
Sit in such manner that in grasping a chord with both hands
'

arm: a firm, steady hattd-briage, on which the arm rests

more upon the thighs than upon the posteriors, the feet resting
The muscles of the lower body and of
firmly on the floor.

of the arm.

fig.

middle-fingers

by

We
The

flexion, is

abdomen must be

relaxed,

in figs.

fingers

must

either

and

the

b, c.

or

d)

Fingers

II a.

pose (old school) with curved fingers and depressed knuckle-joints

Kohler's "school"-hand cf. also Riemann, Deppe, Jaell and others
;

body

itself

to

free

The

umbreu-hand

Parallel

playing-weight).

perform any movement.

II

be straightened out "^(fig.

fig.

and supported by, the

Experiment

thus obtain the arch-set metacarpus carrying the weight

(to

the

shown

le.

weigtit (the weight transmitted to,

Hnd-bridge

i.

a ball,

tlie

the

simultaneously, the key-board shall be so far below you, as to

Sit
Bend the body somewhat forward.
afford a purchase.

Transmission of

like

on its arches and pillars.

arm
and hand relaxed, flat upon a table
Explanation: Lay
Then
slide
back
with
the fingers (i. e. draw them in a
c).
(fig.
little), raising and hollowing the palm of the hand somewhat,
thus obtaining a hollowed palm, the umbrella-hand (fig. d). The
e. the form, it would assume in clutching
"ball-shaped" hand,

superstructure of a bridge

to sit opposgeneral rules in the elementary stage

ite the centre
of the instrument, at arm's length from the
wooden frame of the key-board, etc.,
remain the same.

be used only to get the

slightly curved, the knuckle-joints

effect of the "jeu perle").

protruding and forming

humps

Thus posed, the fingers become "stilts", "props" supporting the

weight borne by the palm of the hand, arched to form a bridge.
This

is

the

first

and most important

part devolving

upon

fingers.

The hand-arch must, of course, not be considered

rigid hand-pose or one assumed for practising-purposes
n. The arch-set hand (hand-bridge). There is no
hard and fast rule to determine one special way of holding the
arms, hands and fingers to suit all cases and answer ail purposes. All so-called normal positions are to be rejected.
In the beginning one thing is required for weight-technic,
e.
for the transmission, supp>ort, and balance of the weight of the
i.

the

as

only.

merely intended to assist in developing an energetically

rounded form of the hand supported on firmly set fingers
It

is

Later on, the technical difficulties having been

hand
mastered, the
may do as it likes, provided the supports
are strong enough and the tone be located in the bones
For // is the hand that must suit itself to the
(the knuckles).

and knuckles.

the

hanu

Theoretical
figures

fig.

Rounded hand

as

if

Hb.

closing on a ball (ball-hand).

fig.

Ilia.

Over-tension of the fingers with stiffened knuckle-joints and wrist as taught

by the old schools and methods: wrong.

fig.

lie.

Hollowed palm, by outward rotation (Supination).

fig.

Illb.

"Cocked-gun" pose with absolutely

stiffened knuckle-joint:

wrong.
2*

10
It
musical or technical forms, not vice versa.
adapts itself to
the instrument, assuming such postures and forms as correspond

1.

its

its

build

and

its

for

shape and |x>se being modified or determined by the same,

fig.

i.

e.

The

there are as

many

play of

hands

the

many

of

In

besides,

the

bending-in

would

the

and steady
each joint, more especially the primary joints, and in
such manner, that the fingers shall always be slightly
curved and in such curved, contracted pose, each finger
shall practise separately on single notes:
exercises must

etc.

9.

fingers

When dealing with weak, too loosely jointed hands

1*11,
i".
With lobulated fmgers and unsteady jomts, preparatory

the hand-arch as there are physical

the

Hid.

be practised,

1.

of

destroy the bridge and hand-arch, and thus, from

outset, render transmission of weight impossible.

so ix>sing and shaping the hand, care must be taken:

9)

giurd

Natural curve of the extended fingers lightly thrown forward, the wrist
being held high or low: good pose.

wrong.

peculiarities in the build of each indiindual hand,

to

against:

longer need such exaggerated tension of the

fig.

hand-poses as there are technical forms.

is a constant interchange of contraction

modifications

we no

lllc.

and extension, of rise and fall, of tilting, twisting, turning (inward and outward flexions) and rolling, gliding motions in both
directions (in and out) of parallel figures (similar and dissimilar),
converging and diverging (of both hands), etc. So that there
are as

What

Ilia).

fingers;

Finger raised, old method, with low-set hand and stiffened wrist:
radically

in

Over-tension, i. e. the much praised "Jtdl-cock"

of
the
fingers (fig. Ill b and c) is absolutely wrong, when
setting
viewed from the stand-point of free weight-produced touch,
(fig.

own peculiar (anatomic) structure and proand

as a natural consequence, the arched
Similarly,
portions.
to
the musical and instrumental forms:
hand adapts itself both
to

That the knuckle-joints of the fingers do not bend

1111

to

strengthen

Preliminary
exercises for

awkward
'""^^

11

Hold the hand somewhat low and shape

form, as

Qawbtg-hand

arm

it

to

fail

with the

exercise

this

daily,

if

possible,

until

the

end

is gained, i. e. until the

joints have become firmer,
stronger and the fingers "acting as props" will "stand"
and "support" the weight of hand and arm.
5th

2.

fingers

The

25^

which

natural to

hand

mental positions and poses; held thus,

tips.^

Practise

and and

it, without exerting any pressure, while avoiding

tension
or spasmodic stiffness.
any
The arch-set hand constitutes the typical form for all funda- The

it so as to
were, a claw (fig. iV); the full weight of the
upon the firmly rounded fingers, grasping

and 5*

the

fingers particularly
the internal and external

constitute

fig,

"weight-technic".
This pose of the

carpus

so that
line,

d and

figs.

of

massive weight of the arm

i.

Fingers

aimed

at

arm, not by a tiring action or

strained

Leschetizky-Bree-Melasfeld-methods).

tension

of

the

fingers

(as

in

the

Va.

finger).

Transmission of weight

play-

"in erection".

(shoulder, upper- and fore-arm, hand, fingers), constitutes the

fundamental elements of piano-technic. The essential condition
its

is

employment

of energy needed

a clear conception of the various degrees

the mental control of the heavy, loose,

freely oscillating arm, or realisation of weight.

In order to perceive this and put it to practical use, so that E^pei
shall
all

'

object

^'",.'

as to quantity and

each individual), when combined with the elastic

muscular tension of the whole physical apparatus set in motion

with
The

"i^A

differs

quality with

it

This exercise serves merely as a means towards an end, and should

of the
by no means lead to the conclusion that a clawing, scratching pose
hand is what we are aiming at. The touch is produced by the fall of the

raised erect (on the

weighted hand

of

e. the
and hand must retain a natural pose,
normal
in
an
unconstrained
remain
must
hand
always
intermediate position (figs, la, b, and XII a), which is

at a natural

pose

(which

fig.

VI).

we

""^

points

Hand

o?

is required only to transmit the weight

Later on, we shall recognize only one

IV.

d and

our

form: the absolutely relaxed, supple hand with loosened joints.

III. The weight of the arm.
The full utilization of the

all

Ill

all

of

the principal joints shall describe an

back of the hand
slightly curving the

fingers,

the basis of

roots

determining and in limiting the arch of the metamust be raised to the height of the middle-

arched
(fig.

Aim

in

is

hand

and support the arm.

Low-set hand with the fingers strongly curved inwards in order to steady
the first twojoints (and tip). The thumb rests upon the edge of the key-board

support

it

(fig.

c),

and "lodged" in the finger-tips, lay the arm,

muscles relaxed, at full length and flat upon a table
arch the hand to form the bridge (fig. d), and, raising

be

"felt"

its

the

upper-

and

to

the

and

fore-arm,

firmly

hanging loose and

transfer

the

weight

to

the

Arm-.
t^ger

hand

The arm,
fingers (figs. I e and Va).
^^ ^^
inactive in the shoulder-joint, is "supported" suppc
set

relaxs

12

by the hand or by the fingers (passive bearing, in contrast to

arm by the shoulder-muscles
light arm).
it
fall
a
let
arm
the
After supporting
while,
again on to the

table

(fig.

c).

Repeat

in the finger-tips,
is

awakened.
with

i.

e.

may

It

this

movement,

until the

realised

the actual consciousness of weight

be useful to make the pupil practise this
until

closed, as

his

weight

is

in free action, the slightest

the withdrawal and holding back of the fore-arm.

In all these' preliminary studies we must distinguish (with

Steinhausen) between:

The hand weighted

1.

the

to

of

arm

to perform a

pendulous

The

relaxing of the muscles naturally corresponds to an

immediate release of pressure on the key (by weighting the shoulder).

swiaf

rope

The arm thus set swinging in its three principal joints (shoulder,
elbow and wrist), may very appropiately be compared to a
rop>e, the transmission of its movements producing a succession of continuous undulations

fig.

(fig.

A).

!"lgh"hnic

e.

the greatest

keys.
the weight

"for playing", i. e. the weight of the

relaxed arm, or the normal pressure of the bulk of the
arm suspended passively or reposing with its full weight,

weight upon the

suspension of the
relaxed arm constitute the most elementary forms of releasing the

weight.

Thethreechief

i.

The arm weighted

3.

motion, yielding to the tilting action

its

full

borne by the muscles of the shoulder (active carriage)

up in the air, a form of muscular action which takes
place even during the shortest pause or rest in playing.

of the hand having been sufficiently

with
balancing-exercises, causing the whole
up

of the wrist, up and down and supporting

This movement and the
arch- set hand.

pressure together with

Suspension or removal of
resulting from
the withdrawal of the point of support of the arm, as
when the arm is raised from off the table and held,

2.

The supporting-posture
it

amount

muscular power and the

to the utmost,

whole weight bearing on the

place of the fable, ordinary weighing scales may be used, in order to

determine the weight, and at the same time demonstrate oculariy
the amount of pressure exerted, which must be uniform.
practised, follow

enable us at once to detect the least impediment

spasmodic retention or contraction, i. e.

will

experiment

consequent
owing
eyes
concentration of mind and will-power, due to non-diverted attention, the feeling becomes intensified, while intermediary senses
In
(sense of muscular power, pressure and pose) are quickened.
exercise

mU

active bearing of the

all

its

muscles completely relaxed.

is from three to six pounds or more. The

The gross weight

weight of the relaxed arm (i. e. of the

two to three pounds (1200
is from

arm weighted for playing)

1500 grammes', that o^

the hand in repose about V? a pound (250 grammes).

The weight in /- or //-style (leggiero, leggierissimo, jeu
perie) only about 5 to 8 ounces, i. e. the weight of the lightest hand.

we

have only to deal with the arm

weighted for playing; since the hand weighted to the utmost
has nothing in common with
the crudest form of touch

For practical purposes,

All
of artistic playing.
dynamic gradations of
the
intermediate
of
for
technic, are between the
touch,
stages
suspended weight and that of the arm weighted for playing.

the

A.

technic

The

other degrees of attack are effected by the velocity, by the

sweep of the arm and by special tensions of the
muscles of the shoulder and back (See Breithaupt, Natural Piano-

backward
Exercise: Take the pupil by the hand as
hearty "good day", and shake his arm held at
interaction

of

the

three

between elbow and wrist

principal
will

joints,

be realised

if

more
at

bidding him a

full

length.

especially

once.

The

Technic.

Vol.

1.

2"^ edition.

C.

F.

Kahnt Nachfolger,

that

The same

Kilogramm (1000 grammes): 2.204 pounds.

Leipzig.).

The forms
""*'"

ot

13

CHAPTER

n.

TRANSMISSION OF THE WEIGHT.

ExercisM limited

sutiol^n'T
"

f^ge^"""
Transmission of

Having goHC through these preliminary, but indispensable

exercises, wiiich, owing to the discordant effect they produce
"P" ^^^ ^^^' ^^^ b^iier be performed inaudibly, we proceed to
study

at thc

piano

i.

e.

This

weight

From

no conscious muscular contraction

in

any way

affect orrreeiosci

disturb the relaxed state of the arm.

with

itself.

that

is

^J^^"^^

most important,

children)

certain

for at first with every pupil

involuntary, spasmodic reactions

(even

and a

silent

exercises
to exercises at

the instrument

fig.

Hand

I.

The

Experiment

teacher should hold the pupil's right arm, lay

open hand (I. h.), raise the

In

exercise

Weight without
pressure

let

VI.

Modern construction with protruding

"knuckle" (radical knuckle-joint) to bear the weight of hand and arm firmly.

set to take thirds.

to act as a "support".

resistance will be noticed,

it

upon

to

it

pressure whatever, upon the support afforded by the teacher's hand.

2. That it hang loose from the shoulder and oscillate freely.

which

it

will

take time

and patience

overcome.

The relaxed state of the arm, as we notice in the case of

when asleep, or as we may experience ourselves, if we

pupil's

suddenly drop back again on to the pupil's knee.

the
arm, be careful:
raising
1. That the arm rest with its full weight, yet without active

arm and
chief
features of the

fig.

The 5* finger ready

Testing the weight, weight -bearing.

his (the teacher's) extended

Three

Vb.

a child
let
its

our arm hang loose over the back of a chair, constitutes in

unconscious, practical application (true technic is free from

apparent

The

first

the starting point of

all

ulterior

development.
attempts at free suspension and loose dangling of

effort)

14
the arm,

by a

while relaxing the shoulder-muscles

slight contraction

in

will

be attended

the back and a natural tiring of the

and will disappear

shoulder; both are, however, perfectly harmless

symptoms

are,

of course,

felt

in

the shoulder.

They

will

not

in the course of practice.

long, however, but disappear
wherever
spasmodic tension in shoulder and
They are felt most,
the reformatory process of training the muscles
elbow
last

impedes

in time.

Muscular reaction, contraction, signs of fatigue, of "aching"

of exhaustion are
shoulders, that feeling of being "done up",
natural
the safest criterion for the teacher, as they prove the
actions
and
movements
the
that
and
muscles
reaction of the
performed are those required.

Intelligent

teachers,

possessing

fig.

Modem

erect

to

assume
3.

a state of natural relaxation.

That the three chief joints of the arm act and react ^^'^^t"""

e. that neither the shoulderone upon the other,

the continually
to
groiv stiff, owing to
joint, which is apt
the
nor
the elbow,
wrist-joints
repeated grasping-action, nor
i.

naturally

Vila.

thumb-pose (hand

set to take sixths).

^l*""

some knowledge of physiology will easily detect all this by pressing

upon the muscles in question. The absence of these symptoms
is positive evidence of detrimental counteractions or impediments
and proves that the movement, the action is wrong. The reason
for this phenomenon will be found in the simple contrast between:

suspending and relaxing, and

and hands, viz. in carrying,
arms
our
life
those performed in daily
by
actions which
holding, seizing or grasping. The former constitute
The object pursued
the muscles are but little accustomed to.
and practice.
a
different
exacts
the
schooling
piano-student
by

actions required in piano-playing,

Now,

as in

position,

the

training

those

shoulder has

viz.

assume a suspended
whole
bear the
arm, the first

members
to

to

show any

signs of rigidness or inflexibility

through muscular

tension.

which must be repeated at

arm of the pupil (supported
the key-board, and set it upon the

After thus testing the weight,

each lesson, bear the full-weighted

on the

teacher's

hand) to

a black key (C"#,

middle-finger placed perpendicular upon
or AV) (fig. Va).
his
If the arm "holds" at all, the teacher may withdraw

^b*

own

arm to its own weight

supporting hand, and leave the pupil's
to
In
order
prevent the arm from suddenly
(natural balance).
the
key-board, set the hand firmly,
dropping below the level of
raising the wrist rather high

(fig.

Vb).

Test the weight

The arm mus

"hold"

15

Continue

"P" *he

5^ingrrs''*''^'"'y
5th finger

4th

2"d,

and

bringing the weight to "bear" simiThe last-named finger

fingers.

5'"!

weak- (fig.
it

VI) requircs particular attention, as in most cases, the support

affords will prove too weak, and for months it will bend in

and give
s"reI4hen5th

at

the joints, under the

arm weighted

for playing.

with the

first joints bent in, as the case required and as the

execution suited the fingers. The formation of a firm, rounded
,.
c
finger-tip, for the highest concentration of dynamic power and
.

development of energy,
preferable (figs,

advisablc so to develop the knuckle-joint of the little

even
at this
finger
elementary stage, that on attaining the inter'^

finge?

this exercise,

'^

lla,

b,

is,

nevertheless, to be

Vllb and IX a).

But

"=^*'p

rounded

tip

recommended as

after all is said

and

we must

take into consideration the general physique, disand

habits
of the pupil.
position

done,

Theoretical
figures

fig.

Thumb
Used

"crooked"

(in

for chords, octaves,

Vllb.

grasping pose

fig.

over-tension of the thumb).

also in polyphonic playing

and

in

legato rolling.

VII c.

Hand of a girl-pupil showing a weak middle thumb-joint preventing the thumb

from forming a firm arch -pose; the thumb wobbling to and fro and giving
way through articulary weakness.

mediate grade, the "building up" of that finger may be completed

and the joint properly "curved", ready for its new work. The

exercise will assist in training the 5^ finger

to act as a support (fig. VI): Let the hand fall upon the thumb

no absolutely objectionable feature,

Liszt and Chopin
sufficiently firm.
or
less
flat touch and
a
more
with
almost constantly played

(as a prop), allow the

bending-in of the

first joint is

provided the middle-joint

'

The thumb

is

the

is

first finger.

(Tr. n.)

The following

posture),

raise

the

arm to hang in the yielding wrist (in low

hand from below into a set posture, the

of the S"" finger serving as

Continue this shifting from the thumb to

knuckle-joint

gressing thus

in

base of support.

the S"" finger, proThis exercise

broken sixths or broken octaves.

Experim.

16

be practised on a table, care being taken to straighten

the whole finger, else it is apt to give at the

may

easily

out,

not curve,

knuckle-joint Fingers with too tender nail-joints or middle-joints

must, of course, be trained and strengthened, but not before the

and contraction have been

preliminary exercises in flexion

died, (figs. IV

and IX a).

Firm finger-joints are indispensable

higher technic; without them

it

massive power of tone required

The thumb

stu-

is

in

impossible

to

produce

in

the

martellato.

also calls for attention, as

its

radical joint,

mostly

and

stiff

clumsy, requires preparatory training (cf. fig. Vila).

Relaxation and agility of its radical joint, as also its erect pose, are
of great importance in forming and training the whole hand.

thumb (fig. Vile) is mostly due to inof

the hand, a disadvantage under which
power
most pupils labour, more especially the young ones whose hands
have been strained by prematurely stretching octaves. ConsiThe

flexion of the

sufficient tension

dering how prevalent this articular weakness is, it is high time

to introduce into all Institutions and Conservatories of Music the

instrument contrived

Professor Zabludowski

and

built

by
by
Menzel, which is furnished with two adjustable key-boards, a
normal one and a small-sized one with the keys closer together.
The general adoption of three-quarter, and half- sized violins
pleads in favour of the introduction of small -sized key -boards.
Besides, the articular weakness may be overcome by firmly

thumb down (fig. Vila) and by curving the two first

joints (see the crooked thumb fig. VII b).
Too much time must not, however, be given to these matters.
They will gradually come about of themselves, so that the pupil
setting the

tbc

need not be taxed with them unnecessarily. Practice will equalise the dexterity of the fingers, and daily exercise in supportthe weighted arm will gradually strengthen the joints
and render them fit to do their work with ease. The arch-set
hand and its relaxation is the result of practice, of the adjustment

key-board, the teacher's hand supporting the arm, lift the arm up
fairly high and then let it sink back again; the teacher should also
frequently strike the pupil's arm
If the limb
is properly relaxed,
i.

learn to

*^l^Z
chiw point,,

the

viz.

to

o^ ^ar greater importance that the teacher should watch

control the weighting (see p.l2), which must be done most
'*

and

most elementary purpose of technic,

support and relax the weight of the arm.'

habit to

'S

the beginning. The free "suspending" and

"dangling" of the arm in the shoulder-joint, the equipoise of its
own weight, the loosening of all the muscles, the easy relaxing
carefully, especially in

of the articulary

mechanism

constitute the chief object of this

exercise, which, for the first year, will require constant supervision
and correction.
Thus, when the hand is set erect on the

Oewiditstragung:

literally

weight-bearing.

(Tr.

n)

'

pose

from underneath.
the arm is heavy and

suddenly
e.

if

limp, falling back naturally and at once, each time it is struck,

steadily resting its weight upon whatever finger is at the time
supporting it, we may rest assured that all is going on right
and is as it should be. The arm must so abandon itself to its

own

weight that

the teacher to

shall

it

move

it

require

from

its

some

exertion

on the

part of

position.

As

the weight does not vary, and the muscular sense perceives and discerns the weighting by the resistance which the

muscles have to overcome at every movement, no difficulty will

be found in testing and determining the. same.
The constant ^JZ^'b^tZ
will
a
become
habit
with
the
and
what at the s^o""* """
zveighfitig
pupil,
had
to
in
be
taken
with
the
mind
and
beginning
practised, will
gradually be performed unconsciously: the weighting- act will

become automatic.
The best way

to

proceed

in

transmitting the weight

is:

to

arm limp upon the key-board, and, with closed eyes,

transfer the weight from bedded key to bedded key zvithotit
sounding them, the fingers weighing heavily and with their full
breadth on the keys (somewhat after the gait of plantigrades).
The sensation must recall that felt in walking over a moor, the
set

the

ground giving at every step. The noiseless bedding of the keys

and the careful shifting of the weight exact a concentration of
mind, which in its turn facilitates and intensifies the realization
of weight.
The fingers must not be raised, they merely take
turns in carrying and transmitting the weight, passing, as it were,
the load from one high, curved knuckle to the other.

ing

by

"^^^ *"* '

II.

Releasing the weight.

This

weight -bearing act

passive bearing process, is
followed by the removal or relaxing of the weight
active
bearing process, effected

by

the pupil's suddenly lightening the

heavy (weighted), receding arm, and letting

contact with the bedded key, rise with the

hangs

active in the shoulder-joint

and

is

it,

while

key.

in

absolute

of^we^ght
^J'^'',^

^^

aud

test

The arm then

"borne" by

it,

so that

the sensation of weight is transferred to the shoulder.

"Passive" must always be taken as meaning relaxation; for here,
as everywhere else, muscular exertion is never entirely suspended.
Exercise: Bring the weight of the arm to bear upon each
of the fingers separately, including the thumb, firmly set on

the bedded key; then suddenly carry the weight by allowing the
finger to rise with the key (the key bearing the finger up).

E='P"n>":

17

heavy arm

light

arm

contraction or stiffness, every joint, muscle and sinew of the

limb being relaxed. The arm should oscillate
naturally in the

playing-weight

discharge of wfiight

passive bearing

active bearing.

Notice the perfect spring in the fetlock-joints which

gives that elegant grace to the step of a thorough-bred horse,
of a stag or a deer.
wrist-joint.

This exercise: /a// of the

weight
key,

must be

relaxation rising with the

repeated, until the alternate charging and discharging

fig.

The

should also study playing various forms of acand

companiment
chords, at first without sounding them. Then,
them
he should practise all the exercises with
sounding
pupil

VIII.

Relaxed, limp hand, resting on the bedded keys, with perfectly loose wrist and suspended arm (state of relaxation).

of the arm, can be performed perfectly and with ease,

e. without
any contraction or muscular resistance, at a moment's notice.
Having succeeded in this, leave the (finger) hand on the
and
let the descent be
key
folloived by instant relaxation. The best
to
do
this
is
to
relax
the arch-set hand and slacken all
way
its
muscles: the hand, becoming soft and pliable, rests with
only as much pressure on the key as is required to keep it
down and sustain the tone (fig. VIII).
Preliminary exercise: Place the hand upon any interval
of a sixth or octave, without sounding it, arm and hand
relaxed, oscillating, in natural rise and fall (flexion
tension), up
and down, the fingers bedding the keys without further pressure.
Every movement must be supple, perfectly free from muscular
i.

Silent

mercwe

both hands,

in

similar

and

in alternating action:

hand .... high

hand
deep

right
left

deep
high
or vice versa.

It

will

be found excellent practice to allow the "descent" to

terminate in a gliding motion, i. e. to make the finger in action

glide to and fro upon the bed of the key, the hand lightly
resting in the wrist-joint, the
to the movement.

arm giving

softly

and with suppleness

This loosening or relaxing of the limb constitutes the most

important feature

in

the

whole

technic.

divers problems relating to technic

is

cudir

The

solution

essentially of

an

of

the

intellectual

^''''""

most

feature

18
consisting, as it does, in the faculty of producing an
arm relaxed in its joints, on the mental impulse, at any
time, anywhere, and utilizing it, without expending other
muscular [)Ower than that normally required for the oscillating

In

nature,

cular action

and muscular

Dynamic

relaxation,

Jorms

the secret

of

dynamic
must be careful to use the broad fleshy part of the fingertip, which should adhere to the key, as it were, by suction power,
until every dynamic degree of percussion enters into the sense
of touch.

The

sJ^
k

the culture and refinement of the muscular or

value of the single tone, to render the feeling in the finger-tips

more acute, and refine the sense of touch, i. e. the harmonic

jCf"

iXE

J"

connection between brain and tone.

XE
rnf

XE

XC

XE

XE

mp

PP

PPP

deer esc.
The same

in

notes of less value:

jsr

rnf

decresc.

and so on.

PPP

'''''''

PP
cresc.

'^

"""

must become so
refined as

produce

mu-

'eve'r*i^

^Jef

ht"gu

">e

weight of
"^

'

the following manner:

Xt

XE

is

tactile

Va); and, moving up and down with

various dynamic degrees of touch, resulting from the natural
weight, as they occur between the arm naturally weighted for
in

object

sense, concentration of the mental perception of tone,

awakening of a keen sense for all that concerns the dynamic

all teclmic.

upon the key

test all the
it,

playing and the arm released from weight,

exercises, the object of which is

intensity of each tone separately, the

preliminary

pupil

study: Bring the arm-weight to bear

(fig.

these

to determine the

descent,for the transmission and the removal of that self-sameweight.

The mastery of xeeight-technic , the study of its natural
dynamic gradations, with perfect alternation between normal mus-

iody

all

"

19

CHAPTER

ACTION

III.

THE LONGITUDINAL OSCILLATION OF THE ARM.

I.

Lateral transference of the

weight: marteliato

The supported swing

I.

I.
So far, the
The arm was

arm.

of the

and

We

of

shifting

weight
arm unsupported

Experiment:

proceed to the study of successive tones; to the shifting

or lateral transference of the weight: the arm, deprived of its
support,
or rather

to

left

is

own

its

swung

now

off,

oscillates

fro in the free shoulder.'

lightning

with

on

rapidity

4,

swing'

4, discharging-'
it

off

the

and

dropping

The arm

weight upon the next key D^ and so on, always

on the third finger. Then using each finger (except the thumb)
as a support to the arm, practise the scale of C-major, to
later on, do the same with the scales of
begin with
Dl7-major,
In

The

chief

points in

the

supported

swing and
drop of arm

schwung"

exercise,

which the author

calls "Stiitz-

supported swing), followed by the heavy descent

(lit.:

of the arm, take

1.

That the muscles of the arm be and remain relaxed, no other

taking

place

than

that

required to

produce

the swing.

That

in

relaxing the muscles, previous to the second deplace, i. e. that the

scent, no secondary, involuntary action take

arm be not raised too soon or too high,

or,

worse

still,

Abschwung, Aufschwiing: These nouns, derived from the verb

"schwingen", to swing, and constantly recurring, cannot possibly be rendered
in every modification of the original meaning.
What the author would chiefly

express

in

soaring or

using them

swoop

of a bird.

