OF T HE

LESC H ET IZ K Y M ET H O D
I SSU ED WI TH H IS A PP RO V A L
BY

H IS A SSIST A N T

M A L W IN E BR EE

W IT H FO R T Y - S E V E N IL L U S T R A T IV E CUT S
L E S C H E T IZ K Y H AN D

OF S

TR AN ASL T ED FR O M T HE G ER M AN BY

D R . TH . BAK ER

l
I

H A S K E LL H O U S E P U B L IS H E R S LT D .

P u b l ish ers of Sc ar c e Sc h ol ar l y B ooks

n ew v o n x . N . Y . room

1969
 Fi r t P u b lis h e d
s 1 90 2

H A S K E LL H O U S E P U B LIS H E R S LT D .

P u b l ish ers of Sc arc e Sc h ol ar l y B ooks

2 80 LAF AY E E TT ST R EE T

N EW Y O RK . N . Y . 10 0 12

L ib rary of C o n gr ess C at al o g C ar d N u m b e r : 6 8- 2 5 2 84

Sta
nda
rd Book N u m b er 83 83 - 0 2 9 0 - 4

Pr i n te d i n th e Un i ted States of Am er i ca
 TO MY H O N O R ED M A ST ER

P R O FE S S O R T H E O DO R L E S C H E T IZ K Y

T w en ty y e ars ag o I b e c am e y o u r p u p il an d for m o r e t han t en

,

y e ars you h ave c o n s id e r ed m e w o r t h y t o h o ld t h e o f c e of y o u r ass is tan t .

L et t h is b e m y j u s t ic a t io n for
p u b l is h i n g in t h is b o o k w h at o u ha ve
, , y
ta u g h t m e t h r o u g h o u t t h is l o n g
p e r io d a n d w ha
, t I in t u rn h a ve t es t ed
on h u n d r e ds of u ils
p p .

I am w e l l aw are t h at a fin is h e d p ian is t c an n o m o r e b e fo rm e d

b y ath e o r e t ic al m e t h o d al o n e t h an a p ai n t e r or s c u l p t o r c an b e t rain e d
by b o o ks o n p a in t in g or s c u l p t u r e ; n eve r t h e l ess m y b o o k m a , y c la im a
c e rt a in rig h t to e x is t if o n l y a
,
s a w e l c o m e r e m in d e r t o m a n y f o rm e r

d is c ip l es of t h e L es c h e t iz k y S c h o o l of t h e ir e arl y i n s t ru c t io n an d for t h e , ,

l at e r p u p ils as aff o rd in g ac o r r e c t id e aof t h e b as is of t h at S c h o o l

, .

F o l l o w in g t h e s p irit of t h e l a t t e r I ha ,
ve b e e n at p ain s t o avo id
e d a n tr y M w o r k d o es n ot a im a t as l a v is h o b se rv an c e of r u l e b u t is
p .

y ,

m ea n t t o b e a g u id e t o n e a n d c o rr e c t
p i a no
p l ay
ing I. am r e n d e r ed

t h e m o r e d es ir o u s of a tta in in g t h is e n d b y r e a so n of t h e h o n o rab l e
d is t in c t io n c o n f e r r ed u p o n m y w o r k by t he il l u s t r at io n s of y o u r ow n h an d .

I t h an k you m os t s in c e r e l y for t h is d is t in c t io n an d beg you t o ,

ac c e p t t h e d ed ic a t ion of t h is b o o k T h u s it o n l y r e t u rn s t o t he f o u n t a
. in

hea d w h e n c e w e all d r aw .

V I NNA
E ,
Fe b r u ary ,
1 90 2 .

M A L W IN E BR E E .
 ( T RA N SLA T IO N )

V I EN NA ,
Feb . 2 4, 1 0 2
9 .

M M . M A L W IN E BR EE .

HO N OR ED MADAM : M y b es t t h an ks f or t h e d ed ic a t io n of y o u r

b o o k w h ic h I of c o u rse a
, c c e t m os t g l a
p d l y A. s
y ou k n o w I a m f ro m
,

p r inc i
p l e n o f r ie n d of t h e o r e t ic a l Pian o M e t h o ds ; b u t y o u r e xc e l l e n t

w o rk w h ic h I h a
, v e c are ful l ly e x am in e d is s u c h ab ri l l ian t e x p os i t io n of
-i
,

m y p e rso n a l v ie w s t hat I s u bs c rib e w o rd f or w o rd t o eve r y t h in g y o u

, , ,

adv an c e t h e re in Your
.

G ro u n d w o r k of t h e L es c h e t i z k y M e t h o d l e ads

w it h a p r a c t ised h a nd a lon g t he s a m e pa t h on w h ic h for m a ,

ny y e ars ,

o u ha ve w on s u c h s t r iki n g s u c c ess as m y ass is t an t b y t e ac h in g in ac c o r d

y
w it h m y in t e n t io n . M o re o ve r t h e t o n e of y o r w o r k is n ot m o n o t o
,
u

n ou sl
y d id ac t ic ,
b u t e n l iv e n e d b y c l ev e r c o n c e it s a n d hu m o r .

A p p r o v in g t h e il l u s t ra t io n s of m y h a n d as ge n u in e an d l i f e l ike I ,

d e c l ar e yo u r b o o k t o b e t h e so l e au t h o r iz e d p u b l ic at io n e x p l an at o ry of
m y m e t h od a ,
n d w is h it a ll su c c ess a d p o p u l a
n r it y .

W i t h s in c e res t r e g ard ,

(S i g n ed ) T H EO D O R L ESC H E I IZ K Y
' '

.
 T A BL E or CO NT NT E S

A tt i t ud e at th e P i an o

T he l land an d I t s l o st u r e

So m e G e n al R u l
er es

E i g
li e r -e x e rc i se s :

1i ng . O n e- l er I'Ix erc iSe s

2li n g . T wo er E xer c i se s

3 li n g
. Th ree - er i xc rc ise
u li n g i
o

4 . Fo r- er E x e rc se

i li n g
5 . F v e- er E xe r c i se

ing(L i F e r -e x e rc se it h O n e T o n e l l e ld
F r ee l" i n g t-t '
-
ex e i c ise
'

w ih u t o t l l e ld T n
o es

P p aa
re u di r t or y St es fo r t h e D ia ni to e Sc al es

T h e Sam e, O ne T un e

h iat o n ie Sc ae s l
P p a ai n f h C h m ai S al
re r t o or t e ro t c c e

P p a a y u d i f l k C h d (T i ad
re r tor St es or l ro en or s r s)
B k n Ch
ro d (T i ad )
e or s r s

P paa y S u d i f B k n S n h h d
re r to r t es or ro e ev e t -
c or s

A l n ai n g F i n g
ter h am K y
t r
er s o n t e S e e

St yl f T u h
es o o c

( )n

C h or d s

A i p e g g ios
'

l ar e i d N o tes ; l i n Th i d a i
S c ae s r s nd S xt hs
T he H i gh e st Pa i n h d p l a i n g
rt C or -
y
T h e ( i l issando

li m l w l l isl n n e n t s

( ) n t h e I e t lal

R ul es fo r P f er orm a ce n
I . M e l d pl i ng
o
y
-
ay
2 . T em p o

3 . Rh y th m

4 A p ggi p l a i n g
. r e o- y

Fi n g ing er

P a i a d S u dy
r c t ce n t

M m n
ov e f h H an d a d A
e ts o t e n rm

Sh u ld l Hi lf o ) e\ o l e m se to th e P i an o !
'

A DD ND E A

A v eux m x

1 . Sc ale of Sc aes l
2 . Sc ale of A p ggi r e os

3. Su it e o f A p ggi r e os

C ON C LU S ION
 A t t i t u de at the P i an o

ER E o n e r e m ark b y Le sch etiz k y Sit at t h e pi an o u n co n s t ra in ed an d
:

ere c t l i k e a good h or s e m an o n h i s h or s e an d y ie ld to t he m o v e m en ts of
, ,

t h e ar m s a s fa a s n e c e ss ary a s th e rid er yi el d s to t h e m o v e m en t s of his

r ,

h or s e . Sit at s u ch a di s tance fro m t h e key b oard t h at w h en t h e ar m s are ea s i l y

b e n t t h e n ger ti p s m ay re s t o n t h e k ey s w i t h ou t eort and t h e fee t rea ch t h e
'

pedal s c o m forta b l y T he e l bows s h ou l d be h e l d nei t h er t oo c lo se to t h e s id e s n o r

.

t oo far a w ay m oreo e r t h ey s h ou ld e it h er b e o n a l ev e l wi t h t h e keys or b e h e ld

v , ,

b u t very litt le h igh er T oo low a s eat i n parti c u l ar nece ss i tates {i n a cco rd wit h
.
, ,

t h e l aws of l ev erage ) greater exe rti o n o n t h e p layer s part s o t h at h e i s c o m p el led

, ,

w he n p l ay ing fo rci bl e ch ord s to rai s e h i s sh ou ld e r s w h ic h h as n o v ery gra c e fu l l oo k

, ,
.

M an y e ve n e m i ne n t p i a ni s t s lay too l i ttl e s tre ss o n a gra c e fu l attitud e

w h i le p l ay i ng .T h ey s ee m t o t h i n k : If o n l y t h e ear b e s at is ed T h a t is n o t .

e noug h T he lis te ner s c ar s h ou ld r s t b e se du c ed t h roug h t he ey e a nd t h u s b e

.

re n dere d m ore i m p re ss io na bl e .

N eit h er doe s p o s i ng m eet wit h ou r app ro v a l: T he u s u a l p o se is to l ea n

b a c k ward wit h a s p le n eti c air and to p lay wit h s l o w n egat iv e m o v e m en t s of t h e
he ad t he ey e s r ol led he a ve n ward T h en t he re is t he no n ch al an t p o se wit h t h e
, .

di s da in fu l exp re ss io n of c ou n t en an c e ; or t he p lay er b e nd s o v e r t ill h i s h ead a l m os t

.

t o u ch e s t h e key s an d a fter e v ery p a ss age tu rn s h i s fa c e t o t h e au di en ce i s m il ing

,
n

in t errogat ion .

A ll t h is p rodu c e s a m ore o r l e ss c o m ic a l i m p re ss i o n a n d i s ap t t o inj u re t h e

,

efTec t of t h e n es t p l ay i ng T ru e fe e l i ng is n o t ex p re sse d b y m ean s of t h e p os e

.
,

n ei t he r doe s a p iaii ist s art nd ex p re ss i o n th roug h h i s m i en bu t t h roug h h i s ng e r s ;

and t ru e feel in g m an ife s t s i tse lf s po n tan e ou s l y if t h e p l ayer rea l l y h a s it

,
.
 l a]

T he H an d an d It s P ost u re
HE p s t m u s t ren ou n c e t h e o c a ll ed ar is to c at ic h and sl ende r a nd
ia n i s -
r ,

grac e f l l y for m ed w i t h we l l kep t na ils A t h orou g hl y t ra in ed p ian o

.

u , .

h an d bec o m es b roader s u pp le i n t he w r is t a n d m u sc u l a wit h b road

, ,
r,

ng er tip s -
T he n a ils too m u s t b e kep t s h ort fo t h e s p ri ngy pad of t he g er t ip
.
, , ,
r n -

y ie lds am el l o w er to n e th a n t he i ne la s ti c n ai l .

T oo l arge h a nd s are n o t a l w ay s ad v a n tageou s at t h e p ia n o ; b u t too s m a ll :

h and s are ofte a d is ad v an t age ev e n t houg h s u ch c an gen era l l y be ar fa tigu e b etter

n ,

t han l arge o n e s an d a lso m ore read il y a c qu i re t h e p ear l y tou ch Large h and s

, .
,

again sh o w s u p eri o rity i w ide s p read c h o rd s w h i c h s m a l l h an d s h a v e to m ak e

, n ,

g o od b y m ean s of d e x terit y a nd s u ita bl e arra nge m en t Fo t h e re s t t h ere h av e . r ,

be en a n d ae p ianis t s of t h e h ig h e s t ran k w it h l arge h and s a nd wit h s m a l l h a n ds

,
r , .

T he m e t hod of h o ld ing t h e m is the s a m e fo bo t h r .

Frc . 1 . H ow TO HO LD T HE R IG HT H AN D
 [ 3 ]

Pro . 2 . H OW TO HO LD r m: LE FT H AN D

T he h an d s h ou l d a ss u m e a de c ided l y v au lted for m (s ee F ig s an d . I

fo ap art fro m t h e u n p l ea s i ng a m ateu ris h i m p re ss i o n m ade b y p layi ng wi t h at

r,
,

h a nd s a n d nger s t h e o n ly w ay to ge t s trengt h i n to t h e nger s to h o l d t h e h an d

,
is

rou nd ed u p w ard T he w r is t m u s t be h e l d s o m e w h at lower t h a n t h e k nu c k le s a n d t h e

.
,

nger s s o cu rv ed t h at t h e tip j o in t s fa ll v ert ica ll y on t h e key s w h ic h are tou ch ed

-
,

b y t he ti p s of t h e nger s o n l y T h th u m b for m s t h e s ol e ex c ep tio n a s it s trik e s

.
. e ,

t h e k ey ot w i th t he t ip b u t t h e edge ; it is h e ld away fro m t h e h and w i t h t he

n , ,

ti p j o in t b en t
-
.

N ow s et t h e g e t ip s i n a n ea s y po s tu re o n v e c o n s e c u t iv e w h ite key s
n r- ,

an d p re ss t h e m d ow n t o get h er D o t h i s n ear t h e fro n t edge of t h e key s b e c au se

. .
,

t h e t ouch i l ig h te s t t h ere b do n o t h o ld t h e m at t h e v ery edge a s t h e y m ig h t

s ,
ut ,

sl i p off T h nger s b ei ng u ne q u al i n l e ngt h t h ei r v erti c a l ti p s c an n o t of co u r s e

. e , , ,

s tand i a s traig h t l i n e s ide b y s i de b ut form a l i n e cu rv ing ou tward fro m t h e

n ,

t h u m b t o t h e 3 d nger a d t h en in w ard to th e 5t h nger

,
n .
 [ 4 ]

III
W ri st - E x erc i se

S s oo n a s t h e po s tu r e of t h e h an d i s qu i te u n der c o n tro l p re ss rat h er r m l y

,

o n t h e v e w h ite k ey s an d l ower a n d rai se t h e wri s t s lo wl y a n d rep eat e d l y ,

tak i ng care ( 1 ) t h at t he h an d re m ai n s rou nded u p ward (2 ) t h at t h e nger s

,

r e tai n t h e ir p o s i ti o n (3 ) t h a t o n raisi ng t h e w ri s t i t d oe s n o t ri s e h ig h er t h an i t s
,

origi na l p o s iti o n an d (4) t h at th e u p p e r arm do es n ot fo ll o w t h e wri s t m ot io n

,
-
.

