EA R S B R A IN A ND F ING E R S

A TE! T B O O K F O R
PIA N O TEA CH ER S A N D PU PIL S .

BY

HO W A R D W E LLS

B O S T ON
O LI VER D I T S O N C O M PA N Y
NE W Y O RK CHI CA G O
CHAS H. . D ITSO N CO . L Y ON H E ALY
 Copy right, 111 CM ! I V
B Y O LI VE R D ITSON

I n ter n a tion a l Copy right Secu red

 PREF A CE

T he w r it er w i sh e s to make g ra t e f u l ac kn o wl e d gme n t
to Pro f T heodore L es che t izky f or man y o f t he idea s
.

a nd exerci s e u s ed in t hi s b o k He ma k e s n o claim
s o .

th at i t is a L e che t iz ky M e t hod f eeli ng a he doe

" ”
s s s
“
t ha t t h e so called Les che t izky M e t hod
-
ca nn o t b e ,
”

emb odied in a ny b o k b eca e it i L e che t izky o , us s s

him elfs .

Thi v ol me w il l erv e it p rpo e if i t help t he

s u s s u s , s

t eacher n d p u pi l t o realize t ha t in m ica l de v elop

a us

me nt it i ear n e tne o f p rpo e u n i t ed i t h co n een

, s s ss u s ,
W

t t e d i n t elli ge n t li ten i n g w hich make s e v ery eff or t

ra , s ,

co n t
u .

W i t ho t the t rain ed mind n d t he fi n ely c lti v ated

u , a u

m ica l hear ing t he fi n ger n b ecome merely a t o

us , s ca u

mata i n capable o f co nv eyi ng either t ho ght or

, u

f e li n g
e .

H O W ARD WE LL S

B E RLIN , G ERMANY , J u ne ,
1 91 4 .
 CO NTENTS

CHAPTER PA G E
I I NTR ODU CT O R Y I
II How To GIV E AN D TAKE A PIAN O LESS ON 0

III THE F IRS T P I AN O L ESS O N 9

IV HEAR IN G S IN G L E TO NES ; TIME ; ROCKIN G WRI S T
E! ER CI SE I4

V HEARIN G AND TIME ; B E G INNIN G MEMORIZ IN G ;

Fm G E R A C T I O N 1 7
VI HEARIN G ME L ODIES ; EI GHTH N O TES ; ! CK F m G UI ER

S TR OKE ; F ING ER WO R K IN C L O SE P O S I TI O N 23

HEARIN G ME L O DIES W I TH UPB EA T ; RE S T S ; Em c R E

WO RK IN FREE P O S ITI O N 2 9
HEARIN G D O TT ED N O TES ; B ASS C LE F ; Fm GER WORK
IN FREE P O S I TI O N W I TH INC EASED S PEED
R 32
I! HEARIN G TIME ; H EAR IN G TONI C Dom m r AND ,

SU D OMINAN T TR I ADS ; WRI S T WOR K

B —
37
! HEARI N G TR IP LE T S S I! TEEN TH S AND THIR TY—S E CO NDS ;
,

PR PA A T OR Y WOR K F OR S CALES
E R 41
!I HEARIN G IN V ERS I ON S O TO NI C D OMIN AN T AND SU B
F , ,

D OMIN AN T TR IAD S ; E! ER CI SES F O C ONCE NTRA R

TI ON ; THE C L O SE TO U CH 46
! II H EAR IN G Two VO I C ES ; S CALE S 51
! III HEAR IN G TO NI C D OMIN ANT AND SU B D OMINAN T TRIADS
,
-

IN C OM B INATI O N ; ARPE GGI O S 55

! IV HE ARIN G C OMPLE TE CADE NC ES ; OC TAV ES 60
!V HEARIN G CADENC ES m C OMP O S I TI ON S ; P O LYPH ONI C
WORK ; VE LOC I TY 64
! VI H EAR IN G CADE NCES (C ontin d); CH ORD P LAYIN G
ue 7I
! VII HEARIN G 0 F PHR AS IN G DYNAMI C S AND P EDALIN G ;
,

ME MO RI IN G
Z 82
! VIII S OME U SE F U L HIN T S 95
 EA RS, BR A IN A N D F ING ER S

C H A PT E R I .

IN TR O DU C T O R Y

( To be read b f re m
e o a ki n g u s e o f the b ook .
)

W h y is it th a t ou t of the i mme ns e nu m b er of p er s o ns wh o
s t u dy m u s ic , s o fe w acco m pli s h a n y t hi n g really w ort h w hile !

IS it beca u s e of lack o f ability or applica t io n ! O r is i t d u e t o t he

fact t ha t u methods o f traini ng lack the y s t em which we hav e
o r s

in other b ra n che s of ed u catio n ! C n w n t t race the di ffic l t y a e o u

t o the almo s t u ni v ers al lack of S YS TEM A TI0 tr i n in g f th e a o e ar,

t the fa i l re t d vel p th e p ower s of con centrati on a nd to the n egl ct

_

o u o e o ,
e

to tab l i h the t chni c l w rk p n the co rect b a si ! T he be t

es s e a o u o r s s

trai ni ng is that which make s t he p upi l c apab le of s elf d v l p -

e e o

m nt e I f the p pi l h bee n t a gh t t o l i s t e n t o m us ic int l li

. u as u e

g e nt ly he h ,
w ithi n him elf a co n ta n t s o r c e of i n t r u c t io n a n d
as s s u s

impro vem e n t w hich en able him to l earn from li t eni ng t o others

,
s s ,

a n d w h i c h g i v e s him the abili t y t o hear him s el f Thi s ability to .

hear o ne el f cann ot be attain ed su dd n ly On t he c o nt rary i t

’
s s e .
,

i to be ac h ie v ed o n ly by y t ematic t ra i ni n g
s s s

F r om t h e V ery F i r s t L e s son t hi s s ho l d b e t h e m
.

ai n , u

poi nt in the mi n d of bo t h teacher a n d p pi l Ev en t ho e

'

u . s

p upil s wh are f ort un ate en o gh t o have a good ear naturally

o u ,

re q ire s pecial trai n i ng in ord r t o kno w h ow t o u se t heir en s e

u e s

of heari n g a n d to de v elop t he co n ce n t ra t io n of m i n d w h i ch i
, s

n ece s ary t o ma k e it v al able t o t hem

s u .

L ck f p r ogres a n d l ack f i nt r est n t he p art of a p u pi l in

a o s o e o

h i m s ical s t dy is ofte n d
s u u to a n eglec t o f t hi s i m por t an t part
,
ue

o f t he work The p u pil canno t be expec t ed t o impro v e rapidly

.

w he n he is i n capa b le o f hear i ng wha t h e is d oi ng or w ha t he is ,

2 E A RS B RA IN '

. A N D F I N GE R S

t ry i n g to do . t b e s cces sful l y ta ught

Mus i c i s Sou nd a n d ca n no u

b y th u f the y s a nd fi ng rs l one G ood t eacher s are ea li

e se o e e e a . r z

in g t hi a n d are de v o ti n g more a tt e n ti o n t o ear t rai ni n g b t

s, , u

u n f or t una t ely it i oft en b ro u gh t in too l a t e t o b e of p rac ti cal

s

b e n efi t .

The trai ni ng of the r s h ld b gi n with the l a rni n g of th note ea ou e e e s.

nd b e conti n ed i n e ch l n d i n e c h d y s p r cti ce Some

’
a s n u a es o a a a a .

t eacher s t ry t o c l t i v a t e t heir p u pil s m ica l h ear i ng b y p l ayi ng

u
’
us

for t hem in t he l e o n b ut t he le ss o n t ime is too l i m ited a nd t he

ss , ,

av erage p pil h a s n t s u fficien t keenne ss f heari ng t o g t a ny

u o o e

t hi n g defi n i t e from it W he n t he t eacher d es p lay for h is p u p i l . o s,

he ho u ld b e ab ol t e l y s re t ha t t hey kno w exa c t ly wha t he is

s s u u

i ll s tra t i n g a n d t ha t t he i r a tt e n ti o n i ri v eted on it He ca n
u , s .

t e s t t heir atte n ti v e n e s s b y playi ng a p a ss age in s e v era l ways ,

a n d ha v i n g t he p u pi l s make compar i o n s s .

Ma ny p pil s t hi n k t hey are pay i n g s ffic i e n t atte nti o n to t he

u u

c u l t i v atio n of t heir h ear i ng b y t ryi ng to hear a f w chor d w he n , e s

t hey s t dy Harmon y b t thi e ff or t come s t oo l a t e t o b e made

u ,
u s

t he i nt gra l par t of t heir m s ica l e q u i p m en t w h i ch i t s ho ul d h a v e

e u

b ee n .

Some p pil s achie v e a fin e s e n s e Of hea ri n g a n d t he p o wer of

u ,

c o n ce n tra tio n b y l o n g co n ti nu e d s t dy a nd prac t ice n d b y

,
u , a

goi n g to co n cer ts b t it t ake s t oo m u ch t ime to learn to li s t e n in

,
u

t hi s wa y e s pec i al l y i f t he p p i l s l i v e where c o n cert are not f e

,
u s r

q ue n t The n t oo.i t i s a t the b egi nn i n

,g f th i r st d y that p u pi ls
, o e u

ne d the u e f th i r h
e i ng sThe grea t maj ority Of p u pil s h ow
o e ea r .

e ver n e ver ac qu ire t hi s a b il it y t o li s t en b u t ei t her remai n ho p e

, ,

le s ly medi ocre or drop o t of m u si cal w ork

s ,
u .

Why is it t ha t t hi s c o ndi ti on is n ot recognized ! B eca e most us

p r n s a e b l t l y ati fied with thei r p wer

e so r a so u e l i tene r Y et
s s o s as s s .
,

i f one t e s t s t he heari n g of e v en ad v an ce d s t de nt s he is gen erally u ,

a t o ni s h e d t o fin d o t t ha t t hey h av e hear d almo s t n o t h in g of

s u

v al u e .

O n e rea o n wh y t ra i ni n g of t he ear i s o i mpera ti v e i t ha t

s s , s

t he i nt erpre t a t io n f a c ompo siti o n ca nn o t s t a n d b efore on e like

o

a p i c ture a ny other w ork of ar t which may b e e njoyed a t

or

l ei re su I t m s t be s t died w h i le it is p a ss i n g wit h l i ght ni ng

. u u
 E A RS . BRA IN A ND F IN GE RS 3

rapidit y He n ce the mi n d of the li t en ers m us t b e p re p ared t o

. s s

gra p the impre io n q ickly

s ss u .

The act o f l i teni n g t o m i c is in i t s elf more con d ci v e t o

s us u

mi n d w an deri n g t han to co n centrated atten tio n a s m ic s o , us

o ften crea t e a mood w hich di tract s t h attent io n

s s e .

If tra in ing w rk i s made a p ar t f st d nt r tin i t

ea r o o a u e
’
s ou e,

d v l p c n c ntr ati n nd th facu lty f lf criti i m s w l l as

e e o s o e o ,
a e o se c s ,
a e

th e abil ity t ga in m thi ng d fi nit fr m th h a i g f g od m i c

o so e e e o e e r n o o us .

T O m ch ca nn o t b e s aid a b o t t he va l ue of con centr ati n

O u u o ,

es p ci ll y i n m i c l w r k
e a Who doe n t kn o w the type of p pil
us a o . s o u

w h S it at the p ia n o fo r
o s fiv ho r s daily h i tho ght take n u or e u , s u s

u p w ith v ario thi n g n d with n othin g more d fi nit in hi mi nd

us s, a e e s

tha n the g n r l i m to l arn to play !

e e a a e

In the t c h ni c l w rk i t i
e f gr t i mp rt n t
a o t bli h the
, s o ea o a ce o es a s

r ight m c l r c diti n t th v y t rt w hen the p pil i at a n

us u a on o s a e er s a ,
u s

a g wh ne ch w ork i mo t a ily do n e Th lack o f el f n

e su s s e s e s co
-
.

i
s c ou s n in a yo n g p pil i
e ss f the g reate t ad v a n ta ge to him
u u s O s .

H creat n diffic ltie f or hi m el f b y h i me tal attit de a n d

e es o u s s s n u , ,

as h i ha n d i in the n at ral tate it a n be ea ily f orm d to m ee t

s s u s ,
c s e

the r q i r em e nt f the pian o A chi ld c n acco m pli h in a f w

e u s O . a s e

m i n t t wice
u es m ch a a n Older p pil w o ld in the ame l n gth
as u s u u s e

o f ti m e ( R f er ce i mad f co
. e to tech n ical w ork withi n a
en s e O ur s e

child gra p ) Arpeggio octave etc m st be le ft ntil h i

’
s s . s, s, .
, u u s

han d h grown t o t h m as e .

In chi ld ch l w rk h i n t p r mitt d t mi l arn nd

a
’
s s oo o , e s o e e o s e a

w r ngly p r cti
o th fi r t p ri n i p l
a f gra mm r nd rith m ti c with
se e s c es o a a a e

f d ing th m r r ctl y l t r y t thi i t o ft n d

.

th id
e ea o o e co i n th e a e ,
e s s o o e on e e

m i c l t r i n i ng
us a W hy h l d h n t b r q i r d t d th
a . i mp l s ou e o e e u e o o e s e

t chni c l w rk f pi n p l aying acc r t ly nd i n thi w y v

e a o o a o u a e ,
a ,
s a , sa e

tim f hi m lf l t r n !
e or se a e o

The co mm o n rror o f th in kin g tha t c racy in m ic i fatal

e a cu us s

t o m ical expre io n ho ld be di co raged That ch a n idea

us ss s u s u . su

i pre vale n t t all is lar g ly d e t o t he ov r a c rat

s a , p d a nti c e u e -
c u e, e

i c l p l y ing f th e wh g t th e xtr m f m th d
“
an d nm
”
u us a a o os o o o e e e o e o .

We hav e i n ta n ce f pe r f ormer w ho se playin g ff er fro m t hi

s s o s su s s .

S ch p layer are n t m u ical by n at re n d hav e acco m pli hed

u s o s u ,
a s

t he ir re lt by the harde t w ork

su s Th y hav e in gen eral s . e ,
4 E A RS , BRA IN A ND F ING E RS
more th o ugh t for t he t chn ic f th t t han for th e a t its lf e o e ar r e .

Wh e n a t den t i n der y tema t ic t ra in in g t here comes a

s u s u s s ,

time when he i t o co n cio of the process by w hich he express e s

s o s us

him el f nd i di t rbed by i t Thi i only tag i n hi d velop

s , a s s u . s s a s e s e

m nt thr ugh whi ch he m t p a s

e o U nf ort n a t ely many per s o n s us s . u ,

wh o ha v e arri v ed a t t hi t a ge p l ay in p blic a n d in crea e t he s s u , s

fal e im p re ion t ha t ys temat ic t ra in in g make t he p lay in g

s ss s s

mechan ical .