'

Gewicht I6sen,

We

(Tr. n.)

a rising and falling of arm (hand), light as the

is

use the

lit.:

literal

one suspended mass

must descend with
swing of a massive iron hammer, this being the
marteliato form of the non-legato touch.
That the descent be followed instantaneously by the discharge of the weight and the relaxation of the joints, so
that the arm shall hang suspended, with joints and muscles relaxed, the hand yielding to its own weight, and
giving to the action of the wrist.

care:

good

contraction

2.

4.

etc.

this

practising

4:!!!

the

D-major, Et^major,

the "timid"

5i!!

dissonances.

it

full

its

effect to that

fingers, particularly on striking the black keys),

regardless of slips, misses or wrong notes and resulting

the arm with

key,

which would produce the contrary

firmness (this applies more especially to

Exercise: Set the weighted arm, supported by the middleCount sharply and
finger upon the middle C (fig. Va).

with marked precision:

Discharge of
weight

resources to swing

and

to

fall,

required. The arm must be raised no higher than is needed

to allow of its shifting from key to
key.
3. That the descent be effected without the least
hesitation,
with the full weight of the arm and with precision and

now

Successive
tones

non-legato.

held suspended in mid-air (instead of being

brought straight
down), thus allowing a pause to intervene between rise

exercises have been limited to the

single tone.
the
supported by
fingers.

"set stationary"

(Tr. n.)

to release the weight.

translation purposely as being the

most adequate

The

essential part in all these exercises is that the drops

succeed each other as rapidly and as unpremeditatedly as
possible, in order to prevent any mental or mechanical resistance
from the outset, and obviate any movement contrary to the object
shall

in view.

If
properly executed, the short-descent should produce Eff
the effect of a "false-step", as if one were suddenly falling down '*''''
a precipice (cf. the hopping and skipping on stilts).
For this

reason,

the

hold of the

teacher
latter's

pupil least expects

descent that begets

should frequently assist the pupil, taking

arm, and suddenly dropping it, when the
it.

// is

the

Expt

sudden, unexpected , unconscious

what we may call the "brazen rhythmic tread'^

of the physical organs set in free motion.
Each finger having been drilled, the pupil may take up the
study of double forms: thirds, sixths and octaves, in addition to

ooub

20
the foregoing, practising thirds with the typical fingering 2:4
with the 1:5 fingers (cf. fig. Vila).
(fig. Vb), sixths and octaves
Small hands, unable to stretch an octave, should not practise

beyond

sixths.

Although, normally, these exercises begin with the usual

position, on a level with the key-board, it will be found useful
to acMoirr
of tiuck

make

to

He

lap.

arm

the

on the
II.

the pupil practise them with the arm star ting J pom the
will thus learn to "strike" from that position, setting
in

swinging motion, and lighting with

its

full

weight

right key.

Lateral transference (shifting). Deep

The

primitive type of shifting

6.

is

shown

fall

and high

fall.

in the exercise:

21

touch, or rather the

the low-fall.

to attack,

first fall

remain the same, as

Only arm and hand immediately relaxed

(the latter

yielding passively), sink back into the extended posture below

the key -board (fig. B).
From this low position arm and hand
are projected upward on to the 2"^ finger by extension of the fore-

rw(fig.C).The exercise should be practised in the following manner:

using the 2"^, 31^, 4* and S*'' fingers (excluding the thumb,
at first), weight the arm at 1; lower arm and hand (on the 2'"'
finger) at 2;

raise

the arm,

set

on the

'i''^

at

finger,

1;

lower

beginning with the left hand.

Play each exercise with low-fall and

Then
fall

and
In

B and

high-fall (figs.

pupils

it

at 2,

and so on.

In

all

five

finger

exercises
in
contrast
:

to

the old system

in

and the highthe following

Left hand:

these first exercises, the fingers are

C.

E: elbow.

S: shoulder.

wrist.

low-fall

Right hand: high-fall

of

the

hand,

The
and

chief object
that

the

is

to retain the arch-

H:

wrist.

flexion of fore-arm

weight

remain

in

the

Left

hand: high-fall

(9),

extension of fore-arm
C).

(fig.

Right hand: low-fall

be practised ascending (8)

and transposed into all the major and

All five finger exercises are first to

and then descending

minor keys.

(fig.

or reversed:

knuckle -joints of the fingers.

all

independent of each

(fig. B).

softer part of that joint.

How to practise

play

order:

For the time being, it is a matter of minor importance,

whether the finger falls upon the very tip or on the more fleshy,

pose

to

with both hands together, either

alternately,

not raised.

set

high-fall.

practise the low-fall

may

fig.

H:

always

C).

order to train the hands

other, advanced
fall

at first,

play each exercise with both hands at once, in low-

figB.
E: elbow.

S: shoulder.

hand alone,

Practise each exercise with one

in

(fig.

extension of fore-arm
C).

flexion of fore-arm
B).

Each exercise must also be practised with varied rhythm.

Exercise:

Practise in this manner:

1.

In

groups of three

(10),

2.

In

groups of four

4
Exercise:

3 4 5

2 3 4 *
i^//.
3 3 4 5

(11).

Begin

22

fig.

Rounded

iXa.

fig.

or "dawing" ball -hand for small intervals (d'Albert, Carreiio,

etc.).

In conformity with the conditions set fotlh, regarding the free

descent of the weight, the simple five finger exercises are to be
followed up with:
J.

The various extended forms

Modern

2.

IX b.

style of holding the hand, somewhat resembling the shape of a

bunch of grapes (for scales and passage-work).

All the

as far as they

broken chords of the

triad

and four-part chord,

may be developed:

of the primitive figure:

12.
3.

All

forms

in

double notes, thirds, sixths, octaves and

chords:

8-

SS s
^S # P
IeIp

14.

bf

tl^[p

ill

8-

^..)\vn 8-ii t
8'
'

8:

il>#-

IP

^i
i

hiiM
h

modulate
keys,

in

into
this

all

the

manner.

Small hands, unable to

stretch an octave,

^mw

etc.

should

practise

triads

only (omitting the

octave).

Broken chords

2!3

or in notes of less value, with longitudinal oscillation of the arm

tremolo

or vibrato.

15

Daily exercise.

These

latter

The hands

to

elements subject to, and producers of, the whole complex movement: swing (oscillation)
descent, weight -bearing, and weight-

formulae emanate, without exception, from the

arm swinging as one mass, in non-

low-fall or high -fall of the

legato.

Contrary

to

the

ordinary academic method,

in

remain on the keyboard.

removal (charge and discharge).

which

fig.

fig.

Old

style of

wrist-tension.

IX c.

The hand

is

thrown back into the

wrist-joint, the fore-arm remaining rigid: radically wrong.

angles

and hard, dry pointed touch.

the
they are set at the end, they must follow immediately upon
exercise on low-fall and high-fall upon single fingers, for they conthe
very best, the most efficacious means of loosening
in
a
natural
muscles
manner,
arm, of strengthening the requisite
thus early cultivating and utilizing all those forces, those divers
stitute the

IX d.

Grasped or arched octave pose (cock's step). Motion of the fore-arm only, the hand,
set at right
shaped as if to claw or paw, strongly arched in the wrist; the thumb
to the fore-arm. The tone is rough, being produced by a sharp, angular attack
Available only in accentuation and for sforzati.

the swinging motion of the arm is the principal function of technic, the weight projected from the shoulder, the
brachial mass itself, is the source of all simple energy.
The normal state of muscular relaxation, i. e. the natural The

As

tension
equilibrium between a momentary

If.
and

..

relaxation, consti4

ad>

tages o
natural

24

supreme advantage and benefit of a natural, free automatic technic Each dynamic gradation (potential muscular energy)
tutes the

has

feeling,

sweep

source

in central

temperament,
of the

impulse (power of imagination, musical

etc),

physically dependent

arm and accelerated motion (See

Actii'e stretigth of the fingers

upon a

greater

the muscles oj the upper -arm,

Technic

is in

reality not

p. 12).

active strength

of

the wrist are

and the weight of the whole arm.

much more than alternate up-siving

(high-fall) aiui down-swing (low-fall) of the weight, so that there

can no longer be any special rules governing musical figures of
double notes: thirds, sixths, octaves and chords are "secured"

by the finger-tips,

i.

e.

they are

"felt",

before they are sounded,

without specially raising the fingers.

tizihs.

*"*
iudpoutioiu

and octaves are generally executed in the

or
in plainer words, "in the descent" (fall or
low-swing only,
in
whereas
mixed
positions (when both black and white
drop);
in E-major or chromatic scales), the
are
for
instance
used,
keys
- follows in the high -swing.
hand
or rather the arm
Chords may, however, be executed in either manner. If in the
Thirds,

sixths

latter,

they are, as

it

were,

All thrusting, pushing,

lifted off

the keys.

knocking, percussion of any kind

through the intermediary of any

emphasizing and

The octave

erroneous, misleading ideas, for which we must substitute those

of natural and efficacious energy: energy of the shoulder, of
rtaitowchue
"'''

kMi,

its

source and resulting in useless and unnecessary fatigue. The attack

with isolated fore-arm must also be avoided at first; being an
Later on, it is allowed in
angular partial-motion (fig. IX d).

single part of the physical play-

in
is

sforzati.

taken

the free

in

fall

of the brachial

member

whole and unimpeded in the shoulder.

The weight falls upon the firmly set arched hand and
upon the supporting fingers 1 to 5 C* C"* (middle -octave of
the key-board), and is then swung off on to the next octave
(DD'), and so on. Later on, the octave is formed on the keyboard itself. The hand is set lightly upon the said octave C- C,
then the arm is suddenly released, the weight falling upon
the bed of the key, the hand yielding or giving in the
The
wrist-joint, the arm assuming its relaxed, pendent position.

oscillating as a

When the speed

fingers never leave the keys.
the arm simply shifts towards the next octave.

is

accelerated,

In half-tone progressions from the white to the black keys

and vice versa, the hand (and arm) glides in a curved zig-zag
motion from the bed of the white key to the bed of the black
key, thence to the next white one, and so on.

All spreading of the fingers,

all

grasping, binding

ivith

is prohibited.

finger-pressure
Small hands, unable to stretch an octave, should limit the
The
practice to sixths and to smaller chords in close position.

hand
must be avoided.
Tlu so-called wrist-stroke must be abolished.
All active "isolated" backward bending (over- straining) or
tension, and all striking "from the wrist" (fig. IX c) is wrong,

substituted

being irreconcilable with the principles of a free natural technic,

as such wrist-action involves the use and exertion of the wrong

downward "swing" of the hand results in, and is performed by,

the whole arm vibrating in the shoulder and elbow, and yield-

muscular power to a no less wrong end, generating from a wrong

ing

ing-apF>aratus, fore-arm or

1
5, applicable only in series of
octaves played legato, of a melodic character and in slow-time,
must be reserved for a later stage of development.
In quick tempi the accelerated alternating of "fall" and lateral

in

fingering

a supple

manner

to the wrist-action.

(See next chapter.)

smi.ii

hnds

25

CHAPTER

ACTION
I.

II.

EXTENSION OF FOREARM.

Participation of the fore -arm.

an absolute relaxation of

The extension

of the fore-arm has already been mentioned as

of the conditions in erecting (setting) the hand (high-fall).

being one

As
Osdllation

this

however, the second of the four most

actions:

important

free
extension
ore-arm
Swinging
of J
rolling of fore-arm
is,

os-

of the fingers, it calls for special attention and special study.

Extension, or straightening-out, of the fore-arm means the
jerked extension of the fore-arm, proceeding from shoulder and
cillation

fig.

psive exini

nonnai

parallel pose,

S E H,

H:

and

the

fore-arm, that the hand shall be

In other words:
Let the hand

straightened
against the panel.

this is the

experimentum crucis

S E

'pi*J^

(passively)
fall

(drop)

This used to be called: "bending -in", and

was prohibited. Of course, one does not actively bend the hand in,

wrist.

the elbow-joint and render it flexible, thus counterthe

static fixation produced by our daily grasping and
acting
bending actions and gradually paralyzing the same.

second place

extend

out.

emphasized extension.

stretch

In the

so

fig.

Upper- arm and producing a passive extension of the hand.

The extension of the fore-arm is equivalent to a stretching-out
in the elbow-joint. The important object of this action is in the
first place to remove the habitual stiffness and limber the elbowjoint. The constant practice in jerking the fore-arm forward tends
to

the ivrist-joint is a certain consequence

action of the fore-arm, in straightening-out,
resembles the motion of the piston-rod on an engine.
Exercise (silent): Lay your hand upon the key-board, and

The

of the action.

D.

S: shoulder, E: elbow-joint,

SE

IV.

E.

S: shoulder, E: elbow-joint, H: wrist.

posture of the hand after fore-arm-extension (lowered wrist).

automatically bent in, i. e. it is passively straightened out,

owing to the fore-arm being extended (figs. D and E.).
it

is

Practise the straightening-out with as

The hand,
lowered,

with

the

all

wrist

its

sunk.

joints

perfectly

much

ease as possible.

relaxed

The bending-in

must

(supple), is sunken
relaxed
be effected

automatically with ease and flexibility.

As soon as the mechanical part has been learnt, begin practising single tones, thirds, sixths, triads, octaves.

26
Examples
1

16.

1111222233334444^^55^^^
# F w~w~w

extensions of the fore-arm, the following points must

be observed:
1.

the hand must not actively press against the key-board

with any muscular exertion or tension, but must fall

--9

E=E

longitudinal swing of the arm and

panying the simple fall (drop) of the
It is of
special importance:
1.

In all shifting actions of the

see], etc.)

must not press dmvn the keys.

The tone must be produced solely by the jerked extension
of the fore-arm and the sinking of the hand, caused by the

Example:
Mendelssohn:

The

passive straightening-out of the fingers, resulting

from the extension of the fore-arm, releases the fingers from
any active pressure, thus producing the absolute relaxation

more

particularly

in

movement accom-

the

hand

(cf.

chap.

111).

hand (passing-under [which

when

the

thumb

is

to take the

black keys.

the fingers

extension.

rP+ht

etc

relaxed with sunken wrist-joint.

2.

3-

2.

rrr^rr \ff^

uu
In all

Variations serieuses.

Var.

Allegro vivace.

8.

etc.

17.

of

the wrist.

The extension
action

(even

of the

the rolling

or

fore-arm
rotary

accompanies almost every

motion).

It

occurs

or

in

the

2.

In all

which octaves have

such figures

in

to be

tie

'

absolutely impossible
without fore-arm-extension.

taken:

27
Special exercise:

m.

etc.

19.

From

the low position of the hand (thumb) to the high position (5*h finger)
extension
of the fore-arm (cf. for instance Liszl: La Campanella and also
by
the whole finale of the D-miiior concerto by Rubinstein which contains
many

Special exercise:

similar forms).

etc.

20.

Mendelssohn: Variations serieuses, Van

16.

Allegro vivace.
3
21.

\>

i,^,?.
E3;S:
p

cresc.

fe

fea

3.

22.

in

In all termitiations of

numerous

Jr

^m

etc

^^g^
i

L^A
I
:#=fcf

scales, passages, arpeggi:

i\>

^^m

j^ie

very short and quick, with a vigorous jerk of the fore-arm and raising of the hand on the Srd,

Brahms, Sonata, op. 5 (scherzo).

23.

41*!

or 5"i finger.

28
Rubinstein: Concerto D-minor

(finale).

24.

The bracketed notes with

vigorous

of

extension

the

fore-arm.

Here the straightening-out and

4.

In

all

combine

actions
rolling (next chapter)

power and

to give

brilliancy to the finish.

chords.
vibraHssimt and siaccatissimi of thirds, sixths, octaves,

4
5
3 or 2
1

&

5 5

26.

3 4

Liszt:

22

Rhapsodie VI.

25.

Chopin- Etude op.

10,

No.

7,

Vivace.
27.

II.

The

Alternate rise and

alternation in rise

and

fall

fall
(of

cussion-tremolo) of the oscillating

vibrato.

the arm, of the weight)

more than a slight vertical oscillaalready imperceptible, scarcely

executed as gently
tion of the hand, a vibration which must be
in fact the hand
that
so
as
manner
possible,
and in as rippling a

is

is

at last

with

supported, as

them,

i.

e.

it

were, by the keys, rising and falling

abandoning

action of the instrument.

itself

entirely

to

the

repeating-

This vibratory action, performed

the lightest possible touch (Kraemer

calls

it:

Schlagzitiem

by
per-

sufficient

for

kind taken

at

the

member

in its

descent,

is

quite

musical passages of the

performance of any

any normal speed.

The extension-vibrato,
hand worked up to a vibrato,
i.

e.

the extension of Jorc-arm

is the action

producing

mid

the octave-

octaves" ivith the

execution of the virtuoso, the so-called 'lightning
in the fastest tempo.
greatest velocity
relaxation
This is the key to the passive action and absolute
discover.
to
in wrist-vibrato, a key which we are the first

Actio,,

29
Practise in the
I.

Octaves

same manner:

in quici< time:

(2830)

28.

11.

Figures of accompaniment

31.

32.

Tremolo or Vibrato (with "drooping" hand).

Beethoven:

Op.

53.

form of cfiords:

in

JMIM

etc.

See also:
Beethoven: Op. 14 No. 1 (beginning
with the left hand)
Beethoven: Op. 7 (beginning in the
bass)

Beethoven
var.

Op. 26

(1

st

movement,

octaves)
Beethoven: Op. 31 No. 3 (Scherzo
staccato
vibrato).
II,

Chopin: Prelude No.

17.

Ab-major.

Schumann: "Faschingsschwank".
Schubert- Liszt: "Erlkonig".

Grieg: Lyric pieces (Song of spring).

Mendelssohn: Capriccio in E-minor.

Mendelssohn: Variations

s^rieuses, Var. 3,

30
Mendelssohn, Variations s^rieuses.

34.

Var.

Var. 5.

12

Agitato

f nra

f /tf?5

'

^m

fe^s

jj

Instances

of

JJ

the

occur

!)i

grand

style

vibrato

in:

Beethoven: 32 variations, C-minor.

35.
Liszt:

Chopin Polonaises Cj-minor.A-major,

F|- minor, A b- major, and Sonata
Bb- minor (Scherzo).
Schubert: Fantasia C-minor.
Schumann: Toccata C-major.

Petrarca-Sonetto V, 104,

Liszt: Dante-sonata.

Rubinstein: Etude

C-major

(staccato-

vibrato).

KZK
')='><l "ll

w-ar

1 3 |3

^^

-5-

.^

Brahms: Paganini-Variations.
Liszt: Rhapsodies I XV; Paganini-

Caprices; Mephisto-waltz, etc.

Alcan: Etude E-major, op. 35. (octave-

^:^

vibrati).

Also

in
the grand concertos by
Beethoven, Weber, Schumann, Men-

delssohn, Chopin,

Brahms,

Liszt,

Rubinstein,

Saint-Saens,
Grieg,
Tschaikowsky and other modern
masters.

*)

Liszt's

notation.

The

vibrato

oorrespondends to the "rolling" of the

on the piano (trembling) has nothing

(left)

fore-arm.

in

common

with the "vibrato"

in

violin

and

violoncello-technic

which

31

CHAPTER

ACTION

III.

Lateral

I.

V.

ROLLING OF FORE-ARM.
Rolling'

of the Weight.

Absolute Rolling Motion.

Rotation of the cubital (elbow)

Natural

rotation

of propulsioti wltH whlcH we have hitherto become

acquainted, consisted in a lateral shifting or displacement.

Thc

Hand and

is

The German word "Rollung" has no

exact equivalent in English.

not always the exact rendering of "Rollung". (Tr. n.)

of

category

motion consists

in

rotary

or rolling action, emanating from the rotary joint of the elbow.

fig.

Hand and

(fore-)arm turned in: Pronation.

All the movements were the result of the free vibration of

arm relaxed in all its joints, and they bore the character of
vertical motion of the whole arm and of its parts (rise and fall
flexion and extension of the hand).
'

chief

Xa.

the

the latter

The second

fortTi

fig.

joint.

Xb.

(fore-)arm turned out: Supination.

Just as the former motions emanated from the

length, so the latter
(vertically) freely at full
rotation

oscillating

are

produced

the fore-arm.

of
exclusively by
By rotation of the fore-arm,

We

arm

we mean

the fore-arm turning

have chosen "rolling" purposely and not "rotation" for the heading, as

Rotation
fore-arm

32
on its
So that

naturally

ment.

own

axis, the

this

movement,

hand
in

with

5.

All

participates

6.

All scales, passages, arpeggi, etc.

maintained by the

7.

which the hand

not generated in the wrist (as

passively,
old methods), but in the cubital joint.
is

We

following the move-

/>assive/v

is

the outward twisting of the fore-arm together

showing the palm turned upwards, is called

In

hand,

"supitiatimr (outward

rotation, fig. Xb), the

for the reversed jjosition,

i.

e.

of the

hand turned inwards, being

is:

most usual forms

of accompani-

most important

the distribution of iveight.

pressure of the

(equilibrium),

arm brought

to bear

produced by the concentric Mn

upon the hand and fingers,

weight

XI.

turned down, open by fore-arm rotation. This figure demonstrates one pfiase of the motion; rolling-pose, tilting of the hand
in rolling, in executing tremoli and other balancing movements on terminating scales, passages, arpeggi, etc.

The motion of the hand in

would be counted under

"pronation" (inward rotation, fig. Xa).

boring with a gimlet, a corkscrew

"outward

all

of the

the right and in the left hand.

forms of the tremolo, one of the
in

The mean weight

corresponding term

fig.

Hand

features

number

large

ment

may add:

the

ascending five-finger exercises.

rotation

or

supination";

corkscrew, etc would come under

headed "inward rotation, pronation".

whereas

unscrewing

the

of

list

movements

technical elements, such as:

1.

Broken

2.
3.

Triads and four-part chords, broken by a lateral

Shakes (trills) and all their derivative forms.

4.

All

figures

connected

"lateral-stroke".

with

and chords.

the

erroneously

movement
so-called

transferred

laterally

to

two

fingers

alternately

by fore-arm

rotation (balance of the weight, equilibrium).

The process of the motion is analogous to that of see-sawing: secsawiug
The motion
a plank laid and oscillating across a raised form.
is

The commonest and most frequently recurring forms of the

above movement consist in the tremolo, and the other analogous
thirds, sixths, octaves

is

simply and naturally called: "see-sawing"

When

rolling.

motion results in a vibration of ///<'

hand which, to distinguish it from a trembling or vibratory percussion produced by the free descent of the arm (fall and rebound
through tension and flexion alternately of straightened fore-arm
and hand), we shall call rolling -vibrato or shaking, as the
effects thus obtained appear to be shaken out of the arm or out
accelerated, this

of the sleeves.
In tremoli, etc., the

thumb remains relaxed and

passive; the

vibration of
'*"

ti

33

thumb -action is mostly combined with the rolling action of the

elbow. The feeling of fatigue, experienced by almost all players in
tremolo-technic, has its origin partly in more or less violent
cramp

produced

action of a

by

incessant

exaggerated

thumb

the

that

fact

the

generally stiff to begin with,

figures instead of being broken

straightening
the
partly
in

(rolled)

on the

bedded keys, are rapped out with the fingers rising and falling,
in which case, those muscles which effect the rolling add to
the useless labour of those which have to hold the arm in
the air and to support it (in the shoulder),
hence the fatigue.
In no other playing must the arm be more loosened in the
shoulder and set with greater surety and "quiet" upon the key-

board, than in rolling tremolo figures.

possible speed.
instrument.

These exercises

will

facilitate

the study at the

At the
ment

A
Principal Exercise: Let the fingers fall on the sixth, C^
(centre of key-board), raise the arm, arch the hand and bring
the full weight of the arm to bear on the slightly raised wrist
.,

IX b). Then with a slow see-sawing motion of the hand, and

without leaving the keys or raising the hand, roll from the thumb
to the S"" finger (fig. XI). This is the rotation with erect fingers
(fig.

,,,,.

Rotation
set finger

(and bedded keys), the hand raised on the key-board, rollmg

or rocking to and fro, following the rise and fall of the keys.

The

condition

essential

is

The arm must

yet heavy.

elbow were weighing

it

again to retain the arm relaxed and

if a weight
suspended at the

feel as

down

(fig.

F).

The

tremoli of artistic virtuosity naturally exceed the rolling

of the fore-arm. In powerful gradations the rolling of the upperarm assists and replaces it. The arms are set firmly upon the key-

board on erected hands, the elbows slightly turned outwards and

the tremoli, shaken chords and double trills are executed with
all

the muscular

power of the shoulder, assisted by a rolling

and fore-arm swinging far out. (See p. 36, under

the upper

of
II:

Combined

Practise shakes

every day

rotary motions; and also specially p. 47.)

We may add that all forms of shakes (tremolandi, trills, etc.)
and other varieties should be practised daily, as they really drill
and cultivate the rotary joint. This advice holds good all the

more, as nine-tenths of

all

pianists consider such exercises super-

fluous.
There

is

of

do

stroke

lateral

hand

The term: "lateral stroke" is wrong; lateral stroke of the

hand is even a nonsensical expression, as the hand simply and
What
passively follows the rotary movement of the fore-arm.
we term its lateral stroke is nothing more than the natural effect
resulting from the vibratory or oscillating power peculiar to the
rotary joint (cf. the anatomy of the elbow with the construction

of a wheel

and

c)

vibration

axle).
playing-axis

Aw.

Preliminary Exercises:

^-

from the

inttrument

^^^

must bc
2.

by

Totary joint

flcxIblc

must be

perfectly loose,

and move with

The muscles must remain

i.

e.

the fore-arm

in

a state of relaxation secured

suspension of the weight.

3.

Until

the

above condition

attained, preliminary exer-

must be gone through, first with the arm suspended free

and hanging heavy from the shoulder, and then rotating in the
the

evolutions

E D:
E X:

E: elbow, H: wrist.

direct tratismission

straightened

arm.

diameter of the fore-arm-extension.

dynamic direction of the weight of the shoulder and upper-arm.

Free oscillation of the arm, hanging loose and yet weighted (swinging
is

cises

air,

S: shoulder

S D H:

ease.

being gradually accelerated to

the

utmost

rope).

Graphic
(flexion
velocity.

representation

tension) of

of vibrato: alternate raising and lowering

arm and hand (in vertical sense) with increasing

(See pp. 24 [closing part] and 25,

etc.)

5*

bedded k

kc procwdi
m lerv-anB

34

The same with

the other fingers in divers combinations, thus:

support the weight and must accordingly be held as naturally

14, 1-3, 12,

2-5, 24, 23,
35, 3-4, 3 t,

as possible.

45, 43, 42,4-1, etc

ceptible

Later on, in the free action of the fingers (cf. chap.

being raised but very
virtuosi perform the shake with an almost imper-

VIII) they participate slightly in the attack,

Some

little.

of

rise

the

apparently,

fingers,

simply

by a rocking

motion of the fore-arm.

suiting the exercises to the natural stretching
hand (spreading of the fingers).

capacity

of the

be noticed that the greater the diameter or the axis

the hand rocks, the easier and more perfect will be
the motion; the smaller the diameter, the more difficult will it
It

will

on which
be

to distribute the weight.

i.

corresponding to the interval of a

corresponding to the octave.

5,

(the finger leaving the keys,

1.

