222 L62 B831905

CORNELL UNIVERSITY
LIBRARY

FROM
The Department of Music

mm

..^ MT
Ttie

Cornell University Library

222.L62B83 1905
grpundwork
of the Leschetizky

method

1924 021

744 275

The

original of this

book

is in

the Cornell University Library.

There are no known copyright

restrictions in
text.

the United States on the use of the

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

THE

GROUNDWORK
OF THE

LESCHETIZKY METHOD
ISSUED

WITH

HIS

APPROVAL

BY
HIS ASSISTANT

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

Dr.

TH.

baker

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

G.

SCHIRMER,

INC.,

NEW YORK

AUTHORIZED EDITION
Copyright, 1902, by
G.

SCHIRMER, INC.

Copyright, 1905, by
G.

SCHIRMER, INC.
163 84

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

Printed in the U.

S.

A.

TO MY HONORED MASTER

PROFESSOR THEODOR LESCHETIZKY

Twenty
years

years ago

became your
to

pupil,

and for more than ten

office

you have considered

this

me worthy

hold the

of your

assistant.

Let

be

my

justification for publishing, in this

this

book, what you have

I

taught

me
I

throughout
pupils.

long period, and what

in turn

have tested

on hundreds of

am

well aware that a finished pianist can no

more be formed
be trained
claim a

by a theoretical method alone than

by books on painting or sculpture
certain right to exist, if only as a
disciples
;

a painter or sculptor can

nevertheless,

my book may
to

welcome reminder

many former

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

of the basis of that School.

later pupils, as affording a correct idea

Following the
pedantry.

spirit

of the

latter, I

have been

at

pains to avoid
is

My

work

does not aim at a slavish observance of rule, but

meant
the

to be a guide to fine

and correct piano-playing.

this

am

rendered

more

desirous

of attaining

end by reason of the honorable

illustrations

distinction conferred
I

upon

my work

by the

of your

own

hand.

thank you most sincerely for

this
it

distinction,

and beg you to

accept the dedication of this book.

Thus

only returns to the fountain-

head whence we

all

draw.

Vienna, February, 1902.

MALWINE

BREE.

Hi

(TRANSLATION)

Vienna, Feb. 24, 1902.

Mme.

MALWINE
I

BREE.
:

Honored Madam
book, which
principle

My

best thanks for the dedication of

your

of course accept most gladly.

As you know,

am from
excellent

no friend of theoretical Piano-Methods;

I

but your

work, which

have carefully examined,

I

is

such a brilliant exposition of

for

my
with

personal views, that

subscribe,

word

word, to everything you

leads
years,

advance therein.
a practised

Your "Groundwork of the Leschetizky Method"

hand along the same path on which,
as

for

many

you have won such striking success

with

my

assistant

by teaching in accord
is

my

intention.

Moreover, the tone of your work

not monoto-

nously didactic, but enlivened by clever conceits and humor.

Approving the
declare your

illustrations

of

my hand

as

genuine and

lifelike, I

book

to

be the sole authorized publication explanatory of

it all

my

method, and wish

success and popularity.

With
(Signed)

sincerest regard,

THEODOR LESCHETIZKY.

Table of Contents
SECTION
I.

PAGE
Attitude at the Piano
I

II.

The Hand and

Wrist-exercise

Its

Posture

III.

4
4

IV.

Some General Rules

Finger-exercises
1.
:

V.

2.

3. 4.
5.

6.
7.

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

9 9
10
10

10
II
II

VI.
VII.
VIII.

Preparatory Studies for the Diatonic Scales

The Same, One Tone Wider

Diatonic Scales

.....
.
.

IS 17

IX.

Preparation for the Chromatic Scale

20
21

X.
XI.
XII.

Preparatory Studies for Broken Chords (Triads)

Broken Chords (Triads)

....
Same Key
Thirds and Sixths
.

25

Preparatory Studies for Broken Seventh-chords

Alternating Fingers on the
Styles of

26
27

XIII.

XIV. XV. XVI.

XVII.
XVIII.

Touch

On

Octaves

Chords
Arpeggios

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

in
.

28
31

33

48

Paired Notes; Scales

49
56
57

XIX.

The Highest Part The Glissando

Embellishments

in

Chord-playing

XX.
XXI.
XXII.
XXIII.

58 60
61

Dynamics

On

the Pedal

XXIV.

Rules for Performance Melody-plaj'ing 1.

2.

6S

Tempo
Rhj-thm
.

69
70
72
73

3.
4.

Arpeggio-plaj'ing
.

XXV.
XXVI.
XXVII.
XXVIII.

Fingering

Practice and Study

75

Movements

of the

Hand and Arm

to the

78

Who

Should Devote Himself

.

Piano

80 83
85

Addenda
Appendix
1.
:

Scale of Scales

86 94
97

2.

Scale of Arpeggios
Suite of Arpeggios

3.

Conclusion

100

Attitude at the Piano

one remark by Leschetizky
:

"

Sit

at

the

piano unconstrained and

to the

fflERE erect,
horse."
Sit at

like a

good horseman on

his horse,

and yield

movc;ments of
his'

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

movements of

such a distance from the keyboard that

when

the arms are easily

bent the finger-tips

pedals comfortably.

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

too far away

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

higher.

but very

little

Too low

a seat, in particular, necessitates

'^in

accord with
is

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

compelled,

when playing

forcible chords, to raise his shoulders,

which has no very graceful look.

Many
enough.

even eminent
They
listener's

pianists lay too little stress

on

a graceful attitude

while playing.

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

ear should first be seduced through the eye,

That

is

not

The

and thus be

rendered more impressionable.

Neither does "posing" meet with our approval.

The

usual pose

is

to lean

backward with

a splenetic air

and

to

play with slow negative

there
is

movements of the

head, the eyes rolled heavenward.

disdainful expression of countenance

Then
;

the nonchalant pose with the

till

or the player bends over

his

head almost

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

All this produces a more or less comical impression, and

effect

is

apt to injure the

of the

finest playing.

True

feeling

is

not expressed by means of the pose,

;

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

and true feeling manifests

itself

spontaneously,

if

the player really has

it.

fal

II

The Hand and

Its

Posture
aristocratic

nHE

pianist

must renounce

the so-called

hand,

slender

and

gracefully formed, with well-kept nails.

thoroughly trained " piano-

hand " becomes broader, supple

finger-tips.

in

the wrist, and muscular, with broad

The
large

nails, too,

must be kept

short, for the springy

pad of the

finger-tip

yields a mellower tone than the inelastic rail.

Too

hands are not always advantageous

at

the piano

but too small

hands are often

a disadvantage,

even though such can generally bear fatigue better

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

Large hands,

show

superiority

in

widespread chords, which small hands have to make

good by means

ot dexterity

and suitable arrangement.

For the

rest,

there have

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

The method

of holding them

is

the

same

for both.

[3l

Fig.

2.

How

to Hold the Left Hand

The hand should assume

for, apart

a decidedly vaulted

form (see Figs,

and

2)

irom the unpleasing, amateurish impression made by playing with

fingers, the only

flat

hands and

way

to get strength into the fingers

is

to hold the

hand

rounded upward.

The wrist must be

held somewhat lower than the knuckles, and the

fall

fingers so curved that the tip-joints

vertically

on the keys, which are touched

the sole exception, as
it

by the

tips

of the fingers only.

tip,

The thumb forms

;

strikes

the key not with the

tip-joint bent.

but the edge

it

is

held away from the hand, with the

Now
the touch
slip off.
is

set the finger-tips

in

an easy posture on five consecutive white keys,

this

and press them down together.

lightest there, but

Do

near the front edge of the keys, because

at

do not hold them

the very edge, as they might

The
to the

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

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

thumb

3d

finger,

and then inward to the 5th

finger.

[4]

III

Wrist-Exercise

Fig.

0S

soon

as the posture of the

five

hand

is

quite under control, press rather firmly

on the

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

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

(3) that

on

raising the wrist

it

does not

rise

higher than

its

original position,

and (4) that the upper arm does not follow the wrist-motion.
only a few days, and with the hands in alternation.

Repeat

this exercise for

IV

Some General Rules

HE

following fundamental rules are very important even for the finger;

11
after

exercises

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

all

(i)

It

is

best to play

finger-exercises at
to get

first

only with a light touch;

two or three days one may try

more

tone, always endeavoring to play

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

the fingers.

This

is

accomplished by

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

and muscular strength of the

the

fingers.

Strongest of

all is

the

thumb; then comes

finally, as

3d

finger, followed in

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

the

weakest, the 4th.

rule,

But

in this case

we do not observe
;

the ordinary educational

the contrary, exert the
for the

and

treat the

weakling with indulgence

it,

we must, on

strongest pressure on

to

remedy

its
is

inequality.

The dynamometer

exertion of force at any given time

finally

the ear.

One must

hear whether the tones

sound equal

in force.

After some practice the fingers will accustom them-

selves to the necessary degree of pressure.

(2)

It

is

not well

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

Avoid

this

by frequent alternation of the hands.

Let us say, once for

all,

that the

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

After a time each

hand may

practise

longer

but even then be careful not to overtire yourself.

it

Should the hand begin

soon
feels a

to feel heavy, let

rest.

Should one continue

practice,

one

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

may

injure the hand.

(3)

Without interrupting

practice, lower

and

raise the

hand frequently while

hand from

playing, as described in Section III.

By

so doing one prevents the

growing

stiff.

(4)

When
and

the finger

is

raised
8).

from the key,

it

must not change

its

form,

but remain curved (see Figs. 4 to

it

Bending the raised finger inward, or stretching

is

out

stiff

straight, does

not look well, and

a waste of strength at the

expense

of tone and velocity.

(5)

Always keep
;

a watchful eye

on the

finger-tip,

and

strike the

key exactly

with the

tip

for that

is

the only

way

to bring out a full, strong tone.

(6)

Let us remark,

in advance, that in playing a

melody /or/e', or

for strong

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

The

fingers thus touch a wider key-surface

and

are less apt to slide off.

V
Finger-Exercises
I.

One-finger Exercises
finger-exercises
are

the

start

the simplest

the best, so that attention

E^

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

[6]
4
6
I 1

6
1

R.H.

23, *
45
1

m
1
I

34

^
21
-4-ff

^5,3

3
I

P *

,-**

2?5

5.

342
_J1
H_

2 2 1(

=^^

324

4
fi

^
43

21

.^6

S"

r r r r

While four

fingers hold the

whole notes, one finger plays the quarter-notes.

rt^/

Repeat each of the above and following measures

libitum.