When t he p ian i t h s go tt en b eyo n d t hi poin t howe v er he i

s a s , , s

on olid gro n d w here he i able t o t h in k for hi m el f

s u n d de v elop s s , a

t o the exte n t o f h i men tal n d m ical capacity s a us .

Th r i q ite e e m ch to b
s id gai n t th other extr m f a l l w
u as u e sa a s e e e o o

i ng t m ch fr d m whi ch
oo u t bli he h bit f m i ca l nd
ee o , es a s s a s o us a

t chni ca l l ov nli n
e nd whi ch l
s d t
e l ck f arti ti c b a la nce
ess a ea s o a a o s .

P lay ing t he p ian o i n ot a n t ra l proce N o on e n cla im

s a u ss . ca

t ha t t he han d w orig in ally b i lt f that p rpo e as u or u s .

St de n t are o f te n mi led by the t atem n t t ha t i t i n ot n e c

u s s s e s

e ary f or them t o go t hro gh a t horo gh co r e f t ech n ical

ss u u u s O

t ra in in g They do n ot al way realize tha t t hei

. w n relatio n s r o

S hip t o m ical w ork i on n e n t irely di ff ere n t plan e t han t ha t

us s a

of t he ma t re ar t i t If n u b r v s th car r s f gr t arti t
s . o e o se e e ee o ea s s,

i t wi ll b n th t th y h a ve g n
e see t ome ti m thr
a gh d fi nit
e o e a s e ou a e e

s ch li ng nd th n g tt n w y fr m th con ci
oo , a e n es of i t THE Y
o e a a o e s ou s s .

even ft n f rg t th t thi ch li ng w n c ary to gi v b l nce

o e o e a s s oo as e ess e a a

a nd arti ti c j d gm nt t th i r l t r d v l p m nt
s u e o e a e e e o e .

I t i n t expec t ed tha t t he t ch n ical w ork o t lin ed in t hi b ook

s o e u s

S ho ld b e g iv e n t o t he excl io n o f all mus i cal w ork A f w

u us . e

S imple exerci e ch given here are n ec sary f or the e t ab

s s su as , es s

l i h m nt O f t he p ri n ci p l
s e f r l x ti on n d the d v l p me nt f the e o e a a , a e e o o

ha n d pi a ni ti ca l l y They S ho ld be giv en n t il t he pr in ciples ca n

s . u u

be cce f lly applied t o play in g compo i t ion

su ss u s s .

W he n t he e eleme n tary pri n ciples are o n ce e tabli hed the

s s s ,

dev elopment of t he co ndit ion o ght f or i a q e t ion o f Gr wth s s u s u s o

nd Ti m I t c nn t b f rced The dev otion of o n e e n ergie ’

a e . a o e o . s s

excl s iv ely t o t ech n ical w ork fo ny grea t len gth of tim e S ho ld

u r a u

n ot be n ece ary n d i n ot ad vi ed
ss I t req ire patien ce n til
, a s s . u s u

t he ri gh t co n ditio n are e t abli hed F rom f o r to ei ght le o n s

s s s . u ss
 E A RS , BRA IN A ND F ING E RS 5

S ho u ld su ffice
to bri ng fin ger action a nd t he t on e place m ent ,
.

The con ti n a t io n o f the techn ical practice from t hi ti m e is

u s

si m ply t o cli n ch the e p oi n t s n til t hey hav e become econ d

s u s

n a t reu .

NOTE —Te a c h ers wi ll fin d t h a t t h e a mo un t o f m at e ri a l g i ve n i n e a ch o f t h e se

ch ap te rs is mu c h mo re t h an c a n b e t ake n u p i n one l e sso n B u t i t is f o u n d s i mple r .

t o arra n ge t h e b oo k i n t h i s wa y So me o f t h e work , p a rt i cul a rly t h e e a r t rai n

.

ing , c an be do ne i n cl ao t i d o f t he r gul ar l so n
s se s u s e e es s .

Th e ear t ra i n i n g r ci e xe o t l i ned h r a re j t s u se f l f r v o i ce a n d
se s , a s u e e, us a u o

v i ol i n st den t s for p i an i t s
u s a s .

In so m r pe cte es c h wo rk i v n m
s su n y f o r t h m a t h p rod c
s e e or e ece s sa r e ,
s e u

t io n f t he i r t o n e bot h a s t o pi t ch a n d q al i ty d p n d di ct ly u po n t h i r ca
o ,
u ,
e e s re e r.
 C H A PTER I I .

How To GIV E AND TAKE A PIAN O LE SS O N

Th e v ar i o u s b oo k s t ha t h av e b ee n wr itt en t o help t eacher s
a n d p u pil s dea l wit h t he b e s t w ay s of gi vi ng l e ss o n s a n d ofi e r ,

u s ef u l hi n t s re gardi n g p rac t i s i n g b u t n o n e gi v e a ny ad v ice to the

,

p u pi l a s t o t he way he s ho u l d ta k e a l e ss o n .

On e r q i ite a t a l on i nd ou bt dly con centrated tt nti n

e u s e ss s u e a e o .

The ab e nt mi n ded dreamy p pi l wh o o nl y half hears wha t

s -

,
u

t he t eacher is s ayi n g a n d le t t he hi nt a n d correc t ion s g in at

,
s s o

o n e ear a n d t a t t he o t her i w ell kn o wn in e v ery s t dio

, ou ,
s -
u .

I f the t eacher q u e t io n s ch a p u p i l re gardi ng h i n der s tan d

s s u s u

ing f s o m e explan a t io n t ha t he h s b ee n ma ki n g t o h im he fi n d
o a ,
s

either t ha t no i mpre sion h a s bee n made n t he p pil mi n d or

s o u
’
s ,

tha t t he i dea conv eyed wa s SO v agu e a n d c onfu s ed t ha t i t i s

w orthle ss .

M nt l a l rtn s n d the d si re b th to u n der t n d nd r et i n

e a e es ,
a e o s a a a

a n xp l n ti n m
e a tb
a o tr ng i n the p pi l a th d t rmin tion
us e as s o u ,
s e e e a

o n th p r t f the t
e a cher t m k hi xp l n ti n d q te
o ea o a e s e a a o s a e ua .

The p pil s ho u ld b e cer t ai n at t he e n d f each le on t hat he

u o ss

h as a defi n ite i dea of t he weak p oi n t a n d mi t ake tha t w ere s s s

me n t io ned to him w ell n u n der s tan di n g

,
as f t he b e s t wa y
as a o

t o correct t hem .

He s ho ld hav e the determi n atio n to arran ge hi daily prac ti ce

u s

pro gram in ch a wa y t ha t a cer t ai n amo nt f t ime i dev ot ed

su u O s

e v ery day t o t he correcti n g f t he e mi stake a n d t he b uildi n g o s s,

u p o f h i w eak poi n t
s s .

In thi s w a y t he t eacher will n ot b e obli g ed to make the s me a

cr iti ci m i n sever l l n
s a ess o s .

Th r n b n
e e ca va guen ei n th o nd r t n di n g p la n f wor k
ess e u e s a or o

if th r i t b e a n ythi ng d fi nite i n th r
e e s o lt c hi v d e e es u s a e e .

The p pil w h how a det erm i n ation t o co n ce nt ra t e his mi n d

u o s s

e ntirely on t he l e s on w hi le he is t a ki ng i t is in t he mi norit y
s .

6
 E A RS , BRA IN A ND F ING E RS I

The in tro duct i on of o u ts i d e ma t te rs f or di c s si on a nd conversa s u a

tio n i by n o mean un us al a nd w hen a p pil c han ges t eacher

s s u , u s,

i t i ge nerally the cas e tha t he de vote s m u ch o f t he t i m e of h is

s

fir t le sso ns wi th the n w t eacher t o narrat ing h ow his former

s e

t eacher wa nted t hi or t ha t do n e s .

O n the other ha n d s ome p u p il are so fearf ul of t he l ess o n ti me

, s

bei ng w a ted tha t t hey l oo k u pon a n exp l na tion as an i nterr p

s a u

tion Their idea of a less o n is t o keep t he p ian o going all t he

.
“ ”

time The na tural res l t of t hi s attit u d e on t he p a rt of t h e

. u

p u p il is that the t ea c her feel he m us t l i mit hi ms elf to o nl y w ha t s

a ctual ly m t be aid and wha t he has to offer t he p u p i l ca nn o t

us s ,

b e gi ven fr l y a n d sp onta n ou s l y
ee e .

O f eq u al i mpor ta n ce wi th t he co n ce nt ra t ed a tt e nti on a t t he
l e ss o n i the teach b le spi rit f the pu pi l
,
s a o .

A t eachab l e p irit i n t eas y t o defin e

s I t might be s aid t o b e
s o .

a wi lli ngness on the p art of the pu pil to ept wh t th teacher has acc a e

to gi ve hi m .

No t ea c her wis hes to ha v e a p u p i l foll o w him b lindl y,

good
witho u t u sin g his own in te l li ge n ce No b r oad mi nded tea cher de .
-

s ires to i mpr ess a p u pil wi th the i d ea t ha t hi s is the onl y me t h od ,

b u t w he n the men tality of t he p u pi l is b e in g u sed to ar gu e with

,

t he teacher the n m u ch of t he l esson t im e m u st b e de v o t ed to

,

co nvi n cing an d pers u a din g t he p u pil ins tead Of gi ving h im t he ,

tr
i ns u ction ich he is pp os d t b e k i ng
wh su e o e s e .

S ch p u p i l are g e ne all y un con s c i o u s of this sp i rit as i t is an

u s r
,

i n here nt cha rac teri s t ic b u t n at rally t here ca n b e no c ope r ti on

, u c
-
a

bet w ee n t he tea cher a n d p u p il in su ch a cas e

“
T here is a cla s s of so cal l ed ad v an ce d p u p il s who lik e to go ”

“
from teacher to tea cher gett i ng ideas as t hey expre ss i t ,
”
.

T hey al mo s t in v ariably s p ea k of t he i r t dying as coa chin g

“
s u ,
”

an d ge n erally des ire to p la n thei r own w r k o .

Le o n in s ch i n sta n ces are a l w ay s a f r ce

ss s u N tea che r ca n a . 0

do nythi ng wo th whil for a pu pi l f thi typ e

a r Th high r the
e o s . e e

idea ls of the teach r the more difficu lt do s h find i t t sy mpathize

e , e e o

with th vi ew poi nt of such a pu pi l

e .

In di re c t co n tr ast is t he p u p i l wh o is over zea lous in hi d es i re

, s

to f l l w his t ea cher and so di strus tf l of hims e l f t ha t he wi l l n ot

o o ,
u
8 E A RS . B RA IN A ND F IN G E RS
do
anythin g wi tho t t he minut t directi on This
l

v e nt ur e to u es s .

v r doi n g Of docility hamper s b o t h p u pi l a n d t eacher

o e S ch a . u
“
p u pil will al way s play l ike a c arefu l s t u de n t a n d n o ma tter ,
”
,
“
w ha t his a ge may be will b e s po k e n of a s a yo u n g p ia ni t
”
, s .

“
The n t here i t he di s co raged on w h o m u s t al way b e
s u e
”
s

b raced u p Hi mo tt o i I ca n n e v er l earn t o do t ha t
.
“
s s Wi t h a .
”

p p il of thi s temperamen t t he t eacher h a s t o pen d a grea t deal

u s

of the le on t ime in the cheeri ng p p roce ss

ss Thi s p pil is a u . u

heav y b ur de n e v e n for the mo t hope f l t eacher to c arry s u .

“
E ach s t u di o h a s a e n iti ve p la nt a p p i l wh o m u t be
s s ,
”
u s
“
cri tic i zed v ery caref l ly He o ft en a nn o un ces Y ou are t he
u .

t eacher I am the p u pil

,
“
Y u n eed n ot b e afra i d t o t ell me x
,
”
o e

a ct l y w ha t y u t hi n k tha t i w ha t I come t o yo u r s t u di o for

”
o , s .

B u t ala s for t he t eacher w h o t ake him a t h i w ord ! Thi p p il s s s u

is t he v ery on e w h o is not wi l l i n g t o s t a n d a n yt hi n g b u t t he mo s t
g r d d critici s m
ua e .

“
The silent p p il is an o t her t yp e His a ttitu de a cts a a
u
”
.
,
s

damper n a teach er zeal When the t eacher eek s for s ome

o
’
s . s

i n dicatio n of b ei n g u n der tood by a p u pil of th i s character he is

s ,

me t b y t he mo t di co ra gin g nre po ns iv e ne ss J t a p pi l
s s u u s . us as u

m st b e en cou r g d i n ord r t k eep p hi s i nt r s t s mu t t acher

u a e e o u e e ,
o s a e

m t wi th s ome en cou ra gement i n order to b e a bl e to pu t for th hi s bes t

ee

The arti s t before a n a u dien ce i n ot more e ns i ti v e to t heir a tti s s é

t u de t o ward him elf tha n t he t eacher w ith h is p pil s I t i on l y

s u .
'
s

wh n h fe l that they with hi m nd r t ndi ng

“
nd ym
”
e e e s a re u e s a a s é
,

pa thizing wi th his efforts tha t he ca n give them hi s ver y b es t wor k .

10 E A RS . BRA IN A ND FIN GE RS
fix the length o f the q art er n ote u in h is m ind . T hen s o un d
mid dl e 0 for hi m a follo w s s:

n J J J l J J gm M J J J [ a IJ J J J ]
He s ho ld b e a b l t o t el l exac t ly w ha t is t he l engt h Of t he
u e

n ote s s o n de d e pecially
u ,
s t hey w ere pre e n t ed t o him in t he
as s

s imple t po ible wa y ( witho t a ny v ri ti on of p it ch

s ss u a a

to di tra ct his att nti n)

s e o .

The n s ho w him h ow t o writ t he n o t e a nd h ow t o i ndi ca te t hee s,

len gth of t he m In t hi w y he is t a gh t t o re c ognize t he rea l

. s a , u

Object t ha t i t he l n gth of t he n ote b efore he is s ho wn t he

,
s, e ,

pi ct re of i t on p aper
u ( La t er on whe n the s e n e of rhy t hm h s
.
, s a

b ee n more de v el o p ed t he p i t ch of t he n ote s may b e v ari ed in

,

t he rhythm exerci e s b t a t fi t it i b e tt er t o hav e t he m i n d

s u rs s

c o n ce ntra t e d on t he one t on e ) .

A p u pi l wh o h a s b ee n ta gh t t he l e ngt h of n o t e s in t h i s way
u ,
“
wi l l fin d keepi n g t ime m ch ea s ier ”
(See foo t n o t e )
u .
-
.

I f t he p u pil doe n ot kn o w t he n o t e he s ho u l d be t a u gh t t hem

s s,

firs t on t he keyboar d an d t hen on p aper , .