Hence it is that the various forms of the trill present the

e. all such forms in which the
most difficult forms of rotation,
two
to
be
shared
is
adjacent fingers: 12, 23,
by
weight
3-4, or 45.
The most convenient position for rotary motion is that

the outer ones: 1-

At Require no
Special exercises of shakes may be taken up later on.
*""'
all the
forms of rotation are practised with set fingers '?'j"'
bedding the keys (without leaving them), then with raised hand

first,

sixth, or, for large hands, that

The best

14, 25, 24,

fingers for rocking are

as they afford the hand

the firmest support (examples 3641).

wrist).
2.

3.

Rotations on a level with the key-board (the hand straightened out flat).

Low

rotations with low-arched

In trilling

rotation
2.

40.

/ /

It follows that the shake is

chiefly the result of the rocking
motion of the fore-arm and twt of the rise and fall of alternate
fingers, which, so far, do not participate actively in the motion
required by the various forms of the "iremolo".
They merely

(the

arm suspended

answers

best,

5,

or 3

5 and

34

low

and
move
^""

5
tremolo.

/ / /

3.

on a level with the key -board, it is best to rouo

turn the hand slightly /zfar</, towards the thumb (fig. XII c).
^^^,

3 4
2 3
1 3

with the outer fingers 4

In rotations

41. -4

hand

from a relaxed wrist).

These three forms are constantly occurring in every variety,
and their execution depends upon individual disposition, habit,
upon the anatomy and build of the hand, and the nature (position and intervals) of the passages in question.
It
has been
determined by objective observation and testing, that:
1.

36.

fig. XI).

There are three kinds of rotations:

High rotations, with curved hand (high-arched hand and

II

all these movements, the fingers more naturally touch xhc finger-tips
'"''' """^'''
the keys with the tips, than with the flatter soft fleshy parts,
for the sake of obtaining both technical precision and
a sonorous quality of tone.

In

35
Figs. XII

are of a theoretical nature,

(horizontal) twistings of the hand,

lateral

in

a c

innumerable forms

continually

combine with the

Middie-posiuonj(flexions extensions) and

for technic

^'p^^rone^'^tion
northe'hand~Qf ^\\
tumed out or

positious

in

fig.

Natural

is
It

showing the various

movements which

rolling of the hand.

the natural intermediate one
is

The

fall

typical posi-

(fig. Xlla), because,

the one least constrained and best suited

Xlla.

mean pose

rise,

fig.

Hand

of the hand.

in

to

for a moment.

forced and continual outward bending of the

fatiguing as a forced inward bending; it is, indeed, even dangerous, as it distends the tissues, and the resulting
friction frequently produces inflammation of the wrist-joint.
As how
wrist

is

just as

outward bending of the hand, which is required only in

'Vg^rt/o"-rolling (See chap. VI and fig. XVI), it must be employed
to the

XII b.

drawn-off pose, tumed out (abduction).

fig

Hand

the

natural

build

of

the hand

(fig. lb).

Neither the posi-

hand turned outward (fig. XII b), still preposterously

advocated (notably in the "celebrated" Piano-Method by Lebert &
Stark and others) nor that with the hand turned absolutely in-

^'0*1^0^'

"<=

XII c.

in drawn-in pose, turned inside towards

thumb

to

t,

(adduction).

with the greatest suppleness of wrist. The whole art consists

never remaining in these extreme positions longer than isNeverre
necessary, and in restoring the hand to its natural intermediate p^juon

tion with the

in

ward, upon which the Deppe-Caland system is based, are natural

Such postures of the
or appropriate as studies of position.
hand may serve temporary purposes and should only be resorted

pose as soon as possible. In difficult and dangerous passages,

in which upper or inner parts have to be sustained, (e. g.) in polyphonic playing, in chords with large intervals, arpeggi requiring long stretches, etc., our advice is always to let go immediately

36
ttrtttlus, tni:dutcl]r let go
tc* that ttrain

the notes that strain the hand, and, after stretching the interval,
to restore the hand to its normal pose with a supple turn
(chap. IX).

In the case of

hand cannot
interval

chords with large intervals which one

rule applies to let go the too large

immediately after taking

"Stretches" a

rrsrenoDor
J poutioa'i

stretch,

the

la

it,

or to break

Leschitzky-Bree

(cf.

the

it

imperceptibly-

numerous useless

figs, illustrating the chord-positions in those works) are perfectly

nonsensical both for individual and for physiological reasonsThe same principle of letting-go applies equally to the rolling

and four- part

(thirds, fourths,

rolling over them), the hand rising on the

must be resolved with lightning

tone

always maintaining the unconstrained form or a medium position

and of loose, not wide-spread, fingers.

II.

rapidity.

after attacking the key,

rigid

execute stretches shifting according to position along the key-board,

but rolls without tension or distension from finger to finger,

sounded

(i.

who

must

Experiment

e.

finger (fig. XI) or

off
from
one
of
the
part
key-board to another.
simply swinging
rule:
All
or
Fundamental
spreading
twisting of the fingers
must be but of the shortest possible duration: the movement

of broken triads

i.

loMfcr trvtn, b roll*

triads

all

immediately
the next interval

and chords of four notes. Hence, away with

In all progressions of
"norma! positions and postures"!
broken triads, for instance, the hand "folloivs",
e. it does not

forms of broken

chords "quasi arpeggicvido'" releasing the intervals

fifths and sixths) instantly, after they have been

Exercise: Practise

5'Ji

Kuiuiameatai
'"''

Hence, each finger

release

it,

the

moment

sounded, provided, of course, that the

not intended to be sustained or prolonged. A player
can roll the figures as successive sounds, will never be tempted
is

is

to play broken triads or four-part chords (chords of the sevenths)

with a spread hand, shifting by a series of angular move ments,
from one part of the key-board to another: he would find it far too

tedious a process. Play with relaxation of the extended hand-posture.

Combined rotary motions.

A. Rotary motion of fore-arm combined with extension of fore-arm.

Explanation:
the

The rolling-motion

in

extended position resembles

3.

winding motion of a screw

(the twisted part of the corkor

or
the
lines
in the barrel of a rifle, or
screw-driver,
screw)

rfiii(ncxcr-

'J|,j,j

'"

D^

Preliminary Studies.

After the pupil has practised the rotations sufficiently and

able to utilize in a practical manner to some degree the loose

rotary joint of

the

elbow, he should follow up

at

once with

the extended five finger exercises: roulades (florid passages).

In the roulades:

extension

of the fore- arm towards

the

and swing of the arm or of the hand on to the

preparatory to its again falling on to the thumb:

light rise

5"! finger,
I.

jerked

finger (chap. IV).

The

4.

cannon.

is

short,

'J*

etc.

The transmission of the weight from one finger to another weight now
of five successive attacks, as described in chap. Ill,
means
by
onrrotl'too'''^
now becomes one single rotary action. Instead of executing "'''
5 swinging and falling movements or 5 rises and 5 falls, one
rotation
joint

(as

or rock
(fig.

if

suffices

XII

upon

driving a gimlet) of the fore-arm in the elbowcause the weight of hand and arm to bear,

to

\\\tfive participating fingers, or

upon

the five keys

d).

The

fingers themselves do not take any essential, active part.

for the time being. They need neither rise nor fall, as the actions
required (about 10 in number, viz. 5 rises and 5 attacks), even

movements are of importance:

The fall of the arm upon the thumb: C-.
The transmission by rotation of the weight from the
thumb to the other fingers: 234 5: D^* E^ F G*

the following
1.

2.

(from key-bed to key-bed, without raising the fingers).

Fingers j.assive

though executed with the greatest possible dexterity and lightness,

would cause a loss of time and waste of muscular energy, which
were better saved. The simple rotation of the fore-arm in one
single rotary action renders the other actions superfluous.
The rotations from the thumb to the 5* finger are the outer and iimer
'^"'"'
ascending or outer rotations, those from the 511 finger to

37
the thumb, the
descending or inner rotations.^
They
be executed either by a direct attack of a
rotary form
passing from the low pose of the hand
arm
(the

all

mayor

by

"hanging"

in

loose wrist) to the high pose,

according to individual habit
and the position on the key-board, of the
figures to be executed.
it is

spheric.1 shape

"

and

important, however, that the weighting remain the same

hand assume the spherical shape (over firm protrud-

that the

ing knuckles and firm finger-tips) by curvature

Figure XII d

in

the vibratory

II.

Exercises preparatory to the Scale.

This leads up logically to the solution

the "change in the position" of the hand,
part of the scales, passage-work, arpeggi,

i.

of the
e.

problem of

to the mechanical

etc.

The

scale consists of two roulades, a shorter and a longer one

roulade with three, and one with five fingers), instantly
one
(i.
with the other by rotation of the fore-arm, each time
one
joined
e.

also of theore-

and but very few persons have

nature, although peculiarly

demonstrative.
It
shows that

the right idea of its rotary functions, the hand is here depicted,

is

tical

in

executing roulades, the hand

progresses
like a

on

its

five

wheel, assisted by

erected

of the fore-arm, the fingers

on

its

fingers,

performing

the rotary movement (a revolution) like a wheel. It is very easy

fingers
rotation

not

to

only not being raised, but acting

as spokes, i. e. bearing the

observe

in a practical

this rotary function,

manner

by watching

the hands of a pianist (playing

in a natural manner) from below.

weight of the hand or arm and

the movement (and
sinking into the keys). Since the
nndades are concealed beneath

For

following

this

purpose

attention

we would draw

to the elegant

rotary

curves executed by d'Albert or

Teresa Carrefio when playing.

the hollowed palm of the hand.

fig.

XII

d.

Spread hand: wheel with (fingers as) spokes.

motion.

If

the

elbow

is

inclined to be

stiff

or

awkward

in action,

the rotary stroke with five fingers should be preceded by exercises in straightening the fore-arm
of the joint will suffice to render

The

by
it

jerks,

a passage requiring a "passing-under" or a "passing-over" of the

fingers occurs.

such pressing through

the

supple.

This means: doing away with the old style passing-under of

thumb, as also ivith the passing-over of fingers j and 4 (and

should be followed up by
broken triads and four- part chords executed on the same prin-

ciples (examples 43, 44).

extension of the fore-arm, as taught by the old school-methods, is

inadmissible. As a model exercise we would select the B-major

'

five-finger rotation exercises

The author always

refers to the right hand.

(Tr. n.)

and

jj

and

lateral

ife

zvith all

nonsensical special studies.

shifting or removal of the

^:wfft

hand without

rotation or

no more
ITa^I^^
^^^ ^J""'

llnlbc'i^uu^

38
not the C-major scale, as, for reasons to be given later on,
is by far the most difficult scale and can only be
mastered by "finished" hands.
scale,

the

latter

So the C-major scale shall be taken up last.

The scalfs best suited to the rotation of the hand are: Fj}- or
Then follow Ab- and Eb-, EGl>-major, B- and Dt>-major.
and A-major. Finally the remaining major and all the minor
scales.

The superference and

subterference

'

(the passing of the

thumb

under the other

performed by

fingers, or the other fingers over the thumb) is

rotation of the longitudinal axis of the fore-arm,

fig.

OW

off the 2"*',

roll

on

or 4""

3'^''

to the

thumb

finger, as the case

may

be, to

(the adjacent key) (figs. XIII

fall

b d),

whereas in superferenccs, the hand is swung over the supporting

thumb and glides in a curve (circular motion) above the key-board

XlVa-d).

(figs.

Figs.

XIII a

d and

XlVa-d

illustrate

moments

solely to explain the

Untersatz, Obersatz:

t>rackets,

and what

it

really

is

lightning rapidity.
They serve
functions
which
rotary
originate in and

As these neologisms convey

thus serving the purpose required,

the idea expressed in

we have adopted

them.

(Tr. n.)

suTteV-jfingci

that rotates.

Practically, superference

and

subterference are the action of one single moment, and it would, They
therefore, be absurd to try to divide this movement into the action^

moments depicted, which are only intended to assist

teacher.
Arms and hands instantly sweep on. The fact is

three

l^i

the

re
of

or

"'""='

that

Xillb.

Pose of hand preparatory to passing the thumb under; the thumb placed
on B' {B-major scale).'

it
is
not a question of forcing the thumb
the
under the hand,
point lying in the instant removal of the
2'"', 3'''', 4"' or S"" finger, under which the passing takes place,

in

subterfercnces

in

superferenccs, in the instant removal of the thumb, over

rolls with a swing on towards the next keys.

which the hand

Fundamental

rule:

under the hand, the

in

movement executed with

single

'

figs.

super- ^ they

the fingers is effected by cubital rotation.

Hence the illustrations''"-""'"""'
of the rotary action of the hand and of the greatest curves, to
show clearly where (above or below) the rotation takes place

fig.

the finger over or under which another passes, acting as pivot.

In other words, in subterfercnces, the hand, tilting inward, is

swung

superferenccs and subterfercnces arc not the. result of fingeraction, but that all lateral progression of the hand over or under

XIII a.

style of passing-under: the thumb is forced into the hollowed palm of

the hand, with set or rigid elbow: very bad.

back and

proceed from the elbow-joint; the object being, to prove that

If

a supporting finger

latter falls

naturally

is

withdrawn from

upon the next support

and subterfercnces each finger

in turn relieves the previous one in bearing the weight.We would also
add, as an important feature, that the sudden extension of the forearm, assisted by rotary action of the same member, constitutes
of itself an exceedingly elegant execution of both movements.
afforded

it.

So

Kul<-

that in superferenccs

Extension of
fore>arm

39

Xllld.

llg.

2nd Pose of the hand with the thumb passing-under.

Turning of the hand (by
rotation of the fore-arm), the 3rd (middle) finger on
acting as pivot.
The thumb glides towards E' describing a curved line on the key-board.

The

Dp

fig.
1

!l

Pose

(including thumb) from

XlVa.

hand preparatory to passing-over.

supporting finger on B' (B-major). First

of the

action.

used as a

Hand

passing from B' to

A|'

over

D|-

rotation of the

hand

to about C*.

XIV b.

fig.

Thumb

Maximum

largest curve in passing-under.

4*''

acting as pivot.

finger by rotation around the

Second

action.

thumb

rwmiil

40

fig.

pie

Ira-

Kxpcrnacal:

XIVc.

fig.

passing-over or rotation completed, the 4*1! finger supporting the weight.

Rotation from D* to Bb' (Btvmajor triad). Third action.

Be
1.

2.
3.

ease and steady assurance,

That the rotary action of the fore-arm be utilized to the
utmost, and that the pupil banish any feeling of timidity
leading to involuntary, unnatural contraction of the muscles,
impeding the free rotary action of the cubital joint and
nullifying the effect of weight

5.

and

relaxation.

That simultaneously with the subterference, the fore-arm be

extended forwards with lightning lapidity. The jerked exten-

hand to continue its flight proper.

That the thumb be loose and remain relaxed when in
sion

t.

Maximum

circle (of rotation).

careful:

That the arm hang loose,

That it remain in weighted pose.
That the off- swing and descent be performed with perfect

4.

XlVd.

Rotation in passing-over from B' to

Djf':

it

is

that enables the

action, avoiding stiffness or cramp.

Off-swing, imvard

Preliminary exercise :\. Place the 3"^ finger,supportingthe whole

(fig.

XIII b),

upon

slightly

raised,

tilt

hand and arm inwards by

The thumb
the

(figs. XIII c, d).

thus most easily and most naturally brought into

pose required. Any movement or action performed

new

with the object of gliding the thumb between or under the other
fingers, without participation of the rotary action of the elbow
is

radically -wrong and

Perform the same

must

be rejected

(fig.

XIII a).

exercise (inward rotation) with the 4"'

finger used as a pivot, also on
Bb' [A# -Bj? and Et? D|(
furnish each a fulcrum in the keys of
F# or Gb-major, B-major,

A|'

Db-major,

E-major,

Db
C^

and F^

Eb-major, Bb-major,
Ob Ab-major,
the keys of 0-major, D-major,

F-major;

in

A-major;

in the scale of A and E,

etc.].
Proceed similarly with the supcrferences, e. set the thumb,
supporting the weight of the arm, on B
Cb or on E
Fb

Ojt

Ab

i.

(for the scale of F|- or Ob-major), the arch-set hand raised high
(fig. XIV a), tilt arm and hand describing a circular motion, the

thumb (posed on
These

with an arch-set

rotation of

is

2.

tilting, curved glide fare- arm -extension,

descent succeed each other so rapidly, as
practically to occupy but
one moment.

weight of the arm

hand

the fore-arm, the finger in question acting as a pivot

its

acting as pivot (figs. XIV b,

studies (the mechanical part

tip)

preliminary

may very easily be demonstrated on the surface of a

c,

d).

of

which

table) are

Thcacmai

stud

41

by the free fall of the weight combining the rotary action with
a light rotary swing of the hand.

ginners and amateurs. On the contrary, weigh upon the key to

the very last, in order (as in jumping off a spring-board) to gain
thus a firm and sure purchase and swing-off. In falling back

Bring the weight of arm and hand to bear upon fingers 3

upon any suitable point of support, swing off sud-

upon the thumb, the arm should regain the key-board, by the
most direct way, not by describing a large curve. The pupil

be followed

to

Tht thumb

and

up by subterferences and superferences varied

4, set

denly and

fall

with the weight of arm and hand on to the thumb,

must hang perfectly passive, being

at the moment of transition, neither doubled under the hand,
nor yet stretched towards the key it is about to fall upon. It
must mechanically follow any movement of the hand, and fall,
which for the time being

Follows the

movement

of

the hand

as

it

were, accidentally, upon the key. This is important. In tilta segment (fig. XIII d), effected
describes a circular line,

Describes a

ing,

segment

How to practise:

by the rotary action of the elbow. Its active participation is

limited to assuming and bearing the total weight of arm and
hand.
At the moment of the rotary swing, arm and hand
That is the
"shift" or rather "leap" towards the next position.
time for the thumb to be "at its post".
After swinging off, guard against the arm being raised aloft,

what

and thus losing

it

solely

to

fuard

against, what to

its

weight,

common

with

fault

all

should eventually forget the old-fashioned notion of passing

under and over altogether, and with a free swing of the "weighted"

arm

fall

upon the key aimed

at.

The rotary swing, with extension of the fore-arm permits of

the notes of any interval being connected (examples 4551).

slight

swing-off from the "pivot" will suffice to carry, or Natural

There is jhratu
to any point on the key-board.

rather impel the arm

no need to fear that

not regain its position, or that hand

and fingers will miss their aim. Their own weight is a sufficiEven
ent guarantee for sureness and precision of the attack.
it

will

subterferences on the black keys can be executed without special

preparation or difficulty. Thus the pupil should practise:

be-

Subterferences: (4548).

observe.

From

black to white keys:

45.

3.

M=

2=^

IZ_

s:

From white

to white keys:

From black

to black keys:

From white

to black keys:

hsh

48.

fe^
r'T irT
i

'

ir

etc.

"r
6*

42

however unfinished

Practise also rotary swinging off from the pivot, in combination with double forms, etc., from thirds, sixths, octaves, triads
on to the thumb, finally from a third to a third and from a sixth

These

to a sixth.

From

arm and hand.

Whatever applies

to

the

right

hand, applies, of course,

equally to the left.

Practise
the
superference in a similar way, i. e. first
from white to black keys, then from black to black and finally
from black to white keys (51).

exercises constitute the basis of sai/es

in thirds and sixths of a turn-legato character: f and ff (4Q 50).
If F>ossible, follow this up with scales in thirds and sixths,
latter

especially in chromatic succession, even

execution, to begin with, the object being

in

to give steadiness to

though non-legato and

Chords

Sixths:

black to white keys:

50.

4
in

the

in

the

same manner from white

same manner from white

i^3

Iff
We

would draw

sakMHeriMini,^

'.

*'*

TT

to black keys.

etc.

1
221

etc.

w lf^fi

In

12.

attention to the fact that in

forms of swinging-off, the

to white keys

ossia

B-major scale

51.

of the

seventh:

all

the

same manner

are

executed rotary swings of

f^

ll

thirds, sixths, octaves, triads.

flJ fl
ll

these simple

practical rule applies that in the case

of subterferences, it is advisable
the absolutely relaxed hand i. e.

to

sink into the

hanging position of
lowered wrist, thus enabling
to intercept the descending weight,
whereas in the

the latter

case of superferences, it is well,

t^'^ISt"' off ^rom the hanging position,
HipvHcTcn.

icith

at first, to
i.

swing arm and hand

Execution:

with lowered wrist, to raise

e.

thumb:

Fall

B', then roll

with

the

weight

of the arm

on

to

the

Experiment

(by rotary swing-off, the 3"" finger: D^'^

on to the thumb E-'. Now add directly
as
pivot)
directly
acting
the second part (coda) of the scale by a simple lateral (outside)

the arch of the arch-set hand high.

it

III.

After these

however,
dw

the

it

rolling'

Scale.

not
the

take
scale

long
itself,

to

master,

which

will

exercises, which,
pass on to

we
now

present

no

difficulty.

We

shall take

B-major for our model

hand determining the successive touch of the five fingers

by one single action (fore-arm-extension) and without striking.
How to overPupils experiencing any difficulty in executing this, should begin come diffi..
,,
-ii
iir
by practising three and four-fmger exercises with subterferences, cuuies
tilting of the

somewhat extensive preliminary

will

of

The

(52).

.rr.

taking care, at the moment of transition, to straighten out the

fore-arm with a short jerk, thus securing at least the "on-sweep"
of arm and hand: the difficulty in rolling is generally due to the

straighten out

much, thus

Guard against

fact that the pupil is apt to stiffen

'

Rollung der Skala, rendered by rolling, however strange at first, is

in
quite
keeping with the style of execution, and we have therefore adopted
it

(Tr. n.)

53 56).

its rotary action (examples

arm
Relax the elbow-joint and extend the fore-arm with a sudden
(like a bullet leaving the barrel of a rifle) in the direction

impeding
jerk,

the fore-arm too

fore-arm

too

much

43
of the

Turn the octave

rwt.g""'"*'^

5*

This

finger.

When

straightening-out of the fore-arm, per-

formed with lightning rapidity, steadies the hand, when executing

the scale with the utmost velocity (chap. IV).
Once these various points have been mastered, "turn".
as it were, the whole octave B^
B^ with one rotary swing and
as if in one piece.

playing the

last

4 or 5 notes of a scale, passage,

etc.,

straighten out the fore-arm very suddenly, expecially in crescendoscales.

These exercises and these rotary motions with extended arms

all
the old-style special scale- studies superfluous and

render

furnish

the key to the

problem of

jhese
ar

cises

key

to

"velocity".

S3.

Aniru

ririrr

and so on,

Also by jerked straightening-out of the fore-arm; thus:

quickly removing the

In the

3":^ finger, etc.)

on the

raised

thumb:

F'',

fail

in

every key

on to C^ (thumb), then straighten the arm and

set the

hand

for a

moment

(after

etc.

same manner:

following up with Db- and D-major

*

This progressive

method of

daii>

Practlsc this fundamental scale, embracing one octave, every

day^ JH every key with the same (C-major) fingering throughout,

till

a rapid

manner

and

Easy, with a rotary swing

brilliant

execution

is

attained, in the following secu res

brilliant

(57):

cution

57.

Trainioy of

hand

3i*i^f:r

etc

2^ii?f:::z

the naturally straightened pose of the hand, combined with the

concentration of the fingers upon the narrow space representing the surface to which the curve is limited, renders C-major

Hands with long fingers of very unequal length, and shori How to
thumb will experience greater difficulty. The only thing to be i^l^Z^^
done is to curve the hand in such a manner that it shall
resemble a "bunch of grapes", drawing in the fingers to about
the length of the thumb (fig. IXa).
Having perfectly mastered the rolling of one octave, the pupil Master o

the most difficult scale, the study of which

should take up the second octave,

In playing the C-major scale, slightly contract the fingers, and

transfer the weight more to the finger-tips, to prevent contact
with the black keys. This modification, slight though it be, of

old-style

(in

contrast to the

school-idea) must, therefore, not be taken up, until the

roll B-, Db-, Gb-major, etc., from the fore-arm,

pupil has learnt to

with ease.

octave to the

first,

the execution

(in

(examples 58

51).

first

adding part of the second

and then the other

all

the keys)

of

up with
one sweep

part, finishing

both octaves

in

'"*

''"

In

two

roulades,

Mozart: Fantasia IV,

Finale.

Beethoven: 32 Variations.

rniBiieitke
"*

*^

The

treatment of the

left

hand

is

(Var. XVIII).

exactly similar (descending

The "progressive" method holds good

(inward

62.

tilting,

with

regard

to

in

superference-rou-

the thumb).

First of

all,

and rotary swing on

B^

(1

thumb, towards the adjacent

*i

(62).

s-

^H\tM

to E-

{2'^
point of support in the B-major scale), then on to A
point of support in the same scale), finally, "complete roulades"

Dp

scale).

lades

roiling

umimm

45
In superferences, and immediately after balancing over the thumb, pupils with supple hands and gifted with an innate grace
of motion, may glide the thumb rapidly off the key, drop it and allow it to hang relaxed below the level of the key-board (fig. XV).

Ab. XV.

Thumb drawn

An

excellent technical

study consists

in

off,

hanging

free (in

inward roulades).

the isolating of superferences and

subterferences,

which may be

said

to constitute An

exc

study

the

chroiii.tic scale.

frame-work of

the scales: (63).

more nor less

than a succession of broken semitone intervals) come under
The
the forms executed by rolling or gliding of the fore-arm.
diatonic
and
But
chromatic
thirds.
same applies to chromatic
thirds are often executed by a graceful oscillation of the wrist
Ail

chrottiattc

scaUs

(in

reality,

nothing

up and down (flexion tension). The same applies

and chromatic scales in sixths, octaves, etc.; but
sixths are executed
as

by means

(p.

56).

of

to diatonic
thirds

with loose fingers (leggiero) just as

"vibrato",

especially

in

forte

(con

and
often

bravura)

5ral*

Ritikra ciMM'dt

46

rV. Extended Scales (Passage-work and Arpeggi).

r^ular scale the distance of subterference and superfrom one half tonal degree to three half tonal
the harmonic minor scale between the 6* and T*

In every

ference

varies

d^;rees; in

even attains four half steps.

In broken chords of three or four notes (arpeggi), however,
distances of from 3 to 4 whole tones, etc have often to be
degrees,

it

have already been met in the

above
under
studies
II) where we practised the
(see
preliminary
bridged over.

rotary

But these

swing on

1*

to

The
tones

in

pupil should, therefore, practise intervals of 34

the manner shown in the exercises, and later on

Particularly inapt pupils

will

derive benefit from

ously stretching the fore-arm, especially

subterferences of large intervals.

in

Model keys: B-major, or E-major, also

finally

C-major,

etc.

Gt?-

far off.

l3

fe^

^P^B^g
3

up

w^

and

and D|?-major,

(examples 6467).

6*.

3-4toneiutc

simultane- Awkward

superferences

position:

fill

the gaps with thirds.

difficulties

any note, however

whole

''"'"'*

47
Similarly:
20? position: Db-m^jor, A-major, etc.

Combinations of
4part chords

up

the

to C-major.

3;:^ position: D-, A-,

Bb-major, 0-, C-, F-, Bb-minor, C-major.
Exercises in chords, octaves (Chopin: Etude in Ot>-major, Liszt, etc.).
By adding major, minor, or diminished sevenths, and inter-

polatlng fourths and

fifths, v^^e obtain the numerous combinations of

chords
of the seventh and others of the same
four-part-chords,
kind, which, in their innumerable variety and inversions, furnish

the material for

all

ascending and descending passages.

B.

In

descending forms something

The execution
same principles.

of

all

these different forms

is

based upon

Thus: transmission of weight, steady and sure balance of The

the weight, no exaggerated raising of the fingers (they passively
follow the movements of the hand), securing points of support,
correct off-swing and attack by rotation of the fore-arm.
ascending scales, arpeggi and passages, the last
roulade of 5 notes must be rolled with one single action by a
In simple

simple outward rotation of the

swung

fore-arm (See pp. 27/28).