R epeat t h is exer c is e for o n l y a few day s an d W l t ll t h e h a nd s i n a l ternat io n

,
'

IV

S om e G e n e ral R u l es
H E fo l l o wi ng fu nd a m en ta l ru le s are v e ry im p ortan t e v e n fo t he g e
r n r

exer c i s e s ; t h ey s h ou l d th ere fore b e le ar ed at t h e v ery b egi n n i ng

, ,
n .

( I ) It is b e s t t o p lay all g e exerci s e s at r s t o n l y w it h a lig h t t ou ch ;

n r-

a ft er tw o or t h ree day s o ne m ay t y to g et m ore ton e a l way s en deav ori ng t o p lay

r ,
an u n e qu a l e x ert io n of p re ss u r e o n th e k e y s i n co n for m ity w i t h t h e u n e qu a l l e ngt h
an d m u sc u l ar s tre ngt h of t h e nger s Stronge s t of all is t h e t h u m b ; t h e n c o m e s
.

t he 3 d nger fo ll o we d in order of s t reng t h b y t h e 5 th 2 d and na ll y a s t h e

, , , ,
.

w eak e s t t he 4t h , B u t in t h i s c a s e we do n o t obs erv e t he o rdi n ary edu c at io na l

.

ru l e a d t reat t he weak ling w it h in du l ge n ce ; w e m u s t o n t he co n trary e x ert t h e

,
n , ,

s tr o nge s t p re ss u re o n it t o re m ed y its in e qu al i ty T he d y na m o m e t er for t h e

, .

e x e r t i o n of for ce at an y g iv e n ti m e i th e ear O ne m u s t b ear w h et h er t h e t o n e s

s .

n al l y so u nd equ a l in force A fter s o m e p ra c t ice t h e nger s w il l a cc u s t o m t h e m

.

selv e s to t h e n ec e ss ary degre e of p re ss u re .

(2 ) It is n ot we ll at t he o u t s e t t o repeat t h e ng er ex er c i s e s u n t i l fa tigu e d
.

A vo i d t h i s b y frequ e n t a ltern at io n of t h e h an d s Let u s s ay o n c e for a l l t h a t t h e .

, ,

ng er e xe r c i s e s are n ev er t o b e p l ay ed w i t h bo t h h and s toget h er

-
A ft er a ti m e ea ch .

h an d m ay p ra c ti s e l onger ; b t e e n t he n b e c are fu l n ot t o o v erti re you r s e lf

u v .

S h ou ld the h an d b egi n to fee l he a v y let it r es t S h ou ld o n e c on ti nu e p ra c ti c e o n e

,
.
,

soo n fee ls a tre m bl i ng or e v e n pai n in t he m u scl e s an d t h i s m ay inj u re t h e h a nd

, , ,
.

(3 ) W it h ou t in ter ru p ti ng p ra c t ice lo w e r an d ra is e t h e h a nd frequ en t l y w h ile

,

p l ay i ng a s de sc r ibe d in Se c t io n I II B y so d o i n g o ne p r ev en t s t h e h an d fro m
, .

gro w i ng s ti ff .

(4) W he n t h e nger i s ra ise d fro m t he key it m u s t n o t c h ange its for m , ,

bu t r e m ai n c u rv ed (s ee F ig s 4 to B en di ng t he rai s ed nger in ward or s t re t ch i ng

.
,

it ou t s ti ff an d s traig h t d oe s n ot l ook w e ll and i s a wa s te of s t r e ng th at t h e e x pe n s e

, ,

of t o n e an d v e l o c i ty .

A l way s k eep a at ch fu eye o n t h e n er ti p a d s t r ik e t h e k ey exa c t l y

(5 ) w l g

,
n

wit h t he t ip ; for t h at is t he o n l y w a y to b ri ng ou t a fu ll s tro ng t o ne ,

.

( )
6 Let u s re m ark i n ad v an c e
,
t h a t i p l ay ing a m,
e l od y f a t e o r for s tr o ng
n r ,

a cce n t s t h e bl a c k key s are s tru c k n o t w i t h r o

, u n ded bu t w i t h ou t s tret ch ed nger s
, ,
.

T he ng e rs t h u s t o u ch a wider k e y s u r fa c e a n d a re less ap t t o s l i de off

.

F i n g er- E x erc i ses

I . X CI S
O N EF I NG ER E ER SE

t he s t art t h e s i m p l e s t g e ex e r c i s e s are t h e bes t s o t h a t att e n t i on

n r- ,

c a n b e c o n c e n t ra t e d o n t h e p os tu r e of t he nger s an d wr is t .
 [ 6 ]

W h il e fou r nger s h o l d t h e w h o l e n o t es o n e n ger p l ay s t h e qu arter n ote s

,

.

R epea t eac h of t h e a b o v e an d fo ll o wing m ea s u re s a d libit u m .

H o l d ing t h e h an d a s i F ig s I an d 2 pre ss do w n t he v e k ey s toget h er

n .
, ,

an d t h e n ra is e t h e t h m b j st h ig h en oug h to let t h e key r ise to it l e v e l keep ing

u u s ,

t h e t hu m b i tou ch wit h it (Fig

n . .

N ow t h e t h u m b p re ss e s t h e k ey d o w n aga i h o l d s it am o m e n t a n d t he n
n, ,

rise s aga in .R epeat t h i s p rocedu re s e v era l t i m e s a nd t h e n c o n ti nu e in t h e s a m e

,
 FIG 5 .

m a n ner w i t h t h e 2 d nger rai si ng it abou t o n e t h i rd

,
-
of a n i n c h and s tr ik ing t h e
key re p eated l y w h i l e t h e o th er nger s h o l d t h e ir key s .
(F ig .

FIG 6
.

Pro c ee d s i m il ar l y wit h t he 3d nger keep ing t h e o t h er s d o w n

,
.
( g 6l
Fi . .
FIG .
7

FIG . 8
 9 I

N ow c o n ti nu e w i t h t h e 4t h ( Fig 7) and 5 t h nger s ( Fig

. T h ese two .

m u s t h owe v er be rai sed as h ig h as possi bl e so th at t h e h a m pered 4t h nger m a y

, , ,

a c qu i re m ore i nde pend en ce a d t h e 5 t h m o re s tre ng th

n Du ri ng t h i s exerci se of .

t h e v e ngers o fte re peat t h e w ris t m ov e m e n t d escri bed u nd er G e neral R u l e s ,

,
n
n

t o m ake s u re t h at t h e w ri s t i s l oo s e .

A fter pra c ti si g t he s e e xer c ise s fo so m e ti m e l g at o t y t h e m al so I /

n r e ,
r

J tl t t d

(c o m pare Sectio n X IV ) Fo t h i s eac h nge r a fter s tri ki ng i ts k y a s h ort s w i ft

. r , e ,

b l o w ies bac k h ig h i n i ts rou nd ed for m T h is re nders t h e nger s m ore e l a s ti c

,
.
.

2 . T wo I N G EX CI

F ER ER SES

T h is i s t h e ap p l i c ati o n of l i i I to tw o to n es

xe rc se .

l
d o w n t h e v e ke v s t h e n p l a y w i t h two nger s accord i ng to th e a bov e
ress ,

e xa m p l es W h en on e nger stri ke s i ts k v th e o th er m u st go u p at mp o T he
. e ,
e .

a c t i v e ngers sh ou l d p l a y l g at o t h e o t h er t h ree h o l di ng th ei r ke y s
e ,
.

3 . T H R EE- F I NG ER l is e Iss
 1 10 ]

nger s h o l d dow n t h e w h o l e no te s t h ree p l ay ; b t ea ch nger h o l d s

T wo ,
u

d ow n i t s key a fter s tri k i ng w h i l e t h e next i n tu rn t o p l ay 18 rai s ed at emp o

,
.

4. FO U R -
F I NG ER E X CIER SE

O ne nger h o l d s d o w n fou r p l ay a s a b o v e
, ,
.

5 . F I V E F ING ER E X CIS
ER E

Pre s s d ow n all ve keys . T h e n o ne nge r a fter t h e o th er p l ay s a nd h ol d s ,

i ts key (a s abo e ) ; etc

v

6 . F I NG ER E X CIER SE W I T H ONE T O N E H EL D

o l d th e r s t n ote of th e m ea s u re and p l ay wi t h th e nex t ng r Inac ti v e

H e .

nger s are to b e h el d h ig h i n th ei r rou nded for m ex c ep ti ng t h e t h u m b w h i c h i s ,

.

h el d be n t and l oose u nder th e 2 d nger ( e Fig se

.
 [ 12 ]

pi an o m an t h i s w o u l d h av e o bv i a t e d t he u n p l ea s an t n e cess ity of t u rn ing u n der h i s

th u m b o nc e a
,
t l ea s t
. B u t wi t h ou r i n s u fc ien t nu m b er of nger s tu rn in g u n de r
,
-

req i re s s pe c i a l p repar at ory ex er c i s e s

u .

ng e r s h o ld t h e ir n ot es o n e p l ay s
T wo nd
a nger s s
,
. T he 2d 3d mu t

form a
n a
rch u n de r w h i c h t he t h u m b m oves
, .
 FIG . 10

O n e nge r holds ,
tvvo p l ay .
 T wo nger s h o l d t h e ir n o te s w h i le t h e rig h t t h u m b pa ss ing u n d er th e m
, , ,

l ea p s fro m C to F ; t h e le ft t h u m b fro m C to G K eep t h e t h u m b b e n t and d o

.
,

n ot a ll ow it to ri s e in too h ig h a c u r v e b u t l et i t g lid e o v er t h e in ter m ed i a t e k e ys

, .

T ake c are i n a ll t h e s e exer c i s e s to keep t h e h an d qu i e t an d t h e w ri s t lo o se

,

b t u n m o ve d ; nei t h er m u s t t h e e l b o w r is e w h en t h e t h u m b pa sses u n der

u .

I n t he above fre e exe r c ise wit ho u t held n o t es t he t h u m b in t he m e as u r es

, ,

b egi n ni ng o n C p a ss e s in s t an t l y u n de r t he pa l m i a be n t p os tu r e whe n t h e
, ,
n ,

2 d nger h a s s tru c k F ro m t h e s e c o n d m ea s u re of t h i s e x er c i s e o n t h e ar m s
.
,

m u s t fo l l o w
u
p or dow n w h en t h e t h u m b tu rn s u n der or a nger t u rn s o ver .
 [ t s]

V II

T h e For m er P rep arat or y E x er c i se One T on e W i d er

FIG . 1 1 .

O n e nger p l ay s t h ree h o ld
,
.
 O ne nger h o l d s ,
w h i l e t h ree p l ay ad re m ai n d o w n a fter s tri ki ng
n .

L H . .

A ll nger s p l ay , an d r e m ai n d o w n a fter s t ri ki ng .

T he 2 d, 3 d an d 4t h nger s h o l d t he w h o l e riotes t h e t h u m b le ap ing

,

a s in t he for m e r s i m i l ar exer c i s e w i t h ou t d e sc ri b i n g too h ig h a c u rv e

,
T he w r is t.

ma y ow tu r n a trie i n t he d i recti on i w h i ch t h e h an d is m ov i ng w h e n t h e
n n ,

t h u m b s tri ke s i t s key .

ex er c i se
Free wi th ou t h el d n ote s . T he re m ark s o n t he s i m i l ar e x er c i s e o n
p 1 4 ap p l y h ere
. .
 [ 17 ]

VIII

Di at on i c S c al es

FIG . 12

FIG . 13

a a Ia
m ro r Pursue LBRARY
ama
r t 11
a
GENERAL m m o r r t: ine111 5 3
rg r 1
 FIG 4
. 1

N sc a le p l ay i ng tak e c are abo v e all t h i ng s t h a t w h e n the t h u m b tu rn s

, ,

u nd er t he ar m is n o t t h ru s t for ward wi t h aj erk b u t fo l l o ws t h e m ov e m e n t

,

of t h e h an d e v e n l y a nd h ori zo n ta ll y g l id ing a long m u c h l i ke a c ar o n rai ls

,
.

Fu rt he r m ore h o l d t h e w ri s t l oo se l y wit h ou t m o v i ng it u p or dow n

, , . T h e nger s
sho u l d a lways r e tai n t h ei r c u r v e ev en o n t h e b l ac k k ey s A s re m arked b e fore t h e
,
.
,

t h u m b pa ss e s u nder t h e p al m a s so o n a s t h e 2 d nger s tri ke s ; o n l y at t h e en d of

asc a le (p l ay i ng up w i t h t h e r ig ht h an d an d dow n wi t h th e t he t h u m b s ho u l d
r e m ain bes i d e t he h an d be n t an d read y t o s tr ik e
,
.

FIG . 1 5
 FIG . 16

HE t h u m b h o l d s D near t h e bl a c k k ey ; t h e 2 d nger s t rike s Cit p re ss e s i t

,

d o w n qu i c k l y an d t h e n pas s e s rap id ly o v er to D tt A ls o re v er s e (Fig

,
. . .

FIG . 17
 i z '
s

F ree ex er c i s e A t th e two eigh bori ng w h i te k ey s b en d th e 2 d nger a

. n

l i tt l e m ore t h at t h e gers m ay k eep i n l i n e ( Fig

,
n . .

nI bot h th e exerci s es t h e w ri st re m ai n s q u i et and l oo s e ; b u t h o l d i t a l i ttl e

h igh er t h a n fo t h e d i ato i c scal e so th at t h e t h u m b stri ke s t h e ke y m ore w i th th e

r n ,

ti p B e care fu l to stri k e th e bl a c k k e y s v er y n ear th e fro n t edge

. .

O bserv i g t h e d i re c ti o s fo bot h th e ch ro m atic and d i aton i c p reparatory

n n r

s cal e e x er c i ses begi n n ow to p ra c ti se t h e c h ro m ati c sc al e i n gro p s of th ree an d

, u

fo u r otes wi t h ou t accen tu ati on

n ,
.

P re p arat or y S t u d i es for Broken C h o rd s T ri a

( ds
)
 [ 22
]

O LD dow n the w h ol e n o te s a s l ong a s t h e qu arter n otes are p l ay ed keep i ng

-
,

t h e h and ar ch ed and th e nger s c u r v ed O fte n m o v e t h e wri st u p an d

.

do w n wi th o u t i n terru p ti g th e p l ay i ng
n .

Le t ea ch ng e r l i e a fter s tri ki ng u n ti l l t S tu rn to p l ay c o m e s agai n

, ,
. O t her
e

wise o bserv e t h e d i r ec ti o n s fo t h e pre c edi ng e x er c i s e

, r .
 [ 23 ]

FIG . 1 8

H o l d t h e w h o l e n o te s p l ay t he qu ar t er s
,
. H ere , t oo, t he 3d a
nd 4t h
n ge r s m u s t fo rm an arc h u n de r w h i ch t he t h u m b p a ss e s .

