PREVIEW - Il Pianoforte: Study, Perfomance, Formal and Harmonic Analysis. Level One For Pianists.

THE PIANOFORTE:
Study, Performance, Formal and Harmonic Analysis.
W
IE
EV
LEVEL ONE FOR PIANISTS.
PR
Second edition.
o f f i c i a l t r a n s l at i o n
by L o r e n z o G i o rg i .
Authored by
Loris Cerofolini, Lorenzo Giorgi, and Ornella Campanino.

Materiale protetto da Copyright. Vietate la copia e la distribuzione non autorizzata. Copyrighted material. All rights reserved.
THE PIANOFORTE:
Scarica lintero estratto di 22 pagine gratuitamente da www.the-pianoforte.com Download the entire 22 pages extract from www.the-pianoforte.com
THE PIANOFORTE:
A P RO G R E S S I V E P I A N O C O U R S E ,
WITH FINGERED AND ANALYZED SCORES.
A course intended and adapted for piano didactics

in all countries and all musical contexts.
LEVEL ONE FOR PIANISTS.
Second edition.
o f f i c i a l t r a n s l at i o n
by L o r e n z o G i o rg i .
Authored by
Loris Cerofolini, Lorenzo Giorgi, and Ornella Campanino.
All translation rights are reserved. Nonetheless, anyone who wishes to translate these books in a
language other than Italian can contact us by e-mail (please, attach Curriculum Vitae):
lorlororn@gmail.com.
S UM M ARY
INTRODUCTION.........................................................................................................XI
PART ONE....................................................................................................................... 1
Posture and bearing at the pianoforte.................................................................................. 3
Play from memory............................................................................................................ 5
Advice intended to improve awareness and efficacy in study................................................... 7
Handbook of Scales practice.............................................................................................. 9
Major Scales............................................................................................................... 9
Minor Scales............................................................................................................ 29
Harmonic analysis.......................................................................................................... 63
Intervals................................................................................................................... 63
Scale degrees............................................................................................................ 65
Most common chords............................................................................................... 66
Triads and quadriads in a Scale................................................................................. 69
Fundamental Bass or Root....................................................................................... 69
Tonality.................................................................................................................... 70
Modulation.............................................................................................................. 71
Cadence................................................................................................................... 71
Non-chord tones...................................................................................................... 72
Formal analysis.............................................................................................................. 77
Contour and form: difference.................................................................................... 77
PART TWO.................................................................................................................... 79
How to note analysis on the score..................................................................................... 81
Analyzed scores for technique and musicality.................................................................... 85
Duvernoy, Study, Op. 176 n. 1................................................................................... 86
Duvernoy, Study, Op. 176 n. 10.................................................................................. 89