Rotary motion of fore-arm and upper-arm combined.

new

enters:

ossia:

68.

''

T^)

Schumann: Fantasia C-major. Op.

With a swinging arm,

17.

69.
I.

h.

Beethoven: 32 Variations (C-minor) Van XXXI, XXXII.

etc.

as in rowing.

pi

48
Chopin: Etude Al'-major, Op. 25 No.

Allegro sosteiiuto.
71.

^^
U
In the "return"

E* E'

(example

68), the

whole arm from the

shoulder, describes a large cun'c back-wards counteracting, by this

elastic oscillation, the too acute angle determined by the movement in
question which might compromise the general equilibrium. Thus,

arm describes a very arched curve, backwards,

or a mower's backward movement
hand. This back curve of the arm is essential,

Tkc bwkward the

>wp

1.

oi

am

^gjjpg seed,

like a

sower
thumb

of the

S'h

right
especially in

very rapid passages, to secure a puriing, liquid flow and elegance

of form, and affords the most natural solution of many a difficult

passage, etc
Physiologically this form of movement is nothing more
than a combination of upper and fore-arm-rolling.
All these rotary motions describe a curve from the outside
to the inside: (example 71)

Fig.

finger

H.

In performing the former rotary motions (outward curves,

Chopin: Etude Ab-major) the hand is set high and pivots on

the 5"" finger (pronation).

In performing the latter

rotary motions (inward curves,

Prelude Eb- major) the hand executes inward rotations

Chopin:
and swings (with a rolling motion) towards the thumb.
These rotary motions afford excellent practice for small hands

with limited stretching capacity.

This completes the second principal group of the various
forms of movement, comprising those having their origin in the
rotation of the fore-arm.
5h finger

^*Fig.

O.

see next chapter No. VI

under "Legato".
and
scales, arpeggi
passages may
also be rendered "non-legato",
e. in the first form of the fall of
the weight (lateral displacement) by alternate rise and fall (armThe massive fall ff is also to be included in these
vibrato).
and
must be diligently studied and practised daily together
forms,
with the rotation, rolling, balancing and tilting exercises.
For other

We

details

would merely add

that

all

i.

The elbows

are extended outwards.

But there are rotary motions

in

the reversed direction, from

the inside to the outside, (the elbows being turned in towards

the body) (inward curves):

4Q

CHAPTER

VI.

COMBINATION OF THE WEIGHTS (TONE TO TONE).

Legato.
Viewed

physiologically,

legato

is

the

result

of

fore

and

upper-arm rolling combined.

The connecting
Legato,

how

produced

of the various tones of a consecutive series

proceeds, properly speaking, from the rolling of the fore-arm.

The natural transfer of the weight from key to key, the finger-

fig.

Hand, posed as a wheelbarrow: turned

in,

remaining constantly and closely in contact with the same,

produces of itself a natural "legato". And yet the legato thus
obtained rather constitutes a rapid non- legato, a relative legato.

tips

solute legato

strict

connecting
the inward

movement:
i.

e.

the rolling

absolute

legato,

necessitates

a further

outward rolling of the upper-arm,

of upper or fore-arm combined with the extension
or

and fore-arm.
in

the

relaxed

This

constitutes

shoulder,

the

arm

approaching the body in descending roulades (ascending in the

left), and
moving away from the body, in ascending roulades
(fig.

XVI).

XVI.

to roll legato scales

Rapid nonlegato and ab-

(straightening-out) of upper
shifting of the whole arm

by rolling of the upper-arm.

This action of the arm (which in its curvature somewhat

the typical form of a sabre) recalls the action of

resembles

"sawing" as naturally performed by a professional joiner (i. e. the

arm oscillates from a free shoulder, not through active muscular
tension, the fore-arm curving and straightening out alternately)
(fig. J.

p.

50).

1*

sawin

50

fig- J-

S: shoulder, E: elbow,
Brachial

the diagram showing the greatest

pendulum,

rotary action

Rou

(far

The arm,

w<%)ii

before
rolling

or

pushes

AwricsoiiiMKsThis

hew cenccwd

it,

qI

it

rolls

were,

the

suggesting
as

it

is

unrolling,
scale (downwards)

rolling

rotary

as

thus

(flexion

tension)

right hand) which it is possible for the arm to describe, by

piaying-curve
or displacement of the upper- arm and by gliding of fore-arm and hand.

the weight, or its own weight.

handle of a roller (the hand),

drawn.

or

pushed
and draws

it

out

The arm

(ascending)'.

and unrolling or gliding of the hand by means

of the fore and upper-arm, constitutes the

action

fundamental

principle

in

connecting

series

of

tones.

Real

and

legato aesthetically
technically perfect, depends
the equality and the purling, smooth flow of the series
of tones to be played, and is obtained with the aid of the

legato,

upon

movement

question,
by the rotary action of upper and
combined
with
the
extension of upper- and fore-arm.
fore-arm,

We

must

finger

which
UMicMpractkr

in

i.

e.

reject the idea of

action

connecting the tones by independent

pressure and over stretching

in

consisting

is

wrong.
Mechanical practice

in

for the correct

Jl^*^*""'' watching
(Mm d tiae and Strike the next,

and useless labour.

is

changing keys, entailing that nervous

at which to release one key

moment

a thing of the past, involving superfluous

conscious pressing with the fingers,

All

down

the keys, all spreading, seizing, clutching exerted

by digital power, with the object of connecting two tones, exhausts
energy, strength, wastes time, and is therefore wrong. In reality,

holding

neither

'

hand nor fingers connect tones,

The author

refers to the right arm.

this

(Tr. n.)

H: hand.

(C C

flat

connecting

is

effected

means

of

by a uniform, steady and sure gliding of the arm over the key-board.
This fact 'must constantly be borne in mind. Provided the playing
member or members be uniformly weighted, such weight being
equally distributed in the rotary action, the change of key and
finger must follow as a natural result. The weight being balanced,
rolls

as

from key-bed to key-bed, the sound continuing as long

The only thing to be guarded
key is weighted.

the

against, here, as in legato playing,

the weight.

is

the too early releasing of

Exercises:

"Roll" scales, passages, arpeggi, etc., first dethe

In
(with
scending
right hand, i. e. ascending with the left).
order to demonstrate the action called integral displacement of
the arm, let the master take hold of the pupil's elbow (by the

Guard

iase^f

and push the latter's arm, as the scale is unrolled

over the key-board. The hand is to remain turned in, maintaining
as uniform a position as possible (figs. XV and XVI), and
remaining perfectly passive. The same with the fingers, which,
(without being

really
practicable
instance:

by

participation

of

the

upper- arm,

for

wd

Experiment

coat-sleeve),

lifted more than is necessary) rest with suppleness

on the keys and, in tripping over them lightly as if on "tip-toe",
The pupil should now propress them down almost furtively.
ceed similariy to practise "unrolling" the same forms.
The gliding action will be most clearly grasped and executed in passages in which the change of position is only

again

Gliding

51

72.

or better

This requires

still:

an

assured feeling of general

equilibrium,

and we must not lose "footing", as it were. The hand must

descend and bed the keys at the right moment, to proceed, or
hover on, quitting its support on the key-board, with a light
oscillation of the arm.

This arm-action corresponds,

relatively

speaking,

with the Arm

technic of violin or violoncello. As in the latter, the species

of motion: "bowing", at once and absolutely determines the quality
of the tone and secures the "quiet" and equality of harmonious
legato-eff ects the ethereal flow of the melody, so, on the piano,

bowing in
*

FinRer,

hand,

arm one mass

The

fn

octave supports the

arm

better.

analogous figures, the arm must

"fly along" with the

simply "drawn out". The arm, as a whole
mass, glides with suppleness over the keys, pushing the broken
chord in front of it, as it were, and drawing it out again in one
,

hand.

all

^,

The

..

figure

is

action.
Theupper-arm

^uorml^liLcpUvin'rnd"fn
declamatory
style

The

and rounded action of the entire arm may be

Said to dominate in all melodic and harmonic connections, facilit^*'"S *he execution and determining the character of the same,
All Icgato playing of an aesthetically superior order,
e. all forms
of pure legato and all particular, characteristic effects relating
flexible

i.

the cantilena of the classic style, the purely expressive

lone -connecting, the graceful curves and lines mentally conthereto:

and the grandest extensions, finally all passages requiring

the grand declamatory style of rendition, depend every one
upon the participation of the upper-arm, the whole arm hovering
ceived,

lightly

over the keys.

ir

bow^lfi

is

sentiment, emotion can

only be obtained by harmonious action in the circular sweep of
the whole arm.
Hence, the well-known axiom in violin-technic:
the pure, ideal legato,

expression

of

"economize the bow" holds equally good of piano-technic.

line"

True legatissimo, the ideal connecting of tones, the "grand

both in slow movements, and in those of a more lively

It is the outcharacter, is in reality a purely mental process.

come of musical feeling and has its origin, psychologically, in
that perfect concentration of the mind bent upon avoiding the

smallest

The

extreme

come

angles

artistic

or any break in the continual flow of sound.

presupposes a musical intelligence of

legatissimo

sensibility,

and a most delicate touch.

It
is the outand emanates from refinement of soul.

of innate grace

Legatis

"'"'

52

CHAPTER

VII.

THE NATURAL REBOUND OF THE WEIGHT (ARM OR HAND).

staccato.
KnMCHMl

When

Cn

"it

it

an

elastic

thrown back

is

body
the

in

to the ground, it rebounds, i. e.

reverse direction, until the power of
falls

impulsion (throw, shock or

Staccato
of

is

nnh

ibr

dw

rebounding

it

is

that

fall)

is

exhausted.
elastic

distinguishes
solid bodies.

from

ball, glass globe)

It u
Ot pffOOKCa DT surface, the more elastic
;

nor6accr

participatrs octiTeiT.

The

ami*actioa

tTle wrii-

Uxhmc

rxercisca Brvno
loMiscr rcqoirrd

of

The more

elastic

the

falling

body, the lesser and slower

above

facts

will

be the rebound.

From

the

the following practical points: If we

of the arm (arm, hands, fingersj descend,

we may deduce

the compact mass

with a free swing upon the key- board, and rebound naturally,
we obtain a tonal effect corresponding to a sharp and short

The

greater the precision and rapidity of the

fall, the greater will be the precision and rapidity of the rebound,
and the sharper and shorter will be the effect of the tone pro-

marlellato sound.

duced.

Special staccato

faculty

is
the rebound.'
And the greater
the velocity (energy of the impulse), the more powerful will
be the effect, i. e. the quicker, more violent and more lasting
and vice versa: the lesser the velocity of a
will be the rebound,

let

Kara dooe bv
tbe a^T old-

This

bodies (India rubber

The

drop-staccato is a non-lcgato, shortened both as

regards attack and duration of sound.
Hence, that tonal effect which we call staccato, is, mechanic-

But in ordinary staccato, with the

classed and taught as such.
natural rebound of the whole arm, as one mass, released, neither
hand nor finger participates actively in the movement: With this
fact falls the old-style wrist-technic.
take

because the

rigid fore-arm (fig.

IX

c) is

Ill),

so closely, indeed, as to have led to the erroneous

that

staccato

is

produced

by wrist -action

and

is

mis-

as harmful and injurious, as any attack,

stroke, or percussion with the

hand thrown back

is

ugly, from

an aesthetic point of view. Staccato is not the result of wristaction, but of the whole arm oscillating in its three principal

The

joints.

''tremolando''

of

the

hand

result of a free vibration of the arm, not the

We

would add
mutton, the more

in

staccatissimo

is

the

cause (See chaps. Ill/I V).

that the greater the physical apparatus set in vhcgrcur

physical ap
the effect
delicate ("feinschlagig" [Kraemer])
ratus set

or rather the percussion. The most elegant staccato

A finger -staccato (cf. chapter VIII)
by the arm.

the nonsensical

conclusion

to

in the slightest oscillatory motion

To jerk the hand back
of
the hand.
flexion
or
(whether
tension)
ivithoiit the participation of the said other joints, i. e. with set or

impulsive muscular tension is, the sharper and shorter

will be the staccato effect.
In rapid movements, the staccato
closely resembles the tremolando (quick repeat of the key) (cf.
chap.

is

it,

hand in
and elbow-joint participate
the

but not indispensable and

as an arm-staccato.

the

to admit

effect.

speaking, nothing more nor less than the rebound of the

The more rapid the fall, i. e. the more intense
striking mass.

ally

Still

The hand rebounds, trembles, shakes,

whole arm is set vibrating. An isolated motion of
the wrist-joint does not take place. The shoulder-joint

cause and

is

is

produced

is

possible,
not nearly so delicate nor as reliable

When we

speak of finger-staccato, of course, we do not mean

method of the old school that taught raising
the fingers to strike the keys from the "full-cock" position, thus
hammering out an unmusical, hard, detached tone. We refer to the

rebound of a

A drum -stick striking the tightened drum -skin (playing the cemBesides the
balo) rebounds faster than a ball thrown upon the pavement.
natural condition of the ground or the base struck, the elasticity of the falling

loose, swinging weight-produced touch, the freefollowed

descending fingers
instantly by the weight of the rebounin chapter VIII. When executed
as
in
detail
ding hand,
explained
perfectly, it sounds like so many padded cembalo-sticks"rebounding"

mass

on the

'

striking the base, naturally, exerts a telling influence.

natural

strings

(cf.

Chopin: Ob- major Etude by Teresa Carreno).

motion,

mora dt a
the

efl

53
Beethoven: Op.

"brilliant" play depends upon the staccato -effect,

the rapidity of the descent and the rebound produced.

Finally,
i.

e.

upon

Largo

73.

This species of tone, sharp, clear, of metallic ring, sounded and

stopped with absolute precision is the result of a sharp, short
stroke of the arm (with hand) of a non-legato quality,

7.

etc.

produced

by an exceedingly rapid impulsion instantly followed by the

staccato style.
repulsion. The brilliant tone is the non-legato

l-;

Hence, special finger-staccato exercises are no longer required.

among

The

pupil only needs to study the fall of the weight (chap. II, III)
with the repulsion, i. e. let arm and hand rebound quickly and
suddenly. This movement in combination with the stretch-action

other works, consult more especially

14. No. 2, 2nd movement,

Op.

28. 2"'!

31.

movement,

No. 3 (Scherzo).

of the fore-arm must be performed automatically, the fore-arm

alone executing the staccato, the hand drooping and dancing

The

passive in the wrist.

The chauge from

sudden weighting of the arm (in its

dcsceut on to the key produced by a swinging movement) to as
Tnglmidden
relaxing
suddeu 3 relaxing of the weight (when the arm rebounds) must
be made with lightning rapidity, without the least interruption
Change from

must have the sensation, as though he were

furtively pressing on the ivory button of an electric bell, the tone
being, as it were, drawn out of the key, produced, not, as in
reality it is, by pressing down, but by raising the finger from
the key.
(Chap. X under "Touch").

The

or hesitation.

Let the weight

After practising the free descent of the lifted hand, take up

the study of staccato starting from the key, i. e. cause the weight
assumcd by the finger forcing down the key, to descend sud-

Icendw^wrfst

denly into the wrist, the hand

Piaicato

the weight of the arm) then

Then reverse
instantly rebounding just as suddenly and lightly.
the action: Touch the finger to the key, and suddenly lift arm
(i.

player

effect is similar to that

erroneously called portato

(a

term

borrowed from vocal

technic), generally produced by the hand

the
(or by
arm) gliding off the key, in a manner resembling the
action of "wiping" or sliding".
(Chap. X under "Touch").
If

e.

the staccato occurs in passages requiring a rolling of the

fore-arm,

i.

e.

in

scales,

accelerate the impulsion

we only need
same, and the arm will

runs and similar figures,

in

rolling the

and hand with a quick movement (lifted staccato). This latter

variety (pizzicato) produces the most perfect effect, but is only
suited to passages of a definite character in slow tempo, for

of itself follow the action of the

instance:

the

hand

in the

superferences and

subterferences.

Staccato in thirds, sixths, octaves and chords

same

rules.

(Chap.

IV).

is

subject to

The

se

produc

54

CHAPTER

ACTION

FREE OSCILLATION OF THE FINGERS.

IV.

Finger-oscillation.
So far,
fingers have scarcely been spoken of, their
"activf^ part having been limited to passively supporting a weight.
This once mastered, arm and hand having been trained to fall
upon loosened, relaxed fingers, or to roll on upon them, etc.,
I.

na(CT-OK3b-

the

puticipatioaof
tbc ftaf ers

the

flngers

may

participate

pose of hand

Natural

in

the

fig.

K.

general

oscillation

the

of

free oscillation

in

repose, the four

fingers straightened out.

Lightly thrown fingers (without curve): straightened finger-touch,

a b, a, b, shortest way of motion described by each finger.
A: raised wrist
X y: parallel plane of touch.

Low

posture: the fore-arm hanging in low position. Weight resting (reposing)

in the sunk wrist (A). The loose fingers thrown in the same way as in fig. K.

"one",

sharply:

^"

"two";

finger lightly forward,

stantly
Trmnalcr of

weight bjoicflUtioB

and

at

at

With the arm

"one"

"two"

let

swing
it

and simultaneously transferring to

from the

3l^ finger:

this is the transfer of

in

the

soft finger-tips, the fingers passively

theirown weight, i. e. with that of the hand, arm or of the whole

brachial mass, on to the keys. Models: Paderewski, Carreiio, Busoni and others.

thrown

repose, count
relaxed

The tone being produced by playing with

organs of percussion. They should now be thrown lightly forwards and allowed to co-oscillate in their knuckle-joints.
Exercise: Set the weighted arm with raised hand on the

the

i.

ap-. projection.

Do

Oscillation of the fingers in the joints,

projection.
a,,
b,, c
c,

middle finger: E 3t

the finger and descent of the arm.

of the 2"i finger and instantaneous descent of the brachial weight

on to D-, rise of yA finger and instantaneous descent of the

EspcriacBt

of

same with the 1^, 4!'' and 5"" fingers and finally with the
thumb, practising the usual three, four and five-finger exere.: thumb on C^, swing
cises on the before-named principles,

fig.L

motion supftorted on thumb

in

VIII.

2nd

descend upon D-, init

the whole weight
weight by means

of

falling with

weight of arm and hand on to the y^ finger on to E-, rise of 4*

finger and descent on to F*, rise of 5"' finger and descent of
weight on to O^, and so on.
Remarks:

The

the finger must resemble a light "soaring",

a
sudden
upward swing,
tilting, an elastic jerk, the motion of
the fingers themselves resembling that of arrows darted from the
1.

bow. The greatest mistake is made regarding the

which each finger should be raised.

string of a

height to

rise of

55

amounts

It

about one inch (23 cm) from the surface

of an inch (12 cm) from

to

the white i<eys and to V2

that of the black ones.
In
of

an inch (2 cm),

nrst^'"

is

medium tempo

it

reduced to a minimum

is

about

in

more

'^|^

of

rapid
fingers rise to the greatest height, when simply
straightened out to their full length.
\{ js
wroug to start training the fingers from a strictly curved
A free, natural style of movement or action can only
position.

The

tempi.
Curved pose

but

be acquired from a free, natural pose (exempt from any strain)

and from a natural curve of the naturally straightened

of the hand,

Long, flexible fingers having the natural swing in extension and flexion may with impunity be "curved" in playing,
but not the other way about. Our experience, at least, has been

fingers.

pupils taught on a wrong method) the curved pose

the
paralyses
fingers and prevents their free co-oscillation.
Raise (oscillate) each finger with ease and let it descend in the
that (with

same manner, just as

The fingers are

Law

oi friction

to avoid:

as, for instance,

cases,

produce
2.

certain accents,

Any

and pupil
Gun-cock

pose o

ingers

may

actlvc tension

cock of a gun or
I.

movement

requires

(figs. K and

(figs.

still

is

or

to

shape of the
haunts the minds of master

of the fingers

which
b and c),

pistol

Ill

in con bravura passages,

they be raised higher.
in

prohibited,

the

as infringing

the

emnj

must uot

^^

the flexibility or action of wrist or elbow-joint, i. e.

the least interfere with their relaxation; therefore

in

member must not be stiffened or cramped.

The weight bearing upon one finger must be
is assumed by the next finger; which means

yoj/ or

until
Tooeariyreie. of weigh.

active

it

retained
that the

weight must not be released simultaneously with the rise of the

Or, to put it practically: If the weight rests on the
^.^^^^
it
retained on C% until the swung 2"'^ finger,
is
beds
the
key D'', and is able to relieve the thumb of its
descending,
weight, as it were, and assume it itself. So that the combination of the attacks in passing from one key to another must

thumb: C-,

also be observed in the

unimpeded swing

weighting succeeds another.

of the fingers.

once.

spasmodic

The muscles

of arm,

hand and finger

pressing

down

or

crushing of the

key
prohibited,
infringing the law of friction and relaxation.
The whole secret of finger-action consists in instantly
relaxing hand and finger, i.e. releasing them of any exaggerated
as

is

pressure, tension,

etc.,

the

moment

the tone

is

sounded.

One

Finger-action witli weight.

II.

We

may further emphasize the fact,

that,

contrary to the old style

of beginning with the active raising of the fingers (a perfectly wrong

conception), that exercise (raising the fingers) must not be taken
up until after studying the free descent of the weighted arm upon

the

not upon the raised, passive fingers; as first of all, arm

hand must be taught to remain supple and loose and

set,

and

how

learn

the

4.

3.

All

movement

it

at

are to be relaxed instantly, the key being weighted only just as

much as is required to keep it down and sustain the tone.

mastered.

way impede
Cramping,

must be released

of frictioH for, besides the loss of time, waste of energy

^^^ ^^^ vvrong and pernicious muscular exertion which results,
the realisation of the most important feature of the whole
lajv

is rendered impossible, viz. the free, loose swing of the

and
the unimpeded descent of the weighted brachial mass.
fingers
The tension must only be dimomentaryon&,\\V.t that of the bow-string.
3. The swing of the fingers (tension flexion) must in no

a.

to the rise or swing-off of each finger.

After the finger has fallen and struck the key, the weight

L).

to be raised (straightened out) only to such

au cxteut as to cause the least possible friction (internally and externally), according to the law of friction.
Only in a few exceptional

What

the natural

The rise, swing-off (extension) and descent (flexion) of the

must
be condensed into one single movement, the whole
finger
one
undivided action. Great care must be taken, however, y stm
forming
'
cial ex
that the upward movement of the extended fingers, and the
alternate action of two fingers be executed perfectly, and with
the utmost precision.
A slight oscillation of the hand responds
5.

to

assume and transfer the weight, eveiy detail and

which must have been studied and thoroughly

development of
If

the

strength

needed, relax the arm in the shoulder and

is

let

hand fall into the keys. If much strength is required,

arm a little higher in the shoulder, or descend with greater rapidity.

lift

The descent

of the weighted

member with

the

swing

of the

fingers always produces a non-legato.

The legato style can only be obtained by a soft pressing
down of the keys with the fingers weighing upon their surface.

But the sharp or sudden rebound of the mass, the swung finger
having fallen, may thus produce a staccato.
when the fingers descend, we allow the hand to tap the
If,
e. to strike them with a thrown action or
keys vigorously,
motion of the hand, we obtain what is called the "cow bravura"
i.

style.

rest or remain steady

If we allow the hand and fingers to
and cause the weight of the hand to sink lightly into the key,
producing tone by tone with firmly set finger-tips (without raising

the fingers), the result is:

If, on the other hand,

''jeu

we

perle".

allow the "swung" fingers (sponge-

56
headed or not), to descend and
rapidity of, drum-sticks, the effect

Slay

rebound
produced

like,
is

and with the

that of the short

staccato (in scales and passages) which we call "leggieremeitte".

Nothing is here employed but the natural weight of the fingers.
that of thc hand (from a loose wrist) lightly following the descent.

employ

to carry to
ooiyu..^ This free and natural "play of the fingers" (very difficult,
to a higher grade of study
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

6l

the study of
special part of technic (a technical "nuance"),
had better be left to finished hands.

The leggiero
and fingers

style,

produced by a very

in repose, rather

light

resembles the style

which

descent of the hand

owes

We

its

origin to a perfectly

I.

Descent of the

is

II.

to the
1.

the fingers, and

Finger-action with weight, which is the only correct action.
To what extent active muscular tension shall participate,
as

it

in a complete
Txumumiina- continual drilling of each finger separately, resulting
iaf o( each
or partial stiffening of the wrist or elbow-joint, which while it

unnecessarily wastes muscular energy, impedes the free, natural

oscillation of the arm by preventing its utilizing its natural weight.
He that commands a loose arm and can "play with weighttouch", may use the fingers as much as he likes and whenever

he feels they are required

t

no matter where.

As long

2.

the

oscillation

of the

however, a very important one. Finger-action

without weight, i. e. the old style, produces a thin, wooden, sharp,
dry tone, very different from that of weight-produced touch, which
This question

i.

full

brachial weight in oscillation upon the

or several fingers: thirds, sixths, octaves,

martellato touch.

the key-board). Loiv-fall of iveight.

to the arched hand raised, thrown

On

upward

(erected

Erection or high-fa// of the weight.

pose of the hand):

Effect:

non- legato.

The passive hand-extensions and weight-produced descent:

vibratissimo
staccato-vibrato
staccatissimo.

vibrato

IV.

Bearing and rolling of the brachial weight,

of the fore-arm.

i-cc

by rolling

non -legato.
j.

V. Lateral rolling of the brachial weight by rotary action

of the fore-arm alone or in combination with the upper-arm.
Effect:

VI. Natural

upward

rebounding hand

staccato.

weight with natural rebound:

rebounding arm. With greater or lesser

Sharp descent of

VII.

legato.

jerking of the brachial weight.

Effect:

the

erection of the fingers.

Effect:

con bravura

(brilliant).

weight of the hand over firm-set

great precision in the arresting of each tonal

Rolling of a light

VIII.

finger-tips,

with

of finger or key.
Light, loose
on the keys (not swung
style, i. e. the fingers resting naturally
and without active rising) with the least possible weighting of
vibration,

short,

precise descent

the keys. Action limited to pressing

is,

embellishes the tone rendering it full, sonorous and round, enabling

the artist to put expression and power into his playing, never
dreamt of by the old school (See chap. X. under "Touch").

Effect:

as the fingers

whole arm and hand, they

moment
do
but
the
they perform their movements
may
anything;
of
arm
and
without participation
hand, everything is wrong.
Finger-action, finally, becomes a question of dynamics, or aesthetics.
participate in

tires

depends upon the technical requirements and difficulties of the

comfKJsition, and must be decided by the individuality of the
player who knows what he is capable of doing.
What must be discarded, as absolutely wrong, is: excessive
tension and faulty manner of holding the arms and hands, stiffening
of the joints, exaggerated extension of the fingers, obstinate and

CxccaaiTe

and

their different

Fall of the brachial weight from the surface of the key

bed of the key, viz.
On to the lowered wrist, yielding to the weight (hand
resting on the key-board, wrist sunk below the level of

wrong conception
altogether wrong,

...

and of

weight-produced-touch.

^gj.j.

III.

without weight, which

of the various free

recapitulation

high arched hand (on one

chords).

have to choose between:

Finger-action

is

Free

modifications:

as "jcuperlr".
the above that

pupil

(weight-technic)
of matters.

The following

of weighting.

natural technical formulae, so far developed,

known

must not, however, gather from

finger-exercises are henceforth to be done away with.
The contrast between: finger-action and weight-produced touch

The

Various methods

III.

Effect:
IX.

down

the key, p. or pp.

jeu perl6.