Ha v e him ma k e t he s t aff hi ms lf t he n s t ar t h i m ou t to trace e ,

t he l oca t io n of t he n o t e s on t he fi v e l i n e s a nd fo u r s pa c es gi vi n g ,

him O nl y E ( on t he firs t l i n e)t o fi g re from Th i s wi l l t a k e l o nger u .

t ha n to gi v e t hem in t he u su al wa y b t a c hil d is l w y s mor e i n ,

u a a

t res ted in s omething whi ch he has fou nd for hi mself an d rememb ers
e ,

I f he ca n figur e ou t on t he s tafi t he l o ca ti o n of mi d dl e 0 ( whi c h ,

h e h as c ommen c e d t o l earn b y s o u n d ) he s ho u l d b e e n co u r age d ,

t o d o so P u pil s O fte n percei v e t ha t t here is no p lace on t he

.

s t aff for a ny n o t e l o w er t ha n D a n d s u gg e s t t he n ec e ss it y of a dd
,

ing an e xtr a l i n e for it I f fo u n d in t hi s way t he n ame of t he n o t e

.
,

on t he a d de d l in e wil l n e v er be for g ot t e n .

NOTE —It is impossi bl eto m ap ou t t he e xa ct amoun t of work i n ea r t raining ‘

whi ch can b e gi ve n i n one le sso n F or a be gi nner t he amou nt i n di cate d will b e

.
,

q u i t e e n ough b u t i t mi g h t n ot b e e n o u gh f o r t h e more ad v a n c e d p u p i l wh o s h o ul d
, ,

go o n wi th th e work gi ve n i n s u bse q ue n t l e ss o n s .
 E A RS ,
B RA IN A ND F ING E RS I]

F or p rac ti ce in readi ng n o t e the teacher ho ld make a lin e of

s, s u

n o t es l ike t h i s :

tell i ng hi m it i a M i c l Roll C all a n d t hat he m t prac ti se it

s us a us

at home until he c n call all the n am e ea ily a nd q i ckly He

a s s u .

s ho l
u d ha v e a li n e f or each day s practice gi vin g o n ly the s e
’
,

n ote s, b u t in a di ff ere n t order .

To gi v e the roll call he S ho ld go thro gh it in the followi ng

“ ”
u u

— “F r t E — the he o”
d the ote if it a n w ered
w ay ,
i l i n s e, n n s n s u as s

to it n ame S c nd p ac A the n s o n d the n o te etc Hi

s
“
. e o s e, ,
”
u s , . s

mention i ng the locatio n o f t he n o t e on the staff fi st make him r , s

b rv it more ca r f ll y
o se e e u .

TE CHNI C AL WORK (THE HANDP O S ITI ON) .

T he p u pil s ho l d be s ea t ed far e n o u gh fro m t he pian o t o gi v e

u

hi arm f reedom of motio n

s s The hei gh t O f the eat s ho ld be . s u

determi ned by the lengt h Of the u pper arm Th elbo w s ho ld . e u

be on a lev el with the keyboard The wri t a little below t h e . s ,

lev el Se C t I
. e u .

The detail regardin g s

t he han d po itio n ho ld s s u

be caref ll y explain ed n u u

til n der tood by the u s

p pil u .

The wri t i held S li gh t s s

l y lo w er than the ha d in n

the elemen tary work the ,

kn ckle S ligh tly rai ed u s s ,

part ic larly tho e o f the u s

w eaker fin ger which s,

S ho ld be p n early in u u as

a lin e with the other s s a

the forma t ion Of t h ha n d al lows In thi w y the f o rt h n d

e . s a u a

fi fth fi nger hav e n eq ual c han ce o f action fro m t he kn ckle with

s a u

the tro n ger fi n ger

s s .
12 E A RS , BRA IN A ND FING E RS
E ach
fi nger wi th t he excep t io n O f the th m b r t on it
,
u ,
es s s

c us hio n Thi is the po it i o n t ake n for t he tech nical dev elop

. s s

m e n t of the ha n d ( Th str n gth f th fi ng r ti p n b d v l p d

. e e o e e ca e e e o e

on l y wh n th fi n ger i s h l d cu v d
e e Later on t he han d po itio n i
e r e . s s

adapted t o t he n eed o f t he pa a ge t o b e p layed ) s ss .

The arch be t w ee n t he t h m b a n d ha n d is i n i t ed po n to gi v e u s s u

t he t h mb room e n o gh t o pa s
u n der t he ha n d f reely
u i s u ,
as s

n ece s ary in s cale

s n d arpe ggio s s a .

The teacher ho ld ill trate t hi s care f l e pla n atio n wi th h i

s u us u x s

own ha n d a n d t he p pil ,
ho ld S ho w w he t her he co m preh n d
u s u e s

i t by t yi ng t o p t h is ha n d in the s ame po itio n I t i better

r u s . s

f or him t o re t h i arm n the table whe n he fir t t ake t h po itio n

s s o s s e s .

R mar k on h n d p i ti n
e s a os o .

The kn ckl are li ghtly elevat d n order to gi v e olidity a n d

u es s e I s

firm n e s t o t he ha n d a n d to e nable the fi nger to mo v e m ore

s ,
s

f re ly f rom t he k n ckle th prepari n g the w a y for t he fi n ger

e u s, us

actio n w hich come lat er s .

The t h mb i held o t a n d c rv ed to gi v e it more freedo m o f

u s u u

mo v ement on t he o t ide of t he han d u s .

The fi n ger are c rv ed in order to c n centrat the fi n ger action

s u o e

a t t he kn ckle to dev elop fi rmn

u s, d n i t iven in t h fi n ger es s a n se s es s e

t ip a n d r ty a n d c l r n
s, su e in t he fi n ger w ork ea es s .

T h is h a n d p os i t ion i s for t h e p u rpo s e of d ev e l o p in g t h e

h a n d for t h e p ia n o , a n d s h ou l d n ot be un d e r s t ood a s a se t

y
p o s i t ion t o b e u s e d in p l a in g .

After thi po itio n n b

s taken ea ily n d q ickly t he arm
s ca e s a u ,

s ho ld be t aken a w ay f ro m the tabl n d the po itio n take n

u e, a s

w ith t he fi n ger re ti n g on t he ed g e O f the table a n d t he a m

s s ,
r

loo e a n d relaxed from t he ho ld er The wri t ho ld be a

s s u . s s u

li t tle bel o w t he lev el of t he han d a s t hi wil l e n sur e b e tt er fi n ger ,

s

actio n from t he k n c k le u s .

Swi n g t he arm at t he S ide n otici n g the e n atio n of a loo e ,

s s s

a m r that t he co n ditio n may be retai ned w he n the ha n d i

so s

placed on t he edge of the table .

The a mi n g Of a ny n w p iti n h a s a te n den cy t o c u

ss u e os o a se

stiffn s C on e q en tly it i n ec ary to relax t he a r m ma ny

es . s u s ess

t ime n d to take t h han d po itio n n til n f eel at home in it

s a e s u o e s .
 E A RS , BRA IN A ND FING E RS 13

t
Rela xa i on i s th e b n ce f fi t a n d thi po itio n m t beco m e
a se o e or ,
s s us

s o n at r l that there i n
u a fi t to a me a n d re t ai n it Ev ry
s o e or ss u . e

t ach r t ll hi p pi l th t the wri t h ld b e l

e e e s s u b t h w ca n th
s a s s ou oose , u o e

p pi l b
u p d d t h v
e ex l e wri t wh n h h
e e o n id h w a
a e a oos s e e as o ea o

l
oose w ri t f l wh n th h a n d i i n p l y ing p iti n ! A nd d e n t
s ee s e e s a os o o s o

k now h ow to get on e !

TE CHNI C AL E R CI SE F OR THE PI ANO

FI R S T !E

The p pil ho l d p t h i han d in po ition then s win g h i arm

u s u u s s , s

at h i s ide a n d p t t he han d u p in po ition again Thi wil l

s ,
u s . s

take away ny cram ped feeling of t he ha n d a n d a m a n d gi v e

a r ,

t he relaxa t io n nec ss ary b e fore a n oth er di ffic lty is pre e n ted

e u s .

NO bea ty f to n e or f r eedom o f xec tio n c n be bro g h t abo t

u O e u a u u

wi th the arm a n d wri t s ti ff The ti me t b gin r l i n g th m i s

s . o e e ax e

wh n th h n d
e ee fi r t p l c d i n p l y i ng p
a s ar iti n Th t i th
s a e a os o . a s e

ti m wh n th t n i n b gins
e e e e s o e .

Thi ex rci e ho ld be p racti ed n ti l the han d a s m e t he

s e s s u s u su s

po itio n witho t eff ort An Older p pil a n g

s u n imm diately. u c o o e

with the wri t exerci e o f the n xt le o n

s s e ss .

To m ake the poi n t o f a le o n a defi n ite po ibl a yn op i

s ss s as ss e, s s s

like the followi ng ho ld be in t he mi n d o f both t eacher a n d p pil :

s u u

O BJ E CT OF THE LESS O N
I Learn middle C
. .

II Learn to reco gn ize t he l en gt h of w hole hal f a n d q ar t er

. , , u

n ot by o n d a n d al o t o writ e them ( Thi m t b e practi ed

es s u , s . s us s

ei t her w ith the t acher o w it h s ome on a t home )

e , r e .

I I I Learn wha t t he correc t p o itio n of the han d a n d arm i

. s s,

an d be able t o explai n the rea o n for t hi s p o itio n s s s .

I V Learn to t ake the han d p o i t io n ea ily wi t h each han d

. s s .

V Lea r n the lin e f n ote w rit t e n o t

. o s u .
 C H AP T E R I V .

I f midd l e C can n o t ye t be reco gnized o rk n it as before I f ,

w o .

there is di ffic u lty in recognizi n g middl e 0 impre s C n t he m i n d ,

s o

by compari ng i t with t he o n d of B a n d D on ei t her s ide f i t

s u O .

Someti m e s e veral le ss o n ha v e t o be gi v e n t o t hi s
s s .

I f C ca n be reco gn ized e v eral t imes in cce io n lear n D in

s su ss ,

t he s ame w a y After D h a s bee n lear n ed E may al o be gi v e n

.
, s

( pro vided 0 a n d D ca n be q ickly reco gnized ) U su ally i t take

u . s

s e v era l l e ss o n s t o do t hi In lear ni n g D a n d E be able t o hear

s .
,

t ha t D is a s eco n d a b o v e C n d E is a t hird abo v e

,
a .

V oice p pil S ho ul d s i ng t he t o n e a n d violi n p pil p rod u ce

u s s, u s

t hem on the violi n In fac t a l l p pil s ho ld p racti e i n gi n g

.
, u s u s s

t hem if po s ibles .

In t he rhythmi c l a traini ng wor k the n ext tep i to learn to

ea r ,
s s

hear ti me :

R i J Ii J
n n u
( I t is b e tt er to begi n wit h t hi s tha n w i t h beca u s e the s e c
on d a ry acce n t Of t ime is di ffic ul t t o hear ) The p u pil hear s .

ei gh t q u ar t er n ote s s o un de d on t he pia n o w ith s tro ng accent s on ,

the fi rst third fifth a nd s eventh He is t old t ha t t he s e accent s

, ,
.

di v ide t he ei gh t q u art er n o t e s i nt o fo u r meas u re s of two q u arter

n o t e s each.

I f t he p u pi l is a begi nn er he s ho ul d b e s ho wn on m u s ic p aper
,

h ow t he meas u re s w hich he hea rd ca us e d by t he ac c e n t s are in di

, ,

ca t e d b y the b ar li n e s a n d t ha t t he
, p la ce d a t t he b egi nn i n g ,

in dica t e s t hat each me as ur e co nt ai ns two q uar te r n o te s or t heir ,

eq u i v ale nt He is then a s ked t o write s ome meas ure s made u p of

.

b oth q u ar t er a nd half n o t e s in order t ha t he m ay un der s ta n d

,

t hat a half n o te is t he e q ui v al e n t of two q u ar ter s In t h i s way .

14
 E A RS , B RA IN A ND FING E RS 15

he l earns to h ear acc nts nd the p l e of rhythm f rom the fir t

e a u s s .

The mere CO UN TING the time w hich i SO o ften relied po n , s u ,

is of n va lue unl e
o t he beat is h rd a n d f lt The co n ti n g is
ss ea e . u

u n e ve n n le ss t hi is do n e
u s .

In the R ll C ll w ork t he t o ne may n w be s o n ded by t he

o a ,
s o u

p pil w i t ho t h i n ami ng t he po itio n Of them S m e n w n otes

u u s s . o e

o n the t reble cl f m y be added e a .

The han d po itio n exerci se with the wi ngi n g arm ho u ld b e

s s s

revie wed .

I f the p pil n take the han d po ition ea ily n d keep t h e

u ca s s , a

arm relaxed the n ext tep may be taken

,
s .

Ri ght h re it mi gh t be s tated that ha lf th diffi c lti e th t th

e e u s a e

b gi nn r i h i r t c m fr m the ddi ng f n w t chni ca l r eq i r

e e s e o, o e o a o a e e u e

m nt b f r th p r i
e e o e on w
e m t r dev ou s e as as e e .

“
The n xt exerci e w S hall cal l t he r ck ing w i t
e s e o r s .
”

Hav e the ha n d in t he po i tion j s t learned the fi nger tip s s u ,

re ti ng n t he ed g of t he t able then mov e the wri s t s lo wly

s o e ,

do wnward a n d p w ard t aki ng care t o keep t he kn ckle s f rom

u , u

s i n ki n g do w n w he n the wri t is lo wered n d t hat t he ha n d r s , a e

mai n in t he same relati v e po sitio n a s b e f ore S Cut I I

s . ee .

The fo rth nd fi ft h u a

kn ckle ho ld be on a u s s u

le l w ith other ev en i f ve s,

the fi l th fi n ger h to b e as

held traigh t a t fir st s .

After the wri t h been s as

lo w ered i t Sho ld com e , u

b ack t o it ori gi n al po i s s

tion no higher Ther e , .

h ld b e no t n i n The s ou e s o .

han d ho ld re t ligh t ly s u s

on the t able ( t h a t mea n s ,

C 11 that t here S ho ld be no
ut u

di ggi ng in wi t h the fi n ger t ip ) The arm s ho u l d ha n g loo ely s . s

from the ho l der In order to keep the ar m relaxed s wi n g i t

s u .
,

frequ ently a t t he s ide Thi s is n othi ng more tha n a nat ra l . u

c o ndi ti on T he p ri n ciple i nv ol ved is t he s a m e

. in t e nn i s or as
16 E A RS , B RA IN A ND F IN GE RS
g ol f for examp l e I f on O b er ve a goo d p l ayer o f ei t her of
,
. e s s

t he e game s he n o t i c e t ha t hi kill depe n d lar ge l y on t he

s ,
s s s s

freedom of mov eme n t O f t he arm in t he s ho lder An d w he n u .

o n e play s t he game s him s elf he realize s i t more t ha n e v er '

,

Thi exerci s e w he n well do n e s epara t e t he han d from t he arm

s , s

( so t o s peak ) by mea n o f t he ab s ol t ely li gh t wri st I t i very s u . s

i mp rt nt
o the s cc di n g x rci ses d p nd p n i t
a ,
as u I t ho ld
ee e e e e u o . s u

b e prac t i ed o nly a f w mi nu te s a t a t ime a n d s ho ld be do n e

s e , u

al ter na tely wi t h t he le ft a n d ri gh t han d in order t ha t t hey may s,

n t b ecome t ired a n d cramped

o .