Holding
and then
the

the

hand

as in Figs,

and

2,

press

down
key

the five kevs together,

rise to its level,

raise the
in

thumb

just high
it.

enough

to let the

keeping

thumb

touch with

(Fig. 4.)

Fig.

Now
rises again.

the

thumb

presses the

key down

again, holds

it

moment, and then

Repeat

this

procedure several times, and then continue in the same

[7]

Fig. 5

manner with

the

2d

finger, raising

it

about one-third of an inch and striking the

their keys.

key repeatedly while the other fingers hold

(Fig. 5.)

Fig.

Proceed similarly with the 3d

finger,

keeping the others down.

(Fig. 6.)

in

Fig.

Fig.

Now
acquire

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

8).

}t"i-"-

iese_tw^

must, however, be raised

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

may
of

more independence and

the 5th

more

strength.

During

this

exercise

the five
to

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

make

sure that the wrist

is

loose.

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

(compare Section XIV).

blow,
flies

For
its

this

each finger, after striking

its

key a short,

swift

back high in

rounded form.

This renders the fingers more

elastic,

2.

Two-finger Exercises
i

This

is

the application of Exercise

to

two tones

r2

fl

"vr r r

n ^^ 2323
i

-ri
3

Lio]

Two
down
its

fingers hold

down

the whole notes, three play

is

but each finger holds

key

after striking, while the next in turn to play

raised a tempo.

4.

FouR-FiwGER Exercise

R.H,
1

One

finger holds

down, four

play, as above.

5.

Five-finger Exercise

R.H.

m
3B
keys.

i f

* f

t234 54 32
Then one

L.H.

N^M^
finger after the other plays,

Press
its

down
;

all five

and holds

key

(as

above)

etc.

6.

Finger-exercise with

One Tone Held

R.H.

H 31|

>
|

11

of ^ i^r r r

r-rT rrr-irr rr

r:ii

rr r-irrr rr^ r?
i

rNPr r

r r^i i

L.H.

-r'frrr?Trrr^"frrrTrrrr%rrr%rrr'"rrrr?rrrr:
Hold
the
first

note of the measure and play with the next finger.

Inactive
is

fingers are to be^ held

high in their rounded form, excepting the thumb, which

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

Be
take too

careful

not to hold the inactive fingers up spasmodically, for

this
if

would

much

strength from the active ones.

And
if

do not worry

the 4th

finger jerks a

little

when
is

the

3d

finger plays, or

the 5th does likewise

this,

when

the 4th plays.

There
it

an anatomical

reason

for

in

the

presence of a
is

common
task,

tendon; so

does no harm.

The breaking-up

of this habit

wearisome

whose

sole result

would

be, perhaps, a certain stiffness of the wrist.

//

S.

i^' /J*
7.

Free Finger-exercise without Held Tones

R.H.

4rrrr rrrN
ii

rrrf: rrrr; rrrr: rrrr: irrrr:ii

ii ii ii
i

Here, too, the finger must instantly

finger strikes.

fly

up
is,

in
in

rounded form when the next

all

The thumb,

after playing (that

exercises

where the right

hand begins on
to
its

C and

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

key, as

if

ready to press

down.

(See

Addenda,

p. 83.)

VI

Preparatory Studies for the Diatoni c Scales

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

broken chords, he would have provided him with

each

at least

seven fingers on

hand,

and furthermore, with

seven

fingers

of equal

length.

For

the

12

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

thumb

once, at least.
special

But with our

insufficient

number of

fingers,

turning-under

requires

preparatory exercises.

Fig.

at

3l5
R.H.:

i-t-

23

g3 #-(

i;<

L.H.g

O: t^Q

iTrrrr TTR

^
fingers

Two

fingers hold

their notes,

one plays.

The ad and 3d

must

form an arch, under which the thumb moves.

13]

Fig.

io

23
R.H.
2 3 2 3 3 2 3
2

o^
I

3Z
>
.| |

p ^ p

^ p

>
|

3,

a*

L.H.=y=^
One
finger holds,

i=g^-f=N^
play.

two

3*3
3
i

R.H.^
3

-H.

^)-

r '

14

All three fingers play, and hold their notes after striking.
_exercises_and the following ones, the fingers

Bo th

in

these

coming

just before and after the

thumb

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

may

not be noticeable.

The

notes requiring

stronger accent are

marked by

dashes.

r 3 2

L.H.

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

1

Two
leaps from

fingers hold their notes, while the right

to F\ the left

thumb, passing under them,

bent, and

thumb from C

to

G.
it

Keep the thumb

hand

do

not allow
^7

it

to rise in too high a curve, but let

glide over the intermediate keys.

quiet,

Take
but

care in
;

all

these exercises to keep the

and the wrist loose

unmoved

neither

must the elbow

rise

when

the

thumb

passes under.

R.H.

L.H.S

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

beginning on C, passes instantly under the palm,

in

bent posture,

when

the

2d

finger

has struck.

From

the

second measure of

this exercise

on, the arms

must follow up or down when the thumb turns unaer or

a finger turns over.

VII

The Former

Preparatory Exercise,

One Tone Wider

Fig.

II.

*--

R.H.

^T-rriH'grfff 228 3 333

!I^S

g'Jr rjj.^ ^4444

M m
JJ

* L. H.
.t- ,'..

'^,

o 3

V'l'l-lfl. .M JJJJ: .\JJ

||

jj4

4 J

>
J
:
|

|"8JJJJ:|

One

finger plays, three hold.

R.H.ySF*^

L.H.

34

r r r

^1

"r r r r
4
I

ii

'"'^

2 4

=g

rrr-'i"iri

Two

fingers play,

two hold.

i6]

R.H.

j;

'TTTil^^ 3*14
2
3

343
r r r
ii

g34 14
"r

L.H. ^-

[!

^FfP

One

finger holds, while three play

and

re mainjjq wn after striking.

R.H.^^^^^^
3

14

L.

'y^'i

J
I

All fingers play, and remain

down

after striking.

""

fe
38'

1'

C r

L.H.^
The
as in the

}E3EEjS 1
leaping
wrist

2d,

3d and 4th

fingers

hold the whole notes_^he thumb

former similar exercise, without describing too high ^ curve]

turn a
its

The

may now
thumb

trifle

in

the direction in which the

hand

is

moving, when the

strikes

key.

R.H.

' t5

'*

ir-

^ i ~ m*HS
'^

'

r II
i

'

L m

I m

I 1

'A

^ _

'

'*

^M
l

4ll

rrrrrrrr lrrrrtfrTfrrl rrrrrrfr-Mrrrrrrrffr

Lg37T3g ..r-
L- -'^

..

3r.-,r.. 37.~.T3
-i i

g 3

T-

3 g
-n

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

rrrrrrrrri
on

The remarks on

the similar exercise

apply here.

LI7

VIII

Diatonic Scales

Fig.

Fig.

13

IS

Fig.

scale-playing

take care, above

all

things,

hat

when

the

u nder the arm

isjiot thrust forward with a jerk, but follows the

thum b Jurns movement

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

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

remain beside the hand, bent and ready to

strike.

Fig.

15

19]

Practise the scales at

first

slowly and with a strong, even

touch,
at

without
the

counting.

Not

until later should

one gradually increase the speed,

(triplets) or four notes,

same

time counting rhythmical groups of three

but wholly with-

out accentuation.

R.H..

jTJjp^
:i'^ [^inrfrua
The
stroke
left

^^,i^
them quickly
after each

hand two octaves

lower.
fingers, that
is,

In rapid tempo "detach" the

lift

as in staccato
first

which renders
through

the scale "pearly."

Practise at

with each hand alone, then with both together in contrary

all

motion, andfin ally parallel

strong, even touch
is

the keys.

When

the slow scale with

it

thoroughly drilled into the

fingers, practise

with the various

dynamic shadings;

at first/or/^,

then pianissimo, and finally crescendo and diminuendo

the last two shadings in the variations

also, to

shown

in the following examples.

In these

begin with, play slowly.

cresc.

dim.

The

left

hand two octaves lower.

on Dynamics,
ilv-^i

Concerning crescendo and diminuendo,

refer to the chapter

[20]

IX
Preparation for the Chromatic Scale

t2I

R.H. <ji;^r

TT^P
1

..

,2

_Jbilui

^
3

a
:||

1
:||

l.h; v=

^P

P^P

ijp

r''f

Free exercise.
little

At

the two neighboring white keys bend the 2d finger a

in line.

more, that the fingers may keep

(Fig. 17.)
it

In both the exercises the wrist remains quiet and loose; but hold
higher than for the diatonic scale, so that the
tip.

a little

thumb

strikes the

key more with the

Be

careful to strike the black keys very near the front edge.
for

Observing the directions

scale-exercises,

both the chromatic snd diatonic preparatory

begin

now

to practise the chromatic scale in

groups of three and

four notes, without accentuation.

^i>J3i3
L.H.

II

X
Preparatory Studies for Broken Chords (Triads)

z
^|-&i

3333
"

R.H.

d i:^

W
feE

JJ Ji

z 3

'jjjj

ii

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

["J

R.H.

L.H.

^Jii

umj
l
I

l--2

i-e-

i-^

SE

nr rr
i-e-2

^1

a^

i-o-

F^^

L.H.

^ ):4

i^
I

4
-

l-f
i

-1

r r zn:

"

^ ^=it

^F

-^ :^"
L.H.
^^^

5"

rr

l--8

p -n^ivr

^ r

-i

"
'

F^-F-^i

n! is^ F r
'

OLD

down

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

ID

the hand arched and the fingers curved.

Often move the wrist up and

down without

interrupting the playing.

R.H.:

ii i'i-vjTy^
J
')
.^

m
'^

L.H.

ir
I

^m

Ei

again.

Let each finger

lie,

after striking, until its turn to

pky comes

Other-

wise, observe the directions for the preceding exercise.

[23]

Fic.

i!

R.H.

3a;

II

or rrr
4

^1

-j^r^
4
11

14
il

1-

"

r r
quarters.

fl

'

'

^l

Hold
fingers

the whole notes, play the

Here, too,

the

3d and 4th

must form an arch under which the thumb

passes.

R.H.

===
I

'
Jl
II
1

'

'

J
^

J J ' ^

.
^1

eJe^

'i

'

',

m
I

_
:i

1 I
I

2, -I
I

I
I

_
3.

Z
t

4
1

T#-

4
-I

L.H.

r r

11

r ^ r

?^^^
The thumb

^^^
hand and arm move
in turning under,

=I-

^
4
g

Free exercise.