Loose, jerked action of the thrown (s/ung) fingers, de-

scending upon the keys and rebounding like drum-sticks, the hand
following the descent of the fingers or retaining its pose.
Effect:

leggiero

leggieremente

leggierissimo.

RecapUuiati

57

PART

II.

FORMS APPLIED.
CHAPTER

IX.

PLAYING WITH BOTH HANDS SIMULTANEOUSLY: POLYPHONIC AND

FIGURAL PLAYING.
I.

The

foregoing

principles applied

Both hands
(arms) used

in

polyphonic
playing etc.

The

so-called independence of the hands.

The

of

the

application
foregoing principles presupposes
an equal and completed training of both arms. The
independence of the "hands"
an erroneous idea as conceived by the
old school
is
acnothing more nor less than the

faculty,

quired by practice, of utilizing each arm in all its functions and

with its integral weight. As soon as the left arm
(hand) has been
trained to hang, to weight itself, to descend with an elastic
swing
as soon as a supple, relaxed cubital joint enables it to "roll"

Conditions

and (by virtue of

smoothly with assurance,

freely

course of

own

like

weight) to

move

the right arm (hand),

steadily

and

it

natural weight
or action.

In playing with

both hands, great care must be taken thatrwhatt

1.

Each arm transfer and balance

ently and naturally, etc.

2.

Each arm

3.

No wrong

and

elasticity

in

every position, form,

movement

presupposes the combination of innumerable similar and dismovements, the contrast of which is often so great,
that at first the arms experience the greatest difficulty in persimilar

forming their respective movements

and constraint.
to

indispensable movements.

development, soon acquire that independrequires, and the faculty of relying upon its

weight, and to interfere in no way with its movement or action.

But that is more easily said than done. Two-hand-playing

pia>.nc

(secondary action) are particularly dangerous, as they not only

take up time, but will often impede the simplest and yet most

will, in the

it

This means that the retention of iveight in every gradation

(from the discharged to the play-weighted member) constitutes
the fundamental principle of two-hand, or rather of two-armSo that the object is to abandon each arm to its own
playing.

Impedimrnts

natural

its

ence which

its

do as they like, without contraction, pressure or cramping of

hands and fingers, all caused by wrong and detrimental muscular
tension, their immediate effect being to impede the transfer and
rolling-on of the weight;
sympathetic, intermediary &nA secondmovements
or
the
outcome of imperfect habitude and
action,
ary
insufficient intellectual discipline and training.
The latter defects

naturally,

without impediment

Such impediments are chiefly due to nervous hesitation,

^i^jj,}, prevents us from allowing both arms perfect freedom to

rise, fall, roll,

etc.,

its

own

weight independ-

independently and naturally.

muscular tension be produced, which

whether it be the resuU of nervous timidity or of voluntary
movements or action
may interfere with the natural

relaxation of the brachial muscular system.

4.

Each arm perform only those movements, which, though

e. movements leading by the shortest
simple, are essential,
and quickest road immediately and unconsciously to the
achievement of the technical object in view, and that with
i.

the least possible

amount

of physical exertion.

aforenamed eleimpede progress, such as:

movements:
For
instance, when one arm or one
Sympathetic
hand is executing such and such a movement in a certain direction, the other imitates it unconsciously and unnecessarily.
This

presupposes

the

exclusion

of

the

ments, that detrimentally affect or

8*

what

58
Intermediary tuovements: While one arm or one hand has to
execute a principal movement, however short or quick, such as
skipping to a distant key, the other arm, the other hand or its

a series of unconscious, graduated

practice and executed in a

in reality the result of

movements acquired by long

fingers (or even both arms or hands together) participate in a

manner and in movements which interrupt the former, wasting

most perfect manner, in the least of which the whole

muscular system and the joints participate.
In polyphonic playing, the hands and arms
constantly
rise and fall alternately or together, the one performing
gliding motions or oscillating, while the other is rolling,

2.

time and physical energy by superfluous oscillations, spasmodic

suspensions (the "pause" with the hand in the air), groping,

so that each member must gradually learn independence; i. e. the whole organism must gradually be so

fumbling for the keys, etc

Secondary moveimnts: Instead of simply executing a certain

etc.,

one arm, by virtue of its own

not allow the other in any way
or with what it has to do: "Let not

set movement, the hand or arm will (owing to a contrary action

on the part of adjoining muscles) commence describing other
movements which have nothing whatever to do with the principal movement and only impede its execution; such are, nervous
agitation and spasmodic curving or contracting of the fingers,
clawing with the hands, sudden stopping with the arms raised

hand know what your right hand doeth."

your
In other words: Allow nature full freedom of action; employ
both arms resolutely, intrepidly, to attain the particular or common

wrong notes, stumbling, "stuttering" with the

repeating (common faults, characteristic of a crippled
based on false methods), in fact, all awkward move-

the only way to acquire "independence of the

freedom
or dexterity of both (left and right) nervehands",
centres by a steady, gradual development of the organism.

hitting

aloft,

fingers,

technic

ments betraying lack of

trained, that, for instance,

weight and
to interfere

remarks

object;

1.

74.

i.

II.

to be

The

drawn from these general

of

that:

Each imagined tone, to be rendered audible, requires but

one principal movement: rise, descent, transfer and rolling
of the weight. It should be added, that each movement is

Chopin: Prelude
Largo

this

12

12

it

is

e.

disciplined, systematic training, a general

conclusion

practical
is,

with

left

typical fault with beginners.

The

flexibility shall

Melody

(cantilena) with accompaniment.

simplest combination

melody

(cantilena)

and

its

^^^^^

two-handed playing consists

accompaniment. The practical

in

solution of the problem is not difficult.

1. The cantilena is obtained either
by: erecting the hand, or
it
of
thus
by: lowering
(low-fall
weight),
(74):

4
etc.

I:

^^
2.

are

All

forms of accompaniment

executed

in

initiated touch,
Sle

a.
I

b.

i.

? ^

^
tLtE
in

(of the

hand)

is

followed by a lowering (of

once

after the

stroi<e,

dotted line); the

same

into the wrist (as indicated by the

at 4

(C),

etc.

=l X^l

the right and

left

hand

upon

the surface of the keys (without raising the

hand

conformity with the principles of free weighte.:

Single tones are obtained by low-fall or high-fall;

as for instance all waltz-accompaniments, etc.

Chord

Each raising

the hand), preparatory to the next rise

or vice-versa.
Thus: at 1, the hand is raised on to B", to sink bacic, at

figures (as in the above example from Chopin

are
treated tremolo (alternate raising and lowering
fL h.J)
of hand or arm), the chord being first felt and formed

or the fingers).

In

movements

in

s,

i^s or d^s, the keys

must support the playing members, oscillating

with the weight borne by the former.

The

vertically

solution lies in the natural equilibrium of the

aided
weight
by the perfect repeating-mechanism of the
instrument.

'''""'

59
Single chords may be taken in low-fall, or with the
erection of the hand. The same refers to:
figures in thirds,
sixths

and octaves.

In

quick

movements

c.

All

broken chords of three or four notes, such as

(75),

e.

Bro

''''''**^

proceed from the rolling of the fore-arm.

tremolo-action

(vibrato) predominates.

Beethoven: Op. 2 No.

Final

1.

movement.

75.

W^

I
So

also:

all

five-finger "roulades", figures

Chopin: Prelude.
76.
Vivace

in

Op.

scales,

28.

No.

florid

passages and arpeggi for instance: (76)

3.

Here one must

carefully avoid stretching the hand or

spreading the fingers, the intervals being taken with a light

skip or greater extension of the (upper) arm.

In certain figures the arm executes a
"rozving" motion,

Rowing motion
of

arm

describing an ellipsoidal figure, moving to and fro or up

f.

and down.

Skips
ezecuted

how

what

to avoi

d. All

arm

skips are executed by a free swing and descent of the

(and of the hand), connecting tone with tone as

closely as possible, in passing from key to key.

This movement must be performed with boldness and

decision,
allowing the hands and arms "free fling".
All groping, fumbling for, and striking between the
i.

keys must

e.

be avoided.

The notes must be connected

immediately, one with the other, by one principal movement

(curved projection of the arm), excluding any intermediate
or secondary movement of the hand.

%,

Dynamic

gradations

3.

With this object in view, the passages in question

must form the subject of a special preparatory study for
the hand (arm) executing them.
Dynamic gradations, more especially the three principal

styles of playing:

non-legato , legato, staccato, are to be rendered

by each arm or hand in a manner absolutely independent of the

functions and movements of the other arm or hand; the equi-

must in no way be affected

manner of playing or the style of interpretation.

librium of both hands and both arms

by any change

in

the

Non-legato always means: free

Legato: steady

arm and

lateral

fall of the weight.

displacement, steady gliding of

the

rolling of the fore-arm.

Staccato: natural rebound of the arm and hand as a whole.

These various points must never be lost sight of.
The training of each arm separately to execute its divers
functions, independent of the other arm, constitutes at once
the most essential and most difficult part of piano-technic.
It is
or each arm
shall
of the utmost importance that each hand

accomplish its task, allowing nothing to interfere with its free

action.
Thus, for instance, if one hand has to play legato, the
other non-legato, each hand (or arm) must execute the functions

and the movements required of it, with absolute independence;

the other must really "descend", etc.
e. while the one "rolls",
Bach:
Short
Preludes
and
(See
Fughetti No. VIII. Two-part InvenVIII
No.
tions, among others.
F-major).
All further ulterior technical development is based upon this
training of each hand to independency of action or movement,
and the teacher must attach the greatest importance to the
freedom and the independent motion and action of each arm; he
must not tolerate the least deviation from that which is correct,
nor allow anything to pass which the arms and hands do not
execute with the utmost surety and in the most natural manner.
The unconscious mastery of all technical and musical contrasts, of action and motion is the key to technical automatism
i.

Train<
^,',"f^
''*

of

technic

deveio
*^a*'-^
'"*''^"

60
and to the development of individual freedom of rendition and
execution.

The number of possible combinations

The three principal manners of playing
in the

interpretation

is

legion.

furnish of themselves,

of one figure (a scale, for instance), nine

different combinations:

Uft hand

61
of

Examples: 1. A sustained note with figurated bass,

a. For the outer fingers (4 or 5) (77).

hands and fingers which are only too apt to do the mem-

bers permanent injury.

Cramer-Bulow: Etude No." II.

77.

Experii

etc.

i
^

ciUs-'^iriZf^ytrUfiofiil
cf.

Observe:

Schumann: "Bittendes Kind", "Oliickes genug" (from "Kinderszenen").

Beethoven: Sonata Cj-minor. Op. 27, l^t movement.

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,

cuting a gentle rotary motion: low high, the hand not awkwardly
tilting, but carefully retaining its equilibrium; the sustained tone
5' must not be pressed nor held down with too much strain

Avoid:

by the

little

The note B^ being taken

hand must be released

in

low-fall, the

tension

once, the same resting

of the obsen

relaxed

on

finger,
weighting the key B'^ just sufficiently to hold
down and sustain the tone. (So that we change from the

the
it

at

full

5*!"

i.

e.

playing-weight suddenly to the least playing-weight.)

b.

With the inner

fingers

(1

or 2)

(78).

finger.

Cramer-Billow: Etude XVI.

78.

etc.

^I^H

Execution:

low -fall

on

<|

the

to

jJJJJJjJJJJJ|JJ^JJJ^JJJ^J
thumb:

D\

light

The same

rotary

motion from
straightened (low) position of the hand to
The thumb must not press on
the raised or curved position.

principles hold

good with the

left

hand.

(7Q).

Left h

the

Avoid

Observe

B.

the key, but merely support the light weight of the hand, without

J.

any way impeding its action.

See also Bach: Short Preludes and Fughetti (Peters-Ruthardt)
No. 4 part. I, No. 4 part. II.

79.

Cramer: Etude Vll (Bulow). (sustained notes held with the

I.

in

Observe

To

metacarpus by setting the outer

fingers 4 or 5 generally necessitates an inclining (lowering) of the
hand towards the thumb-side. The sustained tones held by
Note:

steady

the

fingers 4 and 5 (example 77)

raising the hand (erection).

may, however, also be taken by

and 2 must, however, always

in
certain
cases, it is better and
begin with low-fall, although,
more convenient to erect (raise) the thumb. This must be deterSetting of the inner fingers

mined by the musical context and by individual

habits.

outer fingers)

h.

^ fJTJ
FF4=
Here,

for

instance,

we may

connect (bind) the four Js

D\f, by one raising action.

in

"^

etc.

begin either with low-fall or

each bar with the sustained tone

Whereas, when the thumb is set, (80) the

stitutes the simplest and most usual method.

low-fall also con- wnixs

M
J.

B, Cramer:

Etude

III

gU

^
r

tt^

(sustained notes held with the

inside fingers)

(Bulow)

'ti

etc.

Beethoven: Op.

in sustain

'""' '"''
"=

2.

cj

We would add that in slow time, in andante and adagio

movements, whenever it is a question of sustaining a tone with the
inner or outer fingers, the accompanying notes (changing-notes,
passing-notes, figurations, etc.) may be played with a steady hand
alternately falling and rising (low-fall
erection) or vice versa.
Two

notes with figurated accompaniment or

sustained

with chords (thirds, sixths), etc.

a. With the outer fingers: (81, 82).

Adagio: bars 23/24

13.

or bars 27/28.

Numerous analogous passages

The passages

in

alternate lowering

will

be found

in

Bach,

etc.

question can only be rendered perfectly by

and raising (tensionflexion) of the hand with

J.

B.

the

arm

oscillating,

the hand, set lightly, holding down the thirds,

b. With the inner fingers: (83, 84),

Cramer: Etude XI (Bulow).

etc.

83.

S7^

mjj^
f

f
Beethoven: Op.

never allowing the fingers to "crush" the keys.

10,

No.

3.

Largo e mesto

b=..

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'^

(P' bar), G' (2"'' bar),

the keys held down.

be "crushed".

etc.,

fingers

also Op. 14 No.

1,

2nd movement.

and hand resting

The double notes

(thirds,

etc.)

on
must not

lightly

no

cru.hi

63

Then follow:

Here

Sustained notes with the

3.

3"^^

finger,

which then takes

ail

the weight; finally:

notes

thus for instance, when the hand rests on the li'

fingers holding an octave (85 and 86), alternate rise and
and rise) of the metacarpus is the only motion or action

5"^
(fall

Clementi, Gradus ad Parnassum.

whereas

in the latter,

fall

the middk-paris and which, as the whole hand

only be executed by straightening out the arm (86).

(triads).

In the first instances, rolling-motion is

practicable,

and

have to deal with passages essentially harmonic,',

in suspensions, changing-notes and passing-notes

in

Sustained sixths, octaves and chords of three sustained

4.

we

with figurations

Beethoven: Op.

10,

No.

3.

set,

can

Vlll.

85.

etc.

S'

possible.

86.

Etude

is

H' movement (Coda).

etc.

li';^^r^'ir^
'i^fi
Just as the violinist is obliged to economise the bow, the
pianist must here be careful to seize the inner notes in question

with one motion of the hand.

If

in

passage of one,

two or

three sustained notes ex-

aggerated extension occurs, which it is impossible for a normal

hand to grasp, the single or double notes that were to be sus-

ployment of the weight and the quiet flow of the principal

movements will overcome or prevent all dangers or difficulties.
The following are, briefly stated, the points to be observed:
1.

All

appoggiaturas beginning with the upper note (87) are

to

to
in

88.

must be released without the least hesitation, according

the principles before stated, more especially with reference
some of Schumann's and Chopin's works, numerous passages
which no small or middle-sized hands can execute.

Polyphonic playing, as a whole, is based upon an exact

distribution of the medium weight and upon a mastery of all gradations of weight, from the discharge of weight to the full weighting
As such, it comes under the laws of
of the playing member.
i.e. the theory of tone-shading, and therefore
and
aesthetics,
dynamics

had better be

The

dealt with at a

more advanced stage

of development.

^
All

All

of

tcchnic

which caused

of

the

greatest

confusion,

henceforth,

the

em-

in apj

appoggiaturas

in

connection with

1, 2,

3 or 4 notes,

as chords, are taken according to the principal movement

of the hand (of the arm), i. e., they are joined to those

notes "dragged" along with them.

in

playing, is also subject to the

figural
as the case may be.
and
rise
of
motion
fall, or rolling,
alternating
in
the
so
purely mechanical
difficulty lay solely
far,
Whereas,
movements
be
isolated
or
to
action of the fingers, the isolated,

The

appoggiaturas beginning on the lower note (88) are

taken with the hand "in erection".

of

Fignrjpuying

zz:

further on.
requisite material has been compiled

IV. Figural technic.

be ob

taken in "descent."

whmioreiMse tained,
keys

The

Otherwise, position and direction determine the manner

In consideration of the difference
executing them.
the
black and the white keys:
between
height

Appoggiaturas from the black to the white keys are

taken in "descent", appoggiaturas from the white to the
black keys, in "rising".

Notes of complement are executed

giaturas.

similarly

to

appog-

conse^

ee^,
^^iac

M
3.

4.

5.

"Gliding-notes" upwards are taken by "rising",

by "lowering" the hand.

downwards

Double appoggiaturas, in alternate rising falling, or vice

versa, according to form and position.
"Turns" beginning with note above or below are "rolled"
with a sweep of the arm and a supple, elegant curve
of the hand starting from the low or the high position,
according to the position of the hand or the musical forms, etc.
In polyphonic tttoventetits. the sustained notes determine

the motion,

i.

e.:

Suppose the thumb or 2""*

note, and the outer fingers 3,
Sweep oil

Whereas,
2'^ and

finger has to sustain a

4, 5 have to execute the

then the sweep of the arm will afford the best

and easiest means of execution.

figure,

3'^''

the outer fingers are "set", the thumb, the

fingers must execute the figure in alternate
if

rising falling;
6.

The

"transient" shake, "mordente"

and

all

of shakes are subject to the rolling -action

similar

of the

forms
fore-

arm, i. e. their execution is related to that of the

tremolo (pp. 33/34).
The same holds good of figurations in form of shakes in
connection with one, two or three held notes, and also with pro-

longed shakes (chains of trills with or without notes of complement).

The examples under Nos. 1 to 5 (appoggiaturas to turns) are
also to be executed with the assistance of the rolling-action. (See
"Natural Piano-technic", vol.
pp. 186, etc.)

I.

2n^ edition, Supplement

I.

No.

II.

ith setrm

65

CHAPTER

DYNAMICS.

TOUCH.

Dynamics.

I.

Dynamics, how
determined

AESTHETICS.

instrument, its construction, resonance, mechanism, etc., on the

other, the form of action and contact of the organs of percussion
The tone

ana-

Ivsed

How

formed

a tone "ready-made" in the construction of the instrument, the volume of which depends upon

capacity of the

whole sonorous body

of the in-

strument as also upon the form of the vibration (upper

("Timbre")

also

and

mechanism, which varies only according to the

respective volume of tone in the different registers (bass, tenor
or treble). The modulatory capacity of the tone is dependent

body
How^ modulated
f^aduated

power of gradation; so that in speaking of the

solely upon
of
the
tone" and "timbre" on the piano, where the
"formation
its

tone
Tone-colour

Nnances

is

already made,

we

can only refer to a graduating of the

tonal intensity; for we cannot really speak of a diversity of "toneIn

colour", and of "forming a tone" which is already formed.
we
can
refer
to
such
"nuances"
only
admitting "tone-shading",

as result from the vibration

Touch: the product of rapiditv

and weight

partials).

possesses a peculiar "timbre", more or less uniform,

determined in each instrument by the qualities of the vibrating
It

of,

or the form of contact with, the

playing -body, i. e. from the different degrees of zveighting the

keys or from the greater or lesser intensity of pressure and from
the velocity imparted to the key. All forms and manner of percussion
(touch), without exception, differ only in intensity,

i.

e.

in the force

applied
percussion (touch), which again results from the
product of rapidity and weight, (pp. 12 and 24.)
Hence every "stroke" and every tonal effect are dynamic proin the

All tonal effects

are the dynamic

products of discharged and

ducts:

weighted arm

intensity.

tone

all

is

tonal effect corresponds to a certain degree of dynamic

Generally speaking, the modulatory capacity of the

determined by the grades of touch proceeding from the

discharged arm up

upon

the

rapidity

weighted arm. All other effects depend

the stroke or upon particular muscular

to the

of

FINGERING.

upon the development of more or less accentuated

upon the sweep of the arm, involving the instant transfer

force,

of shoulder-power to finger and key.

As, moreover, every form of motion, action (percussion) of

the living organism has its origin in a mental impulse, it follows
that all instrumental

dynamics respond

the spirit of each individual.

to the l<ey.

The instrument produces

the vibrating

RHYTHM.

tension,

Piano-dynamics are determined by contact of the living

organs of percussion witfi tfie inorganic material composing the
mechanism of the hammer-repetition-work: on the one hand, the

and the velocity imparted

X.

The

to the

mental capacity and

richer, the

more

varied or gra- The

duated the psychical scale of sentiment or emotion, the richer

and more varied will be the dynamics of the tone diversified

by the most delicate gradations and shadings. Mental capacity

and sentiment, quantitatively and qualitatively speaking, limit and
touch

the

qualify

of

the

individual

in

those respects.

Instru-

dynamics, as such, are of no importance. The touch

becomes or proves expressive, is full of emotion of the soul or
is meaningless, void, becoming mere outward show, according
mental

the predominance of spiritual depth

See further on Touch" pp. 68, etc.
to

or external sensuality.

Indigence of colour or of singing quality

in

the touch does

not invariably indicate poverty of emotion of mind or of musical

and feeling, any more than richness of tone and colouring

ability

necessarily presupposes a superabundance of soul or sentiment.

Every tone is. in fact, the product, the expression of a mental
and moral effort of emotion
passing through a sensory appa-

ratus

extremely complicated

in

its

coarser or

more

delicate ele.

ments (sense of pressure, muscular sense, sense of position,

and necessitating the co-ordination of muscular
functions not less numerous.
the moment "percussion" How
Hence it will be admitted that,
has taken place, e. the key or keys have been played, there is no "^^^^
action, motion)

i.

means

of affecting the tone or tones sounded,

except
by the pedal. The tone continues as long as the key is held
down or is sustained by the pedal, and ceases, the moment key
further

or pedal

is

From

released.

practical

point of view, the following points

be deduced herefrom:
9*

"""'''

may

long?

66
1

2.

All degrees of tonal intensity accessible to individual capacities

a.

Applied with or without swing of the fingers,

must be tested and determined with a view of training and refining muscular sense and sense of touch (pressure) (p. 17).
The greatest importance attaches to the sustaining and prolonging of the sound, as long as the damper permits, and

b.

Applied by means of fore-arm-rolling and rotation of the

c.

upper-arm above the keys, to effect binding:

Made to rebound: staccato, and

d.

not, as hitherto, to the mechanical

The

hammering (percussion)
with the fingers, preceded by their "preparation" so contrary
to nature and purpose.

From

the
it

is

description of the mechanical structure of the

evident how absolutely useless it is to cnis/i the

bedded

If it is true (and true

key.
to affect the tone in any way, once

it

is),

it

is

that

is

it

sounded,

it

impossible
is

nonsen-

pressing the key, and holding it down with

the finger.
For, what good can the continued pressing do, if
attained
is
thereby, the tone being in no way affected?
nothing
to

sical

Away

continue

then

with

the

strength -robbing,

tiring

and with the foolish idea of "<7//^r"pressure

"pressure-torn"
when there

nothing to press.
Let us now determine the various degrees of dynamic intensity in their relation to the forms of playing, treated of in the
is

closing words
Dcfrcnof djrna

of Chapter VIII:
Natural weight of the fingers:

a.

leggiero,

leggierissimo.

jeu perU.
b.

Weight

c Weight

The
The

2.

by

rapidity (acceleration of the time).

greater sweep of the arm,

of upper-arm and shoulder.

3.

The same,

in inverse

i.

e.

upon

the participation

sense, refers to the "decrescendo" or

"ritardando".

Weight and velocity need not exclude each other, even

though weight-produced touch is based upon relaxation of the
while accelerated velocity presupposes tension of the

muscles,
muscles.

The

less the weight.

the

of

art

greater the velocity, the greater the tension, the

True!
But just as true: that the whole secret,

our

technic,

in

spite

of

these

facts,

consists

in

following up the laws of inertia and retaining the weight (though

our motto
reduced), even in the highest degrees of velocity
being: never lose the weight nor relaxation!

One fundamental principle in cultivating dynamics requires

that the fingers shall remain in constant contact with the
keys Leave ting
and that every tone shall, as far as possible, be formed upon the "i^'Te"
""" '"'
and not ivith the arm
in the air.
key

of the hand: uou-legato,

of fore-arm and hand: non-legato,

increase of the weight (weighting degree

degree).

modifications of the normal attack can only be determined

or diversified by the amount of weight employed.

instrument

with a sharp, short jerk upon the key: con bravura.

"crescendo", both in single-tones and in a series of

The gradual

1.

all

TiMraisDDndi

Thrown

tones depends upon:

Having limited all dynamic shading or grading of tone to

time and action between release of weight and weighting,

3.

legato.

suspended

itself,

degrees of tonal intensity may be considerably

reinforced or softened, with the aid of the loud

All the various

modified,

i.

e.

and the soft pedals. In all elementary grades, the pedal must
not be put down until the key is played.

Total weight of arm: martellato

All these weights may be:
d.

Preliminary Pedal Exercise:

count:

89.

zz:

I
Boot;
I.

kMT

of lone,

The

etc.

etc.

^ib.

^id.

weighting.

2:
^.

g'k

Aesthetics.

of tone also largely resolve into a question of

Beauty of tone results as a natural, inevitable

'Sid.

.2:
'SSi.

2:

9u^.

^^a

consequence from the faculty to transfer and I'oll the -weight (i.
every degree of weight) wherever, and whenever, it is needed.

aesthetics

pro-

and chords
same manner.

Practise octaves
in the

'Sta.

II.

3
-G-

Essential

the

whole

conditions being:

physical

e.

swinging action or motion of

organism of percussion, soft and round

ee.ui.i
ditions

67

hand

any and every

action or movement contrary to the object to be attained at the
time), delicate touch, instant relaxation of muscle the moment
the key is struck, a flowing, smooth action of hand and arm, and
uniform velocity.

action

A general

error

the

of

the

e.

(i.

exclusion

of

an almost unlvcrsal error to believe that to play with

the arm produces a hard, dry, a non-aesthetic tone. The very
opposite is the case. Nothing lends the tone (with however
much power it be struck) so much sweetness, fullness and
It

The

finest tone is

is

correct,

swing loose and

Principal

the

We

Thus, for instance, the softest

involuntarily greater.

or elbow, impeding the free action of the

all tension of wrist
Besides,
arm, produces an unpleasant, inaesthetic tonal effect.

tone can

as the
of

one

only be

obtained by

the

of

lap,

percussion
cannot help

stroke,

one

in

question,
parts (joints)
unpleasant noise accompanying the drop of the
mass of joint and bone. Whereas any and every secondary

hearing the
material

effect

is

precluded

by the

fall

on

to the key,

owing

to the very fact that, instead of first tapping or beating upon

the key, the hands at once sink into the same with the descent,

pressing
of

it

down, thus combining

hand and
It

is

in

one movement

(action) that

key.

just as

wrong

to

condemn

the

full,

lever-like action of

the arms, from a plastic point of view, for is it not an admitted

fact, that in the arts of acting, dancing, gymnastics, skating, rowing,

movements are the most beautiful, the

most natural and most appropriate?
From our practical point of view, all this simply means

fencing,

etc.

the

full

'

grandest, as being the

that: the tone is "beautiful", when the rhythmical action producing

The
is a correct one, i. e. a natural and an appropriate one.

free,

descending with

sonally, we cannot help shuddering

and the "beautihil" (sic) wrist-action.

really means: to play so lightly and naturally, that it shall

as
though one were witnessing a feat of sleight of hand.
"appear"
If the free fall is correct, the arm is enabled to bend and
straighten itself in a natural manner, i. e. it can perform the rise

fine,

balance and weight

uniform non-legato.

fall,

the

sight

of

the "cocked" finger

itself

instantly,

thus

varieti

producing a

of fore -arm -rolling assisted by the action

with an equal distribution of
upper-arm,
(propulsion)
most
the
perfect legato, the sound being sustained
weight, produces

The combination
of

the

as long as the damper permits.