F ree e x erci s e F ro m t h e s e c o n d m ea s u re o n h and an d ar m m o v e i t h e

.
,
n

d ire c t io n of t h e n ex t t o e to b e s tru c k T he t h u m b i tu rn ing u n d er a n d t he

n . n ,

ng e r s in tu r n in g o v er s h ou l d ot d e sc r ib e t oo h ig h a c u rv e
,
n .
 FIG . 1
9

T ria
d -exe r cise in the r s t in ve r s io n .

Sa me exer c i s e in t h e s eco n d in v er s io n For b o t h in ve r s i o n s o b s e rve the

.
,

s am e ru l e s a s fo t h e fu n d a m en ta l p o s iti o n
r .

P l a yer s h av ing s u f c i e n t s tre t c h t o e x te n d t h i s e x er c i se b y a t o n e wit h ou t

fo rc i b l y c o n t or t i n g t he h an d m ay tak e u p t he foll o wi ng e xe r c i s e s
,
.
 O bserv e t he s a m e d i recti on s as for t he exerci ses wi th two nger s .

H ere . t he gers
n st ay d ow n a fter stri k i ng .

Xl

T ri a
Broke n C h ord s ( ds
)

F U E
N D AM N T AL
PO SIT IO N

I H
5 2 1 4 2 ! 2 4 1 2

I H .

FIR ST g rz c ox n l N Y EK SIO N

IR S I
'

pr acti s t h fu nd am nt al posi t i o and al so t h i

e e e n, e i i n C m aj or ;
n v ers t m s,

t h n i n all oth r k y s T h gi v en ng ri ng ap p l i es to al l
e e e . e e ma
jo and m i n or
r

k y s Il p t d fr o m th i s r l are t h e fol l ow i ng triads

e .

xc e e u e
 [ 26 ]

and for t he e t h an d t h e fu nda m e n tal po s i ti on

l f of

ma j or . A ma
jo r . E m a j or . B ma
jor . j r
Ft! m ao .

A n ot h er ru le fo t h e ngeri ng i s t h at al l broke n tri ad s s tarti ng on a b l ack

r ,

key m u st b e b egu n wi t h t h e 2 d n ger H owev er i t i s v ery u s e fu l

.
,
t h ough

s ol e l y a s an e x er c ise al so t o begi n t h e t ri ads wi t h an y nger w h i c h fal l s o n t h e

t oni c i n t he c ou r s e of p l ay i ng I . D 9 m aj or fo exa m p l e w h en p l ay i ng b rok en

n ,
r ,

triad s th e 4t h ng e r fal l s o n t h e t o n i c Do ; and i n t h e rst i n v er s i o n of G m i n or ,

t he 3 d nger fal l s o n B T h ere fore i n s tead of c o m m e n c i ng to practise t h e

9
,

D b m aj or tri ad w i t h t h e n or m a l 2 d nger b egi n w i t h t h e 4t h ; and i n G m i n or

,

begi n w i t h t h e 3 d i n stead of t he 2 d et c ,
.

XII
P re p arat or y S t u di es for Broke n S ev en t h c h ords
-
 l 23 l

A t rst practise t h e al terna ti o n of ngers o n o n l y o ne key

Th n p racti se th e di ato ni c scal e t h e brok en tri ad t h d o m i nan t se ve n t h cho rd
e
, , e
,

and th e ch ro m ati c scal e accord i ng to th e fo l l owi ng exa m p l es

Al s o p l ay th ese exer c i s e s w i t h th ree ngers an d fou r nger s

E
w i t h ea c h h and al o ne ; th e l e ft h and co rres po nd i ngl y l ower
.

al ternatio of nger s o n th e s a m e k y i n s l ow te m po i s ob s o l ete and

T he n e

s u per fl ou s ; o ne can s h ade a su ccessi o n of tones of lik pi tc h better w i t h o n e f nger

u e i .

S t y le s o f To u c h

HF d ev o tee of t h e p ia n o w h o treats th e d r y uger exerci ses d i sdai n fu l l y

.

d oes h i m sel f t h e gre ates t i j u r y ; f o s uc h ex ercises are t h s a m e f o th e

n r e ,
r

pian isti c m m b r t h e h a d as v oi ce d ev el o p m e n t fo t h si nger s v o c al

e e ,
n ,

r e
'

organs T h pu pi l s of Lesc h tiz k y w h o parti cu l arl y e xcel b y th ei r touc h a d th ei

. e e , n r

f ll war m to ne ow e th is to t h e p rope r s d of t h e
u tu exe
y rci ses C estn l to n
er

, ,
g . e ,

q u i fai t l a m u siqu e ( l t i s t wh ich o ne m u s ic ) ; th is t h pi an ist s h ou l d not

s
e
 [ 29 ]

forget ; a nd e v e n if h e b e n ot a b l e to ri v al t he e ff e c t of avo i c e or a v i ol i n h e m u s t ,

s ti ll e ndea vo r to ap p roac h th e m as fa a s p o ss i b l e r .

T his ma y be do ne i n th e rst p l a c e by m eans of awel l dev e l oped l g a

, ,to
e .

T he exe c u ti o n of t h e l g a t o i s a s fo l l ows
e T he nger i s l i fted i t h e no r m al
:
n

s ty l e o n l y w h e n t h e nex t nger h as s tru ck i ts ke v T o obtai n a l g at w lmo let

. c z
'

t h e ng e r l ie atrie l o ng e r a fter t h e n ex t to ne i s s tru c k li ke t h i s :

, ,

W he n as t r o ng fu l l to n e i s to be brough t ou t leg at o i n a cant ilena t h e

, ,

s trengt h of t h e nger s does n o t s u fce bu t m u s t be rei n for c ed b y w ri s t pres s u re i n

,
-

th e followm g way : T ou ch th e key l g t ly a nd for c e th e nger to pre ss i t do w n

i n

deep (wi t h ou t l osi ng co n tact w i th i t) b y m ean s of as wi ft u pward m o v e m e n t of th e ~

w ri s t ; at t h i s i ns tan t w ri st an d g e j oi n ts m u s t be r m
,
n T h s a m e e ff e c t m a
r
y . e

a ls o b e o b tai ned b y a rapi d dow n strok e of t h e w ri st I m m edi ate l y a fter s tri k i ng

.

t he t o ne t h e w ris t m u st retu r n to i ts n or m al posi ti on w h i l e t h e nger h o l d s th e

, ,

k ey l i gh t l y Pra c ti s e t h i s s i ngi ng to n e o n ve to n e s
. .

Fo t he t a ar t o th e key s are
s cc ot p l dow n b u t st k d ow n fro m
n r crrcc ,
r uc

a bo v e A d i s ti n c ti o n i s m ade be tween g ta ato and wri s t t a at o a cc ordi ng

. n er- J cc
J cc ,

a s t he s tri k i ng l ev er h i nge s at t h e k n u ck l e s or t h e wr i s t .

Th g e n ta a t o i s p l ayed b y th row i ng t h e ngers u p ward

er s cc Pra c ti s e .

s low l y o n ve to ne s .

H o l d i ng
t h e w ri s t l o ose l y an d u n m o ed rai se t h e b en t nger h ig h s tri k e
v , ,

t h e key swi ft l y an d let t h e nger y ba c k i nsta t l y a s at r s t l rapi d te m p o th e

,
n . n

s ta a
cc t o beco m es a o l gan n t o b e c au s e th e nger h as n ot ti m e to d ra w b a c k fu l l y
e ,

be fo re t h e n ex t s tri ke s t h e two m o ve m e n t s nearl y coi n c i di ng

,
.

Prac ti s e t he g er st a a n t o at r s t o n fou r to nes

cc t h en t h rough t h e scal e i n ,

a l l key s B egi n s l ow l y i ncrea s i ng gradu a l l y

.
,
The t h u m b i s c arried u nder th e .

pal m a s fo t h e leg at o sc al e s
r .

I t h e w ri s t st a a
n
t o th e b en t nger i s t h r o w n u p o n th e ke y w i th ou t fu rt h er
cc

He re nge rs and h and m us t r tai n th i r posi ti on T h i s m eans th at th e e e .
,

ngers as i n Fi nge r exerci se o 6 m u st co ver th i r res pecti v e k e y s and th e wri s t

,
-
r
.
,
e
,

m u s t y i e l d nei t h er to rig h t n or l e ft .

l l ay ad lz o
it u m t h roug h al l k ey s
'

P ract i se th e l ast two exercises i brok n c h o rds t h roug h o ne oc tav e at rs t

n e ,

i n a l l i n versi o ns t h n th roug h s v ra l oc ta v es A l so al [foil m th rou g h al l ke y s

,
e e e . r /4 .

R e tai n t h e posi ti o n as f a as poss i b l e bu t fo l l ow th e sidewa y s m ov e m en t

r ,
.

of th e ngers y i el d i ngl y w i t h t h w r i s t e .

T h rap p i ng so u nd of th e g
e ti ps i n t a at o can no t b av oi ded Bu t i t
n e r s cc e .

d oes n o h ar m a nd i n t he bu rl es q u e st y l e g M endel sso h n s Sc h er zo op 6

, ,
e . .
,
'

,
. i ,

ev e n h as a good e ffec t .

I n th e w ri st t a at o th e w r i s t m o v e m en t of cou rse beco m es s h orter th e

-
s cc ,

fa ster o p l ays l v er y rapi d te m po t h ngers h ave to s ta y c l ose to th e k e y s

ne . n e ,

and t h h a nd m o ve m e t rese m b l es a q u i ve ri ng
e -
n [f o i l l strati o n th e fo l l owi ng . r u ,

assa ro m Beet h o v e n s So nata

l) e
8 f l O N o 0 I .

P restissim o .

An o th r s h o rt k i d o f tou c h i s t h l i ft d t o n
e n I o th i s th e w ri st i s l oose
e

e e .

t
r , ,

w h i l t h g j oi ts a r m
e e n er n i a s t at o f ten si on
re T h b n t nger tou c h es
-
n e . e e

t h e k y l igh t l y a nd no i se l ss l y p ress s i t dow wi t h a swi ft s h o rt s trok e a nd i s

e e ,
e n , ,

i nstan t l y li fted fro m th e k e y b y th e y i g back of t h e h a nd fro m t he w ri st l n n

.

co n t i nu ou s p l a y i ng th e ex t nger f al l s o n i ts k wi t h ou t h esi tati o n \V h e n tw o

,
n ey .
 In t h e n ex t exa m p l e t h e m ark ed n ote i s t reated a s a l i fted ton e by rea so n of
t h e n er to ne e ff c t and m ore el eg a t p h r as i ng al t h ough i t i s

e n
,
A l so tak e
t he p eda
L

SC H U M A N N Par n u m s

Fi nal l y i n t h e l o t am t o t h e n g er presses d ow t h k y s l ow l y h ol d s i t
,

r en ,
n e e ,

r m l y for a m o m en t a nd i s t h n l i fte d b y s l ow l y rai s i ng th e h a nd and forear m

, e .

XV
On O c t av es
begi n wi th p racti se th e fol l owi g p rep aato y studi s wi th ea c h h and
,
n r r e

a l one
 [ 32 ]

h o l d i ng th e w h ol e note w i t h t he ti p of t h e l i ttl e nger w h i l e t h e t h u m b ea s i l y , ,

c u rv ed bu t r m i n th e j oi n t p l ay s th e qu ar t er n ote s taccato Li ft t h e t hu m b at
,
-
,
s .
,

m o s t a h and bread t h a
, ,
n d s tri k e th e k ey b y m eans of a twi s ti ng m oti on of t he w ri s t ,

w h i c h i s h el d so m ew h at h igh er A fter t h i s l et th e t h u m b h o l d i t s k e y w h i l e t h e
.
,

ou ts tret c h e d and s ti ff ened 5 t h nger p l ay s T h i s exer c i se s trength en s b ot h nger s

.

greatl y bu t ough t n ot to b e pra c ti sed too l o ng as i t i s fatigu i ng

, ,
.

A fter th e p reparatory exer c i se s proceed to t h e p ractice of J t accat o o c tav es .

Pl ay t h e m i n t h e s t y l e of t h e w ri s t st accat o tak i ng c are t h at t h e wid t h of th e s tretc h

,

betwee n th e l st and 5 t h nger s d oe s n ot ch ange w h e n th e h and i s l i fted s o t h at ,

th e octav e m ay be stru ck s q u arel y and cl ean .

ay t h i s an d th e fo l l o wi ng o c tav e exer c i se s s l ow l y and for c i bl y at r s t ot

Pl
,
n

try i ng a m ore rapid te m po n ti l l ater I th i s l atter as fo th e w ri s t st a at o t h e

u . n ,
r -
cc ,

nger s are h el d n ear t h e k e y s and t h e h and m ov e m en t re s e m b l es a fl u tteri ng -

.

B roken ch ords i n octav e s are parti c u l arl y h ard to p lay cl ean on t h e wh i te

key s o n acco u n t of th ei r di s si m i l ar i n terval s T o l earn to p l ay th e m c o nd en tl y
, .
,

d es pi te th i s d i fficu l t y so l fa th e na m es of th e n ote s m en tal l y as y ou s tri k e t h e m

,
-

w h i l e practi si ng : c c ,
g c c ,
g etc o
c-r t hi
, k th e i
c- n terv
,
a l.
(t h
,
i rd t h i rd fou rthn , , ,

I q u i te a s h o rt ti m e th e ngers w i l l gai n con d en c e j u s t a s if t h e y t h e m

n ,

s e l v es h ad learn ed to recogn ize th e i n te rv al s .

Pl ay f o t e and f o t i m o octav es wi th a r m w r i st h el d h igh as i t i s ab s o l u tel y

'

r r t rz ,

i m possi bl e to b ri ng th e m ou t w i t h a l oose w ri st .
 c tav es a p l a y ed l g at o w i t h an u n m o ved bu t ot sti ff w ri st and w i th
O re e , n
,

ngers gl id i ng c l ose ov er t h e k T h i s gl id i ng bi nd s t h e tones al m ost m ore t h an

ey s .

th e ng rs d o I ascend i g t h e righ t t h u m b sh ou l d be h el d as f t h ( ili a d o ;

e . n n , or e ss n

i n descend i ng h o l d th e l e ft th u m b si m i l arl y
,

T h ng ri g fo both t a a
e e
to a d l
n r
ga t o octa v es i s t h e
s cc
5 t h nger o wnh i te e
, n

k ey s t h e 4t h o n b l ack W h en p l ay i ng o n ei th er w h i te o r bl ack k e y s al on e a nd
, .

leg at o t h e 5 t h and 4t h gers al ter a

, te a fo l l ow s
n n s

S m a l l h a d s w h i ch nd t h e ex e c u ti on w i th 1 4 too d i ff i c u l t or c an not
n ,

,

d ev el op stre ngt h e n ou g h s h ou l d al w a y s e m p l oy t h e 5 t h nger

, .