From

the second measure on,

in the

direction of the next tone to be struck.

and the

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

[24]

Fig.

19

R.H.

L-i31 m

F f

'

r-r
A
L
I

>

i r

^1

; r

r ^ r

^ih

^^ f^

=1^

Triad-exercise in the

first

inversion.

L.H.

^^-:

.^r-i3 J J J

| I'

|;'o # <i O J i

-.

<i

1*^

3r

rr

*)

1"

:H

^
1

frr;rf: I fffr4i^
i

^^

Same
same

exercise in the second inversion.

For both

inversions, observe the

rules as for the

fundamental position.

Players having sufficient stretch to extend this exercise by a tone without

forcibly contorting the hand,

may

take

up

the following exercises.

[25]

R.H.

-^ 1

^hh^
::

!l
I

.1 1

i)

^1

^^

^^
t,

i'

L\.

WW
"

l*

pp

li

"^

^
two

3- j

fingers.

.
,

ii

;;^.i^

Observe the same

directions as for the exercises with

R.H.

i
down

^_

iL.H. ->-r
after striking.

Here

the fingers stay

XI

Broken Chords (Triads)

SWA

R.H.
Fundamental
Position

1 ,
.

ty

2 3 i a

a 3

.
.1

3 1^

il

'

L.H. 5 4

4 a

12
1

12
,

s
.^

:^

R.H.
4
etc.

R.H.

etc.

L.H.

4 .*Second Inversion

First Inversion

IRST

practise the fundamental position,

all

and

also the inversions, in

all

major;

then in
keys.

other keys.

The

given fingering applies to

major and minor

Excepted from

this rule are the following triads

26]
Bl>
l

minor.

C minor.
J

F minor.

minor.
I

?^

l\\

^ ^

iM
=f
a

uH.

iJ

El>

minor.

and

for the

left

hand the tundamental position of

major.
'-

=p

r^^4^ a ^ 5

on

A major.

E major.

B
-J
I

major.

F# major

?
Is,

HA.

m
broken
It

i^^

Mm m
on
a

Another

rule for the fingering

that

all

triads starting
is

black

key must be begun with the 2d

solely as an exercise

finger.

However,

very useful

though
on the

also to begin the triads with

any finger which

falls

tonic in the course of playing.

triads

In D^i major, for example, when playing broken

;

the 4th finger

finger falls

falls
B'p-

on the tonic Dp

and

in the first inversion of

G G

minor,
the

the

3d

Therefore, instead of commencing to practise

finger, begin

Db major

triad with the

normal 2d

with the 4th

and

in

minor

begin with the 3d instead of the 2d,

etc.

^
^

(4)

fe

etc.

fe

etc.

XII

Preparatory Studies for Broken Seventh-chords

H.^
i

PP

=1.0

r r r

f'-^

m
r r r

p-m-

III r r r r

.-i

L.H.

?-i nTTTirlFf

r r

Ijrf

^itj
,
,

l i"
,

... !

27

R.H.

b^ J

J J

^1

is

J^ i^

L.H.

^^

^^
"Tjr

-i-e-

f^Tf^
41
1

iw^ rrrr
^

I
a
4
1
|

-3-^
--

^1

lo^

ihar

n"^3M|.o]:3n:
\

^
\

-*

|i

^ j_J J
i

v ]rjni:
"^

^ ^ J

-I

ii

^ j
^ ^

J J

^ ^M
4,
I
I

g|

a 4 3| ^
?>^

. ,

. ,

._
--

^ 4

, .

, .

^ J

ll

'1

^
ai 3| "

* J *
gva.

?
C

^
^1
3|

4,

U *

?
;j

Tff##
3| ..

3|

4,

J #

^
3|

*'

R.H.

^-^
E C
''

,?

^p
'
^

i
r

3
I*

'

1-

*3

L.H,
Practise these preparatory
in

studies in

all

inversions and combinations (as

Section X).

XIII

Alternating Fingers on the

Same Key
are

HEN
make

finge rs alternat_on_the
;

same key, they

less

moved only

at

the

knuckles
a

they are held somewhat

curved than usual, and their tips

"wiping" motion on
hand

the key.

rather higher, allowing the

slightly outward.

to follow the

The wrist is held loosely and movement of the fingers by turning

[28]

At

A2l2i2t
triad,

first

practise the alternation of fingers

on only one
the

Then

practise the diatonic scale, the

broken

dominant seventh-chord,
:

and the chromatic

scale according to the following

examples

w
Z
I

rrnitftftr

W
2
1

^
~

grn..

if-p-

^-H^-t

c;r;^rri;
9
1

i-i

Also
4

play
3

these
1

exercises

with

three

fingers

[29]
forget
still
;

and even

if

he be not able to

rival the effect

of

a voice or a violin,

he must

endeavor to approach them

as far as possible.

This may be done,

in the first place,

\^

by means of a well-developed
fJ

legato.

The
style

execution of the legato

as follows:

The
its
is

iiggr is

lifted

in

the normal

^j^

^'^h^" the next finger has struck

key.

To

obtain a le^^tissimo, let

the finger

lie

a trifle longer, after the next tone

struck, like this

When
the
foll

a strong,

full

tone

is

to

be brought out legato in ^\cantilena] the

strength of the fingers does not

suffice,

but inust be reinforced by wrist-pressure in

owmg way

Touch the_key
it)

ligntly

and force the finger

a swift

to

press

it

down
the

deep (without losing contact with

wrist
;

by means of

upward movement of

at this instant, wrist

and

finger-joints

must be
wrist.

firm.

The same

effect

may

also be obtained

by

a rapid

down-stroke of the
its

Immediately

after striking

the tone^ the wrist must return to

normal position, while the finger holds the

key

lightly.

Practise this singing tone

staccato
is

on

five tones.

For the
above.

the

keys

are

not pressed down, but struck

down from

A
The

distinction

made between
played

^ngtr-staccato and ^vist-staccato, according

wrist.

as the striking lever hinges at the

knuckles or the

fingzr-staccato

is

by throwing the

fingers

upward.

Practise

slowly on five tones.

p
Holding the
wrist loosely

and unmoved,

raise the

bent finger high, strike

In rapid tempo the

the key swiftly, and let the finger fly back instantly as at
staccato

first.

becomes

a non legato, because the finger has not time to

draw back

fully

before the next strikes, the two

movements
first

nearly coinciding.
scale in

Practise the fmgtx-staccato at

all

on four tones, then through the

keys.

Begin slowly, increasing gradually.

The thumb

is

carried

under the

palm

as for the legato scales.

In the ^nst-staccato the bent finger

is

thrown upon the key without further

Practise

ceremony, striking
it

it

smartly, and being instantly withdrawn by the wrist.

:

slowly in accordance with the following examples

[30]
5

It

IOC

rrfr^ rrrf:iirrff: rrrr:

i
ii

ii

fffM rrrni rrrMifrrrrrrr^

i i

Here
must

fingers

and hand must "

retain their position."

This means, that the

and the wrist

fingers, as in Finger-exercise

No.

6,

must cover

their respective keys,

yield neither to right nor

lett.

*
Play!

^^
ad
libituni

^VTr
all

:
|

through

keys

P m

^
at first,
all

Practise the last two exercises in

in
all

broken chords through one octave

Also ad libitum through
but follow the sideways

inversions, then through several octaves.

keys.

Retain the position as

far as possible,

movement
But

of the fingers yieldingly with the wrist.

The

rapping sound of the finger-tips in staccato cannot be avoided.

e.g.,

it

does no harm, and in the burlesque style,

Mendelssohn's Scherzo, op. i6,

even has a good

"^y

effect.

In the
faster

^x\i,l-staccato

the wrist

movement of course becomes

For

shorter, the

one plays.

In very rapid tempo the fingers have to stay close to the keys,
a quivering.
i:

and the hand-movement resembles

illustration, the

following

passage from Beethoven's Sonata op. lo. No.

.

Prestissimo.

I''''

"I

."luAfJlJ
is

Another short kind of touch

while the finger-joints are firm

the "lifted "tone.

For_thisjjhewrist

is

loose,

in a state
it

of tension.

The

bent finger touches

the key lightly and noiselessly, presses

instantly lifted from the

down with

a swift, short stroke,

and

is

key by the flying-back of the hand from the

falls

wrist.

In

continuous playing, the next finger

on

its

key without

hesitation.

When

two

L3I

notes or
together.
thereafter

full

chords are struck, the same rules apply to

suffice

all

the fingers

employed

It will

to practise the lifted

tone

at first

on single keys, and

on

five

notes.
lifted

In the examples below, the

notes are

marked with an

asterisk (*).

cantando

^^^
F^ nypf

Liszt, Etude.

T'

\^

*i

F==r

^
;zi
legato.

^
i

dolce con grazi'a

g^

m.
more

WTW

fflitt

MnUML
^
is

PPi
In the next example the marked note
the finer tone-effect and
treated as a lifted tone
it

by reason of
Also take

elegant phrasing, although

^

is

the pedal.

1^
Schumann

"

Papillons

"
,

f"
J'

^^jpj
moment, and

E^
down
the

Finally, in the Portamento, the finger presses

key slowly, holds

it

firmly for a

is

then Hfted by slowly raising the hand and forearm.

XV

On

Octaves
studies

begin with, practise the following preparatory

alone
:

with each

han4.

R.H.^

fm44=^
JJJJl
o5
33:

L.H.

:j=

^m

32

holding the whole note with the

curved, but firm

tip

of the

little

finger, while the

thumb,

easily-

in the joint, plays

the quarter-notes staccato.

Lift the

thumb,

at

most, a handbreadth, and strike the key by means of a twisting motion of the wrist,

which

is

held somewhat higher.

After

this,

let

the

thumb hold

its

key while the

outstretched and stiffened 5th finger plays.

greatly, but

This exercise strengthens both fingers

it

ought not

to be practised too long, as

is

fatiguing.

After the preparatory exercises proceed to the practice of staccato octaves.

Play them

in the style

of the ^ri^t-stacca to, taking care that the width of the stretch
is

between the
the octave

ist

and 5th fingers does not change when the hand

struck squarely and clean.

lifted,

so that

may be

5 5

I i^

ii

it^ I
f
#^

-^v

H
Play
trying a
this

w
more
rapid

P-m

p=f-

and the following octave-exercises slowly and forcibly

at first,

not

tempo

until later.

In

this latter, as for the yivist-staccato, the a fluttering.

fingers are held near the keys

and the hand-movement resembles

"i

r r r r

-11

r C r C

-11

'^

[33]

Octaves are played

fingers

legato with

an unmoved, but not

stiff,

wrist and with

ghding close over the keys.