A a r le t hi s exerci e i more di ffic l t t o do correctly t ha n

s u ,
s s u ,

a ny other b eca e i t h a t w o c o n flic t i n g p rpo e

,
us O n e i to s u s s . s

mai ntai n t he n a t ral relaxatio n of the wri t nd arm w hile t he

u s a ,

o t her is t o ha ve the ha n d a s me t he nn at ral po i t io n made s u u u s

n ece ary by t he pia n o U nt il t he pos i t io n h become nat r l

ss . as u a

t he exerci e s ho ld be a par t o f t he d i l y prac tice

s u a .

A t he fi nger t ip s recei v e t he greater par t Of t he w e i g h t O f the

s

arm they ac q i re a firm feeli ng w hich mi gh t be de cribed a

,
u s as

f eeli ng of s ctio n w here t hey come in co nt ac t wi t h t he key

u s
.

Thi s p oi n t O f firm fi nger is n w hich is n t al ways n der t ood s o e o u s .

The fi n ger ho l d n ot b e HEL D FI RM no s h ld there b ny

s s u ,
r ou e a

t n i n i n the h nd On t he co ntrary the ha n d re t on t he keys

e s o a .
,
s s ,

a n d t he fi n ger s A RE fi m Thi firm nes of t he fi nger c nnot b r . s s s a e

f rced b t m s t b e grad al ly bro ght abo t by t he m s c u lar de

o ,
u u u u u u

v e l opm n t w hich is t he re s l t of the daily t ech n ical practice

e u .

Thi p oi n t i
s impor t ant t ha t p ar ti c ul ar s t re s s is l ai d u p o n i t
s so ,

a t th e v ery b egi nni ng .

O BJ E CT OF TH E LESS O N
e v i ew hearin g middle C a nd p o ib ly learn on o r
1 . R , ss e

t wo more t o n e s .

I I L earn b y s o un d nd by s i gh t wha t 2/ 4 t ime i

. a s .

I I I B e gi n t o p rac t i e the rockin g w ri t exerci e on a t a b le

.
“
s s
"
s ,

a n d at t he pia n o .
18 E A RS , BRA IN A ND FING E RS
signa t re s n d n ote v al e I t i better in thi le o n to keep t h e
u a u s . s s ss

rhythmical exerci e on one t o n e s s .

N w p lay o

the p pil i a begi n ner a n d h a s n ot heard an yt hi n g abo t a

If u s u

dotted n ote t he idea is t o le t him p ercei ve t he n ece ity of i n g

,
ss us

t he do t in order t o g i v e a n ote t hree co n t s u .

The p pi l hear three q arter n ote s a n d t he n n n ote w hich is

u s u o e

e q i vale n t to t he t hree q ar t er Thi is the ti m e t o tell him

u u s . s

tha t there i n o n o t e which repre ent s t hree q arter co n t s We

s s u u .

hav e to a hal f n o t e with a do t a fter i t

u se .

I f t he p pil i a chil d the fir s t t ep in m emorizi n g ho ld n w

u s ,
s s s u o

b e gi n .

M ical me m ory i made p p artly of a relia n ce on the vi

us s l u su a ,

the m s i c l th u l a n d the i nt ll ct
,
e l fac ltie
a u ra The la t
,
a e e ua u s . s

me n t io n ed are the o ne s tha t a n al way s be relied n nd s ho ld c o ,

a u

be c lti v a t d fr m the v ry b ginni n g

u e o e e .

I t is w el l e n o gh ordi n arily t o rely po n the fi n ger the ear

u , ,
u s, ,

or t he i m pre io n of the look f t he pri nt ed page (a many

ss s O s

player s do ) b t n n f the s e m a ns n lwa y be depe n ded

,
u o e O e ca a s

u po n t o tan d t he t e t of n erv o n ess or tage fri ght Go n e

s s us s . s

q e n t ly th
u n r th
, y ng p p i l b gi n
e s oo te ltiv t i nt ll ct a l
e ou u e s o cu a e e e u

mem r i i n g th b tt r f hi m
o z ,
W he n s tarted at thi ea r ly ta ge
e e e or . s s ,

it become a v ery ea y i m ple ma tt er

s s , s .

A child ho ld t ake a n example O f t hi ki n d

s u s ,

He s ho l d l oo k a t t he fir t t wo mea re t hen clo e the book

u s su s, s ,

an d s e if he i able to t ell
e n w ha t t o n e t he me l ody begi n
s F or o s .

i ta ce to t ell in the fir t exa m ple ( a )t ha t it b egi n on E pro

n s n — , s s ,

g esses a 2n d t o F t he n a 2n d t o G the n do w nw ard a 3 d t o E

r , ,
r ,
 E A RS , BRA IN A ND FING E RS 19

t he ote on w hich it tarted H e ho ld wri te thi s o t Then

n s . s u u .

he c n be s aid to k n o w thi s thoro ghly t ha t i f he were p ti

a s o u ra c s

ing i t he co ld g i ve h is atte n tio n more comple t ely t o h i to n e

,
u s

q ality
u or w hate v er
,
he w a s pecially w orki ng for s .

Tw o mea re w o ld b e e n o g h t o m e m orize in on e le ss o n b u t
su s u u ,

i n the n e xt le o n he co ld take the re t O f i t

ss u s .

A f t r a child h s memorized a S i m ple f o r m ea s re phra e in

e a u -
u s

h alf a n d w hole n ot s he s ho ld be gi v e n a more co mplicated

e ,
u

phra e b t on which contai n di ffere nt n ote v al ue s F or

s ,
u e s .

e xample :

Thi gi ve him t he ta k f re m e m be r i n g t he e chang in addi

s s s o s es,

t io n t o t he i nter v al This is n ot t o b e do n e b y
s . b t is t o b e ea r , u

d o n e b y th mi nd H e s ho ld be able t o s tate v r b l l y h w the

e . u e a o

melody pro gre e s pecify t he len gt h of the n ote s etc a n d b e

ss s , , .
,

able t o write it t Thi s al o i m pro ve h is ability to r d

ou . s s ea .

La ter he ho ld be gi v e n melodie i n trod ci ng dotted n ote a n d

s u s u s

r e t Thi s or t o f memori i ng ho ld b e applied t o t he littl

s s . s z s u e

p iece w shich he t die a nd i fficie nt

s u n ti l he is ad v a n ced
s, s su u

e n o gh t o kn o w a bo t chord
u ( S C hapter ! V )
u s . ee .

TE CHNICAL WO RK ( FIN GER ACTI ON)

The Roc ki ng W ri t exerci se ho u ld be co n ti n ed in the d ily
“
s
”
s u a

p ractice for s o m e t i m e to come The rea o n f or thi i n t i m ply . s s s o s

t o g ai n t h b i lity to d i t co r ctl y a n d ea ily b t t o ac q ire the

e a o r e s , u u

c ndi ti n w hi ch t hi exerci s e de v elop

o o s s .

The n ex t tep in f n dame ntal t ech n ic i t he pl ci ng f the t ne

s u s a o o .

“
Thi s i do n e by e tabli hi n g p re fi nger actio n B y the term
s s s u .
”

“p re fi
n ger actio n i mea n t t he mo v em n t of t he fi n ger at t he
”
u s e

kn u ckl j oi n t witho t the s li ght t f li ng Of t n i n in the h nd

e u es ee e s o a ,

wri t o s m d ri n g t he li f ti ng a n d droppi ng of t he fin ger

r ar u .

Every n w h play the p ian o i u p po sed to u

o e o h i fi ng r
s s s se s e s,
20 E A RS , B RA IN A ND FING E RS
b ut the r e are c om pa ra tively few wh o u se t hem witho t havi ng u

s ome t e n io n in t he ha n d
s t ri ki n g with arm force ra t her t han ,
s

wi th t he fin ger s .

O n e rea o n wh y man y p u pi l s come t o a s t a nd ti ll t chni

s so s e

cally is t ha t they are n con cio u ly si ng t he wr ng m u cle s u s s u o s .

The dev elo p ment of t he i ndivid a lity of t he fin ger cann o t b e u s

d o n e u n le ss t he ri g h t co n di t io n h b ee n e t abli s hed as s .

( In more ad v a n ced w ork t he arm force i s ed repea tedly a nd , s u ,

the w ei gh t of t he arm p lays a n impor t a nt role —ev e n in fin ger ,

w ork In f ac t it i a n i m por t a n t fac t or in moder n pia n o playi n g

.
,
s .

B t t he fi r t w ork m s t b e do n e with t he fi ng r
u s n l y ) To n e
u e s o .

q a lity in pia n o playi ng doe s n t b y a ny mea n depe n d e n t irely

‘

u o s

u po n t he i n tr ment I t i s i m por t ant for a pia ni s t to ha ve

s u . s a
“
h i to n e correc t ly p laced i t is for a s i nger to hav e his v oice ”
s as
“
placed .
”

“
The p roce O f maki n g the to n e free i
ss Si mpl tha t it is ”
s so e

s tra n g e that there i n t more a t te n t io n paid to it s o .

There are i nger w ho e t o n e i n at rally fr wh are s pare d

s s s s u ee , o

m ch of t he dr d gery w hich other fin d n ece s ary There are

u u s s .

al o pia ni t wh are S e q ipped by n at re B t p i a n o p laying

s s s o O u u . u

is so m u ch l e a n t ra l proce ss t han S i n gi n g hat almo t al w ay s

ss a u , s

a co r s e f trai n i n g i n ece ary to de velop a g ood to n e t o y

u o s ss ,
sa

n othi n g of t he di ff ere n t q alitie s O f t on e di appoi nti ng

'

I t is u . as s

to hear a p ia ni t witho t a good to n e Si t i t o hear a i nger with

s u ,
a s s

a di agreeable v oi ce When a i n ger to n e i onc

s . s
’
s s
" ‘

h is v oice i in a co n ditio n t o de v elop to it f ll po ibilitie

s S s u ss s . o

i t is with a p iani t ( I f the correc t t ech nical co nd tio n are o n ce

s .
i
s

e tabli hed his p o wer s

s s ,
limite d o nl y by h is
m nt l a n d m
e a us

A with a v oice to gai n

s , q a l ity there mu t
,
u s

be a relaxatio n in t he ri g ht place a n d te n s io n in t he right place , .

The to n e m t h a V both fre dom n d firm n e

us e e a ss .

A w ord of ca tio n is n ece sary here u I t w il l be fo n d better to s . u

e tabli h the c o n ditio n of r l x ti n thor ghly be f ore layi ng m ch

s s e a a o ou u

s tre s u po n t he tho ght of fi r mn

s u es s .

The p ri n ciple of fi ng r actio n can n o t b e s cl early explai ned in e a

a book in p ers on al i n tr ctio n e pecially a the mean of ge t

,
as s u , s s . s
 E A RS , BRA IN A ND FING E RS 21

ti n g at i t vary in the m all detail s O f te n a p pil han d s as s u s

’
s

v ary in hape a nd co nditio n In gen eral ho wever proceed

s .
, ,
as

follo w s .

Allo w t he arm to re t n the t able at fir t w he n taki n g the s o as s

ha n d po ition Then place the han d in the po ition gi v n in C t I

s . s e u .

Li f t the fin ger s lo wly wi t h as l i gh t a feelin g po ible Th as ss . e

fin ger m t retai n it c ur ved po itio n mo v i ng on ly in the

us s s ,

k n ckleu a if it had n
s, other joi n ts
s o .

A f ter thi s ex rci e h a bee n practi ed n the table e v ral ti m e

e s s s o s e s

take the am e po ition a t the keyboard whi ch w

s ed in the
s as us

R ocki n g Wri t ex rci e At fi r t drop the fi n ger n to the

“ ”
s e s . s o

su r f ac f the key witho t depre i n g the key Af ter a f w tap

e O ,
u ss . e s

like thi on the key allo w it to depre the key v ry li ghtly with
s ,
ss e

ou t a ny aid f rom the ha n d or arm e v e n i f n o to n e com a t fir t , es s .

Wh n the fi nger depre

e the key t here S ho ld be n p hi n g sse s u o us

u p o f t h k n ckle e Th y r m ai n hi g h n d q iet The th m b

u s . e e a u . u

play fro m it s ide a n d ho ld b e held well t from the han d

s s ,
s u ou .

The th m b m otio n co me s from the w r i t joi nt o n ly I t ee m at

u s . s s

fi t i f n co ld n t m ake n y to n e in thi w y n d n ho ld
rs as o e u o a s a , a o e s u

try to m ake o n ly a v ery li gh t to n e or n o n e at all at fir t The , s .

fi nger a r e n t e n o g h n d r con t r ol t o do m ore t han t h i

s o u u e s .

O nl y thi li g ht lo w fin ger w ork ho ld be do e f or a ti m e

s ,
s s u n .

Any att m p t to m o v e the fi ng r rapidly or to m ak a la r ge

e e s , e

to n e ca e t en io n in the w ro g place
,
us s s n .

I f t h holdi ng do wn f the fi fth

e e v n the f o rth fin g r O or e u e s

ca us es s t ifin in the ha n d relea e the m from the key

ess ,
s s .

In playi n g w ith the fi f th fin ger there i a tro n ger te n d n cy to ,

s s e

p ll fro m the ha n d than with the other fi ng r on acco n t f it

u e s, u O s

w ea k n e C o n e q e n tly n ho ld take e pecial pai n n t to

ss . s u o e s u s s o

f r c the t n e with thi fi n ger

o e o s .

Te t the co n ditio n f t h w ri t n d m O fte n in ord r t o keep

s O e s a ar e

the m loo Le t the arm w i ng at t he ide man y t i m e a n d

se . s s s,

prac ti e t he xerci e alte r n ately w ith t he le ft n d ri ght han d

s e s a s .

F or i n tan c take the eco n d fi n g er f t he le ft t he n the eco n d

s e, s O , s

O f the ri g h t etc The mo t i m portant poin t are to k p th

,
. s s ee e

l i ght f eli n g a t the kn c k l e s t o ha ve th ha nd q i t

e n d NOT t u ,
e u e ,
a o

w rk f
o b ig to n e
or a .
22 E A RS , BRA IN A ND F IN GE RS
As a v o i c e t eac h er a t fir s t has a p u p i l s i ng v ery l i gh t l y or e v e n
h um in order t ha t he may g ai n t he s e n s a t io n of freedom in t he
,

t o n e s o t he p ia n o t ea c her S ho u ld gi v e the ri gh t co n dit i o n s b y in

,

s i s t i n g on l ight t o n e s a t fir s t a t t he pia n o
,
. I t s ho u ld b e u n der
s tood h owe v e r t ha t t h i s ext reme of l i gh t ne ss is onl y t he fir s t
,

s t ep.