Duvernoy, Study, Op. 276 n. 9..................................................................................101
Duvernoy, Study, Op. 276 n. 12.................................................................................103
Duvernoy, Study, Op. 276 n. 20.................................................................................104
Heller, Study, Op. 47 n. 1..........................................................................................106
Heller, Study, Op. 47 n. 2..........................................................................................107
Heller, Study, Op. 47 n. 3..........................................................................................110
Heller, Study, Op. 47 n. 11........................................................................................111
Heller, Study, Op. 47 n. 17........................................................................................112
Bach, Prelude BWV 924..........................................................................................115
Bach, Prelude BWV 999..........................................................................................120
Bach, Prelude..........................................................................................................123
Clementi, Sonatina Op. 36 n. 3.................................................................................124
Chopin, Waltz BI 150..............................................................................................132
Chopin, Prelude Op. 28 n. 4.....................................................................................135
Schumann, Sicilian, Op. 68 n. 11..............................................................................143
Schumann, First Loss, Op. 68 n. 16..........................................................................145
Camidge, Sonatina, I Movement..............................................................................146
Attwood, Sonatina, I Movement..............................................................................149
Duncombe, Sonatina, I Movement..........................................................................151
IN T RODUCTION.
T
hese books are intended for all those who study this magnificent instrument:
the pianoforte. My pupils themselves suggested me, albeit unconsciously, that a new
method was to be developed, that would allow anyone to fully and truly understand
both the musical language and the technique of pianoforte playing. Their needs were stimuli
to me, which prompted me to look for new solutions: I wanted them not only to solve their
problems, but also to acquire awareness.
I have noticed that musical (i.e. harmonic and formal) understanding is greatly needed by pupils
since the very beginning of their studies: so that they were not asked to read a mere succession of
graphic signs, to play a chain of nicely sounding tones, which the composer would have written
haphazardly or according to some uneducated, inborn fine taste. On the contrary, they needed to
be made aware of how orderly and reasoned the musical composition is, and of how feelings and
thoughts are expressed through a knowledgeable employment of Form and Harmony.
Every score is part of a study plan in numerous volumes, which is shaped on a yearly subdi-
vision of this method, as the Back Cover points out. Formal and harmonic analyses are provided
for each score, which are essential for basic musical understanding.
It is my hope that our work will be of help for those who teach Pianoforte in all musical
contexts.
Loris Cerofolini.
Undertaking instrumental studies with full harmonic and formal awareness is such a simple,
yet splendid idea! How great and numerous opportunities would such a method reveal to young,
X II T h e P i a n ofo r t e, c e r o f o l i n i , g i o r g i , c a m pa n i n o .
future musicians! Their musical education would be deep and solid, if Composition and Perfor-
mance were blended in oneness; for these two arts have been separated by History and to the
benefit of Didactics, not by Nature!
Facile dictu. The difficulty of imparting theoretical knowledge to young pupils has to be over-
come. Every experienced teacher knows that this is not an easy task; indeed, when I was first
proposed this most fruitful collaboration, I asked: is it even possible?
Yes, it is possible. The authors research and experience proved it.
I strived to cut as short as possible the theorical lessons. Thanks to Cerofolinis method, Scales
practice becomes (to our own surprise) a genuine pleasure for pupils. Moreover, this exercise
instils tonal awareness in them, and prepares them for theorical knowledge, which will be im-
parted to them bit by bit, devoided of all that pertains solely to composers. Analysis is the only
objective: not Composition, nor Theory itself. I tried to do as English teachers in primary school
do: they teach Grammar Analysis without Narratology, Poetry or Linguistics. It is truly possible!
Of course, every teacher is free to supplement or reduce the pupils theorical knowledge
compared with my suggestions. As for me, I tried to comply with Leopardis teachings: a man
who has an abundance of what is superfluous, and lacks what is necessary, is not rich. And, if I may
use some humour, I strived at the same time not to regard as necessary only what is superfluous,
as Montesquieu admonished!
Lorenzo Giorgi.
Functional illustrations were designed to imprint on the pupils mind the positions of Scale
practice through the power of visualisation and photographic memorization, thus making this
part of the study easier and more enjoyable. On the contrary, ornamental drawings were born
spontaneously in my mind when wondering at musical notation, in search of new points of view
from which to make the pupil contemplate music. The ornamental drawings are allegorical, and
serve as an introduction or a conclusion for each chapter.
Finally, inspirational quotes are present in all volumes of this method. They are meant to instil
confidence in the pupil, and to support him in his studies; for I firmly believe that any dream
nourished with Perseverance and Faith will eventually come true.
Ornella Campanino.
PART ONE.
4 T h e P i a n ofo r t e, c e r o f o l i n i , g i o r g i , c a m pa n i n o .
immobile, the entire apparatus would become stiff.

Technique stems from finely coordinating all the elements that participate in movement:
fingers are controlled by quick but weak muscles, and need to be assisted by the greater
arm muscles (biceps and triceps);
forearms should be assisted by shoulder and pectoral muscles;
all body muscles transfer energy to the keyboard, when coordinated naturally; their
coordination allows a constant turnover of force and power;
dynamics originates from the speed at which hammers hit strings; consequently, limb
weight too is to be exploited in the act of playing.
Fingers must be moved independently. Nonetheless, their relationship with the wrist, forearm,
arm, and shoulder are not to be neglected. No matter how technically difficult a passage, a piano
player must always play with no physical effort.
8 T h e P i a n ofo r t e, c e r o f o l i n i , g i o r g i , c a m pa n i n o .
tenance must be introduced in the practice procedure.