This gliding binds the tones almost more than

;

the fingers do.

In ascending, the right thumb should be held as for the Glissando

in descending, hold the left

thumb

similarly.
is,

The
legato, the

fingering for both staccato and legato octaves

the 5th finger on white

keys, the 4th on black.

When

playing on either white or black keys alone, and

5th and 4th fingers alternate as follows:

"
R.H.

4=-

34]

In order that chord-playing

"1_*"_ ^''^

may

not

tire

one too soon,

them.

it

is

indispensable

^^^ chords

with a
it

stiif wrist

after striking

Relax the_ wrist

instantly after the stroke; then

is

will

be unnecessary to expend more strength than

requisite simply to hold the keys

down.

Thus

the

hand

rests,

and can better

resist tatigue.

To make
To
on

sure of striking a chord clean,

it

must be prepared before taken.

it

prepare, place the fingers on their respective kevs, as

its

to take the
in

measure of

the chord; now, try to take

until the correct stretch
is

measure away trom the keys,

the

air,

and keep

learned.

By

dint of practice, the

hand

finally learns to

prepare the chord rightly at sight of the notes

were.
K

to recognize its

physiognomy,

as

it

This

is

of peculiar value in taking the chord-leaps in

S ?

modern

virtuoso-pieces.

4
I

4 ?
*-''^

L.H.

f^

' '
'

;<

Practise each of these exercises with

two kinds of touch

off,

at first

with the

upward wrist-movement,
Rachmaninoff:

the chord being lifted short

;=.

as in
--^

this

Prelude by

^^

i-

.^^

h
R.H.

fff

pes.

L.H.

^
,^A
a piece

4^^f.Jf^
W:
in

When
this

performing

which there

is

a slow succession of chords,

upward movement may be more broadly executed,

is

so that not only the hand,

but also the arm,

raised.

This

is

more

especially the case,

when/or/^ or fortissimo

closing chords are to be cut off short; for Instance:

35

^ h^^ ^
i ^m i ^
A
Also practise the foregoing exercises
the wrist-sfdccato.

and B with

thrown stroke,
effect

as for

True, the chords are now struck; but the good

of

this

exercise sanctions the exceptions.

Indeed, there are cases in which chords must be

struck,

when

their rapid succession

makes preparation of the hand impossible

e.g., in the

Tenth Rhapsodic by Liszt:

ff

^
'.wr

r\

For the

exercises

on

p.

34, note also the following

Where

chord

is

repeated (as in Ex. A), the uplifted hand must retain the shape of the

chord.

Where
first

a leap

from one chord

to

another

is

to be

executed

(as in

Ex. B), press the

a swift swing.

one down short, and carry the hand over

different c hords follow in succession, the
in the air.

to the

second with

Whe re

hand must already catch the shape

of each new chord

For

the prfevention of fatigue during performance, also take to heart the

:

''

following advice
uplifted
rest.

When

chords follow each other slowly, hold the fingers of the

hand

easily, after striking, in the

shape of

a fist, so that the

muscles

may
i

Such was Rubinstein's

habit,

and Leschetizky does the same.

its

The

fingering for

flat

chords, and

exceptions, are the same as for broken

chords (see Section XI).

Below

are pictured the various positions of the

hand

for

all

the different

chords on C, as a study on the shape of the hand.

these positions, as directed on p. 34, lines 6-1
together,
1.

Proceed, for the practice of

First

play

the

chord-tones

and then broken.

After practising the chords on

for

some

time, proceed to the chords on

all

Db, which
the octave.

are to be treated similarly;

and so on chromatically through

tones of

This study

is

of high value, both from a technical and theoretical viewpoint.

[36]

i^

Fig.

20

IW^
First practise these, as well as
all

following chords, within an octave as an

arpeggio; later as a suite of arpeggios (see Appendix).

the same rules concerning the wrist and the

While

practising, observe

thumb

as for the Staccato (page 30).

fe:

Fig.

21

[37]

[38]

Fig.

24

M--

39]

Fig.

z6

Fig.

27

[40]

Fig.

zJ

^
Fig.

29

i:4i I

'i

Wi

Fig.

30

[42]

Fig.

32

i n^

Fig.

33

[43]

^
Fig.

34

^^^^^^^^^^^^^Bf^g

_^^<i<.u.m^Ba*>

[44l

Fig.

36

Fig.

37

145

[46]

^
Fig.

40

i ^r m

Fig.

41

[47l

^sp-

Fig.

42

F3

^iE^

Fig.

43

[48]

Fig.

44

XVII
Arpeggios
Played.

Played.

Played.

m
strikes

OLD

the

first

three fingers of the chord ready over their keys, with the 5th

finger extended.

Now,

while the

first

three

fingers

are

pressing their

keys, give the hand a quick turn towards the 5th finger, so that the latter
its

key.

This turn of the hand somewhat resembles the twist of unlocking

5th finger must
lift

with a key.

The

the note short, as this

makes

it

sound

fuller.

Then

the hand swiftly returns to the normal position, so as to prepare the next

arpeggio (as described above).

For arpeggios

in

both hands, do not begin with both hands together, but

left

with the 5th finger of the

left

hand, the

thumb of
:

the right following just after the

thumb.

The

execution would be thus

t49j R.H.
Played

L.H.

XVIII
Paired Notes
Preparatory Exercises

45 y-&

^rfffMI','fffr i
I

1 1

^^
1

*=*:

:^

6 .3

4
I

#)

3^'

3*

'

33^

XC

35^ Eze

4 3 g*

32

43

'

54

L.H.^S
S 4
-s
1

3
I

3
-5-

4
l

"'Vfrff-lll'fP ffr^ffffi "?FFFMI^FFFF- "^PP 'I

ll

4JL

3 2

U
*^

|N

these

exercises

hold

the

hand

as in the

Finger-exercises,

Section V.

The

wrist remains loose.

Hold

the whole notes and play the quarter-

notes.
S 5

3
1

* 2

45
Hold
the whole note, play the Thirds.
?

534

048

H-H.

r ^

M
leads off is to be held until
its

12 i 4
L.H.

3
5
;

'JJf pf

||

The Third which

turn to be played comes again.

50]

Fig.

45

Fig. a.6

5t

3
1

4 5
2
3

R.H.

I I B I

PI
. 11

I p=frjl

m
II

it=t

4
'
I

3 4 5

"

-'

rnrp fp
(Figs.
5
3

rffr-^

Free exercise without held tones.

45 and 46.) A. 2
B. 3

A. 4

3 4 /^alg

3 B. 5 l 3

3
*

3
1

4343
,

5363
:

Turning over
Ex.
5th,

in Third-playing.

In

this exercise

proceed as follows

In

press

down

the keys with the 2d and 4th fingers, in Ex.

for

with the 3d and

and take the next-following Third,

the ist and

this

3d

fingers, with wrist

high and a swift swing sideways.

Now make
As
a point of

swinging movement of the hand

backwards, so

as to turn
initial

over the 2d and 4th, or ist and 3d fingers respectively in

Third.

order to take the

support for

this

swinging movement,
(in the left

use the 4th or 5th finger going up, and the

the reverse).
It

thumb going down

hand

being impossible in playing paired notes to bind both tones when turning

over, merely bind the finger which acts as a point of support with the next tone:
let

go of the other tone just

as the

swinging

movement

is

to

be made.

52

Scales in
Diatonic.

Thirds
Major

-^

.S

^ ^ I

T
3

^3

f> V

m irrt^ ^-^--TTfi m ff
4=;M
i
^
"'

3 4
1

5
3

3
1

^jfe^
4
.{

*t5
;i

i 4^4

^t=t 5 3

**
1

1335
1
?,

L*

*T 53^1*
'11
1

5
-^

3 *

s^
1

ES

5 3

4 3 1

4
o

5 3

3
1

3
1

S
3

is t^

^
4

i
4

53]

Diatonic.
3
i

Minor
3 3

5 3

13
"5
3

^ ltd

tt

gr
a

"^ 4

3^5
1

53
3

3
1

I
I 3
3

>*

a
1

M:

f
?

^5
3

I 2
4
3

=fe8

e
1

tt pS
5
1

1.

:c

lii
t

t-

i
3
1

3
3

4
a

5 a

3
1

e*i
1

W=i:|

^
3

3
5 3
3
1

5 3

fe fa^?i?tAn7 ^##
3 5
3.

ffi

Irn^ f^'J'JT^ i
^tt

4^2
3

5 5

4
2

fe ^
1

<

<

Chromatic
Minor Thirds.
T?.H. 3

4 3

4 5

5 3 3
3

L.H.f

?,

3 5

Major Thirds lYiajur 1 mi uo. 3 R.H, 4 5

r..

L.H. i 4

1T

55

54

Scales in Sixths
Diatonic.

Major

55]

Diatonic.

Minor

Chromatic
4
5 3

5
i.

,1

'm^

f.f f

f,^fV...V

56]

XIX

The Highest

Part in Chord-playing
lies in

D
to
its

chords, the theme usually

the highest part.

In order to bring

it

out
the

when
theme

the chord

is

not to be arpeggiated,

make

the finger which bears

this finger

longer than the others.

This
tip

is

done by stretching
flat

out on the key, touching white keys with the

other fingers remaining easily rounded.
deepest, obtaining a fuller tone.

and lying

on black keys, the

its

The "longest"
must

finger presses

key down

When

playing on white keys the wrist should be

it

high and firm

but on striking the chord,

instantly relax again and return

normal position.

Besides, the wrist should support the finger bearing the

all

theme by not exercising equal pressure on

on the one
in question.

the fingers, but rather bearing

down

If one can take the pedal with the chord, the

lift all

the fingers but that bearing

theme

instantly after striking the chord; e.g.,

Played!

-^^^
\
\

%!).

This example

is

from Rachmaninoff, Prelude

Bind the highest part

as

far as
lift

possible,

and

let

go of the middle parts

directly after striking, with a gentle

of the wrist.

The

5th finger generally bears the

theme

but the above directions apply

equally where some other

finger has the theme, or

where the

latter lies

in

the

middle of the chords

(in alto or tenor); as in

Brahms, op. 117:

fdoloe

i ^^

,J

^l

etc.

57]

XX
The
Glissando
it

DHE
even.
It

Glissando

is

the ideal ot a diatonic scale, as

sounds very swift and

"pearling" when well done.