O B J E CT LESS O N
or TH E

1 .B ecome s re of reco gn i zi n g middle 0 b y s o n d

u u .

I I L ear n D a n d E a nd poss i b ly F a nd G a nd i n t er v a l s of 4 t h
.
,

a n d 5 t h from C .

III L ear n t o re c ogni ze

. t ime a nd t he d i ff ere n c e b e twee n
,

a nd t ime .

IV B egi n memori z i ng
. .

“
V B egin p u re fin ger ac ti o n
. .
”
 C H APT E R VI .

the p p i l ha b y thi ti m e learn ed e veral to e by

AS u s s s n s e ar , a nd

al o di fferen t rhythm n on to e he i n w ready to tak

s s o e n ,
s o e up a
co mbi n atio n o f di fferent t o n e a n d rhyth m s s .

A child ho ld be gi v e n a v ery i m ple m elody

s u F or xampl s . e e :

He ho ld b abl 1 n am e t h ei n t r val
s u e h hea r th m ( the
e 3) e s as e s e

3 d f ro m C to E t h 2n d f ro m E to D etc )
r ,
e ,
.

Af te r he h n amed the i n ter v al

as the m elody ho ld b played s, s u e

f or him a gai n n d h ho ld play it hi m l f by

, a Th n xt
e s u se e ar . e e

s tep i for him to w rite it

s .

An older p pil w h h al r eady do n e co n ide r able playi n g h

u o as s ,
as

had mor ro ti n in hear i g n d ho ld be able to h ar a mo r e

e u e n ,
a s u e

complicated m lody F or exa m ple e . :

The p pil m y fin d that he i n able to retai n the i m p r io n

u a s u es s

Of o lar ge a n mber o f n ote s

s Inu ch a ca e it i ad vi abl to . su s s s e

c lti vate t he f ac lty O f r t ntiv n b y y t m ti ll y gr d i g th

u u e e e es s s s e a ca a n e

l gtenh f th m ol d i gi v n
e F or exa
e o m ple let a esm e that t he .
,
us ss u e

p pil co ld retai n the fi r t f o r to e o f thi melody n d w

u u s u n s s ,
a as

23
24 E A RS . BRA IN A ND F ING E RS
unable to procee d f rther He s ho l d w or k to b e abl e t o
u . u

member a me l ody Of five tones F or examp le : .

Th e n o f s ix ton e s :

Th en o f e e n to n
s v es :

The n o f ei ght ton e s :

Th e n o f n in e to ne
‘
s:

Thi i n aid to memorizi n g w ell i n crea i ng the po w ers

s s a as as s

O f li te n i n g
s .

F or the rhythmical ear trai ni n g w ork he s ho ld be re q i red to ,

u u

hear ei ghth n ote F ir t play sJ . wit h t he met r o

s

n o m e at 5 0, the n I] n [ j n H

The p pil S ho ld be able to tap t he e ei g ht h s with a pe n ci l

u u s
,

w itho t the me t ro n o m e b t in the s ame t em p o an d with t he

u ,
u ,

sa m e e ve nn e He ho ld al o play them on the pia no n ne

ss . s u s o o

to n e n otici ng tha t t here are t wo ab ol ut el y e v e n ei ghth to ne

,
s s o

h t ea ( V oice p pil may i n g la l a la la e t c n on t o n e )

. u s s , , , , . o e .
26 E A RS , BRA IN A ND FING E RS
may be i m pre sse d on h is min d by t r a n fer r i s ng it to a i n gle to n
s e .

F o r example :

Hav e him s t dy t th rhythm b y ear t he n play t he mel ody

u ou e ,

f or him n d ha v e h im w r ite it
,
a t f rom heari n g i t B y doi ng ou .

thi y ha v pr pared him to hear t he piece b fore he be gi n

s ou e e e s

to play it The ear t rai ni n g w o r k ho ld be pla nn d to a ticipat

. s u e n e

the p layi n g wor k in thi w y s a .

M ore co m plicated phra e f or m e m orizi n g tha n tho gi v n in s s se e

C hap t r V S ho ld n w be gi v e n F or xampl
e u o . e e:

T E CHNI CA L WOR K (! I CK FIN G ER S TR OKE) U

The s i ngle fi n g r wo r k ho ld b co n ti n d with the li ght to ne

e s u e ue ,

e ve n occa io n ally i m ply tappi g t h top f the key

s s a te t o f n e O s as s

t he co n ditio n f the ha n d O .

U p t o t hi ti m e the fi n g er t r ok h b n tak n lo w ly to n
s s e as ee e s , e

s re the li g ht n e
u a t the k n ckle ss The t roke may n ow be u s . s

t ake n more q ickly t ho g h the tempo f the exerc i s e i n ot t o be

u ,
u o s

i n crea ed I t ho ld be n d r tood t hat w he n the idea o f in

s . s u u e s

cr a i ng the rapidity f t he fi n ger come in a n eff o r t o f wil l i

e s o s ,
s

n ece ary in order to g i ve the q ick st r oke C are s ho ld be

ss u . u

taken that the troke i cr a in pe d the rel a ati on o f the

as s n e se s s e ,
x

ha n d i r tai d
s e ne .
 E A RS , BRA IN A ND FING E RS 27

As t h efi ng r fall n the key the w ei ght f t h m re t n

e s o ,
O e ar s s o

the fi ng r tip b ca e the a r m i in a relaxed co n ditio n

e e us s .

The i n crea ed peed f the fi g r troke gi v a m or e ri gi n g

s s O n e s es n

ton e The p pil m t l i t n car f lly to the t o e b t n t try to

. u us s e e u n ,
u o

make i t lar ge I f the to n e i corr ctly m ade it will oo gai n

. s e ,
s n

more dyn a mic po w er witho t y e ff ort u an .

I t i i m po r ta n t that the q ick fi n g r t r oke be do n e rhythmi

s u e s

cally y in thi w y —C o n t 4 f or each to e the fi ng r g oi ng

,
sa s a ,
u n ,
e

down q ickly n co t 1 re ti g n t h k y f or co n t 2 then

u o un ,
s n o e e u ,

g oi n
g p q ick l y u n co n t 3 b t th
u r m t be ab ol telyon o u ,
u e e us s u

ten io n or j rki n g f the ha d

s e O n .

The f ollo wi n g ex rci e ho ld n w b g i v e s s u o e en :

Th e p r po e Of the exer i e i t ed cat t h fi g r to w ork in

u s c s s o u e e n e s

co m bi n atio n w ith each oth r n d to i crea e th ir i d p d c e a n s e n e en en e .

In p r acti i g i t t ake the ha n d po itio n re ti n g t h fi n ger tip

s n ,
s ,
s e s

on th dep r ed key kn ckl a r ched fin g r c rv d S

e es s s, u es ,
e s u e . ee

Cu t I . .

“
It
ill b fo n d o f adv an ta ge at fi r t to do thi xerci e ov r
w e u s s e s e

lappi g in o r d r to c n ter t h att n tio n n n poi n t at a ti m

n ,
”
e e e e o o e e,

to r tai n t h q iet n d relaxed ha d n d the li gh t droppi g f

e e u a n ,
a n O

the fi ger C o n t 4 to each q ar t r n ote The fi ger drop at

n . u u e . n s

co n t 1 n d the n ext fi g r i rai ed n co n t 3 ca i g the

u ,
a n e s s o u ,
us n so

called o v r lappi g f the to e The R ocki g W r i t S ho ld

“
n O nes . n s
”
u

b do n b t w ee n ti m e
e to te t t h co n ditio n R em e m ber that
e e s, s e .

w h n n fi n g r i poi ed in t h ai r the w i g ht o f the

e o e e m i re t
s s e ,
e ar s s

in g n t h other 4 fi n ger
o A t h fi g r f all
e n t o the k y it s . S e n e s o e ,

j oi the other in rec i vi ng the w i gh t o f the a r m Li t n to

ns s e e . s e

t h to ne that they m y b co m e v n in q ality

es a e e e u .

“
NO TE — Th ere is n o d an ge r t h at t hi s o v e r l app i n g pra ct i ce wi ll i nt rf wi t h
”
e e re

cl e a n pl a yi n g a s t h i s is cou n t e r a ct ed b y ot he r work
,
, a n d is k p t u p f only a e or .

Sho rt t im e .
28 E A RS , BRA IN A ND F ING E RS
addi tio n to t he abo v e exerci e for two fi n ger the follo wi n g
In s s,

e xerci e s f or t h ee fo r
s n d fiv e fi n ger s ho l d b e
r ,
u ,
ed
a s u us :

( They are played in t he s ame ma nn er a s t he t w o fin g r exerc i se ) -

e

By the t ime the p pil get t o t he five fi ng er exerci e in t hi s

u s s

po itio n t here s ho ld be a feeling f hea vi n e in t he v ery t ip of

s ,
u o ss

t he fi n ger w hile t he ha n d is re ti n g n t he key b oard a n d a

s, s o ,

feeli n g of li ght n s in t he a m n d wri t Thi s feeli ng will n t

es r a s . o

be pre en t i f t here is t en ion

s s .

The fi nger w ork s ho ld b e a part f the daily t ech nical prac t ice
u o

f or s ome t ime t o co m e The de v elop m e n t O f t he s tre n gt h a n d

.

in depe n den ce Of t he fi nger depe n d mai n ly on thi prac t ice s s s .

“
Thi s is i m porta nt n ot o n ly f or the tech n ic b t for the de ”
u
“
v e l op m n t of to n e The tro n g r n d fir m er the fi ngers gro w
”
e . s e a ,

a n d t he more co n trol t h player g ai n o v er the relaxatio n of t he

e s

wri t n d arm t he more f ree a n d fl oati n g doe s h is t o n e b ecome

“ ”
s a , !

C T O THE LESS O N
O BJ E F

I . Learn t o p lay a im ple melody by ear fir s t n ami n g the

s ,

i n ter v al s .

I I Learn t o reco gnize ei g h t h n o t e s by s o u n d

. .

I I I Lear n to hear a m elody w hich i ntrod u ce s

. ei gh t h n o t e s .

I V D O t he q u ick fi n ger s troke

. .

V D O t he fi n ger exerci s e s o v e r lappi n g

. .
 C H APT ER V I I .

T he heari ng Of t he t on e o f on oc t av e of t he C major s cal e

s e

s ho ul d be a par t of each l e ss o n un t il t hey are ll ea s ily reco g

a

ni zed b y s o n d
u The s impl e mel o die s m u st nece ssari l y be con
.

t i nned Up t o t hi s po in t t he melodie s ha v e b e g n on t he do wn
. u

b eat The u p bea t m t n ow be i n t r od u ced fir s t in t h h y th

.
-
us , e r

mi c al wor k on on to n e M e t ron o m e at 5 0
e . .

li J’
i J IJ J J J
I I
u J ‘
J J IU
-
I
It ” i ” ! t n i
u ” J J D Ii J
n n
A fter thi s melodie s in t ro d u ci ng t he u p bea t Sho d b e gi v e n :
,
-
ul

T he heari ng of re t s Sho ul d b e b ro ght abo t in t hi s mann r :

s u u e
30 E A RS , B RA IN A ND FIN G E RS
P lay t he abo v e melody t w o o r three t i m e s for the p u pil ; he
m u st the n play it P robably he wil l lea ve the re s t ou t The
. .

t eacher t he n play s j u s t what the p u pil p layed a n d t he n w ha t he ,

him s el f played u n til the p u pil n otices t ha t t here is a s pace b e

,

t wee n s o m e of the n ote s The t eacher s ho u ld S how him h ow to

.

i n dicate t he lengt h of t hi s s pace He s ho u ld b e a s ked t o hear .

a n d w rite q u arter re s t s fir s t t he n l ater t he hal f w hole a n d, , , ,

ei ghth re s ts .

TE CHNI CA L WOR K (THE FREE P O S ITI O N)

The fi nger exerci e s o f the p recedi ng l e s o n were really a p repar
s s

at io n for t he s a m e exerci to be do n e in t he follo wi n g free

se s
“

p o i t io n t ha t i with the ha n d a n d arm p oi e d n on fi nger

s ,
”
s s o e

o n ly while t he oth r s are held in t he air Thi i t he p o itio n

'

,
e . s s s

commo n ly u ed in p layi ng
s .

P lace t he t h m b n d eco n d fi n ger so t ha t t hey make a circle

u a s ,

w hile t he oth r are held in t he air witho t s ti ffe n i n g the ha n d

e s u .

( The fo r t h a n d fi f th fi n g r s ha v e a t e n de n cy t o ti ff e n
u e T he s .

holdi ng of t he fi f th in too c rv ed a po itio n is likely t o cramp t he

u s

han d ) Se e C t I II
. u .

After n o t ici n g tha t t he

p o s ition i a l l right r s , e

lea e t he t h mb re tin g s u , s

n t he s eco n d fi n ger o n ly o .

B s re t ha t the t h mb e u u

n d fi f th fi n g er are a h a

ol t l y f re The re s u e e .

laxation f t he e tw fin o s o

g er s i a v ery i mporta n t s

p oi n t in tha t i t deter ,

mi n e the co nditio n o f s

t he e n tire han d d al o , an s

C t III u h .
it e ff ec t n the wri t as s o s .

St il l re s ti n g on t he s eco n d fi nger p lay t he t h m b ma y t i m e s ,

u n ,

li fti n g i t o nly a l i tt le abo v e t he key ( a hi gh motio n o f t he t h m b u

make the han d n t eady) N ext r t on t he t h m b p lay t he

s u s .
,
es u ,

s eco n d fi n g er allo w i g it to drop f ro m a po itio n a little abo v e

,
n s
 E A RS , BRA IN A ND FING E RS 31

the key D O n t p h i n to t he k ey wi th a m f orce b ut d op the

. o us r ,
r

fi n ger n to the key wi t h the fing r s troke o nly C o n t in e with

o e . u

the remai ning fin ger in the sa m e m ann er : Hold nd ( s seco re

lea i ng the t h mb ) play thi rd e veral ti m e

s u Hold thi rd ,
s s .

( relea i g eco n d ) play f rth

s n H old f rth ( relea i g t hird )
s ,
ou . ou s n ,

play fifth H old fifth ( relea i n g fo rth ) play f rth H old

. s u , ou .

f rth ( relea i ng fi fth ) play thi rd

ou sHold thi rd ( relea i ng ,
. s

fo rth ) play
u c nd
,
Hold c nd ( relea i n g third) play
se o . se o s ,

th mb The n n playi n g fi nge r s are held loos ely in po itio n

u . o -

abo v e the k y e s .