Maintenance should be performed before every musical event (stage performances,
competitions, exams, etc.), because playing always at performance tempo is detrimental
for detail memory, whereas it favours a more automatic, less conscious performance, and
it harms clearness in expositions.
Usually, Maintenance is carried out as follows:
play two times at half performance tempo;
play without the right (damper or sustaining) pedal;
iterate the least mastered passages;
finally, play one time at performance tempo.
Public performance is not the finish line, but an intermediate stage: after the public
performance itself, you shall meditate on how to better musically and technically, so that
your interpretation and the quality of your performance is always improving. Robert Schu-
mann used to say: Learning never ends!
HANDBOOK OF SCALES PRACTICE.
S
cales practice is necessary for pianists, as it benefits technique, coordination,
and the understanding of harmony; for Harmony (along with Melody) is the very essence
of Music.
Scales practice is either delectable or detestable; the difference lies in the approach
adopted.
MAJOR SCALES.
In equal temperament, a mode could be defined as an orderly, predetermined succession or combi-
nation of melodic intervals1. When a mode is applied starting from one specific note, a succession
1 The concepts of interval, melodic interval, tone, semitone, and Octave will be employed in this chapter. Should the pupil not feel familiar
enough with these concepts, he (or she) should read the paragraph on intervals (page 63) before continuing.
c e r o f o l i n i , g i o r g i , c a m pa n i n o , T h e P i a n ofo r t e. 1 5
SOL MAJOR SCALE.
Direct
motion.
Contrary
motion.
Right
hand.
Left
hand.
6 0 T h e P i a n ofo r t e, c e r o f o l i n i , g i o r g i , c a m pa n i n o .
LA BEMOLLE MELODIC MINOR SCALE.
Direct
motion.
Contrary
motion.
Left hand, ascending. Right hand, ascending.
3 3 4 3
1 2
Left hand, descending. Right hand, descending.
3 2 4 3 3 4 2 3
1 1
FORMAL ANALYSIS.
I
n order to illustrate what is meant by formal analysis, we shall use a comparison.
Suppose a novel is to be analyzed. Such an analysis could be conducted focusing on grammar, on

lexicon, on language; this, in Music, corresponds to harmonic analysis. Alternatively, the analysis
could focus on narration: how many chapters does the novel have? What do single chapters treat of?
How is narration distributed across chapters? This, in Music, corresponds to formal analysis.
Thanks to a correct distribution of harmonic1 and melodic 2 cadences and a knowledgeable use
of their various species, notes get organized in figures, figures in phrases, phrases in periods, and
so on, just as in Eloquence. Picturing the formal structure of a composition favours enormously
its memorization.
CONTOUR AND FORM: DIFFERENCE.

We shall distinguish between the contour and the form of a composition.
How many sections does the composition consist of? Are the sections similar to one another,
or do they differ considerably? Such questions define the contour of a composition. In particular,
we shall mention:
1 This course will gradually impart knowledge on this matter to the pupil. We will adhere to maestro T. Duboiss teachings, following his Treatise
on Harmony.
2 Melodic cadences are not as commonly treated as harmonic ones in our schools. This is unfortunate, as they are among the most important
means to create symmetry in Music; and symmetry is the fundament of clarity. Maestro Ant. Reicha dealt exhaustively with this subject in
his Treatise on Melody.
9 2 T h e P i a n ofo r t e, c e r o f o l i n i , g i o r g i , c a m pa n i n o .
c e r o f o l i n i , g i o r g i , c a m pa n i n o , T h e P i a n ofo r t e. 1 2 7

PREVIEW - Il Pianoforte: Study, Perfomance, Formal and Harmonic Analysis. Level One For Pianists.

Uploaded by

Document Information

Original Title

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

PREVIEW - Il Pianoforte: Study, Perfomance, Formal and Harmonic Analysis. Level One For Pianists.

Uploaded by

Copyright:

Available Formats

THE PIANOFORTE:

Study, Performance, Formal and Harmonic Analysis.

Loris Cerofolini, Lorenzo Giorgi, and Ornella Campanino.

A course intended and adapted for piano didactics

LEVEL ONE FOR PIANISTS.

Loris Cerofolini, Lorenzo Giorgi, and Ornella Campanino.

Duvernoy, Study, Op. 176 n. 16.................................................................................. 90

immobile, the entire apparatus would become stiff.

tenance must be introduced in the practice procedure.

HANDBOOK OF SCALES PRACTICE.

SOL MAJOR SCALE.

LA BEMOLLE MELODIC MINOR SCALE.

Left hand, ascending. Right hand, ascending.

Left hand, descending. Right hand, descending.

Suppose a novel is to be analyzed. Such an analysis could be conducted focusing on grammar, on

CONTOUR AND FORM: DIFFERENCE.

You might also like