A n e ff ec t e m p l oy ed i n y ou t h b y Lesc h etizk y and n ow i n gen e ral v ogu e i s , ,

t h at of aft e s tri k i ng octav es T h ey are s u bs ti tu ted for pas s age s w ri tten i n si m p l e

r- .

octav es l i k e t h at i n t h e th i rd m ov e m en t of C h opi n s E m i n or C o c erto

,

-
n :

ere t h e t h u m b n otes a m ore forci b l y pl ay ed i n bot h h and s th u s m aki ng

H re
,

th e e ti re pa ss age s ou nd s tronger (See A D E N A p

n . D D , .

X V]
C h or d s
H l
pri nci p l e of p l a y i ng ch ords i s to p re s s ot to s tri k e th e m T h to n e s
.

,
n . e

of a ch ord stru ck fro m on h igh sou nd h ard a nd d o n ot c arry w e l l , .

T h ere fo re p re s s th e c h ord s d ow n i n t h e f ol l owi g m an er

, T he h and i s n n :

arc h ed a s f a as th e stretc h p er m i ts ; th e gers are cu rv ed th e g ti p s and w ri st

r n n er

re m ai n r m du ri g t h e s trok e w h i ch as d escri bed i n d etai l i n Se c tio n X l V (leg at o

n , ,

i n a a t il a) i s e ff ected by a w ri st m o v e m en t u pward or d ow n ward I a s l ow s u c

c n en ,

. n

cessi o n of ch or d s ei th er wri s t m ov e m en t m ay be u ti l ized ; i n a rapid su ccessi o n on l y

,

th e pward m ov e m en t Fo p l ay i ng ch ord s f o t o f o / imo t h e wri s t m ov e m en t

u . r r e r r z ss
'

m u st b grea t er and m o re v eh e m en t fo p ia o ch ord s l ess ex tend ed an d s l o w e r

e
,
r n .
 [ 34 ]

In ord er t h at ch ord p l ay i ng m ay n ot ti re o n e too s o o n i t i s i nd i s pen s ab l e

-
,

n ot to h o l d t h e c h ord s w i t h a sti ff w ri st a fter stri k i ng t h e m R e l ax t h wrist

. e

i n s tan tl y a fter th e s trok e ; t h en it wi l l be u n necessary to expend m ore s treng t h t h an

i s requ i si te si m p l y to h o l d t h e key s do w n T h u s t h e h and re s ts and ca n b etter
.
,

resi st fati g u e .

T o m ak e s u re of s tri k in g a ch ord c l ea n i t m u st be prepared be fore taken

, .

T o p repare p l ace th e nger s o n t h ei r respecti v e ke y s as if to take t h e m easu re of

, ,

t h e c h ord ; n ow try to tak e i ts m ea s u re away fro m th e k ey s i n t h e ai r a nd keep

, , ,

on u n ti l th e co rrect s tret ch i s l earn ed B y di n t of p racti ce t h e h and nal l y l earn s to

.
,

prepare th e c h ord righ tl y a t s igh t of t h e n otes to recogn ize i t s p h y s i ogn o m y as i t

,

w ere T h i s i s of pecu l iar v a lu e i n taki ng t h e c h ord l eaps i n m odern v i rtu oso pi e c es

.
-
.

ra c ti se eac h of t h e s e ex erci s e s wi t h t wo k i nd s of tou ch ; at rst wi th t h e

P
u pward w ri s t m ov e m en t th e c h ord bei ng l i fted s h ort o a s i n t h i s Prel u de b y

i

-
, ,

R ach m an i n o ff

W h en p er fo r m i ng a pi ece i n w h i c h t h ere i s a s l ow su cc essi on of ch or ds ,

t h i s u pward m ov e m e n t m ay be m ore broad l y execu ted s o th at n ot on l y th e h and

, ,

b u t al so th e ar m i s rai sed T h i s i s m ore es pe c i al l y t h e case w h en f ort e o f orti simo

, .
,
r s

c lo s ing ch ords are to b e cu t off s h o rt ; for i n stan c e

 FIG . 20

F i r s t p ra c t is e t h e s e as wel l a s a ll fo ll o wing c h ord s wit h in a n o c tav e as an

, ,

arp egg io ; la t e r a s a s u it e of ar p eggi os (s ee A PP E N D I X ) W h i l e p ra c ti s i ng o bs erv e

.
,

t he s a m e ru le s c o n c ern i ng t he w r is t an d t h e t h u m b a s for t h e St a
cc a t o (page

FIG . 2 1
 [ 37 ]

FIG . 2 2

FIG . 2 3
FIG . 2
4
.

FIG . 2
5
FIG . 2 6

FIG . 2 7
[ 41 ]

FIG .
30
FIG .
32

FIG .
33
FIG .
36

FI G .
37
FIG .
38

FI G .
39
FIG .
40

FIG .
41
FIG .
42

FIG .
43
 FIG .

44
.

O LD t h e r s t t h ree nger s of t h e c h ord read y o v er t h ei r ke y s wi t h t he 5t h

,

nger ex te nded N ow w h il e t h e r s t t h ree nger s are p re ss i ng th e ir

.
,

key s g iv e t h e h and a q u i c k tu r n toward s t h e 5 t h nger s o t h at t h e l atter

, ,

strike s its key T h i s tu rn of t h e h an d s o m ew h at re s e m b l e s th e twi s t of u n loc k ing

.

wit h a key . T he 5t h nger m u s t l i ft t h e n ote s h ort as t h i s m ake s it so u n d fu ll er

, .

T h en t h e h an d s wi ftl y re t u rn s to th e n or m a l po s it io n s o a s to p rep are t h e nex t

,

arpeggi o (a s de s cr ib ed abo v e ) .

For arpeggio s i b oth h a nd s do n o t b eg in w i t h b o t h h and s toget h er b u t

n , ,

wit h t h e 5 t h nger of t h e l e ft h a nd t h e t h u m b of t h e rig ht follow i g j st a fter t h e

,
n u

le ft t h u m b
. T he e x e c u t io n w ou ld b e t h u s :
 [ 49 ]

L H
. .

X V III

Pai red N ot es
PR E P A A R T O RY E X CIS
ER ES

N t hes e exer c i s e s h o l d t he h a n d a s i n t h e Fi nger e x e r c i ses Secti o n V

-
, .

T he w ris t re m ai n s l oo s e H o l d t h e w h ol e n ote s a n d p l a y t h e qu art e r

.

n o te s .

H o l d t he w h o le n ote p l ay t h e
,
T h ird s .

R H
. .

T he T h i r d wh ich le ad s o i to be h e l d u n ti l it tu rn t o b e p l ay e d c o m e s again
'

s s .
 [ 50 ]

FIG .
45

FIG .
 l 52 ]

S c al es in T h i rds
M AJO R
 T Sl l

S c ales in S i x t h s
bl o k
 [ 56 ]

XIX
T he H i g h est P ar t in C h o rd p l ay i n g

N c h o rd s th e th e m e u su al l y l i es i n t h e h igh e s t part I ord er t o b ri ng i t

,
. n

ou t w he n th e ch ord i s ot to b e arpeggi at d m ak e t h nger w h i c h bears

n e ,
e

th t h e m e lo g t h an t h e oth ers T h i s i s d on e b y stretc h i ng th i s nger

e n er .

ou t o n t h ke tou c h i ng w h i te k e y s wi th t h e ti p a nd l y i ng at on bl ack k e y s t h e
e y , ,

oth er ngers re m ai n i ng ea s i l y rou nd ed T h l o ngest nger p res s es i ts ke y d own
. e

d eepest obtai n i g a fu l l er ton e W h en p l ay i ng on w h i te k e y s t h e w ri s t s h ou l d b

,
n . e

h igh and r m ; bu t o n s tri k i ng t h e ch o rd i t m u st i n stan tl y rel ax agai n and retu rn ,

to i ts n or m al posi ti on Besid s th e w ri st sh ou l d su p port th e nger beari ng th e

. e ,

th e m b y n ot ex erci si ng e q u al p ressu re on al l t h gers bu t r ath er b ari ng d ow n

e e n , e

o n t h e o n e i n q u esti o n .

If o necan tak e th e ped al wi th th e c h ord l i ft al l t h ng rs bu t th at be ari ng , e e

th et h e m e i n s tan tl y a fte r s tri ki ng th e c h ord ; g e

. .
,

Pl a y ed

T h i s ex a m p l e fro m Ra
c hm an in o, l

re lu de

B i nd t h h igh est part as f a as possi bl e a d l t go of t h m idd l e parts

e r ,
n e e

di rect l y a ft er strik i ng w i t h a ge tl e l i ft of t h w ri st
,
n e .

T h 5 t h ger gen eral l y bears t h th e m e ; bu t th e abov e d i recti o n s ap p l y

e n e

e q u al l y w h er so m e oth er g r ha th e th m e or w h ere t h e l atter l i es i n t h

e n e s e ,
e

m id d l e of t h e ch ord s (i n al to or t or ) ; a i n B ra h m s op | 7 en s ,
. I

p d ol c e
 [ 57 ]

XX
T h e G l i ssan do

H E G l iss ando is t he idea l of a di ato n ic sc a l e a s i t s ou nd s v ery s w ift a d

, n

p earl ing w he n we ll do ne I t his c a se h o wev er t h e fa lse p ear ls are

. n , ,

p r e fe ra b le t o t h e gen u i n e b ec au se t he for m er are far r o u n der an d all

,
'

p r ec i s e l y a li ke T h is i m p l i es fu rt h er t h a t a G li ss ando m u s t s ou n d s m oot h an d
.
, ,

eve n It m u s t n ot be p l ay e d j erk i l y w i t h u ne v e n s pu r t s n ei th er s h ou l d t h e
.

, ,

ng er n ai l sc rat ch t h e k ey s au di bl y wh e n gl id i ng o er t hem T o cl o s e cl ean l y an d

'

v .

d ecided l y o n the n al t o n e let t h e nger s lid e do w n o v er t h e fro n t edge of t h e key

,

in qu e s ti o n T h i s a lso gi v es t h e to ne t he requ i s ite a cc en t

. .

T he 3d nger is to b e e m p l o yed w h et h er for p l ay i ng u p or do w n

,
T o be .

s u r e it is ea s ier a n d m o re u s u a l to p lay d o w n w i t h t h e t h u m b ; b t t h e to n e i s le ss
,
u

v e lv e ty t h a n w i t h t he 3 d nger S ti ll a n y o ne w h o is a b l e to b ri ng ou t a s m oo th
.
,

G l i ss a ndo w i t h t h e t h u m b is qu i te at l i be rty to p l ay i t s o
,
.

T he O c t a ve gl iss and o c an b e e x e c u te d o n l y b y large an d p o wer fu l h and s

.

T he t ip j o in t of t he 5t h nger is c u r l ed u n der s o t h at t h e n ai l g l ide s o ver t h e

-
,

h ig her k ey s w h i l e t h e t h u m b dep re ss e s t he l o wer key s w ith it in n er edge G oi ng

.

s .
,

d o w n t h e atti t u de of t he nger s is rev er s ed

,
.

T he G l i ss a ndo m a y be e xe cu t ed in a ll d y na m i c s h ad ings a c c ordi ng t o t h e ,

for ce of t h e p re ss u re e x erted o n t h e k ey s .

FIG .
 [ 58 ]

XXI
E m b el l i sh m en t s
m
render t he e b el l i sh m e n ts s u c h i t he t ru e se n se of t he t e r m t he y
O n ,

m u s t b e sh arp in ou t l i n e a nd cl ear l y an d e l e gan t ly e xe c u t e d C h ie f .

a m o ng t he m ar e the Ap poggia t u ra t he M or de n t t h e T u rn an d t he T ri ll
, , , .

T ou ch ing t h e A p poggiatu ra w e w i ll m ere l y r e m ark t h at it is to b e p l ayed

, ,

in c on ne c ti o n w it h p a ired n ote s or cho rd s b y taki g it toget h er w i t h t h e n o t e s

,
n

b e l o w i t t h e m e lo d i c pri n c i p a l n o t e foll o wing in s tan t l y T he a cco m p an y ing t o n e

,
. .

o r ch o rd i t he b ass m u s t b e t aken s i m u lt ane o u s ly w i t h t h e A pp o gg ia t u ra

n .

W ri tte n

x e c u tio n m ay b e fa c ili tate d i t he c a se of ach ord b y as wi ft arpeggi o

E ,
n , ,

taki ng t he r s t t o n e of t he arp eggi o t o get her wit h t h e fu n da m e n ta l B y u s ing t he .

p e da l
,
t h e a r e
p gg io d n o
t e s c a n b e re l ea se d .

W r itt e n

In t heM ord e n t t h e a cc e n t u s u a ll y fal ls o n t he p ri n c ipa l t o ne it is t h ere fo re

, , ,

b e s t p l ayed wit h t he 3 d and 4t h nger s t h e p ri n c i p a

, l t on e t h e n h a v i ng t he s t ro ng
ng e r W h e n o ne c an n o t a v oi d u s ing o t h er n g raso t hat so m e weak e r nger t ake s
. e ,

t h e pr in c ipa l t o n e t h e d i ff eren c e in s t r e ngt h m u s t be: equa

, l ized b y s t ron ge r p re ss u re .

M o rd e n t
 I 60 l

T he ngeri ng for tri l l s i n th i rd s i s a s fo l l ow s '

4 5 4 5
0

5 3 1 2 1 2 1

A n y on e ndi g 3 m or e co n v en ie n t m a y
n
a
I
, u se t h e s e ngers ; bu t on l y
for tri l l s i n t h ir ds wi t h ou t a fterb e at .

XXI I
Dy n am ic s

d yn a m i c s i s th e art of e m p l o y i g t h e v ari ou s s h ad i ngs b ro gh t

U SIC A I n u

ou t b y c h angi ng forc of ton e e .

M u si c posse s ses o l y th ree pri m e c o l ors n and th e CHl : (l f C .

Ou t of th ese t h ri c h c o l or sch e m e of th e m u si cal pi ctu re m u st be bu i l t p T h i s

e
u .

i s a c h i ev ed b y a fre q u n t al tern ati o of t h pri m e co l ors a nd b y tran s i t i o n fro m

e n e ,

o ne to t h e oth er .

Fa/ and r (f can ot be brough t ou t b y th e u n ai ded s tre gth of t h

n n e

g rs ; t h w ri st m u s t b brou gh t i to p l a y T h g ti ps m u s t b r m a d
n e e e n . e n er- e , n

th e w ri st s h o l d n o t be l oose l n p oi n t of f ac t t h f a/ im mo i n rap id passage s i s

u .
, e r
'

n ot t h p rodu ct of i d i v id u al g p ower bu t th e total e ff ect of al l fa c tor s of

e n n er ,

rei for c e m en t wh i c h o e c o m m an d s su ch as t h p d al a d t h e
n n , t e e n W 1lS

W h ere t h to e s e nal oth r s l ow l y equ al s tre gt h i s pu t fort h i n

-
e c i e , n

p iam and f o l e o n l y th at i n t he for m er th e k e y s are n ot pre ss ed d ow n qu i c k l y b u t

r , ,

s l ow l y w h i c h bri ng s ou t t h so ft si gi g to e I p iano pa ss age s t h e w ri s t s h ou l d

,
e ,
n n n . n

b e h el d l oose ; bu t t h e g e ti p s m u st be he l d r m fo y iel d i ng ng r ti p s c an
n r-
,
r e -

b ri ng ou t o n l y a p iano l a c k i ng i n ton e an d h ere and t h ere a to n e m a y fai l to s ou nd

, .