I t wi ll be fo n d i n di pe n able to practi e the t w thre f o r

u s s s o, e, u

a n d fiv fi n ger ex rci e in the free po itio n al o with the o ver

e e
“
s s s s

lappi ng fi nger a in the previo chapter The q iet han d

”
s, s us . u

a n d the fi n ger actio n are the n e n s red a n d mo t f all t he o v er u , s o ,

lappi n g o f the fi nger in thi s po itio n gi v e th idea of re ti ng t he s s s e s

arm n the fi g r tip better t han a n ythi n g el e

o n e s, s .

The pri n ciple i n vol v d in o verlappi ng the t o ne in t hi fr e “

e s s e

po itio n may be co m pared t o a per o n ta n di ng q arely n

s ,
”
s
’
s s s u o

both feet n d the n rai ing fir t on e foot then the other H e

,
a s s .

doe n t p r d wn i nto the fl oor t he w ei ght Of t he body r t

s o es s o , es s

o n no f oot a i t i tra f rred from t he other n

e ,
s S in the s ns e o e . O se

exe r ci e the weight O f the a m S ho ld r t on each fi n g r tip

s s, r u es e as

it i le ft alo n e t o b ar t h w ei gh t a fter t h q ick do wn t r oke o f

s e e e u s

the fi nger .

The f orm Of the ex r ci e i like tha t f the clo e po itio n e s s O s s .

L i t e n f or t he q ality f to n e
s d e v e nn e f the fi n ger
u O an ss O s .

C T O F THE LESS ON O BJ E

I . R e vie w the heari n g o f i n g le to n til each n ote f t h s es un o e

s cal e is learn ed .

II . C o n ti n e the h ari n g f S i m ple m lodi

u e O e es .

I II . Lea rn to h ar t h p b at in Si gl to e d m lodi e u -
e n e ne s a n e es .

IV . Lear n to r co g i e r t by o n d e n z es s s u .

V . D o the fi n g r w o r k in the f r ee p o itio ne s .

 C H AP T E R V I I I .

The ability to hear dot t ed n o te is ta ght in explai ni ng t he

s u

s i gn ifica n ce o f a t ie
. P lay on on e t o n e t he follo wi n g rhy t hm :

i J J l
It i J i
After t hi s h as b ee n heard and p l aye d b y t he p u pil , play as

follo w s:

Ié
u J J IJ J M 4 4H
Explai n t he t ie d qu art er n o t e bein g r pre ented by the do t
e s

a fter it .

In l ike man n er :

Mfi fl J J fi Jfl J J fi l N J J
‘ '

g
u J J J J J u
g J JJ J J u J J hJ J o

It is ece ss ary f or the e to b e p layed v ery preci s e l y a s re gards

n s

t he le n gt h of t he t o n e s in Ord r t hat t he di ff re n ce b et wee n

,
e e

t hem a nd

or or

may b e di s t i ng u i she d b y ear .

The additio n of the dot t e d n o te s gi ve s po ss ibili t ie for more s

i ty in t he melodi e to be heard
ar e s F or exam p le :
.
34 EA RS , BRA IN A ND FING E RS
The p pil s ho ld w rite the t w cle f clo e to gether s be f ore
u u o s s a

then S ho ld w rite E n t he lo w e t li n e f the tr ble the n e r a

u o s o e , se

the li e f thi cl f with t he exceptio n of the li n e on w hich E i

n s O s e s

fo un d ,
leav i n g

The idea i to gi ve him t he realizatio n t ha t the o nly li n e b

s e

t w ee n t he t w cl f i f or middle C Any other li n e added to t h e

o e s s .

ba clef abo v e middl C is t aken from the t rebl cle f Any li n e

ss e e .

added t o t he t reble cle f belo w middle 0 i t ak n from the ba s e ss

clef The yo ng p pil i

. ally n co n cio s O f t hi beca e t he
u u s usu u s u s us

t w o cle f are n t pri n ted clo ely t o gethe r

s o s .

The ba cle f w n t gi v e n t t he ti m e the t reble cle f w

ss as o a as

learn ed for tw rea o n —the m aterial w ritten f or a child fir t

, o s s:
’
s s

playin g i e n tirely f or the tr ble n d there i q ite e no gh f or

s e ,
a s u u

him to learn at fir t witho t addi n g a nythi ng ntil the time

s u u

come s for him to make of i t u se .

F or a more ad v a n c d p pil the ba cle f may n w be e d for u ,

ss o u se

w ri t i ng melodie by ear F or i ta n ce
s . ns :

TE CHNI CAL WOR K ( IN CREASED S PEED)

After ma teri ng the free fi n ger w ork o tli n d in the pre v io
s u e us

le o n the am e exerci
ss s, ho ld be do ne w itho t the o v e r lap
s se s s u u

pi g idea There ho ld b e a q ick pli ft of the fi nger at t he

n . s u u u ,

sa m e ti m e that the n x t fi n ger d rop t o make t he to n e b t the

e s ,
u

han d ho ld be kept q i e t a s po ible Thi q ick pli ft f

s u as u ss . s u u O

the fi nger gi ve cl arn e to t he playi n g

s s e ss .

Thi fi n ger actio n may n w be applied to et d n d piece s

s o u es a .

Select a n et de t ha t is s impl u a n d witho t s cale n d arpe ggio e, u a

pa a ge The follo wi ng li t gi v e a f w co m po itio n which are

ss s . s s e s s

wel l adap t ed t o the fir t applicatio n of fi nger actio n : s

G l itt The F i r ; K l l k N i ghti nga l ; H eller Pr l d Op

ur ,
a u a ,
e ,
e u e, .
 E A RS , B RAIN A ND FING E RS 35

81, No . 3; D aqu in ,
Le Cou cou ; Ku h l a u S onati n a ; , S carlatti
Ta u s ig, Pa s tor a l e In ad va n ced f orm C hopi n Et u d e
’
.
, s Op 25 ,
.

No . 2 .

The fir t w o r k on t he e m t n ece arily b e m ade mo r e t hn i

s s us ss ec

ca l tha n m i c l a the tho g h t m t be co n ce n t rated n the

us a , s u us o

applicatio n o f t h prin ciple that hav e be n ill trated by thee s e us

exerci e s s .

I f t h i n gle fi n ger w ork h b ee n prac t i ed ca r f lly e very day

e s as s e u ,

the fi n g r i n d pen den ce S ho ld hav e been de velopi ng teadily

e e u s so

tha t by thi t i m mor q ic k ne f mo ve m en t m y be re q i r ed

s e e u ss O a u

o f the fi n ger by the i ntrod ctio n f ei ghth triplet n d i

s u O s, s, a s x

t n th
ee altho gh the t m po rem ai n the am e
s, u e s s .

In the practic o f the e ele m e n ta r y exe r ci e e n d in the rhyth m s s s, a

ical trai i ng w ork the met r o n o m e i i n val abl b t t m h

e ar n s u e, u oo uc

c nn t b id g in t th
a o e sa f it i n oth p r cti i ng The n it
a a s e u se o er a s .

sho ld be d o n ly to t e t t he tem po
u u se the acc racy o f the s , or u

rhythm in a di ffic lt pa age u ss .

In t h fi ger exerci e ei ghth triplet

e n n d ixt e n th sn w s, s, s a s e s a re o

introd c d : u e

H
g J J IJ J J J D E E D mmmm m i l / I
child s ho ld n t do t h tripl t a n d ixtee nt h u nt i l l at er
A u o e e s s s ,

beca they hav e n t yet appeared in the ear t r ai i n g w ork

u se o n ,

an d hi fi ge r are n t able to do th m w ell

s n s The diffi c lty that
o e . u

a n Ol d er p pil w ill ha v e in doi n g them depe n d

u u po n the i n di , s

v id al u T S i m ply be able to play the n ote f a t i n t by a ny

. O s s s o

m ea n the id a in thi i n crea ed s peed

s e The fi n ger m t m o ve s s . s us

f rom the k n ckle with the a m e f l i n g o f l ightn

u the a m
s s ee ess , s e re

l ati n f w r i t n d
ax o m; O d th am e t din
s n d q i tn
a ar an e s s ea es s a u e ess

O f h nd that p r e vailed in th lo w rhythm I f the p pil fi n d

a e s . u s

t ha t e v n w ith ca r e f l practice he cann ot acco m pli h thi he

e u s s,

S ho ld be co n t n t to play the S lo w er val e ntil the fi nger ha v e

u e u s u s

gai n ed m ore i depe n de n ce n .

Tw v ery i mporta n t poi n t are to be Ob er v ed in the i n crea i n g

o s s s

s peed n am ely the to n e ho ld re m ain f the ame q lity a n d

, ,
s u O s ua

i
s ze in the triplet n d ixte n th that it had in the q arter
s a nd s e s u s, a
36 E A RS , BRA IN A ND FING E RS
as t he pee d Of fi g r mo v e m e n t i i n crea ed the fi ger m t
s n e s s ,
n s us

p lay more l l y to the k ey

c ose s .

The two fi nger xerci e in t he i n crea ed peed dev elop t he

e s s s s

trill .

The three fo r a nd fiv fi n ger exerci e may al o be do n e in

, u , e s s s

thi way
s .

In t he fo ll o wi n g t w o fi n ger exerci e the holdi n g f the fi n g er s , o

w hich co m e s b e tw ee n t he to n e s f the brok n 3 d s ti m lates o e r s, u

t he i n depe n d e n ce Of t he fi n g r a n d q iet n e Of the ha n d

e s u ss .

C T O F THE L ESS ON
O BJ E

I . Learn t o recognize dotted n ote by o nd s s u .

II . Learn to hear melodie i n t r od ci ng dotted n ote s

s u .

III . B e gi n heari ng f t he ba cle f

O ss .

IV . D the free fi nger exerci e w itho t o v erlappi n g to n e

O s u s .

V . I n crea e s peed in fi nger exerci e

s s s .
 CIIA PTER I! .

t ime is the nex t in Order

m m
.

P lay fir s t: a
If “
I
Hav e the primary a n d s co n dar y acce t clearl y d efin ed
e n s an d

heard P lay al s o
.

M 3‘ J ‘J J‘ m n J J J M
lg i i
-
l g [ . . .

u n til they ca n b e reco gni z d by s o n d

e u .

Then melodi es wr itt en in t i m e s ho ld b g i v e n u e .

S chu mann

S ch u an
m n

more ad v an c ed p u pil s, su ch a s t he fo l lo wi ng .

37
38 E A RS , BRA IN A ND FING E RS
The heari ng Of Harmo n y i f more i m portance to t he m sicia n s o u

t ha n the mere ability t o w rite a melody by ear The me n tal .

di cipli n e gai n ed b y writi n g melodie a nd di ffic lt rhythm f rom

s s u s

hearing t hem played prepare t he w ay for the heari n g f H ar ,

s O

mo n y w hich i a more di ffic lt matter

,
s u .

The heari ng Of t he i n ter val Of the C m ajor cale S ho ld by thi s s u s

t i m e g i v e n di ffic lty o u .

The fir t s tep in t he hearin g f chord i to recogn ize the To n ic

s O s s

t riad w hich the p pil s ho ld n d r ta n d i f o r med on t he k ey

,
u u u e s ,
s

n ote . P lay t he three t o n e s of t he chord in s u cce s s ion ,

acc nti n g the m tro ngly

e s . Then play them to gether :
As t hi seldom di ffi c lt to hear proceed in t h ame wa y wit h
is s u ,
e s

G B D the D o m i n a n t chord of G maj or a n d F A G t h

, S b , , e u

D o m i n ant .

The p pil s ho ld t el l t he t o ne s of the chord by ear nd ho ld

u u ,
a s u

realize that t he t o n e O f t he To n ic D o m i n an t a n d S b D o m i na n t
s , u -

chord s are all in the family of C major

“
.
”

The e thr e chord r pre ent three cla se s i n to w hich all chord
s e s e s s s

may be di vided C on e q e n tly the more thoro ghly t h y are

. s u , u e

learn ed the better it will be f or the w ork later n

,
o .

The p pil ho ld be able t o b o t h p l ay a nd write the e chord

u s u s s

aft er hearing t hem played .

P roceed the ame way w ith in t he To nic f C mi n or

s O .

B re that t h p pil a n ea ily reco gni e the di fferen ce bet w ee n

e su e u c s z

maj or n d mi nor by eara .

D o the am e w i t h the S b D omi n a nt f C mi n or

s u -
O

compari ng thi with t he S b D o m in an t of G major t hat t he p pil

s u -

,
u

m y realize the di ff ere n ce bet w ee n t he t wo

a The D o m i an t i . n s

the s ame in bo t h keys F ollo w thi am plan thro gho t all . s s e u u

the maj or nd minor cales I t will t ake s ome ti m e to do t h i s well

a s . .

The p pil ho ld be able t o b o t h play and wr it e t he s e chord

u s u s

a fter heari ng th m play d e e .

 E A RS , BRA IN A ND FING E RS 39

TE CHNI CAL WO K (WRI S T A CT I ON) R

In addi tio n to the de v elop m e n t f t he co n cio n e o f a li ght O s us ss

w r i t w hich w b r o ght abo t by the Rockin g Wri t exerci e

“ ”
s ,
as u u s s ,

the pri n ciple f the m o v e m en t o f t he ha n d from the wr i t

O s ,
“
comm o n ly kno wn wr i t w r k ho ld b taken p Thi s i
as s o
”
s u e u . s

al o b t do n e at the table at fir t
s es s .

The ability t o let the ha d drop f it wn w ei g ht from t he n o s o

w r i t witho t a ny e ff ort at triki ng do w n i the fir t t p

s ,
u s , s s s e .

With the w ri t held lightly hi gh r than th l vel allo w the han d

s s e e e ,

to ri e lo w ly n d li ghtly d d r op do wn n to the tabl In the

s s a ,
an o e .

fir t wo r k f or fing r actio n it will be r m e m bered that t he fi nger

s e ,
e

w as S lo w ly rai ed n d allo w d to f all li g htly In thi ex rci e

s ,
a e . s e s

for the wri t thi n k o f the ha ds ,

a fi ng r the w ri t havi ng t h n as e ,
s e

same relation to the han d that t h kn ckle had to the fi n ger ,

e u s s .

The han d ho ld n t be p lled back w ith f orce or tensio n b t

s u o u ,
u

rai ed ea ily a n d li ghtly

s s .

At the k yboard allo w the ha n d to d r op li ghtly n to the third

e o

finger that i the lo n ge t th n n the th m b n d thi r d fi ger

as s s ,
e o u a n ,

then n t w n d f o r ; t he n th r ee d fiv ; the n
o o a u n d fiv n an e on e a e o

the i nt r v al f a 6 th
e O .

After the idea o f li gh tn e h b en gai n d t h ha d ho ld ss as e e ,

e n s u

mo v e more q ickly b t keep t h am e co n ditio n Th x rci e

u ,
u e s . e e e s

may be practi ed with i n crea i n g peed s s s .

The more rapid t he motio n t he m ore clo ely t o the key m t ,

s s us

on play
e that with th ixteen th the m o ve m e n t app r oxi mat
,
SO e s s, es

a v ib r atio n f the ha n d O .