The natural rebound of the

arm furnishes the free

staccato.

If raised (from the key) "as a whole", the result is a "porwhat the old
tato", which effect it is also possible to produce, by

e. by means of a gliding motion.

method terms: "wiping",
The leggieroleggierissimo touch, or "jeu perle" is nothing
more than the result of the fingers falling or sinking loosely
i.

(entirely detache)

amount
in

into the

keys (without active

of weighting, being just

enough

rise);

to press the

the least

key down,

addition to the natural weight of the finger plus speed.

The con bravura is determined by the rapidity of the

fall,

by a sudden, sharp jerky transference of the respective weight

to the arch-set fingers or hand, followed by instant retraction
i.e.

of the impulsory force.

the fingers participate in the swing, care must be taken

that the attack actually producing the tone emanate not from
them alone (which would be isolated action), but also from the
If

simultaneous vibrato of the hand.

Hence it follows that unity of movement and weight produces dynamic and aesthetic unity.

the

at

the rounder,
the "action".

(natural "oscillation", rolling, etc.). Hence the popular expression:

"to do it from the wrist" probably derived from piano-technic,

III.

How tastes differ, and how little importance is attached to

human body! Speaking perdevelopment of aesthetic movement (action) in the

its full

Axiom:

it,

'

allowed

it

and

is

(the arm) is

consider a scale, a passage, an arpeggio flowing and elegant,

their execution seems bound up with the action producing

members

velvety, mellow chord is struck in the descent of the swinging

arm, the whole upper- body participating in the action by a
gently swaying motion. Active partial-motion (finger, hand, forearm) of single parts must be discarded, on principle, both from
an aesthetic and from a dynamic point of view. If the motion
of great velocity is short and violent, all raising of the fingers,

whole member

when

and which

velocity being given.

the

The musical form sounds the more beautiful,

more perfectly its technical form is adapted to

produced by action
of the larger members, not by that of the smaller ones. All partial
action is harder and more angular than that of the whole arm,
since the velocity imparted to the key by smaller and more agile
little

when

weight, rolling the

weight with perfectly relaxed joints and extension of the rotary
muscles, etc., the factor of the intended velocity being given.

to

is

roundness as the swinging (elastic) fall of the whole weighted

mass with fully relaxed muscles and loosened joints, moderate or

Avoid:

action

1.

singing

The

psychical

obsei

Touch.

elements

of

beautiful,

of

grand and softj^, p,

hitman nature"^"'"'

expressive tone constitute a part

Man himself is the sound emitting and expressing

in general.

Avoid

68

The momentum, rapidity with which the key is struck.

The manner and form in which hands and fingers touch

personality, his human and his musical character, the

emotions, and the temperament of his artistic nature.
his

own

we

characters

might say: energetic

Generally speaking,
possess 3 Well defined, energetic tone, individuals of a gentle,
The
lyric nature are gifted with a soft, sweet tone, and so on.

DrpoMicat upon
'"*'**""*^

of the individual,

gentler the nature, the deeper the character is

the richer and deeper will be his power of expression. The real
source or origin of touch (attack) must be sought for in the
individual's gift, ability or power of mentally conceiving sound,
in the highly developed feeling for, and appreciation of, the
i. e

grand, the powerful, the beautiful, the soft, colouring and

intensity in expression, a feeling educated and cultivated by
Before being sounded, the tone must
association and practice.

be

perfectly cultivated

living stimulus or as
of the player.
art of musical education must be directed

Edwatioa.

Hence

train-

the

whole

mind

towards,and concentrated upon, the cultureof the musical personality

in man and upon its mental development and enrichment, as also
the refining of the mental conception of sound (sense of
tone) and upon his taste (idea of style, aesthetic and critical mind).

upon

An

condition of every style of touch is the physical

individual
of
the
to strike the key in such a way, as to produce
ability
an ideal tone. The ultimate and highest finish in his art the pupil
will learn, not through abstract contemplation, but solely through
the

essential

medium

of his sense of tone, of so-called timbre.

The

effects of

tone-colouring penetrate so deep and are so lasting, that many

a talented person has solved the problem and secret of touch

by

listening, not

by

practising.

The same holds good

of certain

peculiarities of rhythm and dynamics, of refinement in phrasing

and style. Perfect models and noble masters, both as artists and

men, and frequent hearing

n>e nKotiau

're

of

good music

perfectly

rendered

essential conditions.
II.

depend upon:

itself,

no

difference in the worid, whether the key is struck with a soft

with long, loose
hand, or with one of a certain, thick-set form
whether with the soft
fingers, or with curved, round fingers

A certain disposition of the nerves. Mental ability, bodily

constitution (full-bloodedness, anaemia, red or white blood, thick
or thin blood, etc), nourishment, climate, weather, indisposition or
disposition, inclination or disinclination certainly affect the execution.
A

certain mental concentration

upon the

3.
'

arm-weight

is

used: whether

the

of

finger

whether with

members and joints. Expressed in physical terms

nothing else than: bulk multiplied bv velocity.
5.

may

6.

less

The

for the

almost

raised,

this

means

higher, active muscular tension, which, in certain cases,

moment combine with the weight, to modify the speed.

The
in

build and shape of fingers and hands, which differ

each individual. Thin, bony hands and fingers have

weight and power to produce volume and fullness of tone,

be

finger-,

hand- or

Physioioi

than thick, fleshy hands and corresponding fingers with broad, '""""
soft tips (cushioned as it were with flesh), powerful, massive
As regards the expressive
joints and strong, muscular arms.
of the fingers singly, we may say: The second finger has
amount of singing power. It might be called the
Then follows the third. The fourth and
"declamatory" finger.

power

the greatest

fingers mostly produce a tone of less power of intensiveness, of inferior quality and not so great in volume. Yet, the
latter is often better suited to subtle, soft tone-shading, and
fifth

to the "portato" style.

The thumb excels rather by
than
of
touch, and yet it is the finger
strength
by gracefulness
best adapted for characterising passages and for executing the
dynamic signs, making up, as it does for its want of flexibility,

especially

its

awkward and slow

action,

by

its

usefulness in the broad

dramatic declamation, to which its massiveness

(more especially the ball of the thumb) lends itself most admirably.
cantilena

7.

and

in

The manner

of attack,

rhythmical impulse (velocity)

which is in turn determined by the

and the respective action preferred,

and the degree of control acquired by practice.

8. The motion in executing the attack, which may be:
a

swinging motion,

a rolling motion,
a gliding motion.

may be a motion of the whole arm (from the shoulder), or a

motion rather of separate single parts which must, of course,
always be seeking to complement and assist each other, just as.

It
it

tip,

executive, playing,

effect required.

The weight which

the

and leading organs, which must be under absolute control, and

the player must be able to employ them and put them to use
singly, or as a whole in the manner needed for the touch, to
produce the exact

with

straightened or sunk wrist, etc.

A powerful tone requires a powerful touch
a soft tone Tone-pr.
""
exacts a fine, careful observance of, and mastery over, the playing

1.

2.

or

part,

for

Physiologically speaking, the technic of touch, and touch

chirt fac

the keys is immaterial, in as far as only their own velocity, and

the velocity imparted to the key determines the tone.
It makes

and developed as a

a latent sense of colour in the

"

4.

Variety
motion

<

69
for instance, the

ghding motion

arm

participates

with

swinging, rolling or

in

any action of fore-arm, hand or finger.

The best motion:
The best motion is:
That m which all the joints and members
participate equally to
produce a imiform style of touch proceeding from the arm set
in (swinging,
rolling or gliding) motion.
Viewed from this point, (viz. from

that

of

an

undivided

motion or action of arm and hand), the question as to

the fingers are to be raised, the muscles
exerted,
must be left to the discretion and artistic taste of the individual.
effective

how much
Preparation.

'iTtiuch"

important that every motion or action preceding, or

producing, the touch should be prepared and resolved (after the
It

attack).

is

The

effect of the

touch must be conceived and formed

in

the

brain before the note is sounded, and

after it is sounded, it must again
be softened (preparatory to the attacking-motion that is to
follow).
Such preparation and resolution are best effected by:

Action

light (gentle) and soft undulating or tilting motion of the

wrist, or the loosening action produced by rolling the fore-arm.
The shape assumed by the hand in attacking the key differs
of hand

almost with every individual: one person takes the key from
above, another plays with long, spread-out (flat) hands, a third
person produces the same effect and beauty of tone with a lowset (sunk) hand.
Expressed in physical terms, the formula is

always the same: bulk mtdtiplied by velocity. If we put this into

e. the
practical terms, and say that in general the sunk hand,
hand softly posed and sinking into the keys is best suited to produce
soft tottes and shading, w^htxtdi's, the raised hand (attacking from above)

The deep swing of the hand produces a round, full and

sound tone, provided the weight and velocity required are given.
The high-swung hand is calculated rather to produce a more

The

best pose
of hand

volume and hardness of tone,

amounts to the same thing, viz.: a

calculated to bring out a great

rather than accentuation,

it

presupposed determined degree of velocity.

It is self evident that the
dynamic energy increases from the
of
descent
the
to
the
light
finger
heavy drop of the great mass (bulk)
of the whole arm falling with a full sweep from the shoulder. The
more powerful a forte is required, the higher the hand must be
raised, in order to allow upper-arm, shoulder and back full play.
Ohc form is certainly the best one, in any case:
That of the hand in a state of perfect relaxation, looseness

and

repose.

Whereas one person employs

the swinging motion, another

the gliding action and a third, the rolling motion; this

depends upon individuality and varies with individual ability, or,
prefers

The rolling motion adapts itself advantageously to

soft,
sweet, delicate tone-production, provided the motion of arm, hand
and finger is a pliant action, or in other words, provided the
velocity imparted to the key is slight.
Similarly, the gliding motion effects a grand singing quality and
The fact of this form of
possesses an ideal charm of tone.

touch not being the result of a sharp, pointed action but of a

liquid, gliding motion of the hand (sinking into, or rising from,
the keys) renders this form of motion and contact the softest
(the degree of velocity being the least), and the tone the most
beautiful of

all, owing to its being held (spun) somewhat longer

as
the
(as long
damper permits), and thus being brought out and
developed to the fullest effect of its over-tones.

Thus then

in

practising

cultivate touch, (attack)

1.

The volume
2.

the

we must

exercises

written

specially

to

concentrate our attention upon:

Exercises to develop power.

Howl
I

of tone

(its

fullness,

power and continuance,

etc.).

Exercises on pressure (weight).

The dynamic shading

or

the

Pri

of

e.,
gradation,
power
mentally conceiving the various degrees of pressure or weight;
in other words, we must train and refine our senses of consciousness: sense of position, motion, pressure, muscular exertion
i.

and of touch.

The
by

the

"felt

tone"',

i.

e.

sense of touch,

the form of dynamic attack acquired

must be able to musically reproduce

every gradation of weight. The gradually refined sense of touch

and pressure alone can develop the faculty of "gauging" the
specific

weight of the key, and of every gradation of the dynamic

scale, as also the ability to differentiate the

numerous

varieties of in-

ppp

strumental tone, from

to///, to cultivate rhythm and precision,
and educate the musical ear and the general conception of technic.
3.

Exercises to train nerve and mind and develop power

of concentration.

Intensity, i. e. the power of mentally conceiving the idea

of sound, concentration of the mind upon emotion and
expression.

by the style of composition, the ideas contained therein and the

composer's intentions.

the hand, transferred to the finger-tips.

may be

thei

accented tone, in consequence of the greater velocity

gained by stretching out the fore-arm.

The player must be

velocity, rapidity of the action.
therein
guided
by the tonal effect to be produced, by artistic taste,
it

moti

pointed,

i.

is

thc

'

Fijhlton:

to feel

the tone

forming, developing under the weight of

(Tr. n.)

70
4.

Exercises to develop dexterity and sense of rhytlim.

Velocity, lightness, grace and rhythm.

7.

Acquaintance with, and mastery over, the various musical

and styles of playing, such as:

effects
5.

Exercises in producing or blending the upper-

i.

e.

upper- partials upon the

the effect of the

and of

tone (harmonics).

Axiom: The tone produced

and

fuller its

is

the

upper- partials blend with

6.

more

All actions

the effect

tally

by means
be abandoned.

tures)

tending

connected

in the least to affect

of

with,

and

Beethoven: 32 Variations (Theme)

'*

detrimen-

the upper-partials (disturbing, impure

of using the pedal (cutting off the tone)

Bach: Wohltemperiertes Klavier.

Allegretto

Beethoven: Sonata Op. 111.

non- legato

Fuga V.

mix-

must

The

which the artist must observe,

dictated by the nwlodic form and varies with the same.
We distinguish between:
III.

Axiom: The pedal must be used in such a manner as to

produce the most perfect effect of the upper-partials blending
with the tone.

of accent, time, phrasing, style, etc.

Exercises on pedalling.

of

art

beautiful, the purer

it.

pedalling most closely

directly affecting, the upper- partials.

The

staccato con bravura

leggiero portamento
jeu-perie
the dynamic and agogic terms:
crescendo diminuendo accelerando diminuendo
forte piano sforzato and discrimination
legato

partial tones.
Colouring,

Exercises on musical touch and style.

1.

style

of touch

The dramatic

is

or pathetic declamatory style.

a. Demanding vigorous transfer of power from the

raised
arm (from the shoulder), broad setting of arm and hand, the
weight of arm and hand bearing on the key, mostly with highfall (up-movement of the hand, raising the wrist, the hand set
in high-arched position) on to massive fingers.

71

Beethoven: Concerto Ei7-major, Finale.

93.

b. Similarly

on

g SjnJ J?

Allegro

or on to

to sttig/c fingers

Schumann: Carneval

two

^ XtB J

j3i^

J)

fingers set together.

(Finale).

94.

^f^

3^

1^
^^
I

>

^ y

Chopin: Prelude No. 24

95.

(3 u.

rr

c.

With the thumb

alone.

Chopin: Sonata B- minor,

Finale.

96.

2.
a.

Tu Cantilena
c
-I
The

Which demands

hand and arm, carefully .avoiding

^^^ j^^^^ unsteadiness in the joints, and as carefully observing
a uniform, uninterrupted flowing and gliding motion of the hand.
perfectly

style:

the greatest mental

concentration,

and

balanced

action

of

Bach: Wohltemperiertes Klavier, Prelude E^-minor.

97.

Lento moderato.

-uv

33

pp dolce

& S^

Tf

i
1:^

f
10

72
Beethoven: Sonata At>-major Op. 110.

98.

i*

g^ff
b.

With a

light,

ri frt^ rt^

if

swinging motion (balance) of arm and steady- swaying hand.

Schumann: Sonata F^- minor Op.

11.

99.

Also combined with a rolling motion.

Chopin: Prelude Db-major.

^^
Sostenuto.

100.

fZJ

9-.

The question as to whether the hand should rather pose

on or sink more into the keys, is one which varies with, and
depends upon, the individuality of the player.
The hand must assume a perfectly loosened (relaxed) state
and

a broad expanded form, the fingers constantly remaining in

contact with the keys, which should be raised, as it were, by the
suction-pKJwer of the fleshy (cushioned) part of the rounded tips.

Beethoven: Sonata D- major Op.

101.

10,

No.

^r

With deep (down-) pressure of the finger-tips,

e. cornan active tension of the whole muscular system
participating, up the arm as far as the shoulder, varying according
to the volume of tone required:
e. with pressure exerted by
and
arm
or
shoulder.
hand,
finger
c.

bined

i.

with

i.

3.

te^a

73

The tension or pressure must last only until tiie note is

sounded and must be released immediately after the key is struck,
This pressure -cantilena is not so soft and not of such a rich
sombre timbre as the simple, broad weight-produced touch, but
is all the more of a decided, clear, pithy and energetic character,

It is

accordingly suited to the classic or plastic

style,

and

essential

to the polyphonic style.

3.

The non-legato touch:

With a short, energetic sinking-action of
the hand sinks into the lowered, extended

a.
fall),

the

hand (deep-

wrist-joint.

Bach-Tausig: Toccata and Fuga.

102.

Allegro.
non-legato rotations.

b.

With

vibrating

hand

(vibrato),

when

greater

velocity

is

required,

often

combined with a

rolling

motion when executing

broken forms.
Beethoven: Sonata Op. 31, No.

103.

^m

2.

Allegro.

#-a

-#

JE3t

#-#

#-# I

creso.

Beethoven: Concerto G-major

104.

c.

With

high-fall

and extension of fore-arm: jerked extension

vibrato.

Beethoven: Sonata Op. 109.

105.

Prestissimo.

J^^ ^J
i

10'

74
4.

The hand thrown with

a.

passages: staccato

brillante.

Beethoven: Rondo capriccio.

Allegro vivace.

106.

Staccato melodies:

a short jerk (often combined with a rolling motion and extension of fore-arm) in executing brilliant

^=v

^^^P^

^40-^0.

p-i^

Beethoven: 32 Variations (Var,

107.

VI).

Con fuoco.
3

tti
sempre staccato
to

Schumann: Cameval

e sforzato

etc.

2^

/"

^f

if

be played jerked, with fore-arm-extension.

(Paganini).

108.

Presto,

^g

jy molto

m^^\^^

:_

'^^^4\i^^w^

staccato

staccato

rotation.

^^^^^i
r%
Liszt:

109.

combined with

Concerto Eb-major

sempre staccato

(Finale).

75
b.

With drawn-off hand (by gliding motion), as

Liszt:

if

wiping the keys;

melodies of a

in

softer, airier character (cf. also

portato).

Etude de Concert.

cantando

110.

>!/[,

-/p-/

^-//Wp-zl

7p7|

dolce con grazia

Liszt:

Au Lac de

Wallenstadt.

111.

dolce
Beethoven: Sonata At'-major, Op. 26.
112.

^ ^.

Li^hUUi^mi
113

WKL

Mijf^^

cresc.

?f

Mozart: Fantasia D-minor.

c. With rolled,
e. dancing, or suspended (drooping) hand
and march-rhythms): leggiero
staccato.
i.

(oscillating arm), in graceful, coquette staccati (dance-music, waltz-

Schumann: Kinderszenen (Haschemann).

114.

'I

i^_ its

i ^:

y~~. t rf.-StH.

ir\

76
Mendelssohn: Rondo capriccioso.
115.

^"^^nfg

PPle
Jfp
leggiero

tJ

^gpi^Y^j^rlcrtf^

Mendelssohn: Spinnerlied.

116.

Presto.

p ^a^
\^

'^

)i
M-M-M

>

|}l

},

^iiliii

if

117.

Chopin: Etude Op. 25, No.

9.

ur
Hg^

Beethoven: Sonata Op. 31, No.

UU

'"^^

3.

Scherzo.

*
ftg=a

i^J^Jb^-Tg .

^Ep

^?j*P -77

77
Liszt:

Gnomenreigen.

119.

staccato e legger.

:^

-^

i S

w^^
w^ ^^w^
feE^

pp

pi
d.

'"^^

With clawing hand and curved

Mendelssohn:
120.

:?

^=1^

finger-tips,

5^

7jr

m P

^-^

proceeding from a rotary motion, plucked:

7~^P^7

in

so-called "harping-style".

Friihlingslied.

i^^
Schubert-Liszt: Der Erlkonig.
liebes Kind, komm geh' mit mir".

121.

#-

"Du

s:

rsG

SZj

si

;*

^^'
ii:

r^

s:
s^

espress.
Rubinstein: IV. Concerto D-minor, 2"^ movement.

Meiio mosso.

cow molto espressione

a tempo

^^

ffirr

^%
l^

sfe

m
-?fe

78

Chopin: Polonaise

A b- major,

'^

e.

In

non-legato

style

wilh

short,

sharp rebound

of the

a short jerk

whole

arm.

and return of the hand: non- legato staccato.

Beethoven: Sonata D-major, Op.

124.

Combined with

10,

No.

3.

" movement.

^^m

More with
'u

II

set fore-arm (the wrist

shghtiy fixed), also good.

^y

Bach: Wohltemperiertes Klavier, Fuga C-minor.

125.

1" movement.

Beethoven: Concerto Et'- major.

126.

(|b'-

^^

^m

FFbFF

P
hand with sunk wrist
and firm finger-tips.

Left

>

ti|tl

(con bravura)

pg

Y ^tfTMr''f^^

n
}

f:

MM

ffHP- ^

fhi

^^^,^^
With

f.

hand or arm

off -raised

(staccato

Beethoven: Concerto Eb-major

portato);

lil

hand

frequently also with wrist in sinking pose,

form

in "set"

(cf.

portato).

movement.

127.

^m

'\,^k ^p,^\

bf

The hand

Beethoven: Sonata 0-major, Op.

128.

14,

No.

to be lowered a

^
^
* =ry^^ 5 ^S
The whole chord

is

v;

<n

^^

grasped and as

it

ii

were Ufted

Beethoven: Concerto Et'-major

1*'

n v

off the keys.

51

?ii-y

r^

At the pause, the hand

sinks,

-S0

\>

ten

s5
for the next chord.

movement.

^*-^-#

0-0

-^50

0^

r^0
i

etc.

PP

af

5 5j

assuming the shape required

129.
fe

^
^

iZTM
>

little.

.^

leggieremente

fe
T7g4^

tea

fer:

etc.

2.

Andante.

^ ^^

i^

%
Right hand "set"; staccato -vibrato,

left

hand "raised

off".

11

80
g.

With a

the fore-arm.

arm-vibrato; the hand in a "fixed", set pose (held just above the keys),
s^iAccaXo pizzicato.
Frequently with a short "tapping" action with curved finger-tips:
light

Beethoven: Sonata

in

D- major, Op.

10,

No.

3.

1'*

.ff

w^ ^
^
Beethoven: Sonata

13L

in

7.

^^

^S
1*=^

El'-major, Op.

with extension of

movement.

m m^ ^

150.

or jerked,

2"^ movement.

semp re tenuto

sempre staccato
Beethoven: Sonata C-major, Op. 53.

132.

decresc.

IP

?S

ll'

movement.

iffrzl

ia
?>
i*

1i

itJ

81

Weber: Sonata Ab-major (Andante).

133.

f,

'^

jvi

^^^m y^

"'g^^

f^^
play the accompanying chords "jerked".

t^=F
h?^'^'p?^

Beethoven: 32 Variations C-minor.

Theme

(Finale).

134.

r ^U^^

'!

V'^''

}]y

^
^m
Schubert:

135.

J,

i'^

/i^

^^=^

^ E^

with a short touch of the finger-tip (curved)

staccato

pizzicato.

Guitar- and mandolin-like accompaniments, bell-like tones

and harmonics, the notes being struck with lightning rapidity,
h.

=:?

with a clawing hand (clawing

Moment

like

cat).

musical.

Allegro moderate.

ss

P& &

Weber: Sonata Ab-major Op.

ti

m ^ m

t J*

Menuetto capriccioso.

3Q.

Presto assai.

136

^m

g-

1#

1^

u^ur^^
?

p dolce

^^

k^i 'm'XT

-r

t^ t^

^9

Jbffljl

9
11*

82
Chopin: Preludes. Op.
137.

Vivace.

28,

No.

19,

83
Beethoven: Sonata Op. 10Q.
141.

Var. H.

Leggier emente.

*fe

^fe
PE^ T?^

??].?

.1

9-

S
l^^

JJ^

c.

set

(In

classic style) with a light but decided depression of the arm, the

pose (each tone requiring

its

wrist) set

on

lightly

fixed fingers:

2"^ movement.

Adagio un poco mote.

142.

CBBi

ifcr^

143.

\ixs%i^~^^^m\^ .^ji

-3^

jpjp espressivo

Beethoven: Concerto Eb-major.

H feiUi^

1" movement.
*

.ib*l'

P#-i

\?i

1^

P#-|

^
.

6.

The

first

kind:

JJY

is

etc.

nothing but a sustaining of the notes, being therefore of an agogic nature, to produce which,
the finger-tips suffices.

Chopin: Nocturne C- minor.

Lento.

m^
-

t>

!>#.

Emphasized melodic notes:

a short, decided touch, or a slight pressure with

144.

a.

hand (with lowered

special action).

Beethoven: Concerto Eb-major.

^
^

?W??^??te

mezza voce

84
auf, rufi

Bach-Busoni: Orgel-Choralvorspiele ("Wachel

uns die Stimme").

145.

Sgg

Bi

b.

The

sforzato-kind:

l.

Sj

or p

^-^

i_^

is

mostly produced from a raised pose of the hand and with a short extension of the fore-arm.

Mendelssohn: Variations s^rieuses

sf
Beethoven: 32 Variations C- minor (Var.

(Var. 8).

JP

Beethoven: Sonata F-minor op. 57 (Andante, Var.

26).

148.

^^.ri^
>

i'i

Hand

El

i^r
in

2).

fe

raised pose or low-set.

Beethoven: Sonata Cft-minor Op. 27 (Allegretto).

149.

4 ^\K

'i

4j

E=l

t->-^
2/^=^
c

Similariy

all

tonal effect required.

accents: f f f,

/^

here

2/"

2/"

although

y^

low -set hand, or

finger

/"

and hand-pressure

will

be found to produce the

85

Chopin: Mazurka G- minor.

150.

^=j?p ^mr^ r"^

^s
^m
^^^=P r^ ;^=^ f ^^ f
^ I
J
9?^^ ^
Schumann: Carneval

151.

(Chiarina).

^a

e/"

d.

firm,

All

heavier

/"

accents (especially in dramatic and pathetic style) in martellato style with

falling

or jerked arm on a high-set,

arched hand and massive fingers.

C- major

Schubert: Fantasia

152.

(Finale).

R. H.
3

i
A/ L.
/

\>m
a::!:

9-^

i^-0-(^

zz:rinf

with falling arm.

//
//.

Chopin: Polonaise

A -major.

153.

with falling arm on high set hand.

Liszt:

Concerto Eb-major

l?i

movement.

154.

etc.

b.
fe

It

fe

E
ffa.

^55^*?

:^

86

155.

Beethoven: Concerto Eb-major.

1*

movement.
etc.

g^

1^\

\^

ff

1,5:

To be

played "jerked", the hand and wrist slightly

"fixed" (clawing like a cat).

??#---^(XfifSi
7.

Fig^rated melodies:

Mozart: Sonata A-major (Var.

III).

156

Beethoven: Sonata

JE

A I'- major

158.

f^

26.

(Var. 5).

dolce

Brahms: Hsndel Variations

Op.

^m
(Var. 2).

^^^
animato

Here the action must be determined by the nature and

style

of accentuation, position, movement and direction of the tones of

the melody. The effect of rendering the tones of the melody

prominent

is

produced by a

slight

weight -produced pressure of

^ ^^r^\^'^f^

the hand,
rotary

by a short pressure of the

swing,

passages.

in

broken

forms,

finger-tips,

roulades

and

by a

tilting

staccato-like

87
In

polyphonic

melodies

respecting the progression

same

the

of several

The graceful style: Bach, Haydn, Mozart, Schubert, Weber,

Schumann, Mendelssohn, Liszt, Chopin, Brahms.

principles hold good

parts, referred to in the

Form

chapter on Polyphonic Playing Action; weight and active pressure

combine to produce the various dynamic gradations. The same holds
good of melodic double notes (thirds, sixths and octaves) and chords.