I qu ick te m p o th e ngers are t h row n w i t h a l oo s e w ri st

n F l u tteri ng p assage s .

are l ig ht p iani imo pa s sages o n b l a c k k e y s to be p l a y ed wi t h ou t s tret ch ed fl at

u

bu t r m ger s ; l i k e th i s fro m C h o pi s B erceu se

,
n n
 h el d wi t h th e ped al and t h e h and wi t hd raw n T h is m ak es th e to ne m ore bri l l ian t
, .
.

Fo a s h o rt accen t th e h a d is wi th d raw n wi th ou t tak i g th e ped al

r n n
, .

Fo m aki ng a e do begi wi t h a l oose w ri st grad u al l y i n c reasi ng t h e

r cr scen , n
,

w ri s t ten sio n Fo a l mm m /o th e acti o i s rev ersed t h ten se wris t gradu al l y

'

-
. r z z ue n e
,

rel ax i ng l l ere th i s grad u al l y i s a c h i e f f a

.
c to r ; fo th e i ncrea s e an d d i m i nu tio n r

i n i n tensi t y m us t n ot be a c co m p l i s h ed b y spu rts W h oev er n eeds to d o so .
,

m ay a s si s t his g e b h i s i m agi nati on f anc y i ng f o exa m p l e th e i n creasi ng roar

n rs y
, , r ,

of an ap p roa c h i ng rai l wa y trai n o r th e decreasi ng sou nd of o n e reced i ng

, .

T he t o ne to be m os t stro ngl y m arked i s t h e dy na m ic c l i m ax or d y na m i c

p ri n c i pal no te i nd i cated h ere by a n ( Le sc h etiz k y ( ) p

, No I )
k

,
. .

A l so observ e w h eth e r a do l ead s fro m p io i imo to p ia o o r mez z o

cr es c en n rs n

f o t e or fro m f / to f o / i imo ( an d fo t h e
r , or e r i rev erse order ) and
rr r n ,

cal cu l ate accord i ngl y t h to n e power o f t h d y na m i c begi n n i ng a nd end i n ea ch c a s e

e
e .

X XI I I

On t he P ed al
H F p edal , for m os t
. good peop l e an d bad p l ay er s is an i n stru m en t al i ty for ,

tra m p l i ng o n go od ta s te N ot to d we l l o n t h e h orri b l e p d alist ic a b u ses

. e

of d i l ettan ti s m th ere are l i kewi se two species of seri ou s m u s i cian s w h o are

,

m o re or l es s i n th e wrong a s regards th e ped al Fi rstl y t h e y a re s u c h as u s e t h e .

,

peda l righ tl y i n gen eral y t wi t h ped an tic scru pu l osi ty o a s n o t fo h ea ve n s sak e

, e ,
s r

to i n fri nge t h l etter of h ar m o ni c l aw T h ese wi l l d o no m i sc h ie f bu t care fu l l y

e .
,

av oid al l i n terest i ng e ffects Seco nd l y th ere are th e pi ani sts w h ose good ear
.
,

general l y gui des th e m arigh t i n ped al l i ng bu t w h o rel y too m u c h o n i n s tin c t and , ,

treat th e peda l as a m ere accessor y T h u s i t h ap pens th at t h ei r pedal l i ng l a c k s

.

u n i for m i ty i th ei r vari ou s i n t rp r tatio ns of o n e a nd th e sa m e pi ece T hey forget

n e e .

t h at t h e pedal i s qu i t e a s i m portan t a s an y oth er fa c tor i n p iano p l ay i ng an d

,
all t he n e bri e f d e tai l s o f ped al l i ng ; th es a l ft t o t h pi an i s t h i m s el f
, e re e e .

T h regu l ator fo correct pe d al l i ng i s th e a

e r N ot bu t l i p ho y e r .

u n ,

i th e nal a
s u th ori t y b ere C o se q u tl y th e p l a y r s h ou l d abo all m ak e u p
. n en ,
e ,
ye

h i s m i nd w h i c h tones h wan ts to bi nd a d th v ri f y b y ear th ei r actu al pre s n c e

e ,
n en e e

a d t h at th ey f or m n o d i o d f T h en l et h i m x th e pedal l i ng an d pra c t ise i t

n sc r

toget h er wi th t h e m u si c .

T h p dal m a y b
e e tak n i th er s i m u l ta n ou s l w i th t h ton e o r a fter t h e
e e e e y e ,

ton e is struck T h i s l atter m a y b t r m ed a fo l l owi ng o r s y n c o pated pedal

.

e e .

T h si m u l ta neou s peda l u nd rtak s to h o l d t h ton e w h ere t h e nger m u st

e e e e

be wi t h d raw n an d t h e to ne s h ou l d con ti nu e s ou n d i ng ; g e . .
,

w h ere t h bass m u st sou nd t h roug h t h l as t beat al th ough t h 5 t h nger ca n no t

e e ,
e

hold it .

T h s y n co pated ped al a b
e m p l o y d o n l y w h ere t h ton e o r ( o nes w h ic h
c n e e e e

s h ou l d con ti nu e to s ou nd c an be h e l d d o w n b y th e ng r ov er t h e c h ange of ped al e s .

Eeb .
c
m .

(T h e sm a ll n ot e s m e re ! ) r
h
S ow w h e re t h e l
p e d a is t o b e t n
ak e ) .

ractise th e s y n co pated pedal accordi ng to t h i s exa m p l e stri k i ng t h e fu nd a

P ,

m en ta l ton e an d h o l di ng i t o n l y u n ti l t h e ped al h as taken t h e to n e N ow stri ke .

th e c h ord an d h o l d th e ped al u n ti l y ou hav e stru c k th e n ex t bas s to n e ; repeat t h i s

,

wi th eac h s u c c eed i ng ch o rd .

A ne exerci s e fo s y ncopat d p d al i s b l d l oh So ng wi t h ou t Wo rd s '

r e e en e ss n s

N o I b ecau se th e har m o n y o fte n c h ang s

.
, e .

See A ooen oa p 84 , . .
 H ere t h e to es ae c o n ve n i en t to h o l d t h ere fore t h e p ed a l need be take n
n r ,

o n l y o n t h e se c o nd half of eac h beat s o th at th e foregoi ng h ar m o n y h as t i m e to d i e

,

awa y w i t ho u t p rodu c i ng a d i s so n an t tf c t w h i c h w ou l d be u nav oid abl e if t h e ped al

e e ,

were take n d i r ec tl y w i t h th e bass to ne .

I t h e a b o ve exa m p l e besi des s m a l l er h an ds m u st c h ange t h ped al qu i c ker

n , , e

i n t he fou rt h beat of t h e r s t m easu re as th e y can n ot h o l d th e bass to ne wi t h t h e

,

nger s.

I al l c a s e s o bserv e th e fo l l owi ng ge n eral ru l es

n ,
'

( 1 ) l c h ord s th e bass to n e m u st sou nd w i th i ts c h o rd

n W h en t h e b a ss .

c an n o t be h e l d w i th th e ngers i n wi de s pread ap gg io d c h ords i t m u st b e h el d

r e

wi t h th e pedal w h i c h s h ou l d th e n be take n si m u l tan eou s l y wi t h th e ba ss ton e ; e

, g . .
,

fe) .

(2 ) pe d al m ay be m ore freel y e m p l oy ed i n h ig h po s i tio n s th a n w h e n

T he
p l ay i ng l ow or i n t h e m idd l e of th e ke y board ; becau se t h e s h o rter o dwa es of s un v

th e treb l e p rodu c e a s ho rte r reso nan c e I t h e treb l e t h ere f ore to ne s m ay be

. n , ,

bou nd by t h e pedal w h ic h i n t h e m se l v es wou l d fo r m d i s so nances yet are n o t fe l t ,

as s u c h by t h ear Fo e x a m p l e p l ay t he c h ro m ati c scal e u pward and dow n ward i n

e . r ,

th e th ri c e a c cen ted oc tav e w l / p edal to c on v i nce you rsel f t h at th e abo v e i s c orre c t

-
'

z z ,
.

(3 ) l co n ne c tio n wi t h t he pedal th e l ow bass to nes are d angerou s to t h e

'

n ,

h ig h er o nes becau se of t hei r p rol onge d resonan c e ; c o nse q ue n tl y low bass ton es
, ,

m u s t be s o o ner re l ea s ed by t h e ped a l i n asce nd i ng pas s age s .

 l 64 fr

(4) For t he e r, a
h ow v r pe d a l d i ssonanc s m ay b o verp owered b y a
e e ,

e e cre

Jc en lo t he weak r ton
z
,
e b i ng al w ay s cov r d b y t h su ccee d i ng l ou der one Veri f y
e e e e e .

t h i s by p l a y i ng rapid l y a ascen d i ng d i aton i c scal wi t h bot h h an d s a d l i fti ng th e

n e n

p e dal l mp o wi t h t h d y a m i c p ri nci pa l to ne t h h i gh s t a d l oud st T h is wi l l

(1 e
'
e n ,
e e n e .

produ c e n o di sso na ce b t rath er a s t y l isti c ff ct fo i ns t a ce at th e c l ose of t h

n ,
u e e ,
r n e
I

C h o pi n E tud e o p 3 5 N o .
, i n w h i ch th e h av y d am t al c h ord l i kew ise
. l l
'

, e in en

s u ppo rts pu ri t y of to n e :

c r esc en

W i t h t h e O rga n poi n t too a pu re pe d al e ff c t

, ,

e ob tai n ed , ev en whe n
d i s s onan t c h ords so n d toget h er ; e g
u . .
,

T he so ft peda l was n o t ad d ed m e rel y fo t h e sake of y m m t bu t is val u ab l e r s e ry ,

as a c ou n terpart o f t h e l ou d p d al b y v ei l i ng t h e to ne It m a y be u sed i n pp an d
e , .

f e q u en tl y a t t h
r e d o f a li /
en 1 to tape r i t d o wn m ore d e l i cate l y
( l y 71 115 111 0 , H re i t . e

assi st s th e ngers fo t h reaso n th at t h e y m u s t n o t stri ke too so ftl y i n a pp as

,
r e
,

th at y i e l d s a h u sk y to n e .

T o bi nd m el od y to nes we l l w h i l e h o l di ng t h e fu nda m e n ta l on e m u s t o fte n

-
, ,

e m p l oy a f al se ped al th ough n ot fo p ro l o nged to nes ; as i n C h opi n s ll f l

,
r
'

: ll :l l S C
 (T h e d ot t e d l in es s h ow the p l ac es w h e re t he p e da l n
is i k u-n o r re elad se .
)

X Xl V

R u l es fo r Pe rfo r m ance

l .

i s p robabl y tru e i n a gen eral way t h at th e per for m an c of a m el od y a

, , e

m atte of fe l i n g and taste B u t as o n t h o ne h and t h se q al i ties

r e .
,
e , e ne u

a n ot c o m m on pro pert y a nd o n t h ot h er t h best taste and m ost

re
, ,
e ,
e

d el i cate feel i ng a li k e al l t h i ngs spi ri tual bo nd to t h e m ateri al worl d th e

re,
,
u ,

R u l es fo Per fo r m an ce gi v en h ere w i l l h ard l y prov e su per u ou s

r D o n ot co n si d er .

th e m as fetter s fo t h e i m agi nati o n b t as i ts hel pers

r
,
u .

( ) W h ere n o tes of u n equ a

1 l ti m e v al u e fol l ow o n e a ot h t he l onger n ot
n er, e

m u st be p l a y e d l ou d er t h an t h e sh orter o b cau se i t i s to sou nd l onger ; n e, e

B eet h o v en So n ata op
, ,
. 10 ,
No . 2 .

(a
) a y a m el od y u pward s
Pl ( r ot t en/l o, d ow n ward s dimin uem/n ; e .

g .
,
in
Sc h u m a n n s

D es A ben d s :
 [ 00 1

Bu t w h ere th e m el od y ri s es o r fal l s by a wi d e i n terv a l the lo or dimi e do ,

cr esrenz nu n

i s e x e c u ted wi t h greater i n t n si ty e .

(3 ) T h beats ar e u n equ al i n accen tuati o n s o m e bei ng l oud er and ot h er s

e
,

s o fter N ote s coi n c id i ng w i th strong beat s are p l a y e d l oud er th ose o n w ea k beat s

.
,

weaker I 4 4 ti m e p l a y t h e rst to ne l ou dest th e th i rd ton e a tri e l e s s l ou d

. n -
, ,

t h e se c o nd w e aker and th e fou rt h weakes t so m ew h at as s h ow n be l o w

, ,

f mp
f
I p

In 3 - 4 ti m e t h e rst b eat i s stro ng a nd t he oth er tw o weak er t h u s ,

ti m e t h e r s t beat i s agai n t h e s tro ngest t h fou rth n ex t i n s tre ngt h

In 6 8
,
e
,

t h e s e c ond a nd t h i rd w eak and t he ft h a nd s i x t h s ti l l weak er

,

f oo) my 1) p p

(4) T he d i recti on s gi v en b y le ad i ng c o m pose r s are to be regarded a s

b i nd i ng B eet h ov en i n parti cu l ar i ndi cated t h e s h ad i ngs d i s ti n c tl y
.
, , .

( 5) S h ou l d i t oc c u r th at t h e rst t h r ee ru l es c o m e i n co l l i si on on o ne an d
,

t he s a m e n ot e t h e m aj ori t y d e c i des w h at i s to be d on e Fo exa m p l e i n a d es c end

, . r ,

i ng m el ody a l o ng n ote fal l s on a s trong beat R u l e 1 s a y s A s a l ong n ote i t. :

m u s t be p l a y e d l ou d ; bu t R u l e 2 re q u i res i t to be p l a y ed w eak as a l ow er to ne ; ,

n ow R u l e
3 d e c i d e s th at th e ton e as fal l i ng o n a stro ng beat m u st be p l ay ed l oud ;
, ,

and th i s d eci s i o n h o l d s R u l e s I and 3 for m i ng a m aj ori ty Ii g i n Le sc h etizk y s

, . . .
,

C a nzo n e tos c ana t h e ton e m arked i s to to be p l ay ed lo u d

,
f ,
 [ 68 ]

bu t al so o n nm el od i c pa s sages c o n sisti ng
,
of s cal es and b ro k n c h ord s s ho l d b e e , u

sh ad e d ; e g . .
,
fro m G iegr C on certo

s

Do n ot be a fraid to s h ad e ev e n B ach Vt s h ou l d t h i s great m a s ter .

enj oy t h e i n v i d i ou s d is ti nc ti on of aco l o rl ess d y rectangu l a r i n terpretati on E l on e,

r ,

.

col ori ng i s n o t an i n v ari abl e sign of s e n ti m en tal i t y T h l att r resid es rath er i n . e e

t h e t mp o e g i n a il m l o ei th er t 0 o m ark ed or w o g h p l ac e d su ch a s m an y
e ,
. .
, r u r n ,

C h opi n p l ay e r s c u l ti v ate

.