In this case, however, the false pearls are

are
far

preferable to the genuine, because the former

precisely alike.

rounder and

all

This implies,

further, that a Glissando jerkily, with

must sound smooth and

must not be played

uneven "spurts," neither should the

finger-nail scratch the

keys audibly when gliding over them.

let

To

close cleanly

and

decidedly on the final tone,

in question.

the finger slide

down over

the front edge of the key

This also gives the tone the requisite accent.

finger
is

The 3d
sure,
it is

to be

employed, whether
to play
Still,

for playing

up or down.
;

To
is

be
less

easier

and more usual

down

with the
is it

thumb

but the tone

velvety than with the 3d finger.

any one who

able to bring out a

so.

smooth

Glissando with the thumb,

is

quite at liberty to play

The

Octave-glissando can be executed only by large and powerful hands.

The

tip-joint

of the 5th finger

is

curled under, so that the nail glides over the

its

higher keys, while the

thumb

depresses the lower keys with

is

inner edge.

Going

down, the

attitude of the fingers

reversed.
all

The

Glissando

may

be executed in

dynamic shadings, according

to the

force of the pressure exerted

on the keys.

Fig.

47

[58]

XXI
Embellishments

no
in

render the

"embellishments" such
in

in

the true sense of the term, they

must be sharp

outline and

clearly

and elegantly

executed.

Chief
Trill.

among them

are the Appoggiatura, the

will

Mordent, the Turn, and the

it is

Touching the Appoggiatura we

below

merely remark, that

it

to be played,

connection with paired notes or chords, by taking

it,

together with the notes

the melodic principal note following instantly.

The accompanying

tone

or chord in the bass

must be taken simultaneously with the Appoggiatura.

Written
i^.i^

i
g L
Execution
taking the
first

F=^^

u
the case of a chord, by a swift arpeggio,

may be

facilitated, in

tone of the arpeggio together with the fundamental.

By using

the

pedal, the arpeggio'd notes can be released.

tei^ ^^

Written

Played

^
:

^^^ s
In the Mordent, the accent usually
best played with the
finger.
falls

on the principal tone

it is,

therefore,

3d and 4th

fingers, the principal tone

then having the strong

finger takes

When

one cannot avoid using other

fingers, so that

some weaker

the principal tone, the difference in strength

must be equalized by stronger pressure.

3 *

Mordent

Played

or

[59]
In rapid tempo the mordent
is

played like a triplet;

e.g., in

Leschetizky's

Arabeske, op. 45

^^m
these triplets being nothing

more than mordents written

fingering
is

out.

For the Turn, the following

the

most advantageous;

Played.

P
employ the
fingering 3-2-1-2.
Trill
is

'^^ 3

^^
!
or

'5^

Frequently the position of the notes following the turn requires one to

The

the most important of

is

all

embellishments.
trill

First of

ali,

eventhan

ness of finger-pressure

essential; for an

even slow

sounds more

brilliant

an uneven rapid one.

in the strength

True, the best

trill is

both even and rapid.

The

difference

of the fingers must again be equalized by difference

right

in pressure.

For the

hand the best

2

trill-fingers are

and

3 and 5 are also good,

is

and many do well with

supposed.
It
is

and
i

4.

2
2,

and and

are not as favorable as

generally

For the
a

left

hand,

and

after

them

and

3, are best at trilling.

good plan

to practise

the
;

trill

in

triplets,

beginning slowly and

accenting the

first

note of each triplet

all

later gradually faster

and without accent.

Also practise with 4

3

the given combinations of fingers.

4
3

2
1

4 3 2
1

4
3

Z
1

4
3

2 r

1^

^
trill
;

LU LCJ
to begin

^1

MJ E^
trill

11

A
of the

trick for the execution of a forte

is,

by striking both tones

trill

together sforzando

then quickly raise the finger from the principal

note, strike the latter again instantly with another finger,

rapidly.
3

and continue the

etc.

^'-^rrrrrr'
For long
trills,

change from one fingering to another to prevent fatigue

1-3

for instance, alternate

and

2-3.

(See

Addenda,

p. 83.)

[60]

The

fingering for

trills

in

thirds

is

as

follows

'

Any
for
trills

one finding

more convenient, may use these

fingers

but only

in

thirds without afterbeat.

XXII

Dynamics

WWUSICAL out by | 4A 1
Out of
is

dynamics

is

the art of employing the various shadings brought

changing force of tone.

three prime colors
:

Music possesses only

piano, forte, and the accent.

these the rich color-scheme of the musical picture

must be

built up.

This

achieved by a frequent alternation of the prime colors, and by transition from

one to the other.

Forte
fingers
;

?in<i

fortissimo cannot be brought out

by the unaided strength of the

finger-tips

the wrist

must be brought

into play.
fact,

The

must be

firm,

and
is

the wrist should not be loose.

In point of

the fortissimo in rapid passages

total effect

not the product of individual finger-power, but the

of

all

factors

of

reinforcement which one commands, such as the pedal and the wrist-pressure.

Where

the tones follow each other slowly, equal strength

is

put forth in
quickly, but

piano ?ind forte, only that in the former the keys are not pressed
slowly, which brings out the soft, singing tone.

down

In piano passages the wrist should

be held loose

but the finger-tips must be held firm, for yielding finger-tips can
Sl

bring out only

piano lacking in tone, and here and there a tone

wrist.

may

fail

to sound.

In quick tempo the fingers are thrown with a loose

are light pianissimo passages

"Fluttering" passages

on black keys,

to be played with outstretched (" flat "),

but firm, fingers

like this

from Chopin's Berceuse

etc.

Accent

is

the marking of individual tones by stronger pressure, for e ither

melodic, harmonic, or rhythmic reasons.

An

accent

may

be more or

less

strong or

[6i]

weak, and

is

obtained with firm fingers and firm wrist.

When
is

the tone
;

is

to be
is

prolonged, the finger holds the key

down and

the wrist

relaxed

or the tone

held with the pedal, and the hand withdrawn.

This makes the tone more

brilliant.

For

a short accent the

hand

is

withdrawn, without taking the pedal.

begin_with
a
is

For making
wrist-tension.
relaxing.

a crescendo,

loose wrist, gradually increasing the

reversed, the tense wrist gradually

For

a diminuendo the action

is

He re this " gradually "

by

a chief factor ,^Jbr_the increase

and diminution

mtensity m^ustjiotbe_ accomplished

assist his fingers

"by

spurts."

Whoever

needs to do so,

may

his imagination, fancying, for

train, or the

example, the increasing roar

of an approaching railway

decreasing sound of one receding.

is

The

tone to be most strongly marked

principal note, indicated here

the dynamic climax or dynamic by an * (Leschetizky, Op. 40, No, i)

:

Also observe whether a crescendo leads from pianissimo to piano or mezzo

forte,

or from forte to fortissimo (and for the diminuendo in reverse order), and

calculate accordingly the tone-power of the

dynamic beginning and end

in each case.

XXIII

On

the

Pedal
players,
is

nHE
more or

pedal, for

most good people and bad

taste.

an instrumentality for

trampling on good

Not

to

dwell on the horrible pedalistic abuses

of dilettantism, there are likewise two species of serious musicians

less in the

who

are

wrong

as regards the pedal.

Firstly, they are

such as use the

pedal rightly in general, yet with pedantic scrupulosity, so as not for heaven's sake
to infringe the letter of

harmonic law.

These

will

do no mischief, but

carefully

avoid

all

interesting effects.

Secondly, there are the pianists

whose good ear

instinct,

generally guides

them

aright in pedalling, but

accessory.

who

rely too

much on

and

treat the pedal as a

mere

Thus

it

happens that

their pedalling lacks

uniformity in their various interpretations of one and the same piece.

that the pedal
is

They

forget

quite as important as any other factor in piano-playing,

and

[62]
requires a no less careful study.
to bind separated tones
It
all
;

Its

purpose

is

not alone to reinforce the tone and

effects.

it is

also intended to

produce special

would give the composer too much trouble

left to

to indicate

between the notes

the fine, brief details of pedalling; these are

the pianist himself

The
is

regulator for correct pedalling

is

the ear.

Not Theory, but Euphony,

all,

the final authority here.

Consequently, the player should, above

to bind, and then verify
let

make up

his

mind which tones he wants

by ear

their actual presence

it

and that they form no discord.* Then

together with the music.

him

fix

the pedalling, and practise

The
tone
is

pedal

may

be taken either simultaneously with the tone, or after the

struck.

This

latter

may

be termed a "following" or "syncopated" pedal.

The

simultaneous pedal undertakes to hold the tone where the finger must
e. g.,

be withdrawn and the tone should continue sounding;

ft

f
last

where the bass must sound through the

hold
it.

beat,

although the 5th finger cannot

The

syncopated pedal can be employed only where the tone or tones which

should continue to sound can be held down by the fingers over the change of pedal.

s^
JCP=

^
until
is

^^
is

(The small notes merely show where the pedal

to

be taken.)

Practise the syncopated pedal according to this example, striking the funda-

mental tone and holding

it

only until the pedal has taken the tone.

Now
;

strike

the chord, and hold the pedal

you have struck the next bass tone

repeat this

with each succeeding chord.

A
No.
I,

fine exercise for

syncopated pedal

Mendelssohn's Song without

Words

because the

harmony often changes.

* See

Addenda,

p. 84.

[63]
cantabile

%I).

%D.

%5.-5:j
>:*

Here

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

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

away without producing

dissonant

effect,

which would be unavoidable

if

the pedal

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

In
(i)

all

cases,

observe the following general rules

In chords the bass tone must sound with

in

its

chord.

When
it

the bass

cannot be held with the fingers

wide-spread arpeggio'd chords,

must be held
;

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

e. g.,

L.H.

f
%5.
(2)

The

pedal

may

be more freely employed in high positions than when

;

playing low or in the middle of the keyboard

the treble produce a shorter resonance.

because the shorter soundwaves of

In the treble, therefore, tones

may

be

bound by
as

the pedal which in themselves

ear.

would form dissonances, yet

scale

are not felt

in

such by the

For example, play the chromatic

upward and downward

is

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

correct.

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

higher ones, because of their prolonged resonance

consequently, low bass tones

must be sooner

released

by the pedal

in

ascending passages.

[64]
(4)

For the

ear,

however, pedal-dissonances may be overpowered by a

cre-

scendo^ the
this

weaker tone being always covered by the succeeding louder one.

scale with

Verify
the
will

by playing rapidly an ascending diatonic

both hands and

lifting

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

This

produce no dissonance,

luit

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

11, in

Chopin Etude op.