The

hand).

The tone produced must

from weight-produced touch

or finger-pressure is placed upon that note or exerted on that
All such melodic
key which bears the accent of the melody.
principal stress proceeding

are

The

Form

Such are the objective

of

technic

principles

governing the

We

dependent upon the intentions of the composer, the idea

embodied in the composition and upon the momentary disposition and special nervous affections (imagination, ear, tone-perelse is

ception, etc.) of the player.

The chief styles

we distinguish the following principal styles:

or plastic style: Bach, Beethoven and others;
here the form of touch or action must be: clear, precise,

In thc art of
1.

T/ic

touch

classic

and vigour.
The tone produced must be: grand, powerful, metallic,
non-legato).
perfect in form and noble in quality (legato
The lyriro-sentimental (romantic) style: Schubert, Weber,
Schumann, Mendelssohn, Chopin; also Liszt and Brahms.
The form of touch must be: soft, liquid, gliding or
rolling; the tone: singing, full and broad, full of emotion,
fervent and sweet (legato
portamento).
Thc pathetic style: Beethoven, Liszt, Chopin and others.
Form of touch: full of life and passion, violent, powerful,
elemental (i. e. imbued with elements of one's personal
nature); the tone produced must be: grand or pompous,
full

of character

2.

3.

based

is

portamento

and

elegant.

perle,

brilliant,

brillante

con

vibrato).

Rhythm.

essentially

upon

sentiment, rh

feeling,

emotion, i. e., like so many other things, it must be innate, it

cannot be taught or imparted to those who have not a certain

amount

of natural talent, any

more than the

essential conditions of

playing pure and simple, viz. a certain amount of innate skill,

natural appreciation of what is meant by softness, supple looseness and relaxation of the joints, etc.
Yet, while no amount of physical training can make up for
the want of a natural sense of rhythm, it is possible, in cases
where that sense exists, even though in the most rudimentary
state, to develop it to a degree undreamt of, by releasing the physiological faculties,

of

all

by freeing the playing -organs

contraction.

Besides, there are far

individuals than such as actually lack

of

all

stiffness,

physically awkward
sense of rhythm. And

more

all

as the physical organism interposes between mind and expression, it is evident that mental rhythm and freedom of force can

only be rendered audible by and through spontaneous, adequate,

and natural physical rhythm.

Physical rhythm consists

movements
component

of

all

the organs

in

the

required

harmony
in

of the

natural

playing and of

their

parts.

Sense of rhythm emancipates itself, the moment the brachial

In this manner
mechanism works freely and spontaneously.
alone can the sense of rhythm, at one and the same time, find
embodiment of expression and realize it in sound. Innate
its
alone (body and mind being indissolubly bound together)
can directly transmit its own individual rhythm and impart to
the physical organization (provided the latter has not been modi-

of touch: very calm, with full mastery and harof motion or action (quiet motion of hand and arm).

by wrong methods) a natural and harmonious

rhythmic swing; only genius divines by instinct the proper action
expressing at once in motion and tone the rhythm and spirit of

fiery

or dramatic (martellato

con bravura).
non-legato
The serious or religious style: Bach, Beethoven.

Form

mony

sublime or overwhelming,
4.

short, dainty, graceful,

flowing,
graceful,

con bravura

IV.

Rhythm

technical

effect:

bravura (leggiero

termed con

need scarcely add that, of

practico-melodic touch.
or
modified
course, they may be,
are,
by individual habits. All
art of a

be:

(staccato

of touch: perfectly light

Tonal

play of the virtuoso is merely a question of the

action of the joints and short impulse, and the result of them
brilliant

style

pleasing

con bravura).
leggiero
Thc virtuoso style:

slightly sustained or slightly emphasized: f.

and belongs, accordingly, to the

bravura playing (See chapter IV).

delicate,

playful,

>

tones

of touch: delicate, light, fleecy (dancing, drooping

The tone produced must

be: calm and broad, noble and

touching, spiritual, devotional (legato

portamento).

talent

fied

and

spoilt

the piece played.

12

pi,,
'''^

^oOsir

VtomI:

88
maun

Practically speaking,

we

have to do, is to let the physical

Nature has provided it perfectly with all
all

organism do its work.

the greatest.
It requires from the minutest to
members are released from constraint and

The moment
left

12 3 45 6
I

its

to themselves,

It

is

with the Mazurka,

different

with French waltzes and

their movements assume a rhythmic form, which, if exercised

their freedom of
naturally and simply, with nothing interfering with

the national music and dances of the Northern tribes and Slavs.

action, will suffice for,and lead to.the highest manifestations of the

characteristic being the frequent displacement of,

art.

Hence we must eradicate every injudicious, inexpedient

movement or action and follow the fundamental rules of twohanded playing. All difficulties arising from contrary action (or
movements), dynamic or rhythmical opposition, will be removed
in the

most

natural way, through steady oscillation or rolling of

the weighted part by a soft and supple "flow" in hand and arm.
The root of all rhythmic difficulty will be found in stiffness
If the body is
of the body.
supple, i. e. if its members sway
obedient to its will, every movement becomes rhythm. With a
few exceptions, those postures and movements are correct which

the

members perform without self- perceived tension

and which do not consciously stiffen the

muscles

of

the

In these the

second quarter

Special

should be bestowed on

care

commonly known

as

hand as against three

In

such cases,

if

is

or 2 bars

to chord, to descend

the tempo.
It

may

beat

linked

of

here be noticed that in waltzes and polonaises the

the bar is slightly more emphasized and lightly

to the

first

three one, three

beat

one.

of the

next bar.

The second

Thus

beat of the bar

one
is

counts:

somewhat

shorter (staccato), and so should be rendered by the hand on the

rebound and treated as syncopated between the two principal bars.

This applies also to the rhythmic essentials of the accompanying figure, which may be divided into three periods: 1. fall;
2. rebound; 3. fall, with purchase or swing-off to the following
!*

quarter-note.
Remark: Strauss' waltzes,

and

in

fact

all

genuine Viennese

waltzes are played (as Kraemer very correctly points out) in */ lime,
i. e
time grouped together, the resulting rhythm being:

2X%

the other, 3 against 4, 4 against 6, etc.

imperative that each hand follow its own
in

its

part,

independently

The
will

analysis of the part to be played

assist

in

paniment

(i.

timidity
e.

casually joining

in.

by each hand separ-

clearing up mental difficulties in the music,

the technical obstacles, as the very difficulty

consists in the correct working together

of both hand and arms.

Should

if

continue,

let

the lower part in:

the

and the harmonic flow,

hand playing the accom-

S ^-^) emphasize

its

part,

con-

"iioti

legato".
heavy
Teach the arm to descend properly and without hesitation, not
timidly groping for the keys with hand or finger and it will, of
its own accord, fall to the rhythm and measure, however quick

last

in,

the rhythmic figure ho- to mi

(two notes in one 'X,^"'"

three"

advance, the other hand as

in

but cannot remove

or in

and change

All such rhythmic figures should be played martellato and

with both hands from the very first.
It
will be found useful
to allow the accompanying hand to play the figures in question

ately

''nmrtellato"

"two against

course, boldly and steadily executing

of what the other hand is doing.

(Kraemer.)

in

often strongly accentuated, a chief

the rhythmic beat.

joints.

Dancing-rhythms must be practised with graceful descent

^j^^
of the free-oscillating mass. That is the way to study waltz-,
mazurka and polonaise-rhythms: the left arm swinging steadily
and u'i//i absolute certaintv from bass-note to bass-note, from chord

is

taining the notes of greater value and contradicting the rhythm

of the part above it.
Then reverse the order, for it depends
upon the individual, as to which of the two methods (one

emphasizing the rhythmic figure, the other,

paniment) will prove the more successful.

that

of the

accom-

The same method may be adopted

in syncopation: syncopassages should be rendered with a steady but heavy

touch, and, after mental analysis, should be played with both
hands simultaneously. The passage in question will be then
found to flow of its own accord naturally. It must be left to

syacopatic

pated

each individual to decide which hand shall be used to support

the rhythm with the slight accent, and which shall play with
greater freedom

the adverse part.

I
would suggest to musical
with
a
keen
sense of rhythm to conceive of synplayers gifted
copated passages as written in that vein of impetuous urging
forward, characteristic of syncopation: one hand "urges onward"
while the other "holds back".

Accents are rendered by erection of the hand (such as

all Accentu.i

89
melodic accents) or by low-fall (in dramatic style in martellato
or by a sudden (jerked) extension (straightening) of

utmost

the (fore)

arm, or by short, abrupt "disjunction" (con bravura),

finally

if

methods, lay less in the fingering itself than in the difficulty

for the overstretched fingers to aim at and strike the right
keys. In all rolling-forms in legato style, for instance, it is

2nd or

3"^''

possible

by

upon

falling

single fingers: thumb,

finger.

No more

set fin-

As regards ''Fingermg'\

may be

it

said

be a matter

to

strike

of individuality, depending, as it does, entirely upon the build of

the hand, its stretching capacity and general dexterity.
All the puzzled-out systems of fingering with their encum-

must also

All fingerings are the natural result of natural

7.

movements,

are the

3.

4.

movements, are disposed of as useless.

Absolute relaxation and loose oscillation (passive action) of
the thrown fingers can only proceed from "isolation".
determined solely by the sense of touch, the
perception of weight (sense of pressure and muscular
Fingering

is

sense) and by that of movement and localization, associated

with the above sense of touch.
6. All active

isolated fingering,

i.

stretching, clutching, pawing

weight of hand or arm, with

finger-spreading, overluithotit participation of the

e. all

wrist or fore-arm, must

be abandoned, as the various symptoms of fatigue and
injurious effects (tightening of the hand and fore-arm) have
their origin in

stiff

such isolated action and movements, and as

immediate loss of the weight

isolated finger-action.

Such

the inevitable consequence of

fingering leads to a result exactly
is

contrary to that desired: instead of calm collection of mind

and assurance
touch),

it

involved in

difficulties

playing"between thekeys",oneof theterrorsoftheold school.

As the weight of the finger tends towards a natural pose

We

in

playing (as

is

secured by weight-produced

gives rise to all sorts of irregularities

and technical

imperfections. Formerly each rise of the finger, raised to

oppose the antiquated method of raising the

high as ever they will go {active finger- motion)fingers
This solves all problems of fingering, which is finally determined by the intensity of the impulse, being, after all, a question
of individual energy and temperament which require but two
things: full freedom and determination.
For the typical forms of fingering (in scales and arpeggi)
those tested and sanctioned by general practice are the ones to

its

and

as

be observed.

Common

sense demands that

we shall observe the natural

we shall shift the hand as
we observe a regularity of

succession of the fingers, i. e. that

as possible; furthermore that
little

e. retain as far as possible a constant, uniform mean

movement,
pose of the hand.
Exercises in changing active fingers on one key (repetitiontechnic) must be abandoned. In passages requiring quick change
i.
e. trembling of the
of key the vibrato should be resorted to
arm with one finger or alternating fingers, according to personal
When the student has learnt to "roll"
talent and circumstances.
(with loose action from the fore-arm), he may, but need not nei.

cessarily

change fingers

in

In playing embellishments,

playing long

trills

weight and motion

and final aids.

or chains of
of loose,

trills.

dancing

fingers are also the chief

Hence, the finger-changing method, formerly resorted to for
the sake of a clear and neat touch, may be abandoned with

impunity, as the weight furnishes and constitutes the best guide

to a plastic manner of playing, provided care be taken

and index
that

each

finger

is

actually

properly

"weighted",

i.

e.

12*

">

in impossible postures and positions.

advocate passive action of the fingers loosely thrown and

extended,

late their isolated

5.

attribute the incredible

how
we

the fingers

setting the fingers

outcome of the technical apparatus set in

even fingering; uneven
motion; hence: even movements
movements
uneven fingering.
Transmission and balance of weight necessitate between
hand and fingers from the outset: a steady flow and a
reliable posture.
Let them have their own way.
As the tone is chiefly formed upon the surface of the
the fingers rather resting upon the bedded key to
key,
the
the rules of fingering which the old
support
weight,
methods dictated, with active raising of the fingers to regu-

They

To this same lifting of

of the fingers, regulating their normal action, all the exercises of the old method are rendered useless, teaching as
they do a certain fixed manner of holding the hand and

consequently:
2.

this called for special practice to learn

f^^

superfluous.
1.

29 times, and

to hit the keys correctly.

bering impediments are useless.

Weight-produced touch renders any set-down special fingering
Fingering analysed

exacted a previous testing and regulating of

difficulty in fingering according to the old

The

best to play without raised fingers. A Ct- minor scale descending two octaves required the fingers to rise 29 times and

V. Fingering.
gering

limit,

the attack.

character)

that

it

-^'

90
supports and bears the weight of hand and arm. Any loss of
the weight renders the fingers weak and causes the well-known,

"gaps" and "holes"

in

rke p*4*i

and passage-work.

noiseless (silent) change of fingers (on a bedded key)

polyphonic playing and in the cantilena must be executed

with a soft supple movement of the

The

typical

black keys
Anrid oTr.tn>.

'**

in scales

The

tilting

hand.

fingering for octaves remains 1:5, or for

for octaves: 1:3, 1:4, 1:5, are, however, not

to be recommended, owing
danger of over-tension. Where
the stretch is too great, release at once the upper or the lower
tone, whichever is not absolutely required in the melodic comAs a last resource we have still the pedal. The pupil
bination.
shouldjtherefore, be taught in the beginning to release tone or key and
trust to the pedal to

prolong and sustain the sound, as required;

foolish

and unnatural than

to clutch the keys

An

equal distribution of the weight affords, moreover, the

advantage of strengthening and thus enabling the so-called weak
fingers (4*

and

S"")

to

do any work required

of them, so that

reason

to

avoid

or

restrict

their

it,

most important
form of movement
problem.
integral

scales,

also

as regards series of fingerings in

passage-work, arpeggi,

etc.

and mentally studying every fingering

too logical to require repeating. But what

of analysing

is

is

in
is

all

forms,

is:

recognize exactly what

and execute the technical
oscillation of the joints) and
to

required to solve

Here, balance of arm (free

weight are the alf>ha and

omega

of the task set us-

Assisted by individual talent and habit, the spirit of the music

and personal taste will determine what fingering should be chosen.

No

theory, no system of fingering in the world can of themselves produce the quality of tone required.

We

nervously or timidly.

least

but

fingerings,

The adage

the

4.

more

isolated

analogous figures,

to the

is

no longer the

is

before applying

The fingeHngs

nothing

there

employment.
The time-honoured rule exacting the same fingering for both
hands, whenever possible, still holds good, not only as regards

would do

no longer to concentrate all our energy

what might verily be called "digital"
upon
but
rather
to
intellect,
develop and refine the intuitive and unconscious perception of position, motion, rhythm and dynamics.
the

well

cultivation

of

'^'="''

91

CHAPTER

HOW TO
1.
i''pcur4'"^

Object and art in practising. Friction and relaxation.

The object of practising has hitherto been grossly miscon-

strued,

the

idea

conveyed by study having been taken

to

be

identical with mechanical

practising, teacher and pupil believing
that in mechanically repeating certain movements

performed by
and hand, a hundred or a thousand times, they were actually
"practising" something which, as we now see, does not require
"practice" and is not even worth the tremendous sacrifice of
energy and time expended on its acquirement.
The methods of old pursued but one object: the develop^^^^ ^^ ^^^ muscular mcchanism of the fingers,
e. digital acrobatic feats, gymnastics, in fact.
The most important item: "economization of energy" was entirely overlooked; whereas the real
object of practice and study must be: to produce the greatest
finger

""'

work"*'^

jmnastics,
a|^

i.

tonal effect with the least expenditure of energy.

The
The

PRACTISE.
the knuckles joining finger and hand. The fingers must become so
loose and flexible as to cause the least friction in their movements. And this is the final reason, why in our technic stress

not laid

the condition (manner of holding and the positions, pose) of the playing-organs, but solely upon the form of
their manner of action or motion. The normal action of hand and
is

fingers results in a passive movement of descent or extension.

So that it matters not in the least how we hold our arms, hands,
fingers, so long as we are able to move them correctly, i. e. so as
to cause as
if

their

about

little

more

perfect the technic (law

of

to

our

move

the fingers correctly

inability.

become

to

train

and

tion)

(of

and pursuing the same aim as

which musical study is a part), viz. tm

automatic.

chief object of the exercise,

To

the

mind

to suit itself

therefore,

is:

conceive the technical purpose (mounconsciously to the same.

to

Then

muscles, joints, sinews, ligatures) and external friction (resulting

from contact between the playing-members and the instrument,

follows: the execution and reproduction by the

playingof
the
process of consciously or unconsciously assimilated
organs

and the resistance it affords, more especially as the velocity and

muscular effort increase.) The only means of diminishing the
friction consists in relaxation, both psychologically and
physiologHence all training and educating must be
ically speaking.
directed upon the solving of the mental difficulties and upon
rendering the playing-apparatus (members and joints) flexible,
pliant and obedient to the will. The greatest amount of physiolog-

motion.

caused by muscles which are brought into play

movements (e. g. those used in gripping and
into
conflict with those required in artistic and
bending) coming
skilful
piano-playing (e. g. the muscles used in extension of the
ical
in-

friction

fore-arm, rolling,
It

is

must be accepted as an axiom that nothing shall be prac- """

before the technical means have been mentally conceived nTc^'

It

tised

or unconsciously imitated. On the other hand, daily experience Powe

teaches us that the mental solution of technical problems also Teuv!
involves their physiological solution.
r
1*
gifted mdividuals.

This

is

always the case with

is

ordinary daily

etc.).

caused also by the joints, more especially by the wrist and

S"""

of strength-economy

common memory
The

We disting-

uish between internal friction (mental-nervous friction, that of the

We

Practice involves mental exertion, is a mental exercise proceeding from the "conscious" to the "unconscious", obeying the

move the arms, hands andfingers

such a manner, as to reduce the friction to a minimum.

friction as possible.

relaxed swing does not exceed the medium height of

one inch.
Friction in a psycho-physiological sense is

synonymous with mental

how

The object of our practice is

upon

same laws

leading axiom says:

less the friction, the

friction).

in

XI.

2.

Impediments and how

Friction

pediment

is

to

overcome them.

synonymous with impediment, inasmuch

produces

friction

and

friction

signifies

as

im-

impediment.

Hence the object of the exercise must at first be directed

the removal of impediments: Negative exercise.

upon

""

of mi

92

The impediments are:

1. Of a mental-nervous

may be

ception

deficient,

figure takes too long, too much time is required by the brain
to take in the visual message and telegraph it to the executive

(motorium); the message arrives

weakness and deficiency of inrmorv,

centres

Chief

late.

causes

and defects of an
intellectual nature, affecting the musico-technical side and producing
difficulties in grasping the harmony, rhythm, melody, time, tempo,
dynamics, agogics, rendition, phrasing and style The chief impediments are afforded by the notation, the manner of writing music
are:

peculiar

to

different

composers;

the

various

historical

styles

(classic or romantic) and the ages and periods of music. The chief
considerations in, the means and ability of, removing those obstacles

and the method and

practicability of

doing so depend upon: per-

sonal tem(>erament, climatic influences, willingness or unwillingness

to study, and also upon the intensity of melodic or rhythmic incentives or impressions, and the greater or lesser personal inclination
or disinclination to the work of art and the style of composition.
2. Of a physiological or functionary nature.
The arms, hands or fingers may be stiff or

clumsily

built.

We

must distinguish clearly between stiffness and clumsiness or

awkwardness: The former is absolute inability of the individual to
move his members and joints (loosely and flexibly) in the manner
required, and is, therefore, rather of psycho-physiological nature;
whereas awkwardness or clumsiness is. in most cases, merely a
psychical defect, attributable to ignorance and want of practice.
A stiff joint cannot move correctly, though the attempt be made,
while an awkward, a clumsy one will perform the right action
or movement, when it is shown how to do so by proper training
and correct practice. Awkwardness is, however, often less due
to functionary inability than to timidity and lack of confidence.
An absolutely stiff joint can but seldom and with great difficulty be
rendered loose and flexible, whereas the psychical awkward,
clumsy member can be trained and its dexterity developed.
We must also distinguish between: stiffness of the body, back.
neck and shoulders; stiffness of the upper-arm in the shoulder-joint;
stiffness
joint

of

straightening out the elbow, stiffness in the rotary

the elbow, stiffness of the wrist and in the knucklein

joints of the

grace and
thing more.
itself

fo

the

Of anatomical

4.

Of

Such are impediments attributable

to the build of the playing- organism (arms, hands, fingers); for
instance: too weak hands, hands with a small span, or too
narrow or of too delicate a build; thin bony fingers, too short
fingers; hands with immovable, stiff, tough sinews and ligaa stiff thumb; flabby,
tures; ruined hands and fingers with
shapeless, thick-set and spungy forms, and other defects. Still
more hopeless cases are hard, bony, stiff shoulders and elbows.

These
mechanism
5.

Of

nature.

a purely mechanical-instrumental nature.

are: the impediments offered by the construction

and

of the instrument.

human

a general

nature:

Constitutional defects, faults

weakness of character, lack of temperament,

energy, perseverance and concentration (apathy, absentmindedness); bodily weakness (more especially anaemia, deficient nourishment, nervousness and other inherited or acquired ills; defects
and pathoform abnormalities). To these we must add external
of personal nature,

impediments

in

anxiety, care, sorrow, struggle for existence,

life:

financial difficulties.

The removal

of

impediments

signifies

an advance towards

This negative practising continues, until absolute

perfection.
relaxation has been attained, i. e. up to the moment when a feel-

ing of perfect ease and disencumbrance sets in: then and not
till
then, when we have fully mastered the executive organs
and command and control them absolutely, does the positive
practising proper begin.
all difficulties with ease.

Now we

begin the ascent and overcome

a master differs from that of a

The work of

the greater expediency and the ease in the form

pupil only in

and manner of

practising.

3.

Various kinds

of exercises.

According to the object pursued and the impediments, the

exercises are divided into:
1.

Exercises

to

overcome nervousness, and

to

concentrate

the attention (upon the tone, the intensity of expression).

The principal exercises in concentration are exercises
for the

memory. All talent depends upon the central energy

(power) of memory. The chief characteristic of the prodigy
is

the joints.
,

members and joints, nopresupposes and embraces in

the action of his

in

this art or ability

the correct muscular action.

The removal

Viewed thus, pianoloosening of

is
a
of muscular action
o\
not
one
pla)ring
display
joint-action
in the sense of acrobatic feats.
What the student must aim at,
tion:

And

3.

of the impediments in the

joints, of itself, brings about the correct action of the muscles,
or muscular system. Therefore, we must direct our chief attenfingers.

skill

is

nature, for instance: the visual perthe mental grasping of the musical

its

phenomenal memory.

Memory
a.

By

is

developed:

training the ear, which

piece

when

playing

it,

etc.

is

best

done by singing the

93
b.

By

critical

analysis of the

harmony (explaining

these exercises

therefore: light, flowing, soft, elegant,

shortest action. The shortest movetiient is the quickest

the struc-

and
movement of arm, hand and

development, working-out, dynamics, phrasing and

ture,

style of the composition).

c.

of

By independent, personal study

movement

harmony and com-

all

encumbered by few or no
e.

practise correctly, i. e. are

impediments (the talented ones)

have, without exception, a good memory.

By educating the sensations exerted on the threshold of

consciousness, more especially the sense of pressure and

muscular exertion.

By developing and refining the sense of sound and the

power of mentally conceiving tone.
to develop power and stimulate perseverance
2. Exercises
(volume, power and fullness of tone). They are met by weightproduced touch. The means employed consist of: strength emanf.

ating from the back and shoulders, greater

members and accelerated velocity.
3.

Exercises

in

dexterity, skilfulness

sweep

of the playing

(precision

and

rapidity

of tone and velocity). The chief aids are:

Energy of mind educated to grasp, determine, and
execute ivith rapidity. The "reproductive" is the art of combining quick resolution with the greatest presence of mind.
Velocity depends upon a certain disposition of the nerves

hands and fingers on to

movements, actions occupying from '/lo to V40 second.
This kind of lightning energy, which is closely connected
with the blood and with race and temperament of the

(or of the will) to urge the arms,

4.

of the leggiero style of playing (Chapter Vl!l, p. 55).

exercises (gradation of tone). Exercises

muscular pressure, motion, position

and touch, which teach us the gradation of tone by the resistance
thus perceived when practising on the instrument.
Here also
touch
forms
the
basis.
weight-produced
We must practise from the very first what is synonyto develop the sensations of

mous

with the perception of weight, viz. the conscious

or unconscious senses of looseness and flexibility of the

arm and

power

of its parts: hand, fingers,

and the mental
of discriminating between relaxation and tension

of the muscles.

This state
for

it

is

only acquired through continual practice;

impossible, especially in the case of stiffened arms

sense of loosened and relaxed muscles, and of the passive

It
suspension of the arm as a mass.
requires patience
all

for lack of a sufficiently strong

force the will to perform momentary

conscious

to

nervous system
feats of utmost

to

skill;

fail,

such are those

ment, anaemic, phlegmatic natures,

individuals.

To possess

quantitatively, a

must

talent,

lack tempera-

corpulent,

fat,

lazy

one must not only have,

few million more

be, qualitatively,

who

cells,

but the individual

endowed with more

highly strung

nerves and quicker powers of perception, with a greater intensity of mental expansion and radio-activity of the nervous fluid.

Our

art

does not consist

in

the performance of acro-

a display of artistic skill and dexterity,

in which the finest actions and movements of the joints

batic feats, but

is

play a chief part, so that grace and elegance of action

and movement are what must be aimed at. The object of

is

with hard, vigorous, thick-set muscles and inelastic joints

to acquire, at the outset, or even in a short time, the

and time
accustom

are the talents that

shortest and quickest

Dynamic or pressure

individual, has a telling influence upon the development.

Many

The

who

those

finger.

is

produced by: fore-arm-rolling (trills, tremoli,

and other forms of rolling) and fore-arm-extensions (lightning-octaves and forms of vibrato). The shortest or quickest
movement of the hand is its passive vibrato-motion, produced by fore-arm-extension (extension
The
vibrato).
shortest or quickest motion of the fingers is the light straightening out of the same, combined with hand-vibrato, leading
to that staccato effect which we characterised in treating

position.
d. By correct exercising of the muscles and joints, based
upon the principle of relaxation. Our experience has

taught us that

is,

the more, as the muscular system needs to

to this new state, and must first gradually
cause this new mode of working, this action, to pass from
itself

unconscious perception.

We

cannot expect a
"rusted" digital muscular machine to adapt itself at once
to a mode of action diametrically opposed to that it was

accustomed to.
The moment the arm hangs
free
from
the
relaxed
suspended
shoulder, the perception
formerly

of weight will locate itself in the finger-tips,

under the control of will-power. The sum

i.

e.

will

come

and substance

nothing more than the perception of the resistance

the
i. e. the
muscles,
by
perception communicated to
the brain, of the pressure (sensation of muscular tension)
of

all is

felt

exerted by the
passively

full

mass

of the

arm

perfectly relaxed

and

pendent, bearing with its full weight upon the

With a view of increasing and refining the

key-board.

04

we
perceptive faculties in dull pupils, in this respect,
with
recommend the use of an ordinary weighing-machine,
to test frequently the weight and state of relaxation.
Exercises calculated to bring out the aesthetic qualities
(formal beauty of tone) of the instrument. Knowledge and development of instrumental effects, utilizing the positions, the resonance

6.