I th e m el od y o n e oug h t n o t stri ctl y s peak i ng to p la

n y sev eral su cce s s i v e
, ,

to ne s w i th e q u al d y n a m i c power ; fo t h i s c au ses a h ard n ss of to e w h i c h o ne m igh t

r e n

be i n c l i ned to attri bu te to t h gre at v ol u m e of ton e O m a y p l a v e v en l y i n p ia o

e . ne n ,

an d y et n o t tend erl y ; i n f o t o n t h oth er h and o m ay obtai n a te nd er e ff ec t i n

r e, e ,
ne

a gu re by a n o p portu e ton i ng d ow n of d y am i c en erg y

n
n .

C on trast i n s h ad i ng t hat i s t h repeti ti o n of t h e s am e p h ra s e w i t h v ary i g

,
e n

d y na m i c ex p ressi on i s al so of ne e ff e c t i n m l od y p h i ng Fo i n s t ance p lay e

i) . r ,

a p h rase w h i ch occu r s twi ce i n su c c ssi o forci b l y t h rs t ti m e and repeat i t l i k e

, e n, e ,

an e c h o p ia o (wi t h th e s o ft pedal ) or p l a y i t p ia o at rst a d th en f o / o a s if to

n n ,
n r ,

l end i t s peci al e m p h asi s on repeti ti o n T h st y l e o f o t at i n s h ad i g to be ch ose n

. e c n i s n

i n an y gi v en c ase d epend s partl y o n t h m ean i ng of th e p h rase and part l y o n th e

.
e .
,

p l ayer s taste ; t h e fol l ow i ng exa m p l e i s fro m l ld ad Sc h utt o p 3 5

'

u r ,
. :

Anob s erv ance of t h e s e fu nda m e tal ru l e d oes n ot i n t h e lea s t i n ter fere wi th

n s

t h e p l ay of o rigi n a l fan c y or s u bj ecti v e e m o ti o n O m ay rel y i m p l i ci tl y u p o n . ne

t h e gu id an c e of th ese d el igh t fu l attri bu te s w h n o p ossesses t h e m e ne .

 [ 69 ]

2 . T EM PO
If we m a
y a p p l y t he t er m c o l o r to m u s ic a l dy nami t he t emp o wo u ld cs,

be t he l ifean d m ove m en t of p ian o p l ay i ng B t n ot t he tr ead m ill l ife of e v ery

-
. u

day m o n o t o n ou s rou ti n g ; ot a m etro n o m ic m o ve m e n t A s v ar iety i s t he s p ice

n .
!

of l ife ch ar m of s t y l e i l ike m an ner o ws fro m co n t i nu a l ch ang es i t h e t e m o

n n
, , , p ,

fr o m co n tra s t s i t he m o ve m en t
n .

T h ere is n o co m p o s it io n w h ich is p lay e d i a u n i fo r m t e m po fro m b eg in n ing n

to e n d . E ve n in e e c ises t h is i a llo wed on l y i t hos e p ra c t is e d so le l y fo g e

x r s n r n r

d ex t e r it y I t he per fo r m a n ce of o t h er tu d e s ta s t e i sty le i s b y n o m ean s

. n

,
n

excl u ded al t ho ug h i t h e m its e x p re ss io n de v o lv es ch ie y o n d y n am i c ch ang es

,
n .

T he ch ange s i n t e m p o m u s t be s o d e l i c ate l y graded t h at t he b eaer n ot ices r

n e i t he r t h e ir b egin n i ng n or t h e ir e d ; o t h erwis e t h e p er fo r m an c e wou l d so u n d

n

c ho
pp y . T h u s i a r t oroondo c a lc u l at e t he gradu a l di m i nu ti o n of s e e d ex a c t l y
,
n z

, p ,

so t h a t t he e n d m ay n o t d rag ; a n d co n v e rs e l y i an a elem do t h at o n e m ay n o t n cc n ,

et go ing a l t oget h er t oo fa s t I n a it en t o m o r eov er m a n y p l ay t he na l to n e a

r u
g .
, ,

t r ie fa s t er w h ich a b b r ev ia tes t h e it e t o a n d gi v e s t h e b ae afe eling of di

,
r nu e r r s.

a p p oi n tm en t W he r e a n at emp o fo ll o ws it sh ou ld qu it e o fte nn o t be t ake l ite ally

.
, n r

a t t he v ery ou t se t b t t he for m er te m p o sh ou l d b e l ed u p t og a
,
u d a lly be g n n i ng r u i

t he r e p ri se of t he t h e m e lik e a n im p ow a
,
t io fo in s tan c e T h u s in t he co u r s e
r s n, r .
,

of o n e o r t wo m ea s u re s o ne w ou ld regai n t he o r igi na l t e m p o ; e g
,
. .
,

Pa de r e ws k i , Lgen d e .

H o weve r , w h ere ch ara c t e r t he of t he c o m p o s it io n requ i re s it b eg in ,

t he

at emp o i m m edia
te l y a
t t he orig ina l p a c e , a
s in t h i s P re lu de b y E S ch ut t .

T emp o I .

See A D DEN DA , p 84
. .
 ;g . R H YT HM

h y t h m d oes n o t d epend o n a stri c t ob s erv ance o f t he m easu re b t per m i t s

R ,
u .

o n t h e c o n trary of a free r d is posal o ver t h beats bu t o n l y betwee n t h e bou nd ari es

, e ,

of t h e bars . T h u s i nd i v i d u al b ats m ay be a b bre v i ated to t h p ro fi t of ot h

e or e e rs,

l engt h en ed at th i r x pe nse bu t n ot w h o l e m easu res i n p roporti o n to ot h er m easu res ;

e e ,

e g i n S ch u m an n s G ri l l e n
. .
,

At t h e sign th e q u arter no te i s p ro l onged a l i tt l e at t h e ex pen se of th e

5

fo l l o wi ng eig h t h n o te

.

Th i s i s h owev e r n o t i n t h e l eas t i n ten ded as a n abso l u ti o n fo t h e bl u nder

, , r

m ade b y m a n y pi a n ists of h u rry i ng ov er t h e en d of o ne m easu re and so begi n n i ng

,

t h e n ex t too soon Fo su c h a fev er of rh y th m t h e b es t re m ed y i s t h e c o u n ti ng

. r

of b eat s o r ha lf bea
~
t s l i ke eig h t h n ot s or si x t
,

n t h notes i n s l ow te m po It is fa
e ee -
, . r

m o r e al l o wa ble s l ig h t l y to retard th e co m m en c e m e n t of t h e nex t m easu re i n ca s e i t

i s e m p h a s iz e d or an y s pe c i a l r h y th m i c a l e ffec t i s desi red ; e g i n S ch u m an n s . .

,

G ri ll e n

T he o c tav e m arked i s ap egg io d an d so p l a y ed th a t th e l ower b a s s tone

r

exa c tl y co i n c id e s wi t h t h e f r s t beat w h i l e th e u p per bass ton e i s struc k toget h er

i ,

w i th t he rig h t h and c h ord prod u c i ng a n t m lv s l igh t retard ati o n

-
, ex re e .

A n a b b re v i at i o n of th e r s t beat if/ stri ki ng i t i s per m i tted i n wal tz

( er

rh y t h m fo i n s tan c e b y accen ti ng th e ba ss ton e i n th e a cc o m pan i m en t an d rapi d l y

, r
,

c arryi ng i t o ve r to t h e sec o nd b eat ; t h e r e su l ti ng h owev er s l ig h t abb rev iatio n -~

 [ 71 ]

of t he rs t b eat m ay here be m ade good b y th rowi ng t h w ri st u p ward ; th e n s tri ke

e

the t h i rd beat s o m ew h at m ore l igh tl y t a / o a d i n exact ti m e

,
s red By t h e w ri s t
,
n .

m o ve m e n t o ne gi v e s t he ac c o m pa i m en t swi ng ; bu t gu ard agai ns t o ve rd oi ng i t

n
,

o t h erwi s e t h e r h y t h m i c ti c t beco m es tri v i al

e

e .

R i sr - M
'

O E EN
V M T

In t h e (3 4 ti m e o f t h e b l a ka t h e a cc e n t
-

z ur ,
n ow on th e rst ,
n ow on
t h e s e c o nd a n d agai o n th e th i rd beat ; e g
,
n . .

C h o pi n , op .
 [ 72 ]

4 A I . R

I

O n e m u s t n o t al wa y s arp ggi at on l y su c h ch ord s as a too w ide sp r e ad to

e e re -

p l a y at

.A n arpeggi o is al so i n o rd r w h re a t d e r or de l i cate e ffec t

e e en

d s i red i suc h cases t h rig h t h and p l a y s arpeggi o w h i l e th e l e ft s tri k e s i ts

e . n e ,

c h ord at ; e g . .
,

l
a
d erewsk i ,
l . gend e .

y t h e c h ord sou nds e nergeti c and v t no t h ard w h e n th e righ t

C o n ve rsel , ,
e ,

h a nd stri kes i ts to nes s i m u l taneou s l y and t h l ft arpeggi ates ; bu t t h i s m u s t be e e

a v ery sw i ft arpeggi o ; e g . .
,

C h opi n ,
Sc he rz og

A n arpeggi o m ay a l s o be e m p lo y ed w h ere t h e po l y p h o n y i s to b e b r o ug h t
ou t m o re d i s ti n c tl y ; b u t o n l y at i m p ortan t p o i n t s fo i n s ta n c e w h ere o ne part end s ,
r

and t h e o t h er b egi n s at t h e sa m e ti m e ; a s i n Sc h u m an n s R o m anze

 73 ]

Q im ilarl
y i n a c an o n

Paderew ski h em e var i e

,
T .

Lento .

N ei t h er sh o l d b ass to n e a d m l od y n ote al wa y s b tak e n p reci s el y

u n e
e

toget h r bu t t h m e l od y o t m a b stru ck an i n s tan t a fter t h bass w h i ch gi ves

e ,
e -
n e y e e ,

i t m or r l i f a d aso ft r tl t l l ow th i s can be d o n o n l y at th e begi n i ng

'

e e e n e e ec . ey c r, e n

of a p h rase a d u s a
,
l l y o l y o n i m port a t otes a d stro ng beat s ( It i s better
n u n n n n .

fo t h h an d s t o coi cid pr ci s l y o n w a k b ats ) l h m l o d y ote m u st fo l l ow

r e n e e e e e . e e
n

s o swi ft l y a to m ak e th e pau se ha d l y n oti ceabl e fo t h e u ni ni ti ated

s r
g in r : e . .
,

C h o pi n s N octu rn e :
 [ 74 ]

o n trary to al l ru l e s on e m a y s o m eti m es l et t h e ngers ru n ou t to t h e 5t h

C , ,

s o as to s av e tu rni g u nd er B y so d oi ng a s w i ft te m p o c an b ett e r be c arri ed ou t ;

n .
,

a s i n W eb er s C o n c ert s t uc k

M oreo v er t h e t h u m b m ay t u rn u nd er o n a b l ack k e y w h en t h e to n e is
, ,

a cce n ted and t he fol l o w i ng o ne m ade easi er to rea ch t h e reby T h i s tu rn s h ou l d .

n ot h owever b e m ade i n t h regu l ar w ay a s i n th e scal es b u t wi th a s wi ng of t he

, ,
e , ,

wri s t T he exa m p l e s are fro m Le sch etiz k y C a sc ade

.
, ,

a
nd R u bi n stei n ,
F ou rt h C o n c erto

In gen era l e v er y on e w h o h as s u f cie n t c ou rage a nd t h e n eed fu l a m ou n t of

,

c o n d en c e m ay go a s far i n th e i rregu l ari ti e s of ngeri ng a s h e wi l l p ro v i d ed on l y ,

th at t h e pa ss age i s w e l l p l a y ed Sti l l d i s regard of ru l e m u s t n ot p roceed fro m

.
,

m ere wan to n n e ss b u t to fa c i l i tate t h e exe c u ti o n of d i ff ic u l t pa ss age s or to m ak e

, ,

t h e m s ou n d better Fi r s t tr y t h e ngeri ng gi v en i n y o pi e c e and re tai n i t if i t

.
, ur ,

appears good ; o t h erwi s e s eek an ot h er ngeri ng adap ted to y ou r h and and

,

i nd i v id u al i ty.

T he p eda l i s of g reat a s si stan c e to t h e ngeri ng l r bi nd s i n terv al s wh i ch

.

th e h and c an n ot s tretch and p er m i ts th e h an d to l ea v e o n e ch ord i n ord er to

,

p repare t h e n ext I th e m e l od y too a to ne o c e tak en m a y b e h el d w i t h t he

. n , ,
n

pedal w h e n th e nger i s requ i red el s ew h ere and an oth er c an n ot tak e i t s p l a c e

,
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h o gh t i s m os t essen ti al i n t h e s tu d y of pi eces ; fo the way b y w h ic h t h e y

T u r

a re l earn ed o r rat h er m e m orized goes fro m brai n to nger s a nd n ev er i n t h e ot h e r

, , ,

di re c ti on fro m nge rs to brai n I l a y stress o n memo i i g be c au se i t i s t h e b e s t

,
. r z n ,

way to p o sse ss on e s sel f p er m anen tl y of a n ew pi e c e G o ab ou t i t as fol l ow s

T o a c qu ai n t y ou rse lf w i t h t h e pi ece i n h a n d read (p l ay ) i t t h roug h o n l y ,

on c s o as n ot to grow a c cu sto m ed to a fa l ty ngeri ng ; t h en accord i ng to t h e

e, u

di f c u l ty of t h c o m posi ti o n or t h e m en tal grasp of th e s tu d en t tak e u p on e

e .

m ea s u re two m easu res or at m ost a p h rase at a ti m e an al yze i t h ar m o n i ca l l y

, , , , ,

and d eter m i ne th e ngeri ng a nd ped al l i ng O bs erv e h ow ev er t h at rapid pa s sage s .

, ,

m u s t b e t ri ed rapi d l y be c au se ngeri g and ped a l l i ng m ig h t be su i tab l e i n s l ow

,
n

te m po and ot i n fas t D eter m i ne t h e m th ere fo re i n t h e gi v en te m p o o n l y th e n

n .
, , ,

retu rn i ng to t h e s l ow s tu dy of th e pi ece .