25,
:

No.

which the heavy fundamental chord likewise

supports purity of tone

-*^' crescendo

With

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

;

is

obtained, even

when

dissonant chords sound together

e. g.,

^
X5

^44 ^1 ^tt
llh.
I

H^
It
it

%5r

The

soft pedal

was not added merely for the sake of symmetry, but

is

valuable

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

may

be used

\xv

pp and

frequently at the

end of

a diminuendo, to taper

down more

delicately.

Here

it

assists the fingers, for the

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

that yields a "

husky"

tone.

To
employ

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

a "false" pedal,

though not

for

prolonged tones

as in

Chopin's Fantaisie:

0=

fe s

m
I'

ii

!i''

^i-!^
or

tt

kt

''''i

^
%!.

^
is

Sf ^
ri^
r
%;).->:* %i^.

r
f

(The dotted lines show the places where the pedal

taken or released.)

XXIV
Rules for Performance
I.

Melody-playing
way, that the performance of
as,

D
them

is

probably true,

in a general
taste.

melody

is

matter of feeling and

are

But

on the one hand, these

fine qualities

not

common

property, and, on the other, the best

all

taste

and most
the

delicate

feeling are, like

things

spiritual,

bound

to

the material world,

Rules for Performance given here

will hardly

prove superfluous.
helpers.

Do

not consider

as fetters for the imagination,

(i)

but as

its

Where

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

shorter one, because
it is

must be played louder than the

Beethoven, Sonata, op.

to

sound longer;

e.g.,

lo.

No.

2.

(2)

Play a

melody upwards
"
:

crescendo,

downwards diminuendo

e.

g.,

in

Schumann's " Des Abends

[06

r^'Wi.
is

fi

^^
rises

But where the melody

or

falls

by

wide interval, the crescendo or diminuendo

executed with greater intensity.

(3)

The

beats are unequal in accentuation,

some being louder and others

on weak beats
loud,

softer.

Notes coinciding with strong beats

In 4-4 time play the
first

are played louder, those

weaker.

tone loudest, the third tone a

trifle less
:

the second weaker, and the fourth weakest,

somewhat

as

shown below

f
<^

mp
r

r>if

p
r

r
is

In 3-4 time the

first

beat
-\

strong and the other two weaker, thus;

mp p

[67l

Exceptions to the Above Rules

(i)

When
it is

a short note

on

weak beat

is

tied to the following note,

is

forming

a syncopation,
(2)

considered as a long note, and

played loud.
falls

When

the highest note, in playing upwards,

it
;

on

weak

beat,

it is

played louder than the one preceding

e. g..

Chopin, ^b-maj or Impromptu

(3)

When

a long note, in playing

downwards,
it
;

falls

on

weak

beat,

it

should be played louder than the one preceding

for

example, the notes below

marked

* in Beethoven,

C-minor Variations:

v\

ii

rp

^
^
A
short note which
;

fe

'^T

^^
(4)

w
is

lifted after a

longer one, should be played piano

:

either ascending or descending

e.g., in

Mozart's Fantasie

i =?=

-^.-Ui

^
The above remarks on
(especially important for

^m ^
.

Ji

3 ^I'j

i)

the performance of melodies also apply to passages

Chopin) and accompaniment-figures.

is

And

not merely

melodic passages,

in

which the melodic motive

to be

brought out, are meant

here, as for instance in the JE-minor concerto

by Chopin

(The three melodic notes

* are to

be brought out.;

168]

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

shaded

e. g.,

from Grieg's Concerto

&
Do
coloring
is

^
Why

m
should
this

not be afraid to

'^

shade" even Bach.

great master
?

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

Tone-

not an invariable sign of sentimentality.

The

latter resides

rather in

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

marked

or wrongly placed, such as

many

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

strictly

speaking, to play several successive

for this causes a hardness of tone

which one might

be inclined to attribute to the great volume of tone.

and yet not tenderly;

a figure

\n forte,

on the other hand,

One may play evenly in piano, one may obtain a tender effect in
same phrase with varying

by an opportune toning-down of dynamic energy.

Contrast in shading

that

is,

the repetition of the

dynamic expression
a phrase,

is

also of fine effect in melody-playing.

For

instance, play
it

which occurs twice

in succession, forcibly the first time,

;

and repeat

like

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

lend
in
it

or play

It

piano at

first,

and thtn forte,

as if to

special

emphasis on repetition.

The
is

style of contrast in

shading to be chosen

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

player's taste

the following example

from Eduard

Schiitt, op.

35

An

observance of these fundamental rules does not

in the least interfere

with

the play of original fancy or subjective emotion.

One may

rely implicitly

upon

the guidance of these delightful attributes

when one possesses them.

[69]
2.

Tempo
would
But not the treadmill
of everythe spice

If

we may apply

the term " color " to musical dynamics, the tempo

life
is

be the

life

and movement of piano-playing.

day monotonous routine,

of
life,

not

metronomic movement.*

As

variety

charm of

style, in like

manner, flows from continual changes

in the

tempo,

from contrasts

in the
is

movement.
is

There
to end.

no composition which
in exercises this
is

played in a uniform tempo from beginning

Even

allowed only in those practised solely for fingertaste in

dexterity.

In the performance of other etudes,

its

style

is

by no means

excluded, although in them

expression devolves chiefly on dynamic changes.

so delicately graded that the hearer notices
;

The changes
" choppy."

in

tempo must be

neither their beginning nor their end

otherwise the

performance would sound

Thus,

in a ritardando, calculate the

gradual diminution of speed exactly,

in an accelerando, that

so that the end

may

not drag
fast.

and conversely

one may not

get going altogether too

trifle

In a ritenuto, moreover,
ritenuto
it

many

play the final tone a

a feeling of disliterally

faster,

which abbreviates the

and gives the hearer

appointment.
at the

Where

an a tempo follows,

should quite often not be taken

;

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

beginning

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

Thus,
;

in the course

of one or two measures, one would regain the original tempo

Paderewski, Legende.

e. g..

Tempo

^
^
rail,

^
e
dim.

W^

pp

''=r
f

f^~f

^
^

However, where the

character of the composition requires

it,

begin the

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

Tempo

I.

See

Addenda,

p. 84.

70]

3-

Rhythm
strict

Rhythm
of the bars.

does not depend on a

a freer disposal

observance of the measure, but permits,

on the contrary, of

over the beats, but only between the boundaries

Thus

individual beats

may

be abbreviated to the profit of others, or

lengthened
e. g.,

at their

expense, but not whole measures in proportion to other measures

:

in

Schumann's " Grillen "

^ m^
At
This
is,

i
p
-^^

ffi

i^
prolonged
a little at the

the sign * the quarter-note

Is

expense of the

following eighth-note.

however, not
pianists, of

in the least

intended as an absolution for the blunder

made by many

hurrying over the end of one measure and so beginning

a

the next too soon.

For such

"fever of rhythm " the best remedy

is

the counting
It
is

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

far
it

more allowable
is

slightly to retard the

commencement of
effect
is

the next measure In case

;

emphasized or any
:

special rhythmical

desired

e. g.,

in

Schumann's

" Grillen "

^
i
9
octave

I
If.

m
if

The

marked

is

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

beat, while the

exactly coincides with the

first

upper bass tone

is

struck together

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

An
rhythm,
carrying
it

abbreviation ot the

first

beat after striking

In the

it is

permitted in waltz-

for instance,

by accenting the bass tone

accompaniment and rapidly

slight

over to the second beat; the resulting

however

abbreviation

[71

of the

first

beat

may

here be

made good by throwing

staccato,

the wrist

upward

then strike
the wristit,

the third beat

somewhat more Ughtly,

and
;

in exact time.

By

movement one

gives the accompaniment " swing

trivial.

" but guard against overdoing

otherwise the rhythmic effect becomes

Wrist-movement

In the 3-4 time of the Mazurka, the accent

the second, and again on the third beat
;

falls

now on

the

first,

now on

e. g.,

Chopin, op.

7.

Leschetizky, Mazurka.

Leschetizky, Mazurka.

g^
good
in the next
;

^* r*^
J

In a Polonaise-accompaniment, on the other hand, the bass tone must be

accented and then followed by a minute retardation, the loss of time being

made

two sixteenth-notes.

The second and

third beats are played in

normal time

e. g..

^^

ac r czl: n: cJ: r

Retardation

72

4-

Arpeggio-playing

One must
play "
flat."

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

arpeggio
is

An

also

in

order where a tender or delicate effect

is

desired.

Tn such cases the right hand plays arpeggio, while the

;

left strikes its

chord

flat

e. g.,

Paderewski, Legende.

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

when
this

the right

hand

strikes

its

tones simultaneously and the

;

left

arpeggiates

but

must be

a very swift arpeggio

e. g..

Chopin, Scherzo.,9
a.

etc.

An

arpeggio
;

may

also be

employed where the polyphony

is

to be

brought

out more distinctly

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

and the other begins

same time

as in

Schumann's Romanze

[73,1

Similarly in a canon

Paderewski,

Theme

varie.

Lento,

gva

Neither should bass

together, but the melody-note
it

tone and

melody-note always

be

taken

precisely

may

be struck an instant after the bass, which gives

this

more

relief

and

a softer effect.

However,
on weak

can be done only at the beginning

(It
is

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

for the

better

hands

to coincide precisely

beats.)

The melody-note must

for

follow
in

so swiftly as to

make

the pause hardly

noticeable

the uninitiated

e. g.,

Chopin's Nocturne:

XXV
Fingering

FINGERING
therefore,
it is

is

good when easy

provided

that the effect

is

the same.
cases,

Only the easy player can

also play confidently

fix

and

finely.

In

many
it

not feasible to

the fingering in advance, because

must

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

To

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

more

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

strong fingers.

74]
let

Contrary to

all rules,

one may sometimes

the fingers run out to the 5th,

better be carried out;

so as to save turning under.

By
:

so doing, a swift

tempo can

as in Weber's " Concertstiick "

Moreover, the thumb may turn under on

accented and the following one
not, however, be
wrist.

a black key,

when

the tone

is

made

easier to reach thereby.

scales,

This turn should

made

in the regular

way, as in the

but with a swing of the

The examples

are

from Leschetizky, " Cascade,"

ind Rubinstein, Fourth Concerto

In general, every one

confidence

who

has sufficient courage and the needful

amount of

may go
is

as far in the irregularities

of fingering

as

he

will,

provided only

that the passage

well played.

Still,

disregard of rule

must not proceed from

mere wantonness, but

to facilitate the execution of difficult passages, or to

make
it

them sound
appears

better.
;

First, try the fingering

given in your piece, and retain

if it

good

otherwise,

seek

another

fingering

adapted

to

your hand

and

individuality.