Let the arm oscillate and

7.

Roll the weight on, i. e. execute the rotary articulation

with a soft movement of the fore-arm.

which

calculated

to

develop musical

style

(musical

on harmony, rhythm,
mdody. dynamic shading, agogics, time, tempo, phrasing, style
and varieties of style. We must also here include the exercises
non- legato
of the usual dynamic varieties of playing: legato

They

If

10.

consist of exercises

of

fall

possible, maintain the joints relaxed in every position

Do

not tolerate a single movement other than the natural

and rounded principal motions.

Do

11.

not allow any other muscular tension or action than

that normally required to swing, rest

12.

Always

the hands and

allow

and

The object is to
of
the
a
upper-partials and the harmoperfect blending
acquire
artistic
use of the pedals.
nics, a chief feature being the
Tonal exercises (harmony of tone).

fingers

The most important and most

the final object of all exercises is to reduce
The manner of practising the musical forms and
relaxation.
by
of
playing is correct, if its execution requires the least
styles
as soon as any resistance or
it is wrong,
possible exertion,

Hence

the arm,

etc.

on the

(remaining in constant contact with the keys to be played).

Entrust all the rest to the natural abilities of body and mind
(energy, patience, temperament, musical taste,

friction

roll

to "rest"

key-board, raise them only as far as is absolutely necessary

to enable them to shift, and always let them run freely

staccato and their sub-divisions.

7.

and a loose passive

and whatever the form of playing they assume.

Exercises

beauty of tone).

freely.

the hand.

and pedal -effects.

6.

Practise fore-arm-extension

8.

5.

fall

learn

is:

to

train

difficult

etc.).

lesson

we

ourselves and educate ourselves to

have to

art.

It

is

the task of a life-time.

impediment is felt (in the muscles and joints). So that exaggerated muscular tension, pressure, stiffening the joints by exaggerated motions of extension, and other injurious, inexpedient
The hands may, however, be exactions are to be discarded.
the
the
to
utmost,
joints may be stiffened, now and then,
panded
in cases where the composition requires it, provided such action

be of but short duration. In a state of imperfect relaxation, all

When
exercises are to be studied loosely, softly, p. and pp.
the greatest impediments have been removed, the exercise
be studied with the object of obtaining musical, artistic

is

to

1.

move arm and hand

and weight.

Hence practise daily:

1.
The free fall and
uon-lcgato, on to

the

perception of weight and relaxa-

The extension

of the fore-arm:

sixths, octaves,

chords

4.

in the

fundamental

principles of

(hand

practice and

weight to the key-board.

Seek to retain it in a state of complete relaxation,
its

whether

5.

from every constraint or spasmodic contraction,

6.

moving or
relax

for its

single fingers, thirds, sixths, octaves

arm hang suspended from the shoulder.

Let the

Transmit

it

(shake-movements with rotation), more especially broken

three and four-part chords (sevenths), etc.
Five-finger roulades, scales, broken three and four-part

3.

Free

vibration of the mass: niartellato

and chords.

means:

and

freely, retaining

3.

2.

4.

and

formulate the elementary laws as follows:

hold or restrain the arm in the shoulder, which

the

joints

we may
Do not

naturally

vibrati or tremoli, oscillations) quite loose, in

a quick tempo.
The rotation of the fore-arm: tremolo, various trills, etc.

Having recognized
study,

supple, and to
their relaxation

2.

of

Daily exercises.

Only such exercises are to be practised daily, as are required to train the bodily functions to render the whole organism

per-

fection.

tion

4.

stationary,

its

work.

naturally

i.

e.

loose joints, thus rendering

it

fit

chords, arpeggi (of 2 octaves), passage-work.

Upper-arm flexion and extension of fore-arm (gliding of
the shifted hand) in legato-scales.

The

natural

rebound of the weight

in

the divers forms

of staccato, in five-finger roulades, scales, thirds, sixths,

octaves.

Exercises

'''"""'

''

95

An hour and

a half of daily practice of these exercises (which

should precede the actual practice)

will

suffice.

For each form

and transpose it chromatically

the
on
following modulatory system:
keys,
select a typical figure

159.

fc!

Eg
ra

25

arms should be rendered supple by loosening-exercises:

gymnastics of the shoulder, arm, rotation of the fore- and upper-arm.
Preliminary Exercise: extend the hand, in a state of repose,
to an interval of a sixth or an octave and rock it (up and

raising and lowering it in a natural manner, the fingers

never quitting the bedded keys, which, however, are not to be
pressed or crushed (Chap. II. pp. 17, 18)
In the same manner study chords, and finish up with exer-

down),

hands

in similar

and

in alternating

F P1

Stiff

cises for both

motion.

These

ri

I "T"^

it flexible
is the "oscillating" (swinging) alternation of the hand
and of the five fingers on one and the same key,
e. the repetition of one key by means of the hand oscillating upon fingers
1., 2., 3., 4 and 5 in succession, but in such manner, that the fingers
retain their posture in the firm-set knuckle-joints, the arm sinking
into the yielding wrist, following the elastic movements of the
latter with spring-like action.
Try to do the same in rising
which
is
not
(from below),
easy.
The "Natural Piano-Technic", vol. I. pp. 115/119 will be found
i.

to contain the instructions required in studying the

loosen

we

more

practised daily, will

than hundreds of etudes.
joints

the

rst

exercises in "longitudinal vibration" of the arm are calculated to

its

all

etc.

on

into

and,

if

develop dexterity

work

of art;

would, however, draw attention to the great importance attaching

to both,technical and musical analyses, and the benefit to be derived
^

We

rhythm, harmonics, modu-

must not omit those exercises which render the wrist

viz.
For example:
supple,
rotary motion and lateral flexion.
place the hand loose and relaxed resting on the thumb bedding
the key C-, and describe a complete circle with the hand (the
thumb acting as a pivot, the key remaining bedded), from the
low to the high and back again to the low position, (i. e. from
the extended posture of the hand to the curved position and
back again).
Practise the same exercise on the 2"'', 2"^, A^
and 5'*" fingers, more particularly on the 5"' finger, as at first it
is the most awkward.
Practise these exercises "silently".
The relaxing of the hand and its sinking back into the
relaxed wrist (fig. B. p. 21) must always be practised thoroughly.
For example: set the hand supported on the high arched

from them.

Study form,

lations, etc.;

then take up the technical forms.

V^

finger (fig. C), the wrist raised; suddenly sink the wrist, so
that the hand assume its straightened-out posture (fig. B), the
fingers, however, remaining straight from the raised knuckle-joints.

a tone

The

view, and we cannot too urgently recommend frequent, constant,

close mental study of the work of art, inaudible practice and

becomes independent of the firm

set knuckle-joints and fingers.
Practise the same exercises with
the other fingers.
To relax the wrist is more difficult on the
5"" finger, the knuckle-joint of which at first always gives with
relaxing of the wrist thus

the wrist.

Among

10 players scarcely 2 will be found

who

can,

perform this wrist-tilting movement correctly.

This exercise also may be practised on a table.
A very good exercise for loosening the hand and rendering

at the first attempt,

structure,

Teci

mus
lysh

Analyze, for instance, the structure of difficult scales, passages

or arpeggi, train the eye to take in quickly what it sees, and
to convey it cleariy to the brain, translating the dead notes into
the ideas they are intended to express, animating them and thus

mentally creating corresponding, definite, living forms, which it

becomes the task of the trained hand to reproduce through the

medium
phrase,

of
in

Every line, every period, the shortest

bar
and rhythmical figure has an outline,
every

technic.
fact

a ^^physiognomy" of

its

own.

The mind must be taught so

grasp every musical form, as to

instil

structure and outline clearly, to lay

is heard.

it

to

it, bring out its

out and execute it, before

life

into

of the greatest importance Men

and
p
in musical education, both from a technical and artistic point of

This mental vision and audition

is

trying to unravel and resolve intricate passages, suiting them to

the hand.
The conscientious student will derive more benefit

from such study than from 10 hours' thoughtless strumming.

'""'

Further hints:
1.

Always begin with the

for

its

left

natural inferiority to

hand,
its

in

right

order to compensate

companion.
13

96

of a so<alled stationary hand, but practise each exercise

with a shifting hand only, according to modulatory prin-

every figure must be referred to the general movement, to the

hand-formation in taking the keys required. Every violinist and
'cellist practises and plays with an absolute perception of the

order to accustom the hand to a steady unrolling

of the musical '-floii^. in any position between the white

He never loses sight of the formation of the hand in

position.
relation to the notes or intervals to be stopped.
And the pian-

or the black keys.

exercises and pieces evenly and uninterruptedly
from beginning to end.

ist

Rhythmic and polyphonic difficulties should be practised

If the whole study is based upon a certain
separately.

analysed

Never

2.

limit the

study of a technical element to the work

ciples, in

3. Practise

4.

musical

figure

study of

Do
Do

5.

6.

Never

8.

definite

formula,

make

special

not practise the same technical figure every day.

not always play "forte", in the non legato fall, but

often
7.

of

it.

or

leggierissimo rollings, etc.

leggiero
to attain technical perfection for the sake

p(> in

strive

go by without reading some piece at sight,

and devote a few moments to polyphonic music. Never lose
sight of the one master whose name is Bach!
practise, analyse the piece as to its
harmonic
form,
structure, rhythm, dynamics, fingering, technical

forms, etc, simultaneously committing these to memory.

As regards the aids to learning music by heart,
"Natural F*iano- Technic",

vol.

I.

chap. V.

see

"The Psychology of

Technic".
the

In

elementary

stage,

commence

with

exercises

on

[See Hugo Riemann: Catechism of

hearing and in dictation.
musical dictation, Leipzig, M. Hesse; Max Battke, Education of
musical perception, Oross-Lichterfelde, 1905, Vieweg & Son,
E.

* pi>

Dalcroze:

Rhythmic

Gymnastics,

Neuchatel,

&

Co.)
Let the pupil

Jobin
Sii

Jaques

and of the

the parts to him several times in

polyphonic passages; play
he
with
the eye or voice.
succession,
following
Above all, let us do away with the wretched old-fashioned
all

Ad:

system of mechanically reading and playing "notes" and signs.

Every phrase, line (scale, passage) or figure is to be conceived
of as part of, and taught in connection with, the whole, i. e.

the

shall then

overcome

shape of figures

A wrong
matter?

in

that

and hemi-demi-semi
lines, which

semi-demi

so

note,

long

as

slip

the

to

begin

movement

with

(action)

what

is

does

anything

it

Avoid

timi

like

correct.

"Timia accuracy
fell

off a horse,

is

the

curse

has never learnt to

of

liberty'\

ride.

He

He
that

that

never

never struck

never play correctly.

Only by boldly
swinging out and bringing the hands firmly and resolutely
down upon the keys, can technical assurance be acquired,
which is nothing more than determination and independence of
mind, will and action. And this applies to everything in connection
with piano- playing: skips, glides from bass-note to bass-note,
from chord to chord, octave to octave, etc., which can only be
sounded propeHy, if hands and arms are allowed full fling and
the

wrong

note,

will

striking,

freedom of action.
Another fault requires to be eradicated, viz. the lifting and
suspending of arm and hand in mid-air during the rests. If a
hand has nothing to do, let it rest on the key-board, till it
is

sing every one of the one-part

in

way towards achieving

bugbear so wont to haunt

are pursuing the only possible

We

quavers with their innumerable dazzling and puzzling

made the page or passage look so black.

a day

Before proceeding to

also:

we

play,

us

let

to

detail

attack aesthetically best suited to an artistic rendering.

In thus
training the eye to take in the whole at a glance, to analyse,
divide into groups and resolve with ease what we are about to

success.

Never

""^

its harmonic basis,

suit
the hand, form a clear idea of the
meaning and object of form and figure, elucidate its symmetrical
or asymmetrical structure, and determine the technical form of

reduce everything to

singly:

even the smallest

Never spend more than one or two hours a day actually

at the instrument; only those who choose the art as a

purely intellectual work: write an analysis of the piece,

commit it to memory, read it over and over again.

ftmvntoTf

must do the same, for it is easier to discriminate and pick

out the special from the general, than to reconstruct the latter
from the former, i. e. from the reunion of notes of every value

of technic alone.

profession may extend the time to three or four hours.

Technical practice should be usefully complemented by

J"'""'"'

required

again, or on the

edge of the key-board,

if

Avoid:

time

permits.
In the

the pupil

elementary stage, we would urgently recommend that

be taught to desist from pedantically counting bar ^

far too much else to do.

To read the music,
with
hands
and
and
into the bargain,
count
arms,
play
fingers
are three actions which a child cannot possibly accomplish
He will be found to stop counting of his own
simultaneously.

by bar; he has

'^""""''

97
accord, unless he plays wrongly or contracts hand and finger.
Let us have patience and not uselessly torment and rack the
brain of the poor little ones, rendering the task still more diffiinstead

cult,

of

facilitating

it

and rhythm soon enough, as

develops in mind and body.
Concentration

for

them.

flexibility

will

learn

time

They
and technical dexterity

All that is Tcqulred is conscious, conscientious study, with

concentrated attention and freshness of mind and body. Physical
What cannot be done to-day, will
exhaustion requires rest.

succeed

the

work

what we

is

to-morrow.

better

Patience

and pleasure

in

the

warm

even to the finger-tips, where the warm blood

tone is of a warm quality, full and round.

hands,

and

courses,

Those

their

do not

sit properly at the instrument and breathe

have
cold hands, the blood not coursing to the
wrongly, always
finger-tips; their touch, and the tone produced, is consequently
cold, dry and lacks all colour.

that

The importance

generally acknowledged, must, therefore, be considered one of the most important

fundamentals of the whole technic; the pupil should be trained

accordingly

when

where music

require.

is

How

How

The

producing tone and

To

of breathing
acquiring technic.

is

of

vital

breathes

importance

in

with

is

1.

the greatest technical problems, a perfect

highest and ultimate degree, of physical and
of

"idn''ui'^m

trembling,

or right

stumbling,

shivering,

anxious

blending,

moment

in

psychical energy.
hesitating at the

exhale the

every day.

by
2.

breathing

signs

state,

loss of
in

memory and those wellwhat we commonly term

Teach the pupil to breathe in a free, natural manner,

gud mental composure will prevent nervousness, heart and lungs
being supplied with all the oxygen they require. This will also
affect and
Those who breathe
improve tone and touch.
correctly, inhaling fresh air as nature requires, always have
stage-fright.

then

fill

when

that

state

and hold the breath there

becoming
air

in the pectoral

steadied;

then

slowly and uniformly.

for

is

attained,

moment,

X^

regions through the

begin

Those

gradually to
of a weakly

These exercises should then be followed up

practical application:

When

playing the up-beat, make the pupil take a full,

deep breath; then with perfect composure and ease play
the introductory bar (or even a single chord, to begin

b.

with); then exhale to the bottom of the lungs.

3.

is

wrought nervous

"set",

the

nice or complicated

knowu symptoms expressing themselves

is

moving

absolutely wrong and

the chest with air, from

is

constitution should practise these breathing-exercises every

morning and evening in well-tempered air from 6 12 times

Make

the pupil take a deep breath simultaneously with his

striking the up-beat or first bar, and retain that breath with

equal tension for 2 bars. Continue

4, 6 and 8 bars in this manner.

it

a highly

it

retain

air-column

shortness of breath, accompanied, as a natural

consequence, by a state of utter helplessness resulting in
A
pitiable bungling, for which there is no other explanation.
habit

to

until

producing a tension

the retention of the breath, producing,

does, through compression of the air, a high pressure upon
the heart, leading to an acceleration of the pulse, the result being

ma^CT'of

exe

Inhale slowly through the nose, and, without

try

to the

especially from

most dangerous

outward

same manner.

must be discarded), gradually

movements and
and
other
faults
too numerous
uncertain,
phrases,
imperfect rhythm
to mention, may all be attributed to improper management and
economy of the breath and wrong breathing.
Ncrvous anscmlc ladies, when the least excited, suffer more

as

filling

where singing is
which the individual
abdomen and chest
^""^

below,

sight of lengthy passages containing technical difficulties, the

timid shrinking from cadenzas and the fear of coming in at the

persons

from the diaphragm,

that in

shoulders (subclavian breathing

soul to music's inspiration: everything depends upon it,

not only rhythm and the broad, melodic flow of the real cantilena-style, but also the successful execution and mental command

Weak

the

is

schools

Exercises:

the pupil to take a deep full breath in a natural

the first and principal condition towards awakening

his

wrong

freely
in

air

the

method

correct

should be taught breathing

pianist

by

train

manner

All

adopted

system

The only

taught.

to breathe correctly.

The proper manner

to breathe

the

^re

yet in the elementary grade, and those Institutes

taught as a profession, should include it in

their theoretical courses.

on
5.

now

of deep breathing,

As

this,

until

the pupil's training advances, apply the

in all

he can play

same

principles
in

difficulties, in

bravura

rhythmical
long passages, cadenzas,
A systematic
passages and such as terminate in presto time.
training in deep, slow, steady breathing will also be found to
tell

most

beneficially both

upon body and mind,

art

and music.

13*

c.

ii

^^^

08
Amid

Conformably to the laws of a normal and

we must
1.

natural

technic,

purpose of which
and
"equalizing" the fingers
"precision", "detaching"
(as all these are acquired by employment of weight),

It

is

studies ever will teach

more especially the unnatural exercises with "set' fingers"

and changing-fingers, and all special exercises, such as
(Mssing the thumb under, octave-studies, etc.
All scales and exercises, the sole object of which is to
develop "velocity", independence, equality and other

3.

dumb

4.

V^Mttf, k<r

playing, in order to develop

for study is afforded in:

Bach: The
Haendel:

illu-

pianos and "machines"

mechanical practice on

all

Jackson, etc.).
All monotonous, interminable, useless repetition of one
and the same musical figure.

Velocity, i.
cular relaxation

rapidity,

is

and lightning

(Virgil,

the product of
activity.

It

is

two

factors:

attained

mus-

simultan-

e. limp, joints (more

eously with the acquisition of loosened,
the
and
of
shoulder
the
rotary articulation of the
esF>ecially
i.

dbow), of a

free, loosely oscillating arm,

performing the shortest and least movement.
Independence of the fingers and hands

hand

6.

rigidly set

the natural

on the keys.

(Jr. n.)

result

an isolated form, for no finger-

must begin at once with polyphonic

arms and hands. Excellent material

first

The

studies.

first

studies.

Bach: French and English Suites.

Bach: Wohltemperiertes Klavier.

The following works

are also to be

Emil Krause:
J.

All

staccato

J.

New Gradus

Philipp: 25

(wherever

suited

ad Parnassum.

Canons.

must be

"studies"

recommended:

to

practised non-legato
legato
the pieces), with rolling of the

fore-arm.

to soften

and

pupil has learnt to transmit and

hand and

liberate arm,

actual study of the "ivork

and studying
recurring instances and
practising

of

art',

roll

the weight,

fingers, he should take up the

and

train

mind and body by

the musical forms dispersed (in ever

in an endless variety of the
typical forms
ail

here analysed) throughout our musical literature.

In art, as in life, the most sublime
conception of the object
to be attained demands the elimination of "technical obsession"

for studies.

outcome of a light arm and

Rnger dexterity
hand acquired by steady and regular consciousness of relaxation,
by control of the impediments and by removing the obstacles
is

the

not the cause.

Bach: Short Preludes and Fughetti.

Bach: Two and three-part Inventions.

As soon as the
is

and independence of finger and

Fundamental works

in

is

it

of joint,

and fingers

also a question
of relaxation and of increasing agility of hand and brain. Attain
an independent free, attack with the arms, independent balance

and rolling of the weight,

hand will follow.

frictions;

looseness

it.

All sensible instruction

sionary ideas.
All purely acrobatic or gymnastical exercises intended to
develop extraordinary muscular power or exaggerated

"looseness" and "flexibility" and

external

complete relaxation and

should not be practised

All mechanical finger-exercises, the sole

and

internal

by

presented
of

abolish:

and pleads

work

for a

speedy

initiation

into the

beauties of the art-

itself.

Life is too short, art and its study too difficult, its domain
too vast, for us to neglect the least opportunity of penetrating
into its secrets, the moment mind and body are so far trained

as to enable the soul to grasp the

meaning and beauties

of

art.

Kirst instru

QQ

CHAPTER

XII.

CONCLUSION.
We now
body,

e.

i.

close our theory of the technical education of the

of the development of its natural playing-faculties. It

simply mean a slight, momentary fixing or a light holding, setting

of the joints and muscles of arm and hand, or finger, justified
by aesthetic reasons, for artistic or technical purposes.
Fixation practically means: to set arrn, hand, fingers in

we have seen, upon the observation of the principle

arm must be weighted and yet loose in all its movements.
The elementary movements, in their turn, are based upon four

actions:

in

is

based, as

that the

1.

RecapituiaUon

The
fall

2.

longitudiual oscillation of the arm (alternate rise

or vibration of the arm). /"^ action.

Upon

the fore-arm-extension (vibrato or tremolo-percus-

sion: hand- vibrato).

3. The rolling of the

(rolling or shaking),

actum.
4.

natural participation of the loose fingers articulating

freely to the whole motion of the swinging arm. ^'* action.

These four points of view, corresponding to the natural

functions of our body, must be accepted as norms both for
the technical education in the elementary grade and for the
middle and higher grades, even up to the stage of virtuosity.
All that which corresponds to the idea of immobility, of
"fixation", and which practically only belongs to the artistic eduof the professional pianist properly speaking, has been
omitted from this "School" which demonstrates rather the general,

cation

we

to other

natural aids to free action.

start

methods,
Contrary
from the principle that we must begin by developing looseness,
flexibility and suppleness in the physical organism, before attemptExperience
ing to strengthen and fix the muscles and joints.
teaches us that he who can let go, when and wherever he will,
fast

all

pose,

(fixed)

certain

of

part

together for a definite purpose,

key-board; for instance, in a pp

fixed

the

chord or particularly delicate legato or portato passage. This,

naturally, requires a particular muscular tension.
Prolonged

however, such as we encounter in virtuosity,

Is it
exceptions which do not come into account.
advisable to teach such things methodically? That is the great quesimmobilizations,

According to the author's practical experience and

personal feelings in the matter, such technical peculiarities should
be left to the artistic impulse of the individual, as they present
tion of dispute.

The

can hold

constitute

2"'' action.

fore-arm

rigid

when and wherever he

will,

not the other

way

themselves.
individual
certain

In

will,

passages
of his

calling for a

own

muscular tension as required by the part or

To make

it

more

clear,

we

will

add

that

by

"fixation"

we

situation.

We

affirm that in certain technical cases, and considering merely the

quality of tone, the effect produced by the descent of the loose

arm

is

inferior to that resulting

from a

lightly

borne arm work-

ing with steady, regular action and ease. Such is the case, for
instance, with regard to the absolute rapidity of certain forms,

such as: lightning-octaves, staccatissimi, rapid rolls (such as trills)

and other tremolo movements. As to the sonority itself, the
timbre, the difference between the weight- touch and that with
lightly

set

joints

is

necessarily very great.

Dynamic shading
the latter.
Swinging and throw-

the fundamental and

etc.)

gifted

has already been practically demonstrated that "looseness"

and "flexibility" are not all that is required.
may even safely

247, 250, 361, etc, 376,

fact points

It

certainly is impossible without

This

effect,

accord and unconsciously, exert a

(On
exactly the way we have to take.
the theory of "Fixation", cf. Natural Piano-Techhic, vol. I, 2"'' ed.,
Leipzig, 1905, C. F. Kahnt Nachfolger, pp. 31, 107/8, 146, etc.,
about.

certain

ing the arm, releasing the weight, the descent of part, or of the
whole physical playing-apparatus,
though the free descent be

always do produce

norm

these actions must and

The

cantilena of the higher

of technic

material effects.

100
order,

the

finer

combined with
can scarcely be

medium
moment

delicate

gracefulness,

and lightness
rhythmic motions

perfect ease

gradations of tone,
artistic

realized, technically or aesthetically,

through the

of descent and heavy fall.

Nor is it less true that the
the arm or hand has descended or been thrown upon

the instrument,

we

have

lost the

power

means

of control over the

attention"';

is

it

midway between

relaxation

and

rigidity,

and pro-

fine, constant muscular tension, holding

absolute independence (relaxation) and

duces the sensation of a

the

balance

between

retention (active stiffening) of the joints.

Consequently, fixation
of
mean
muscular tension, of
indicates
perception
(immobility)

compensation, of muscular rhythm; hence

it

is

the perception of

of producing the tone and consequently over the tone itself

so that (presupposing rapidity as determining factor) the character of

the intensity or elasticity

the descent and the weight set in action determine the quality
of the tone. If free descent of the weight be the object of

abductive muscles (synergists and antagonists) a harmony calcul-

natural

technic,

its

retention

weight lends the tone

its

is

The
volume

of "artistic" technic.

that

fullness, its consistency,

its

whole arm as a mass,

the playing, imbuing rhythm with

just as the s|X)ntaneous "attack" with

And nothing

but a perfect mastery over both these great

of
the free and ihe Jixcd styles uu7/ lead to
form,
complexities
a f>erfect equilibrium of the forces, and thus to that perfect hargrace.

mony between

technical

and

material can clog or blemish.

artistic

reproduction which nothing

The highest degree

of tonal

rhythm, perfect equality and uniformity in

the melodic outlines can only be attained by will-power with an
organism at its disposal not only loosened and ever ready for
action, but also possessing that precision and spring which alone
secures

equality
is

and uniformity of muscular power.

perhaps

the

same as

to

play

"with

To

to

object

is

between the adductive and the

to establish

bring about (through their

the desired result: the

extensions)

and suppleness
Since the
after

ject,

all,

in

natural

maximum

the playing-organs.

reproduction of
of our technic

multiformity in the means

character" in the physical

of

the

art -work

conjunctions

and

resistance -power

the

sole

ob-

exacts the greatest variety and

expression, a "firmness, full of

organism

is

an absolute

essential.

Those that would diffuse amongst others the fullness of life

e. those that
and their enormous wealth of tone and colours,
would be artists and bear the name deservedly, must be in
possession of means of expression, sufficient to meet every dei.

mand which

art

may

lay

upon them.

pre-

cision, light, floating

fixed"

ated

the

power and grandeur to

that ponderous brazen tread as of elemental powers.
The retained action, the delicate touch, glide and rise, such as we observe
in the rhythmic flight of a hovering butterfly
is what lends
lends

The

itself.

play

concentrated

'

This psychological explanation differs greatly from the rather physioMr. Jaell, of Deppe-Caland and others. Viewed from our

logical theories of

standpoint of a free and natural action of the arm (arm-swing), self regulated

(determined) entirely by artistic inspiration (will), the "active fixation" of

the third phalanx, of wrist and elbow (by rigid abduction and pronation),
constructed by those methods, affecting the natural reciprocal action of the
three principal joints and paralysing

arm and hand,

can

no longer be upheld.

MUSICAL LITERATURE, INSTRUCTION BOOKS AND THEORETlCAL WORKS, EDITED BYC. F. KAHNT NACHFOLQER, LEIPZIG.
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Versuch uber

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die

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Neudruck nach

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....

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Schule besonders

Kullak, Adolph,
6.-

Pflichten aller be-

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Theorie kennen

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Signale."

Das Pro-

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Ein Beitrag zur Asthetik der Musik

.60

Schiedermair, Dr. Ludwig,

Seidl, Prof. Dr. Arthur, vom

2.

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1.

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Musjkalisch-Erhabenen. Ein Beitrag

zur AsthetikderTonkunst. 2. Auflage
Geheftet M. 3., gebunden

Stade, Dr. F., Vom

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