A n ill
s a t r ation o f thi pri cipl in i m pl f or m xa m i n t h
us s n e s e ,
e e e

E lf n t n by P arlo w ; Th Cl k by K ll k ; A t th B l ck mith
e a z e oc u a e a s
’
s

by Z il h ; S w F l k by S h y tt F o r Old r p pil the

c er no a es c e . e u s,

M n d l oh n S ch r i n E mi n r ; D eb y A r b q i n G ; or
’
e e ss e zo o uss s a es ue ,

M o ko w ki E ti n ll
sz s
’
s ce es .

The w r i t practice i the begi nn i n g o f octav w o r k w hich co m e

s s e s

in m o r ad a n c d ta g
e v e s es .
40 E A RS . B RA IN A ND FING E RS
O BJ E C T O F THE LESS O N
I . L ear n t o hear 6 / 8 t ime in s i n gle t o n e s a n d me l odi e
, s .

11 . L ear n t reco gn i ze t he To n ic D omi n an t a n d Sub D om

o , ,
-

ina n t chord s in C maj or a nd C m in or b y s o n du .

II I . B eg i n wri s t work .
42 E A RS , B RA IN AND FING E RS
Play f o ur q u arter s fir t s

J n
t h en

n oti n g the di vi io n o f each bea t i n to f o

s u r e ven pa r t s .

F ollo wi n g t he s ame idea a be f ore s :

g
u fi l mJ u
g J J fi fi J u
An Older p pil ho u ld be able to h ar xa m ple like
u s e e s the f ollo w
in g :

li i i mJ fi
lU l H J lli

If [ m m
7 H
14 t 5 35 5 m m .

fififi J g D J D J J
gi n u

“ g fi g m fi p fi m ‘
g fi fi mfl
Or w ith thirty S eco n d n o t e s
-

H J4
4
I nfi I u.

p Hu m a n e
P pil u ho ld p racti e th e rhythm exerci e at ho m e f or
s s u s es s s

con ce tratio playi g Middle C or tappi g t he m w ith a pe cil

n n, n on n n

i g the m tro ome The n play them f or the t acher riti

us n e n .
e
’
s e !

i m
c s M
. l d i i tr
e o d i g i t
esnth d t h
n i t y c d t
o uc ni s x ee s an r -
s e on n o es n

v ario rhy t hm S ho ld be gi e n F or example

us s u v . :
 E A RS , BRA IN A ND FING E RS 43

Moz a rt

The p pil w h h n e er had cal S ho ld be gi v en the

u o as v s es u

form la f the cc io n f tep n d hal f tep

u O su e ss n d w ite the
O s s a s s, a r

s cale t f or hi m l f S O that h n der tan d w hy the harp s a nd

s ou se , e u s s s

fl at ed Afte r a p pil i able to hear fiv to n e f the C

s are u s . u s e s O

m ajor cale the harp

s , n d fl ats heard witho t extra w ork
s a s are u .

Th ability to h ar oth r k y tha C m ajor al o co m e n at rally

e e e e s n s s u .

TE CHNI CAL WOR K ( S C AL E PRE PARATI O N)

Th e p r parato r y w ork
e

for playi g the cale i n s s

n ext in ord r The mo v e e .

men t o f the th mb n der u u

th e ha n d i t he fir t s s

diffi c lty to be o v e r come

u .

A the h
S d i held b an s O

l iq l y f or cale playin g
ue s ,

the f ollow in g ex r ci e i e s s

g i v e n to ill trate the us

p o itio n
s :
LH
Cu t IV .

( The fou rth a n d fifth fi n g er s h e ld

loo s e ly in t he ai r ) Se e Cu t I V
. .

The R ocki ng W r i s t s ho u ld b e
“ ”
do ne s eve ral ti m e s in t hi s
44 E A RS , BR A IN A ND FING E RS
p ositi o n hol ding of the th mb u n d r the han d has a t e n d
,
as t he u e

en cy to tifi n the w ri t Af ter thi procee d wi th the follo wing

s e s . s,

e xer is es ing the li ght q ick fin ge r ac tion f rom t he q i t han d

c ,
us u u e :

2
L E 1 2 ‘3 ’
2
I
3 “ 2 3
o ‘ 3
2
‘ ‘ 2 3
I
s m u m l a 3 n ; J I n n a an ;
m I - m r 23
- 2 nu n

To thi ex e ci e i added the p a in g O f the th u m b Im d e the

s r s s ss r

han d f om C t F nd back Th t h umb ho l d mov e fr om C t

r o a . e s u o

F asq ick l y poss ible in o der to d ate it t g oin g n der

u as r e uc o u

al mo t a toma ti c ll y b t th n t s sho l d be p l yed slowl y The

s u a , u e o e u a .

n on playin g fin ger
-
hel d in the i s ar e a r .

Li t n f or the e v enn e n d Singin g q alit y in th to n es

s e ss a u e .

This b rin gs the ex rci e e s to

LH

I 2 3 I 3

h
w i ch is the fir t gro up in the C m j or s al e The s a c . of

Octa v e i w orked o t in ex t ly the s am e m nn

s u ac a er .

T he fi t p o ition i t ken rs f ollo w s s a as s,

w I:
E
DO t he ockin g Wri t in thi p o it io n b f or tar tin g the
“ "
R s s s e e s

fin g er w ork n d t t the co n di ti on o f the w ri t Of ten

a Thees s .

o der of the exe ci e u in g the thum b n der the fou th fin ger i

r r s s s u r . s
 EA RS .
B R A I N A N D FI N G ER S 45

LH .
3

r m " . m
v -
M ; a m u m “ m ‘i‘ - u m y ' 1 r s: - c m g r - r - c .

m ‘a - 3 a x.; 2v .
. a a I t .
w n B u s :

2 3 we 2 1 a ; a t t !

G i C n n " ‘J
E - B
‘
a : I - 3 a - J - d

I r
a 1 ‘
J ‘ 3 . m
! S 3

NOTE — If th e ha nd is not m a fl b u t is one for whi ch t he t h um b work

.
,

t he t hir d fing er pr es ent s no difi cu l t y t lm fir s t set of p re pa rat or y e xe rcises fo r t he

,

sca le ma y b e omi tt e d a n d t ho se und er t he fo ur t h fing e r b e g un a t on ce as t his ,

sa ves t ime For a m afl han d h owe ver the fir st se t i s ad vis a bl e as a pr epa rat ion
.
,

A chfl d s ha nd is t oo sm afl t o cho t h e t h u mb wo rk umde r

’
for t he l a rge r st r et ch .

the fourt h fing er He ma y do th e exer cis e wh id l tra ins t h e t h m b u nde r t he

.

second finger an d pl a y onl y th e one oa a ve sca he .

OB JE CT or r m: LE S S O N
I . Lea rn t o h ea r t ri pl e t s an d 1 6 011 5 in sin gi e t oa es an d

mel od i e s .

II . L ea rn it e s c al e s
to w r .

III . D o p repa ra t o ry e x er c i s e s for p la y in g s cal es .

 C HA PT E R !I .

Th e h e a ri n g of th e T on ic D om i n a n t a n d
, ,
Su b D omi n a n t
-

ch o r d s in th e ir i n v e r s i on s s h ou l d n ow b e gi v e n :

T h e s e ch ord s ma y b e i n tr od u c e d in oth e r k e y s a l s o .

T a ke t h e k e y s of G m a j or a n d F m a j or fir s t Th e p u p i l s h ou l d
.

u n d e r s t a n d th a t in th e k e y o f G ma j or t h e ch ord G B D w hich
, , , ,

h e p re v i ou sl y l e a rn e d a s D om i n a n t o f C i s th e T on i c of t h e n e w
,

k ey a n d th a t t h e ch ord C E G i s n ow t h e Su b D omi n a n t i n t h e
, , ,
-

n e w key . In F m a j or th a t F A C is n o l on ger Su b D omi n a n t

, , , ,
-

b u t T on ic a n d C E G i s D omi n a n t in t h e k e y of F
, , , ,
.

F or chi ld re n t h e m e l od i e s ( w hich s h ou l d s ti l l b e gi v e n in the

,

e a r tr a i n i n g) w i l l n e c e ss a ri l y r e m a i n q u i t e s i mp l e a n d s h ort a s ,

t h e mu s ic th e y s h ou l d b e p l a y i n g b y this tim e a n d f r o m w hic h ,

t h e mel od i e s s h ou l d b e s e l e ct e d i s of s i m pl e ch a r a ct e r
,
.

O l d e r p u p il s ma y b e gi v e n m r c pl ic ted w rk for
o e o m a o — ,

ex ampl e :

An a dde d te st for c on cen tr a ti on i s the a b il i ty t o h e a r th e d if

f e r e n c e b et w e e n 8 ths an d tri pl ets w h e n i n s u cce ss i on a n d t o ,

46
 EA R S ,
B R A I N A N D FI N G E R S 47

p r a cti s e th e m wi t h th e m e tr on om e at h om e . F or e x a m pl e :

fi fi E fi
‘

gJ J J D J ng l n ;
” J JJ JJJ J lg
Aft e r th e e s rh yt h ms ca n b e h e a rd on o n e t on e i n tr od u c e th e m
,

in m e l od i e : s

L e s c h e t i z k y Ma z u r k a
,

v ry v l bl a id in d v l pi n g c n centr ti n i s t h
A n oth e r e a ua e e e o o a o e

h a ri ng of s ch p ss g s
e th f l l w in g
u a P pil s
a e e s lly
as e o o . u ar u ua

q uite c n f s d i
on tr i
y gn t
u eo h r th m I n t h fir s t x m p l fo ea e . e e a e r

i n s t n c the f ct th t t h s q n c D E F s h r p i s r p a t d f ou r
a e, a a e e ue e a e e e

ti m s in t h fir s t m s r i s r rel y h r d b y t h p p i l t fir s t
e e ea u e , a ea e u a ,

a nd h s ld m r l iz s th t th s e thr t n s c omb in d w ith A

e e o ea e a e ee o e e ,

f r m the n tire me s re
o e a u .

The t ch r s h o l d pl y the s
ea e ,
x mpl es in
u s l w er t m p
a e e a a o e o

th n i s c ll ed fo in th e ori gi n l
a a r a .

B ac h

B ee t h o e n
v
48 E A RS , B RA I N A ND F I N G E RS

Ba ch

(THE C LO S E T O U CH)
TE CHNIC A L W ORK
U p t o thi s p oi nt t h e t e ch n ic a l w ork h a s b e e n d on e e n tirel y
w ith t h e hi gh fi nger a cti on in or d e r t o e st a b l i s h th e c orr e ct con
,

d iti on of th e h a n d a n d a r m .

B y the ti me p re p a r at ory w ork fo r t h e sc a l e h a s b e en d on e the ,

c on diti on of r e l a x a ti on s h ou l d h a v e b e c om e s o n a t u ra l th a t th e
fi nger w ork ca n b e d on e c l os e t o th e k ey s a n d n ot a ff e ct t h i s
c on d iti on Thi s c l o s e w ork s h ou l d n ot b e d one u n ti l the fi nger
.

a ct i on i s we l l es t a b l i s hed F or if it i s d on e a t fi r s t i t c au s e s t h e
.
,

t on e t o c ome t oo m u ch f r om th e a r m h a s a t en d e n cy t o ma ke the ,

t on e h a rd a n d t o ti e u p t h e pl a y i n g appa r a t u s s o th a t f ree d om
,
“ ”

i s i mp a ir e d Th e fi n ge r e x e rci s e s a s o ut l i n e d in L e s s on 3 a r e
.

a dher e d t o .

Pl a ce th e h a n d in p os iti on r e s ti n g on t h e d ep re ss e d k ey s a s a t
,

fir s t Th e fi n ge r w hich i s t o pl a y c ome s u p a s fa r a s th e k ey
.

it s el f c om e s ( in oth e r w or d s i t d oe s n ot l ea v e t h e s u r fa ce of the
,

k ey . T h en w ith a q u ick d o wn w a r d s tr ok e of th e fi n ge r th e t o n e ,

i s p r od u c e d It mu s t b e ob s e r v ed th a t the t on e i s p r od u c e d b y
.

fi n ge r a cti on a l th ou gh ,

th e fi n ge r h a s n ot l e f t the
s u rfa ce of the k ey Gr ea t .

ca r e mu s t b e ta k en tha t thi s

d oes n ot d egener a t e i n to a
“
fr om the a r m
”
p u nch .

Th e q u a l ity of t on e de
p e n d s u p on the l i ght n ess
oi t h e w ri s t a n d a rm ,

a n d t h e q u ick n e s s oi th e

s h ort fi ng e r str ok e T he .

t on e s a r e p r od u ce d b y a
Cu t V .
50 EA R S , B RA I N A N D FI N G E R S

II . Lea rn t oh e a r 8 th s a n d tri p l e t s in c om b i n a ti o n , a n d co n

t in u e m e l od y w ork .

II I D o tech n ic a l work c l o s e t o t h e k e y s
. .
 C HA PT E R ! II .

Th e h e a ri ng of i n t e r v a l s w a s b e gu n w i t h s i gl t n s f ol l w i n g
n e o e o

one a n o t her . The d e fi n it e h e a ri n g f t w v ic s t n c s h

o o o e a o ld e ou

n ow be t a k e n u p I t w ou l d b e e
. o w l l t i n t rod c t h s p cific
u e e e

s iz e of i nt e r va l s a t th i s p oi nt a o ls
a o
.
( M j r n d mi n r 3 d
a o r s ,

p e r f e ct 4 th s e t c )
,
.

I t i s n e c e ss a ry for chi l d r e n t o h e a r t w o v oic e s a t on c e b e c a u s e ,

s o m a n y of t h e e a s i e r c omp os iti on s a r e w ritt e n in t w o v o ic e s .

Fo r t h e chi l d r e n a s w e l l a s t h e ol d e r pu pi l s t hi s tra i n i n g s h ou l d
, ,

p r e c e d e t h e p l a y i n g of p ol y p h on ic w ork s w hich a r e s o v a l u a b l e for

,

t h e i n t e l l e ct u a l a s w e l l a s t h e t e ch n ic a l d e v e l op m e n t .

V e ry s i mpl e a n d s h ort p a ss a ge s s h ou l d b e gi v en a t fir s t p a r ,

t icu l a r l y t o chi l d r e n — th a t t h e p r ogr e ss i on of e a ch v oic e m a y b e

,

c l e a rl y h e a r d F or e x a mpl e :
.

S c r l at t i
a

51
52 EA R S , B RA I N A ND FI N G ER S

W he n t h ese can b e e a s i l y hea rd a n d w r i tt e n t h e t wo c l e f s ma y

,

b e i n tr od u c e d T h e s op ran o a n d b a s s v oi ce s of t h e c o mpl ete

.

c a den ce may a l s o b e gi v en h ere a s a p rep a r a ti on for t h e h e a ri n g

of t h e c a d e n ce ( See C h a p t e r X I V )
. .