The

pedal

is

of great assistance to the fingering.

It binds intervals

which

the hand cannot

stretch,

and permits the hand to leave one chord

in order to

prepare the next.

pedal

In the melody, too, a tone once taken

is

may be

held with the

its

when

the finger

required elsewhere, and another cannot take

place.

75 1

...''-.

XXVI

Practice and Study

m
learns

RT

is

the

most unique possession of man.

It

is

not obtained by birth or

heredity, but
artist's

must be acquired by the

easily

individual.

Were

it

otherwise, the

crown would be

won, but of

slight desert.
tells

When
;

any one

says he learns everything without effort, he either

is

an untruth, or what he
the technics

valueless.

Thought

alone springs effortless from the brain

of every art must be acquired step by step.

How many

strokes of mallet on chisel

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

How many
Practice

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

to guide the

Madonna?
?

and before he knew how

brush aright, what pains did he have to take

talent
is

makes

perfect

and through practice no

degraded not

even a

pianistic talent.

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

the hour or by the

training of head
fingers, the

number of

repetitions.

To

bear

fruit,

it

must be the simultaneous

and hand.

The

simplest finger-exercise demands, for untrained

undivided attention of the student.

He

must

see whether the

hand

is

held right and the fingers

move

correctly

he must listen to each tone he strikes,

and exercise thought

rightly
last

in all.

After the fingers have been controlled by thought,

applied, for only a few weeks,

you

will

be convinced that they

for the

are at

growing independent and trustworthy.

Then,

study of pieces, most

attention

may be
you

directed to the mental side.

is

Thinking
faster until

rendered easier by practising

at first
is

very slowly, not playing

are sure of

your ground.

If progress

not rapid at the beginning,

do not fancy that you can improve matters by

evening; that
is

sitting at the

piano from morning

till

harmful to health, and

it is

impossible, besides, to pay close and

sensible practice are quite enough.

careful attention for so long.

Four hours of

When

one has

to

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

pieces.
;

devoted to the repetition of

As soon
arpeggios, they

as

one has thoroughly mastered the finger-exercises,

be applied in the study of the etudes.

scales,

and

may

Begin with Czerny's Play these

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

slowly with each hand alone, and while practising

slowly play louder than you afterwards do

etude-playing, in particular,
is

when playing them

faster.

to play

them

A
it

point for

after

they go well and quickly

several times in succession without stopping, as long as

you can keep

up;

this

promotes endurance.

[ 76 ]

Thought

is

most

essential in the study of pieces

for the

way by which they

in the other
is

are learned, or rather

direction,

memorized, goes from brain

to brain.
I

to fingers,

and never
it

from fingers

lay stress
a

on memorizing, because
piece.

the best

way

to possess one's self

permanently of

new

Go

about

it

as follows
it

To
difficulty

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

through only
to the

once, so as not to

grow accustomed

to a faulty fingering; then

of the composition or the mental grasp of the

at

according student up one

take
it

measure, two measures, or

most

a phrase, at a time, analyze

harmonically,

and determine the fingering and

pedalling.

Observe, however, that rapid passages

in

must be

tried rapidly, because fingering

in fast.

and pedalling might be suitable

in the

slow

tempo and not

Determine them, therefore,

given tempo, only then

returning to the slow study of the piece.

Except

to play the leading parts louder

and the secondary parts

until

softer,
;

abstain for the present from fine shading

else
it

and emotion,

Matter

is

conquered

may happen

that

you waste your

finest feelings

on wrong notes.

Now read

your practice-measure or measures through carefully and repeatedly

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

name
the

and then

not

before

play

measure or phrase from memory, but no

faster than
it

memory

can dictate the notes.

If you forget a note, do not try to find

by groping with the fingers on the

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

Should

you

fail,

then glance

at the music.

When

you can play the phrase

faultlessly

and without hesitation by heart,

proceed further exactly in the manner prescribed.

just learned before,

Take up

each time the portion

and

also try to play the

whole by heart from the beginning.

This

is

"memorizing

in the

form of addition."
learned, do not

Next day, should you have apparently forgotten what you

feel

discouraged,

but practise

it

over again as before.

will

You

will
it

rememorize

it

rapidly,

and

after a

few such days of practice you

filing

have made

yours for ever.

Now
rizing),

proceed to

and shading; impart animation to the phrases, and

(as

distribute light

and shade.

Proceed dynamically and technically

when memo-

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

each division separately.

One
repeated
as in
;

never forgets a piece learned by

this

method, even when

fail

it is

not often

and neither memory nor

fingers are so apt to

one

at critical

moments

the case

of players accustomed to practise unreflectingly with the fingers. be sure, will find brain-study hard at
lines daily
first,

This

latter class, to

and must be

satisfied

to learn

two or three

and

that

not at one

sitting,

but with long

[77]
intervals.

More advanced

students, too, should interrupt

study

frequently, to

prevent overtiring the brain.

During such pauses they may busy themselves with

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

arrives at the point of being able to think

One

finally

through a piece much

faster

than the

fingers can follow.

Leschetizky says

" Learning by

this

method
and

is

only

apparently slow.

Even
in

if

one learn but

a few lines daily at the outset,

later at

most

whole page

one day, and assuming that study must be suspended

for one-third of the year,

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

which one may add some 100 pages of

pieces.

repetitions, such as occur in almost all

In the very

first

year, therefore, a considerable

number of
will

pieces will have

been learned, which the growing routine of following years

annually."

double or treble

To
will find
it

students whose talent permits of their playing a piece from

after glancing

through

it,

also

recommend

the above

method of

memory study. They

In his

easy,

and

it

will insure

correctness

when playing
artist

in public.

domestic privacy, and on the concert-platform, the

ities.

has two distinct individualIt

When

he appears

in public,

he leaves part of his security at home.

foliows, that he can never have therefore,

enough of it.

The

intending concert-player must,

faultlessly

make

it

a point

from the very

It
is

start to play a piece

avail, to

from

beginning to end the first

time.

of no

play

it

right only on repetition.

Should you break down, or make

considerable pause,

a mistake, stop playing,

it

and begin again

after a
this

making

it,

as

were, another "

first

time."

Also observe

method while
and
finally,

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

practising compositions already memorized.
to think.

when
is

The

best

way

to

avoid mistakes,
are playing, to

While

at the piano, think

it.

of nothing but what you

like reins for the fingers,

however sure you may be of

in the right road.
is still

Thought

is

keep them

There

another stage

in correct

piano-playing

self-criticism.
is far
is

Who;

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

for

advanced

even the recognition of one's

faults

means much, although there

yet a long

step to their

amendment.
piano-players, too,

Those

who have no mind

to give concerts, but play only

it

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

well
it,

and

correctly.
if

Or

try

anyhow,

only from

humane motives

for

everybody

likes to

show

off.

What

should we not have been

?

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

True,

the genuine artist finds

it

stumbling-block which can be done away with only by

78

dint of study in the

way described above, and by much playing

Let him do
his

in public,

whereby
" Fight

he gains

a feeling

of confidence.

like the

hero

in

Schiller's

with the Dragon,"

who accustomed

horse to a painted dragon before introducing

his

him. to the real one, to

and take the edge off

at

dread of the public by

much

playing

others.

Let him knock

this stage, let
is

every door and request a kindly hearing.

his

And,

having reached

him play before

fellow-artists.

If he can meet

their criticism, he

proof against the dragon himself.

XXVII

Movements of

the

Hand and Arm

that they have risen superior
difficulties.

BIANISTS
to
all

of fiery temperament often execute acrobatic marvels with their

uplifted hands, as if to

show the audience

earthly trammels, and

make

mere play of

These

are

fancy tricks not wholly devoid of piquancy, and

may be viewed

with indulgence

when accompanying
movements of

virtuoso performance.

In contrast to these are the necessary

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

the rhythm, or to rest the

hand

after the tension of/or/f-playing

by relaxation of

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

upward by

an involuntary reflex movement

after striking vigorously.

None

of these move-

ments should be

destitute of

freedom and grace.

to the character

The

necessary

movements of hand and arm vary according

I

of the piece played.

do not mean

that in a Scherzo the fingers

may

execute

merry gambols on the keys or

in the air, or creep

along sleepily in a Berceuse.

What

mean

is,

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

hands are

lifted

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

melancholy

strains,

where they

are raised slowly

and the arm

rises as

much,

or, still

better, as little, as the

wrist-movement demands.
twisting

The upward, downward, and

been treated
at length in a
it is

movements of
I will

the wrist have already

former Section.
to bring the

Here

mention only the sideways

movement, whose aim

the next notes.

hand into

a convenient posture for taking

i,

In the Chopin Etude op. 25, No.

5^

for instance,

79]
easily,
;

one can take the melody-tone

turning the right hand (not too
the accompaniment-figure.

E\>

more

and render
left

it

more

expressive,

by

far)

sideways

the

hand

also turns in following

Talented students
wrist,

will

find
it

instinctively

the

proper employment of the

and how
it

to

accommodate

to the varying position of the

hand

others

must
the

acquire

by

practice, whence arises a sort of " preparatory

technics " for

promotion of an easy and sonorous execution.

The
leaves the

pedal

is

again very helpful.

By holding and prolonging

;

the tones,

it

hand

free to

assume the next-following position

as at all the

chords

marked

* in Chopin's Fantaisie:

We
makes
it

may

also

add to the section on preparatory technics a device which

easier to play clean basses.

These

are not such a matter of course as

one

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

by

Liszt,

proves.

The

usual reason
left.

is,

that difficult passages or leaps in the right

hand divert the

eyes from the

The

device for getting the bass clean consists in touching the

left

higher octave of the bass tone with the

thumb, without depressing the key

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

of the octave

in his fingers.

Also practise

this

trick

without looking

at

the left

hand, or in the dark.

Another device which may be mentioned

leaps

in this connection,

concerns wide

a fertile source of incertitude.

;

Through

practice alone

one cannot learn to

a certain
:

take such leaps with certainty

one requires presence of mind, and likewise

knack which ought

to be taken advantage of

when

practising leaps

namely

For

a leap

on white keys, the hand should not describe

which
is

a curve, but glide

swiftly over the edges of the keys, striking the tone

the objective point of

the leap with the outer edge of the

the wrist

little finger,

not with

its tip.

At

the

same time,

must drop.

This procedure has the further advantage, that the hand

fix

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

the eye

upon

which

is

necessary.

It aids accuracy greatly to

name

the tone mentally before

striking.

80

For

a leap

on black keys, the hand

is

also held close to the

its

keyboard

but
tip.