E x cep t to p l a y t h e l ead i ng parts l ou d er a nd th e s eco nd ar y parts so fter ,

a b stai n fo t h p re s en t fro m n e sh adi ng and e m oti o n n ti l M atte r is c onqu ered

r e ,
u

e ls e i t m ay h ap pe n t h at y ou w aste y ou r n est fee l i ngs o n w ro ng n otes .

N ow read y ou r p racti c e m a re or m e as e s th ro g h c are fu l l y an d repeated l y

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wi th t h e e y e u n t i l t h n ote s s t a
,
nd ou t c l earl y be for ey ou r m e n tal v i si o n and n a m e
e ,

t h e n otes a f w ti m es ei t h r al oud or m en tal l y a nd th en n ot be for

e e pla y the e

m ea s u re or p h ra s e fro m m e m or y bu t n o fas t r th a n m e m or y c a n d i ctate t h e n ote s

, e .

l f y o forget a n ote d o ot t y to nd i t b y gro pi ng wi th t h nger s on t h

u ,
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key s or p l a y o n b y a bu t t y t o re c o v r t h fo g otten n o te i n t h e m i nd S h ou ld
,
c r, r e e r .

y o u fai l th
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en g l an ce a t t h m u si c e .

W h e n y ou can p l ay t h p h rase fa u l tl essl y a nd w i t h ou t h esi tati on by h eart

e ,

pro c eed fu rth er e xactl y i n t h m an n er p r s c ri b d T ak e p each ti m e t he p orti o

e e e .
-
u n

ju st l earned be fore and al so tr y to p l ay t h w h ol e b y heart fro m th e begi n ni ng

,
e .

T his is m e m orizi ng i n th e fo r m of add i ti o n .

N e x t da y sh ou l d y ou ha e ap paren tl y fo rg o tten w h at y ou learne d d o not

,
v ,

feel d i scou raged bu t p racti s e i t o v er agai n as b e fore

,
Y o w i l l re m e m orize i t . u

rapi d l y and a fter a f w s ch da y s of p racti ce y ou wi l l h av e m ad e i t y ou rs fo er

,
e u r ev .

N ow p roceed to l i ng a d s h a d i n g ; i m part ani m ati on to t h e p h rases a nd

n ,

d i stri bu te l ig h t a d s h ade l o d d y na m i cal l y a d tec h n i c al l y (as w h e n m e m o

n .

r c ee n

ri i
z
g n) ,
on l y step b y step su i tabl y d i v i d i ng l o g passages fo i n s tan ce and pra c ti s i ng
,
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r ,

ea ch d i v i sio n s eparat l y e .

O n e n ev er forg t s a p i c e l earned b y th i s m th od ev w h en i t i s n o t o ften en

e e .
e ,

repeated ; an d ei t h er m e m ory n or ngers ae so ap t to fai l o n e at c ri ti ca l m o m en ts

n r

a s i n th e case of pl a y rs a cc u s to m ed to p ra c ti se r c t i g ly wi t h t h e ngers
e u n e e n .

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, ,
-
,

to le a rn two or th re e l i nes d aily a nd t h a t not a t o n e s i tti n g bu t wi t h lo n g

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 77 l

i n terv a ls M o e ad a d stud e n t s too s h ou l d i n terru p t stud y freq u e n t l y t o

. r s
v nc e , , ,

p rev e nt o v erti ri ng t he b rai n Du ri ng su ch pau se s t h ey m ay bu s y th e m s el v e s w i t h

.

te ch n i c al e xerci s es al read y we l l i n h and or l eave t h e pi an o al toget h er ( ) e n al l y , . n

arri v e s at t h e poi n t of b ei ng a b le to t h i n k t h r o ug h a p i ece m u ch fa s ter t h a n th e

nger s c a n fo l l ow .

L es h t i k v sa y s
c eLearn i ng b y t h is m et h od i s o n l y ap paren t l y s l o w
z : .

E v en if o n e l e arn b u t a few l i ne s d ai l y at th e ou t s e t and l ater a t m o s t a w h ol e page ,

i n o n e day and as s u m i ng t h at s tud y m u s t be s u s pen ded fo one t h i rd of th e year

,
r
,

th e n i sh ed v ear ne vert h e l es s sh o ws a n ou t c o m e of o ver 2 0 0 page s l earned to ,

w h i ch o ne m ay add s o m e [ 0 0 pages of re peti ti on s su ch as o cc u r i n al m o s t al l ,

pi e c e s [ n th e v e y rs t y ear th ere fore a c o n sid erab l e nu m b er of pi e c e s w i l l h av e

.
r
, ,

b ee n l earn ed w h i c h t h e gr ow i ng r o u ti n e of fo llow i ng y e ar s w i l l d ou b l e or tre b l e

,

an n u aHyf

T stud en t s w h ose ta l en t per m i t s of t h ei r p l ayi ng a pi ece fro m m e m o ry

o

a fter gl an c i ng t h roug h i t I al s o reco m m end t h e abo ve m et h od of s tu d y T h ey

, .

wi l l n d i t ea s y a d i t w i l l i nsu re c orrect n es s w h e n p l ayi ng i n pu b l i c In h i s

'

,
n .

d o m e s ti c p ri v a c y a d o n t h e c o ncert pl at for m t h e arti st h a s two d is ti n c t i n d i v idu al

,
n
,

i ti es \V h e n h e a p pears i n pu b l i c h e l eav e s part of h i s secu ri t y at h o m e It

.
, .

fo l l ows t h at h e c an nev er h av e e n oug h of i t

,
T h i n t nd i ng c o ncert p l ay er m u st . e e -
,

th ere fore m ake i t a poi n t fro m t h e v er y s tart to pl ay a pi ece fau l tl e ss l y fr o m

,

b egi n ni ng to e n d Ib l l im e It i s of n o av ai l to p l a y i t righ t o n l y o rep et it io

e rr .
,
n n .

S h ou l d y ou b reak d ow n or m ak e a m i s take s to p p l ay i ng and begi n agai n a fter a

, , ,

c on side rabl e pau se m aki ng i t a s i t were an oth e r rs t ti m e

, ,
A l so o b serv e t h i s , .

m eth od w h i l e l earni ng tud e s a nd pi e c es o r t h ei r se veral p h ra s e s and d i v i s i o n s , ,

an d n al l y w h e n p racti s i ng c o m posi tio n s al read y m e m o rized T h best way to

,
. e

av oid m i s takes i s t o t h i n k W h i l e a t t h e pia n o th i n k of not h i ng b u t w h at y ou

,
.
,

are p l a y i ng h owever su re y o m ay be of i t T h oug h t i s l i ke rei n s for t h e nger s

,
u .
,

to kee p th e m i n th e righ t road .

T h ere i s s ti l l a n o th er stage i n c orrect pi an o p l a y i ng se l f cri tici s m W h o - -

.

e ver h as go t s o fa as to c ri tici ze h i m sel f a s s h arp l y as h is neigh bo r i s f a ad van c ed ;

r ,
r

for e ve n t h e re c ogn i ti o n of o ne s f a u l t s m ean s t c h a l t h oug h t h ere i s y et a l o ng

uu ,

s te p to t h ei r a m e n d m en t .

T h os e pi a no p l a y er s too w ho h a v e n o m i nd to gi v e c on certs bu t p l ay o n l y

, , ,

for t h ei r ow n p l easu r real l y oug h t to p re fer to d o i t wel l and c orre c t l y ( ) r

e, .

m igh t t h is d i m i ni s h
th ei r ow n pl easu re Let th e m tr y i t a ny h ow if o ly fro m , ,
n

h u m a ne m oti v es ; fo ev er y b od y l i k es to s h o w off W h at s h ou l d we n ot h ave b ee n

r .

for c ed to e ndu re h ad not a m er c i fu l Prov id e n c e i n v e n te d

,
s tag e frig h t T ru e
,

rti s t n ds it a s tu m bl i ng bl ock whi ch can be do ne away wi t h o n ly by

i

t he g enu i n e a
. .
 [ 78 1

d i n t of stu d y i n th e way d escri bed abo v e and b y m u c h p l ay i ng i n pu b l i c w h ereb y

, ,

h e gai ns a feel i ng of co n d en ce I t h i m d o l i ke th e h ero i n Sc h i l l er s Fig h t

. . e
'

wi t h t h e D rago n w h o accus to m ed h is h orse to a pai n ted d rago n be fore i n trodu ci ng

,

him to t h e real o n e an d tak e th e edge off h i s d read of th e pu b l i c b y m u c h p l ay i ng

,

to oth ers Let h i m k n oc k at every d oo r and re q u es t a k i n d l y heari ng And

. .
,

h av i ng reac h ed th is st age l t h i m p l a y be fo re h i s fel l ow arti s t s If h e c an m e et

,
e
.

th ei r cri ti ci s m h e i s p roo f agai ns t th e d rag o n h i m s e l f

, .

X X V II

M ov e m e n t s of t h e H an d an d A rm

[ A N IST S er y te m pera m e n t o fte n execu te acroba ti c m arve l s wi t h t h ei r

of

u pl i fted h and s a s if to s h o wt h e au di ence th at t h ey h av e rise n s u pe ri or

,

to al l eart h l y tra m m e l s a nd m ake a m e re p l ay of d i f c u l tie s T h e s e are

, .

fan c y tricks n o t w h ol l y d e v oid o f pi q u ancy and m a y b e v ie w ed wi t h i nd u l ge n c e ,

w h en ac c o m pan y i ng v i rtu oso per f or m an ce I co n tra s t t o these are t h e ne c es s ary

. n

m o ve m e n ts of th e w ri s t w h i c h s rve to f a c i l i tate t h e exe c u ti o n of p h rases to s u p port

,
e ,

t h e rh y th m o r to res t th e h a n d after t h e tensi o n of f o t p l a y i g b y re l axa ti o n of

, r e- n

t he oi t ; t h ere are besi d es th e m o ti o n s of t h e ar m s w h i ch ae th row n u pward b y

j n , , ,
r

an i n v o l u n tar y fl m o v e m e n t a fte r s tri k i ng v igorou s l y N o ne of t h e s e m o ve

re ex .

m en ts sh ou l d be d esti tu te of freed o m a nd grace .

T h necessar y m o v e m e n ts of h an d and am ay a c cordi ng to t h e ch a rac ter

e r v r

of th e pi e c e p l a y ed l d o n ot m ean t h at i n a S ch erzo th e nger s m ay execu t e

.

m erry ga m bo l s o n t h k e y s or i n th e ai r or cree p a l o ng s l eepi l y i n a Ber c eu se

e , .

W h at I m ean i s t h i n u e n c e o n t h ton e w h i c h i n e n e g eti c p as s ages w h ere t he

,
e e ,
r ,

h a nd s ar e l i fte d ab ru p t l y fro m t h e k e y s d i ff er s fr o m t h at i n p l a y i ng s o ft l y or i n
, ,

m e l an ch o l y s tr a i n s w h er e t h ey are rai sed slo wl y and t he arm ri s e s as m u ch or s t i l l

, , ,

b e tt er a s l i t t le a s t h e w ri s t m o v e m e n t d e m a n ds
, ,
-
.

T he u p ward d ow n w ar d and t w i s ti ng m ov e m e n t s of t h e w ri st h a v e a
, , l re ady
b ee n treated at l engt h i n a for m er Secti o n H ere I w i l l m en ti o n o n l y t h e s ide way s .

m o ve m en t w h ose ai m i t i s to bri ng t he h an d i n to a c o n ve n i en t p o s tu re for taki ng

,

t h e n ex t note s I t h e C h opi n Etude op 2 5 N o 1 fo i n s tance

. n .
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 [ 79 1

o n e c a n tak e t he m e l od y to ne Eo m o re ea s i l y and re nder i t m ore ex pre ss i v e by

-
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, ,

tu rn i ng th e rig h t h and (n ot too far) sidew ay s ; t h e l e ft h a nd a l so tu rn s i n fo l l ow i ng

th e a c co m pa n i m en t g e

ur .

Tal e n ted s tud en t s w i l l nd i ns ti n c ti v el y t h e pro per e m p l oy m e n t of th e

wri s t and h ow to a cc o m m odate i t to th e v ar y i ng posi ti o n of th e h and
,
ot h ers m u st
acqu i r e i t by p ra c ti c e w h en ce arises a sort
,
o f
pr parator y tec h n ics fo t h e r e

pro m o ti o n of an ea s y an d s o n orou s execu ti on .

T he pedal i s agai n v ery h el p fu l By h ol d i ng a nd p ro l ongi ng t h e to nes i t

.
,

le ave s t he h a nd free to a s su m e t h e t fo| low i

g posi tio n ; as at al l th e c h o rd s
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n

m arked i n C h opi n s Fan tai sie

We m ay al s o a d d to t h e se c ti o n o n p reparatory tech n ics a d ev i ce w h i ch

m ak e s i t ea s ier to p l ay c l ea n basses Th ese are no t s u c h a m atter of cou rse a s o ne
.

m ig h t i m agi n e as t h e ap pel l atio n ps e u do ba ss e s i n v en ted b y Li sz t p ro v e s

,
-
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,
.

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eye s fro m th e le ft T h d ev i c e for getti ng th e ba ss c l ean c o nsis t s i n tou ch i ng t he

. e

h ig he r o c ta e of t h e bas s to ne wi t h th e l e ft th u m b wi t h ou t dep ressi ng th e ke y ;

v ,

t h e 5 t h nge r c a n t h e n read i s tri ke t h e ba ss to ne for ev ery pian i st has t h e s tret c h ,

of t h e o c tave i n h i s nger s Al s o p ra c ti s e t h is tri c k wi t h ou t l ooki ng at t he le ft

.

h a nd o r i n t h e d ark
,
.

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l eap s aferti l e so u r c e of i ncerti tu de T h rough practi ce a l o ne o ne can not l earn to

.

take su ch l eap s w i th certai n ty ; o ne req i re s presence of m i nd a nd l i kewi se a certai n

u ,

k na c k w h i ch oug h t to b e tak en ad v an tag e of w h e n p racti si ng l eap s ; na m e l y

Fo a l eap o n w h i te ke y s t h e h and s h ou l d n ot descri be a c u rv e bu t gl ide
-
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t he l eap wi t h t h e ou ter e dge of t h e l i t tl e nger not w i t h i ts ti p At th e sa m e ti m e

,
.
,

t h e w ri s t m u s t d ro p T h i s p ro c edu re h a s t h e fu rt h er ad va n tage t h at t h e h and

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doe s n ot h ide t h e key to be take n fro m s igh t o ne b ei ng ab l e to x t h e ve u po n ,

e

i t w h i ch i s ne cess ary It ai d s a cc u ra c y g reatl y t o na m e t h e to ne m en ta l l y be for e

,
.

stri k i ng .
 IZSO l

a l ap on bl ac k k e y s t h h and i s al so h el d cl ose to t he ke y b oard ; bu t

[ f or e ,
e

t h e nger ( pr f rabl y t h 3 d) d oes ot stri k e wi th i ts edge bu t Hat wi th t h e t i p

e e e n ,
.

For such a l eap o n bl ack k y s t h e w ris t c an no t b d ro p ped bu t i t m u st n ot be e ,

e
,

raised too h i gh .

D o o t b d i s c ou rage d by so m an y ru l es f o th e trai ni ng of ngers and

n e r

h a d l h o g h t h e m t h ngers n al l y ac q u i r ex q u i si te s n si bi l i t y ,and th e w rist

n .
'

r u e e e

al so s oo n l ea rns t o fo l l ow th e m o v e m e n ts of t he ngers T h af to be s u re . e r n , ,

re m ai ns a c l u m s y fel l ow al wa y s h av i ng to b gu i d d l es t h e th row nger s and w ri s t

, e e

off th e track b y f al t y m o v e m en ts C o nse q u en tl y i n th e rs t s c a l e and ch ord

u .
,

exercises o n e s h ou l d l oo k to i t t h at t h e ar m d oes o t p forward too rapid l y

'

n ress

w h en pl a y i ng u p an d d rag ba c k ward w h en p l a y i ng d ow n
, .

X xv l l I

W ho S h ou l d D ev o t e H i m se l f t o t he Piano P

q ue s ti on i nd eed ! I fear m e a n ec h o fro m t h e W o r ld wi l l

, ,

rep l y s h ort an d s h arp,

No o ne ! B u t th i s we re w ro ng if o n l y i n
: ,

co n siderati o n of th e o pu l en t gl ori ou s l i terature of th e pian o w h i ch , ,

d eserv e s t h at an u n b roke l i n e of i n terp reter s s h ou l d arise i n terp r e t e r s w i t h a

n -

m i ss i o n of cou r s e And h ere we h a ve th e rep l y to ou r questio n Th ose w i th a

, . :

m i ss i o n fo i t s h ou l d dev ote th e m s el v es to t h e pi ano

r .

Bu t w h at qu al i tie s j u sti f y th i s c l ai m ! W ere l to s ay O n l y a ta l en t of :

t h e h igh est order o ne m ig h t ju s t a s wel l assert th at o n l y m i l l i o nai res h av e a rig h t

,

to l i v e I m u s i c too t h er e m u st be a m id d l e c l a s s
. n , ,
.

(l a li a t io s w h ic h o ne m u s t h av e to be c o m e a t h orough pian is t are a good

u c n

ear a good h and artis ti c te m per am e n t e sen s i bi l i t y i n t l l igence and p s e v eri ng

, , ,
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et
-

i ndu s try .

Th m u s i c a l ear natu ral l y varie s i n qu al i t y Fi n est of all i s th e ear w h i c h

e .

re c ognize s absol u te p i tc h a nd a i n s ta n tl y te l l th e na m e of an y to ne w h eth er

,
c n ,

p r o du c ed by a m u s i c al i n stru m e n t o r t h e ri ngi ng of a g l as s N e xt co m e s t h e .

recogn i ti o n of c o m parati v e pi tc h w h i ch c a n te l l an y tone fro m i ts rel ation s h i p to ,

ano th er ke y to ne pre v iou s l y stru c k o n th e pi ano T h is k i nd of ear i s o n l y se c o nd

.

c l a s s bu t i s c apa bl e of fu rt h er de v el op m e n t ; m u s i ci an s possessi ng t h i s ear h a v e

,

frequ en tl y a re ned se nse fo sh ad i ng r .

T he l owes t grad e of ear for a m u si c s tude nt s h ou l d be t h at w h ic h e nab l es -

him to s i ng c o rre c tl y an y tone h e h ears .

 A n i n feri or ear c an be d evel o ped rai sed to a h ig her grade by a s o rt of , , .

s i ngi ng e xer c ise ; n o t a c tu al v ocal s tud ies fo t h e si ngi ng v oi ce is n o t take n i n to

,
r

accou n t M ere l y si ng s o m e to n e w h i ch is so natu ra l and eas y to si ng t h at y ou c a n

.
,

n d i t agai n at an y ti m e and n d i ts am e o n t h pi ano H o l d f a

,
n s t to t h i s ton e e .
,

a s o fro m w h i c h to d ri ve oth rs N ow l y t h fol l ow i ng exerci se S tri k e a

ne e e . r e :

to n o n t h e p i an o and si ng to th i s to ne t h m i n or seco nd t he n t h e m aj or se c ond

e , e , ,

an d th e ot h er i n ter val s i n regu l ar order rst p vard t h en d o wn ward ; and kee p at

, u i
-

o ne i n terv a l u n ti l y o c a n si ng i t correctl y
u .

Al so try w i t h ou t look i ng at t h e k
, to na m e sepa ra te to nes th en h ar m o n i c
e y s, ,

i n terv al s a nd l a s t of al l ch ords p l a y ed by so m e oth er person at th e pian o If a

, , .

qu arter of a h ou r at m ost be dev oted to t h ese x e rcise s d ai l y t h e ear w i l l soo n

n , , e ,

s h ow progre s s .

T ou c h i ng t h e h a nd an d i t s qu al i c ati on s so m e ob s er vati ons w ere m ade i n ,

Secti o n l l ; h ere I w i l l o n l y add th at ev en a n i m per fectl y ad ap ted h and m ay b e

,

m ou l ded b y i n du s tri ou s and we l l d i rected p racti ce i n to a pia no h a nd

,

it wi l l ,

"

a cc o m m odate i t s e lf to p i an is ti c re q u i re m en ts .

O n t h e c o n trar y i t i s d i f cu l t to ch ange t h e te m pera m en t A p hl eg m ati c

, .

pu p i l ev e n s h o l d h e possess all th e ot h er good qu al i ti es can d ri v e a tea ch er to

,
u ,

d i s t ra c ti o n an d h i s p l a y i ng wi l l ev er m o v e h is hearer s Better a n ov erp l u s of

,
n .

te m pera m en t It i s an easier task to r s trai n i t A p l a y er w i t h ou t te m pera m en t is

. e .

al so e m o ti o nal l y d u l l w h en p l ay i ng A nd e m o ti o n al i t y c a n n o t b e c reated b u t on l y
.
,

s o m ew h at re ned o r aw aken ed i n case i t on l y s l eeps

,
.

M u s ic ia n s t h e m se l ves h owev er s h ou l d i n v eig h agai nst t h e be l i e f t h at m u s i c

, ,

n eed s o n l y e m oti o n fee l i ng an d no t i n te l l i g nce as wel l T h i s l as t i s need ed if

, , e .
,

o n l y to m ake u p fo or at l eas t to h id e a possi b l e de fe c t i n tal e n t

r, ,
.

H owe v er great th e tal en t m ay be o n e can soo n er attai n e m i nence wi t h ,

i ndu s try and l e s s ta l e n t th a n wi t h m u c h tal e n t w i th ou t i ndu s try U n re m i tti ng .

i ndu s tr y wi l l h el p o v er m an y a h ard p l ace a nd e nab l e i ts po ss es s or to attai n at l eas t

,

a respe c tabl e e m i n e nce i n m u s i c ; bu t tal en t wi th ou t i n du s try ru n s to s eed i n fa c t .

,

t h e ardu ou s s u m m i t of Parn as s u s c a n be co nqu ered o n l y beh i n d t h e dou b l e tea m -

,

I ndu stry an d T al e n t .
t he au d i en ce better t h an t h e p l ay er B u t t h e l atter c an h ear t h e di s son an ce y et .

m o e di s ti nctl y if wi t h ou t pl ayi ng on h e h ol ds do w n th e p eda l fo a ti m e and

r , ,
r

l i stens att n ti v el y to t h e reson an t wav es

e .

TO p ag e 60 A t th i s poi n t we m ay v en tu re a word con cerni ng t he M e

.

t ro om e
n Stri ctl y sp eak i ng ti s a w ooden Cap /[m art en w i t h ou t an a t o m of s u bj ee
.
,

t i it y t h ough u s fu l w h en not e m p l o y ed too o ften

v ,
e It i s n o t m e rel y a ti m ekeeper .
,

b u t l i k ewi se a good i n stru m e t fo trai n i g a de fecti v e sen se of r h y t h m C o e

n r n . ns

qu en tl y ev ery pl ay er s h ou l d m ak e tria l of it on c e i n a w h i l e and p l a y sc al es tudes

, , ,

or pi eces wi th m etron o m e acco m p an i m en t T h en h w i l l di scov er pre c isel y w h ere

. e

h ma
e y l ose ti m e i n di f cu l t pa ss ages or gai n i n easy o nes , .

T h ose w h o are w eak i n ti m e are ad v i sed to p racti s e th e fol l owi ng m tro n o m e,

e ~

exerci se ei t h er at t h e ke y b oard or (si m p l y by feel i ng ) away fro m i t

, ,

T;
l J i
l
-
i _
_

J l
Qu i nt up l et s a x
n d Se t u p l ets
( 1d 125 1 110 11
A m
4 d
"
I u
l T Tl " T

; _i 0 T
"

0 O iO 0 0 0 O 0 0 0 O 0 0 .

D o ot et t h e m etro no m e on too high a nu m ber and l et i t m ark qu art e r

n s ,

n ote s d u ri ng w h i c h t h e ex er c i se is repeated at rst i n regu l ar su c c essi on and t h en

, , ,

s k i p pi ng .

ough t al so to p lay h i s pi eces th rou g h o n c e wi th t h e m etron o m e for

an ot h er reason n a m el y to learn ho w to c arr y o n equ al l y tw o t h e m es of di ff eren t
, ,

te m pera m e t b u t l i ke te m p o in o n e and th e s a m e pi e c e F o th is th e co ntro lli ng

n . r

i u en ce of th e m etron o m e i s c ertai n ly v al u ab le
n .
 1 85 ]

A p p en di x

I . S am
e or SC A LE SC A S, LE or A ar sooi os, AN D SU IT E or A R P EGG I O S
HF f o l l owi ng S c al e of S c al e s Scal e of A rpeggi os and Su i te of A rp egg o
.
.

, ,
i s,

sh ou l d n ot be tak en u p ti l l t h e p l ay er c an exe c u te s wi ft l y and ev en l y t he

ord i nar y s c al es an d broken ch ord s Ea ch s e c ti o n i s i n t e nd ed to b e p l ay e d
.

t h r o ug h wi t h ou t a break fo w h i c h pu rp o s e t h e c o n ne c ti ng n geri ng i s gi v en T he
,
r .

S c al e of S eal es i n parti c u l ar requ i res great endu ran c e

, ,
.

Let n o on e h ow ev e r ov erd o th ese ex erci se bu t s to p w he n t o o ti r e d and

, ,
s
, ,

re s t be fore c on ti nu i ng T he r e q i s i te e ndu ran c e w i l l b e a c qu i r e d l i ttl e by l i ttl e

. u .

Pl ay t h ese ex er c i s e s th roug h o n ce ev e ry da
y ; t h i s n ot m e r el y k e e p s u p t he
te ch n iqu e b u t i n c rea s es it
,
.
Cm i nor wa m )
. r .

C m i nor .
(m el od )

Dlam a
j or .
 D m aj o r .

16 3 84
 E m a j or .

16 3 3 4
 F m ao
j r .

. J ;
 G m aor
j .

l 6 3 84
Am i n or . (mel od )

Ri> m i n or
. (h arm)

Ri> m i nor . (mel od )

 m i or
n . (h arm)

m i nor . (m el od )
.

C h r om a ti c .
 2 Sc a
. l e of A r p eg g i os .

P r ac tis e w it h b o th the g i en f i n g e r i n g s
v . Take th e key n ot e , w h ere v er it s tan d s , n y w ith
o l the re g ular
f i n g e r i n g (th at ne x t t h e h e ad s of th n ot es)
e .

Cm i nor .

m i or
n .

El! m i or
n .

15 3 Rt
 Al; m aj or . Gli m i n or .

A m in or .

Bl> m a j or .

Bl) m i nor .

B m aj or . B m i no r .
 3 Su i t e of A r p e g g i os
.
.

T r iads an d Sev en th - c h or d s .

EB3 S4
 | xoo j

C on c l u si o n
H lf G

. r o u n d work of t h e Lesc h etizk y M et h od i s c h i e y i n ten ded fo p ian o r

p l ay ers who m ay be a ss u m ed to po ss ess m ore t h an a ru d i m en tary pi an i s ti c

trai ni ng T h is d oes n ot h o w
. ev er p re c l u de t h e i n s tru c ti o n of b egi n n er s
, , ,

or even c h i l d re n a cc ordi ng to t h e M e th od Su ch m u s t r s t of c ou r s e b e taugh t

,
.
, ,

th e t h eoreti c a l el e m en t s i n o ne w ay or an ot h er B u t fro m t h e m o m en t t h at t h ey
.

set th ei r h and s on t h e ke y s keep stri ctl y t o t h e ru l es of t h i s b ook O n l y d o no t

,
.

l et c h i l d re n p l a y ex erci s es a s l ong a s adu l t begi n ner s and of c ou rse d o n ot al l o w

,

th e m to atte m p t a n y requ i ri ng th e s tretc h of a fu l l grow n h and -

.

Piani s ts t for m i ng t h ei r m eth od accordi ng to Le s c h etizk y wi l l arri ve at t h e

e ,

goal on l y t h rough en ti re a bs ten ti on fro m p l a y i ng i n t h ei r for m er s ty l e w h i l e for m

i ng t hei r n ew on e T h e y m u s t
. gi v e u p sigh t read i ng R egard th i s ch ange
ev en -
.

of m et h od a s a treat m en t s o to s peak du ri ng w h i c h th e prescri bed di et m u s t be
, ,

stri c tl y observ ed for a l apse i n th e regi m en w ou l d th row t h e ngers ou t an d

, ,

c o nse q u en tl y l ose ti m e E e w h en t h e exer c i ses and sc al e s are t h oroug h l y

. v n

m a s tered i n accorda n c e w i t h th e M et h od p l a y n oth i ng fro m y ou r earl i er reperto r y

,

fo so m e ti m e bu t tak e u p tud e s and pi eces w h i ch y ou h av e

r .

, e er stu di ed n v ,

p l a y i ng n o n e of t h e ol d pi e c e s u n ti l y ou are s u re n o t to l ap se i n to t h e for m er
m an ner of p lay i ng .

D o n ot fear to l o s e y ou r ol d ti m e d e x te i ty of nger du ri ng t h i s e n for c ed

-
r

v a c ati o n ; o n t h e c o n trary i t w i l l reap p ear a fter ward m ore p ote n t a nd per fe c t

,

t h an e v er .

For su c h a c h ange of m et h od pati e n c e and s ti l l m ore pati en ce i s need fu l ;

, , ,

b u t o ne is re p aid b y t h e re s u l t T h at h as c o n v erted m an y an u n b e l i e v er
. .