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

edge, but

flat
it

with the

For such

leap

on black keys, the

wrist cannot be dropped, but

must not be

raised too high.

Do
hand.
also

not be discouraged by so

many

rules for the training of fingers

and

Through them
clumsy

the fingers finally acquire exquisite sensibility, and the wrist

fingers.
lest

soon learns to follow the movements of the

a

The

arm, to be sure,

remains

fellow, always

having to be guided

he throw fingers and wrist

first scale-

off the track

exercises

by faulty movements.
to
it

Consequently, in the

and chord-

one should look

that the

arm does not

press forward too rapidly

when playing

up, and drag backward

when playing down.

XXVIII

who

Should Devote Himself

question, indeed
!

to the

Piano?
will

DELICATE
reply, short

I fear

me, an echo from the World

and sharp

"

No

one

"
!

But

this

were wrong,
of
the

if

only in

consideration

of the opulent,

glorious

literature

piano,

which
with a
a

deserves that an unbroken line of interpreters should arise

mission, of course.

interpreters
:

And

here

we have

the reply to our question

Those with

mission for

it

should devote themselves to the piano.

qualities justify this claim?

But what

Were

to say

" Only a talent of

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

In music, too, there must be a middle

Qualifications which one

class.

must have

to

become

thorough pianist are

good

ear, a

good hand,

artistic

temperament,

fine sensibility, intelligence,

and persevering

industry.

The
produced by

musical ear naturally varies in quality.

tell

Finest of

all is

the ear which

tone, whether

recognizes absolute pitch, and can instantly

the

name of any

a musical instrument or the ringing of a glass.

tell

Next comes the

its

recognition of comparative pitch, which can

any tone from

relationship to
is

another key-tone previously struck on the piano.

class,

This kind of ear

only second-

but

is

capable of further development; musicians possessing this ear have

frequently a refined sense for shading.

The
him

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

to sing correctly any tone he hears.

[8i]

An
account.
find
as
it

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

is

by a sort of

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

not taken into

Merely sing some

tone, which
its

is

so natural and easy to sing that

you can
tone,,

again at any time, and find

name on

the piano.

Hold

fast to this
:

one from which to derive others.

Now

try the following exercise

Strike a

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

and the other

one interval

intervals in regular order, first

upward, then downward

and keep

at

until
try,

you can sing

it

correctly.
at the keys, to

Also
intervals,

without looking
of
all

name

separate tones, then harmonic

at the piano.

and

last

chords, played by

some other person

If a

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

show

progress.

Touching the hand and

Section II
;

its

qualifications,

some observations were made

in

here

will

only add, that even an imperfectly adapted hand

mav

be
will

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

it

accommodate

itself to pianistic
it

requirements.
to change the

On
distraction,

the contrary,

Is difficult

temperament.

phlegmatic

pupil, even should he possess

all

the other

good

qualities, can drive a teacher to

and

his

playing will never

move

his hearers.
it.

Better an overplus oi
is

temperament.

It

is

an easier task to restrain

player without temperament

also emotionally dull

when

playing.

And
It

emotionality cannot be created, but only

somewhat

refined, or

awakened

in case

only sleeps.

Musicians themselves, however, should inveigh against the belief that music
needs only emotion, only to make up
for,

feeling,

and not

Intelligence as well.

This

last Is

needed,

if

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

However

great the talent

industry and less talent than

industry will help over

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

many

a hard place,
;

possessor to attain at least

a respectable eminence In music

but talent without industry runs to seed.

In

fact,

the arduous summit of Parnassus can be conquered only behind

the double-team.

Industry and Talent,

83

Addenda
To page
II.

There

are hands

whose
in the

finger-joints are too yielding.

This

anomaly manifests

itself

most frequently

middle (second) joint of the thumb;

this knuckle-joint either projecting too far outwards, or

bending inwards unnaturally

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

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

This weakness of the

Practise

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

the following exercise ^/flo, with each "hand alone.

E. H.

ll\

P
L. H.

=^^
P
Take,
care to

:^^-

I
hold the thumb
in
its

normal

position (Fig. i).

tip

If

you

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

of the left-hand foreit

which should touch the inner side of the joint without pressing
anomaly,
stiffness in

outwards.

.Another
^d
finger,

the knuckle-joint of the cth finger,

note,

may

be

overcome by the following

exercise

Hold down any

for instance, with the

and with the other hand

lift

the 5th finger by the tip as high as possible

then, with the 4th finger, strike

wrist.

repeatedly and as forcibly as you can with a loose

This treatment may

which
is

also be applied for loosening the knuckle-joint of the

in this case the

4th

'finger,

by nature comparatively stubborn; only

4th

finger

is lifted,

while the 5th repeatedly strikes G.

To page
one tone, or

33.

When

the octaves go smoothly and easily, practise

It
is is

them on

in scales, without interruption until fatigue sets in.

an important

v/

point to breathe quietly while practising, for the opposite habit

unhealthful.

To page
Even when you
will

59.

When
trill

the

trill

is

learned, practise
;

it

rapidly, without inter-

ruption or changing fingers, until you are tired

can

do

this

with each pair of fingers.

but a minute with the strongest fingers, your technique

have made a decided gain.

8tl

To page
more
distinctly

62.

One

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

the audience better than the player.

if,

But the

latter

can hear the dissonance yet

the pedal for a time and

without playing on, he holds

resonant waves.

down

listens attentively to the

To page
tronome.
tivity,

69.

At

this
'tis

point
a

we may venture

word concerning the Me-

Strictly speaking,

wooden

Capellmeister, without an
often.
It
is

atom of subjec-

though useful when not employed too

not merely a timekeeper,

but likewise a good instrument for training a defective sense of rhythm.

quently, every player should

Conseetudes

make

trial

of

it

once

in a while,

and play

scales,

or pieces with metronome-accompaniment.

Then

he

will

discover precisely where

he

may

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

Those who

are

weak

in time, are

advised to practise the following metronomeit

exercise, either at the

keyboard, or (simply by feeling) away from

Quintuplets and Sextuplets

ad

libitum.

Do
skipping.

not set the metronome on too high a number, and

is

let- It

mark

quarter-

notes, during which the exercise

repeated, at

first in

regular succession, and then

One ought
temperament but
influence of the

also

to play

his

pieces

through once with the metronome for

another reason, namely, to learn

like

how

to carry

on equally two themes of different

piece.

tempo
is

in

one and the same

For

this the controlling

metronome

certainly valuable.

135

Appendix
I.

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

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

HE

should not be taken up

the player can execute swiftly and evenly the

ordinary scales and broken chords.

for

Each

section

is

intended to be played
is

through without a break,

which purpose the connecting fingering

given.

The
and

Scale of Scales, in particular, requires great endurance.

Let no one, however, overdo these

rest before continuing.

exercise?,

but stop when too

tired,
little.

The
it.

requisite endurance will be acquired little

;

by

Play these exercises through once every day

technique, but increases

this

not merely keeps up the

86
1.

Scale of Scales.

kjp??i^

C minor. (Aarm.)

80:-

C minor, (melod)

Dtmajor

Sa-

16384

87
C^ minor, (harm.)

JT^^ -^^ jjjj

i

ijj

iirrff^
jjjjj
I

^^^^jjjj

CH minor, (melod.)

major

^^^
D
minor, (harm.)

minor, (nielod)

16384

88

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r^^^

Sq-

Et minor, (harm.)

E!>

minor, (melod.)

E major

minor, (harm.)

^aaaufiflK''aiift;^

'5^^

I6.S84

89

minor, (tfielodj

F major

minor, (harm.)

F minor, (nielod.)

F# major.

sa16384

90

FjJ

minor, (harm.)

jam^ ,j|^^iP^iii
Fil

minor. (tn.elod.)

major.

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^f^n ^^

UiUi^

G minorJharm.)

Q minor, (melod.)

8Qr-

16384

91

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(harm.)

Sra

Git

minor, (melod.)

major,

minor, (harm.)

16384

22

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B\> "minor,

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16384

93

minor, (harm.)

^Etit

minor, (melod.)

Chromatic

8-va.

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i^M^'^^ ^
16384

^ ^ '^

^'

94
2.

Scale of Arpeg-g-ios.
it

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

stands, only with the regular

C major.

C minor.

d.'^
Dl>

major.

minor.

major.

D
^

minor.

01'^;^

WU^

*=p

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,,

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Sva.
Sva.

16.984

95

major.

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<

^ra

SW-

'!

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Fjt

F minor.

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^ eg

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^^

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0_

G major.

G minor.

S
5^
iwifes..

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^^g^
(S^i'-

16.^84

96

m^
G^ minor.

^ m
A
major

minor.

>=

B? major.

B!?

minor.

^^^
!/<;-*
'Sil'

^^p

B major

I6.S84

97

3.

Suite of Arpeggios.

Triads and Seventh -chords.

S'^l'-

^7!lt-

Sva..

zp:

mm

F^=9i

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16384

98
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99

sm

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Stii-

g-m.

Transpose the Suite of Arpeggios lowing examples:

into all keys^

employing only

the regular fingerings as in the fol.

R.H.

.^

3^ sfe

16384

100

Conclusion

D
them

HE

Grouftdwork of the Leschetizky Method

is

chiefly intended for pianoa

players

who may

be assumed to possess

more than

rudimentary pianistic

training.

This does not, however, preclude the instruction of beginners,

or even children, according to the Method.

the theoretical elements in one
set their

Such must

first,

of course, be taught

way

or another.

But from the moment that they

book.

hands on the keys, keep

strictly

to the rules of this

Only do not

let children

play exercises as long as adult beginners, and of course do not allow

to attempt

any requiring the stretch of a full-grown hand.

Pianists re-forming their

method according

to Leschetizky, will arrive at the

goal only through entire abstention from playing in their former style while form-

ing their

new

one.

They must even

give

up

sight-reading.

Regard

this

change

of method as a " treatment," so to speak, during which the prescribed diet must be
strictly

observed, for a lapse in the regimen would throw the

lose

fingers out,

and

consequently

time.

Even when

the exercises and

scales

are

thoroughly

mastered
tor

in

accordance with the Method, play nothing from your earlier repertory

some

time, but take

up etudes and

pieces

which you have never studied)

playing none of the old pieces until you are sure not to lapse into the former

manner of

playing.

Do
vacation
;

not fear to lose your old-time dexterity of finger during this enforced

on the contrary,

it

will

reappear afterward more potent and

perfect

than ever.

For such
but one
is

change of method, patience, and

still

more

patience,

is

needful

repaid by the result.

That has converted many an

unbeliever.

45 a3
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