0 )Al so i n o h r y s
t e ke

TE CHNI CAL WORK (SCALE S)

Th e fi r s t p re pa r a t ory ex e or rci s e s f th e s c l e h a v e
a b e en for t h e
de v e l op men t of th e r a p i d ity o f th e th umb in p a ss in g u nder the
ha nd . T h e n ext ste p i s th e j oi n in g of t h e t wo gr o u p s and th e
p a ss i ng of th e h an d over the thu mb .

To i ll u s tr a te thi s h ol d 0 w ith t h e th u mb ( h a n d ob lique ) t h e n

, , ,

l
p y a B w ith th e f ou rt h fi n g e r a n d D w i t h the sec on d — b e in g c a re
,

fu l th a t the h an d a n d a r m r e t a i n th e s a me ob l i q u e p os i ti on a s
th e y p a ss fr om B to D T hey sh ou l d mov e s l owl y a nd ste a di l y
.

w it ho u t a q u ick j e rk a ll ow i n g on e c ou n t for th e s i l ent t h umb in

,

th i s m a nn —
er (the h an d pa ss es d u ri n g th e q u a rter rest ) .

T h u m b held .

Th e s e t w o me a s u r e s f or m a n u c l e u s f r om w hich the s c a l e ma y
b e b u i l t u p b y a ddin g a t on e a t the t op a n d b ott om e a ch ti m e
u n ti l t w o o ct a v e s h a v e b e e n p l a y e d T his gi v e s v a ri e ty t o the
.
 EA R S . B RA I N A ND FI N G E R S 53

p r a ctice and al so b ri n gs a b ou t m a ny r e pe titi on s of the e x e rc i s e

un c on s ci ou sl y .

F r om thi s poi n t the f ou r o ct a v e s c a l e ma y b e d on e wi th ou t

fu rth e r p r e l i m i n a ry w ork .

I n good s ca le p la yi n g t her e a re t wel ve p oi n ts whi ch a re i mp orta nt

factor s :
1 st . Kn owl e d ge of the sc ale f orma ti on .

2n d . O b l i qu e po s iti on of the h an d .

3 rd . Loos e wri s t and a r m .

f rom the kn u ckl e s

‘

4th . F i n ge r
cti on a ( Hi g h fin ger a cti on .

a n d c l o s e fin ger a cti on ) .

5 th C u r v e d fi n ge r s
. .

6 th !u ick n es s of th e u p a cti on O f t h e fingers

. .

7 th Pa ss i n g of t h e th u mb u n d e r q u ick l y
. .

8th Se n s e O f rh y th m
. .

9th Ha n d s l i ght l y ti p pe d t owa rd th e 5 t h fi n ge r a s t h e

.

m ov eme n t i s in th a t dire cti on —ti pp e d t owa rd th e

th u m b a s t h e m ov e men t i s in th a t d ir e cti on .

l oth D e pre ss i on of wri s t a t t u rn in g p oi n t s

. .

1 1 th St e a d y p a!s i n g of t h e a rm
. .

1 2t h E v en n e ss of t on e q u a l ity de v e l op ed b y ke e nn e s s of
.
,

h ea ri n g .

Chr oma ti c s c a l e s a r e pl a y e d in a s i mi l a r ma nne r t o d i a t on ic

s c a l e s T h e wri s t may b e h el d s omewh a t hi gh e r on a cc ou n t of
.

th e f re q u en ce occ u rr e n ce O f b l a ck key s Th e th u mb s h ou l d b e .

n e a r e n ou gh t o th e e d g e of the b l a ck k e ys s o th a t th e y h a v e t h e

s a me rel a ti on t o th e h a n d a s the w hit e key s a n d th a t the a rm may ,

p a s s al on g in a s tr a i ght l i n e f r om ri ght t o l e f t w ith ou t g oin g

z ig z a g b a ck a n d f o rth
-
.

Th e p r a ctice o f chroma tic s c a l e s i s of pa rtic u l a r a d v a nt a ge in

d e v e l op i n g fl u e n c y in th a t th ey r eq u ir e a l i ght th u mb a n d t h e
, ,

f r e q u e n t r e c u rr en ce of th e th u m b g i v e s thi s unr u l y m em b e r O f
t h e h a n d s p e ci a l tr a i n i n g .

OB J E C T O F THE L E SS O N
1 . Lea rn to r e c ogn iz e t h e sp e cific s iz e O f i nt e rv a ls b y so un d .

II . L e a rn t o h e a r t w o v oic e s b y s ou n d .
54 EA R S , B RA I N A ND FI NG ERS

III . DO t h e p rep a r a t ory e x e rci s e fo r t h e p a ss i n g Of th e h and

o v er t h e th u m b in s c a l e s.

I V B e gi n t h e p r a c t ic e
. of f ou r o ct a ve s c a l e s .
 C H A PT E R ! III .

As the a b i l it y t o he a r t h e T on ic Domi na nt a nd Su b Domi n

, ,
-

an t tri a d s w he n p l a y e d s i n gl y s h ou l d n ow b e a c u ir ed the a b i l ity

, q ,

to h ea r them in c omb in a ti on i s t h e n ext s t ep Thi s w i l l not .

p r e s e nt a n y s p e ci a l di ffic u l ty i f t h e s i ngl e ch o rd s w e re w e l l
,

l e a rn e d . B e g i n a s f ol l ows :

"
T ra n sp o se to G a nd F m ajor
55
56 EA R S , B RA I N A N D FI N G E R S

In p l a y i ng th e s e ch or d s for t h e e a r tr a i n i n g work it i s w e l l t o ,

p l a y th e m fir s t w ith a l l thre e v o ic e s e q u a ll y s tr on g T h en if it .
,

i s d i ffic u l t t o h e a r th e m th ey s h ou l d b e pl a y e d a ga i n fir s t e m
, ,
!

p h a s iz in g t h e u p p e r v o ic e th e n in t u r n t h e mi dd l e v o ic e a n d t h e
,

l ow e r v o ice .In th i s w a y t h e f a ct th a t t h e ch or d s a r e f or me d
,

b y t h e c omi n g t oge th e r of thr e e v o ic e s e a ch 0 1 w hich h a s it s ow n ,

mov e me n t ( v o ic e l e a d in g) w i l l b e b e tt e r r ea l iz e d
, .

Th e pl a y in g of t h e T on ic ch or d a t t h e b e g in n i n g of t h e com
p l e t e c a d e n c e ( s e e A )g i v e s t h e p u p i l t h e k ey Th e Su b D om i n -
.
,

a n t f a l l i n g on t h e s tr on gl y a cc e n t e d fir s t b ea t of the n e xt m ea s u re

gi v e s h im t h e s e n s e of it s l ea d i n g t ow a r d t h e D omi n a n t W hi l e .

t h e fi n a l T on ic ch or d f oll ow i n g a ft e r t h e D om in a n t g i v e s h im ,

th e r ea l iz a t i on O f fi n i s h or c ompl e ti on T hi s p r ep a r e s h im for .

t h e h e a ri n g of t h e c a d e n ce in the fo u r v oiced h a r mony w h ic h -

c om e s l a ter .

If th e p u p i l h a s d iffi c u l ty in rec ogn i z in g t h e k e y w h e n t he s e ,

ch or d s a n d c a d e n c e s a r e p l a y e d in oth e r key s t h a n C m a j or he ,

ma y b e gu id e d in d e t e r mi n i n g t h e k ey n ot e b y c o mpa rin g it w it h
mi d d l e C F or i n s t a n ce i f t h e ch or d s a r e t o b e gi v e n in G m a j o r
.
, ,

p lay at fi rs t as f oll ows : W he n t h e p u p i l h as

rec ogniz e d the t on e G s , ou n d th e T on ic ch ord of G ma j o r

an d he wi ll kn ow t h e k ey in wh ich the c ho rds a re to

b e gi v en .

TE CHN I CAL W O RK (ARPE GG I O S)

Th e p repa r a t or y wo rk for a rp e ggi o p l a y i n g IS f ou n d e d on t h e
s a me p l a n a s th a t u s e d for s c a l e s Th e fir s t pos iti on i s t o pl a ce .

th e h a n d on the C m a j or ch or d . Th e pos iti on of the

h a nd wh en t a k in g th i s c h or d d ep e nd s u p on i t s s i z e a nd s h a p e .

G e n e r a l l y s p ea ki n g t h e h a n d s h ou ld b e w e ll a rche d a n d s om e
,

w h a t tipp e d t ow a r d t h e fi fth fi n ge r w ith t h e s e c on d a n d third ,

“
fi n ge r s c u r v e d Th e Ro cki n g W r i s t s h ou l d b e d on e in th is
”
.

n e w p os iti on Th e n t h e s i ngl e fi n ge r w ork The ha nd mu s t be

. .

a b s ol u t el y wi thou t t e n si on Th e in cr e a s ed s p a n i s a pt t o ca u s e
.
 58 EA RS , B RA I N A N D FI N G E R S

Th e o rder of t h e exerc i s e s i s as f ol l ows :

F oll o w in g the o r d e r O f the s c a l e p r e p a ra t ory e x e rci s e s the ,

p a ss in g of t h e h a n d ov e r t h e th u mb i s t h e n e xt s t e p T he p ri n
.

cip l e O f t h e p a ss i n g O f t h e h a n d a n d a r m in th i s ex e rci s e a s a l i
pp e d
t o a r p e gg i os i s t h e s a m e a s wa s r e q u ired in the sc al e w ork
, .

Th e f ou r ct a v e a rp e ggi o m a y n ow b e p r a cti s ed Th e p oints

o .

t o b e O b s e r v e d a r e i d e n tic a l ly t h e s a me a s th os e for the s c a l e

p l a y in g . Th e p os iti on of t h e h a n d for t h e C m i n o r a rp e ggi o i s
t h e s am e a s for C m a j o r with t h e excep ti on of th e s ec on d fi n ge r ,

w h ich i s h eld s tra i ghter on t h e E fl a t .

T h e f ol l o win g order of ch or d s i s u s e f u l in p ra ctis in g a rp eggi os :

Th e a rp e ggi os b u il t on th e s i mp l e tri a d s a r e t o b e p ra ct is e d in
grou ps of f ou r n o t e s ; th o s e on the D o m in a n t 7 th in gr ou p s of
t h ree n otes Thi s is t o a voi d th e s u cce ss i v e a cc e nt s f a ll i n g on
.

the th u mb .
 EA R S , B RA I N A ND FI N G E R S 59

The d i m i n is h e d sv
e en th a rp eggi os are al o s d on e in gr ou p s of

thr e e .

W h e n t h e fin ge r w ork i s p r a cti s e d in t he D om in a nt 7 t h a n d
D im in is h e d 7 th ch or d p os i t i on s it w i l l b e f ou n d th a t t h e h a n d i s
,

b o t h s tren gt h en e d a n d s tr e tch e d C a r e s h ou l d b e t a k en n ot t o
.

p ra cti s e th e s e p os iti ons t oo l on g a t a ti m e Th e a r m a n d b a n d

"
.

s h oul d b e r el a xed O fte n a n d the ex e rcis e s d on e wi t h ea c h hand

,

a l on e as i s t h e c a se w ith a ll the fi n ger w ork

,
.

OB J E CT O F THE LE S S O N
I . Le a rn to h e a r T on ic D omina n t a n d Su b Domin a n t
, ,
-

ch or d s in c o mb in a ti on A l s o in th e for m of t h e c ompl ete

.

c a d en c e .

II . D O t h e p repa r a t o ry w o rk for a rp e ggi o p l a y in g .

 C HAPT E R ! IV .

In Ch a p ter I! it wa s s t a t e d th a t t h e T on i c Domi n an t , , and

Su b D om i n a n t
-
ch or d s r e p r e s e n t thr e e c l a ss e s i n t o w h ich a l l
s
ch ord may b e di v i d e d Th e d e v e l opm en t of th e a b i l ity t o he a r
.

t h e c ompl e te c a d e n c e w ith f ou r v oice s i s c on s e q u e nt l y a m os t

i m p ort a n t s t ep in the e a r tra i n i n g a s it i ll u s tr a t e s t h e f u n d a
,

m e n t a l u s e of the s e ch or d s a n d i s a f ou n d a ti on for he a ri n g a gre a t

,

n u mb er O f ch or d s The mi ss i on O f t h e Su b D omin a n t ch ord s

-
.

i s p rima ril y t o l e a d t o t h e D omi na n t ; w h i l e th a t of the D om i n a nt

is t o l e a d t o th e T on ic a s wa s s h ow n in t h e p r e v i ou s l e ss on
,
.

Th e f oll ow i ng o r d e r i s b est a d a p ted for h e a r i n g t h i s re l a t i on s h i p ,

I, IV, V , I : Thi s c a den c e S h ou l d b e

l yed i n a ll m j r n d mi n o r k e y s u n ti l t h e pup il i s a b l e to
p a a o a

r e c ogn iz e a n d w rit e it in a ll key s f r o m h e a rin g it p l ay e d .

e tc
. i n 3 1 10 0 !

T he p r i n ci pl e of the c l a ss i fi c a ti on of ch o r ds u nd e r th e se three
.

h e a d s i s a d m ir a b l y e xpl a i n ed a n d c ompl et e l y d e v el op e d in Va n
Ey k e n s Ha rmony ( edited b y Dr Hu go Le ich t e nt r it t a nd O s k a r
’
.

60
 EA R S . B RA I N A ND FIN GERS 61

W a ppens ch mitt ) Th e r e a d e r i r e c omm e n d e d t o e xa m i n e this

. s
s
wo rk for a th orou gh t u d y O f Ha rmony a l ong th e e l in e s s .

TECHNI C AL (OCTAVE S) WO R K
Th e w ri s t w or k ou t l i n ed in Ch a p t e r I! i s r e a l l y p r e p a r a t ory
for o ct a v e s Th e a b i l ity t o dr op th e h a n d f r om t h e w ri s t a n d
.

t o r e t a i n thi s r e l a x e d c on d iti on in r ap i d it y h a s g r ea t v a l u e in ,

o ct a v e pl a y in g It is n e c e ss a ry t o h a v e s u fficien t str e n gt h in
.

the fi f th fi n ger sid e of the h a n d t o b e a b l e t o drop t h e h a n d on t o

t h e th u mb a n d fi fth fi nge r s a n d sti l l h a v e th e w e a k e r s i d e of t h e
,

h a nd a bl e t o r e c e i v e th e w e i ght p u t u p on i t Th e r e a r e s p eci a l .

e xerci s e s for t h e d e v e l op me n t of thi s p o i n t b u t a s th ey s h ou l d ,

b e sh ow n b y a t e a ch e r in order t o b e s u cc e ss f u l ly d on e th e y ca n ,

n ot b e g i v e n h e re .

T h i s prin ci pl e O f t h e d ropp i ng of t h e h a n d is a pp l i e d t o s t a cc a t o
pa ss a ge s in s i n gl e n ot e s F or e x a mp l e t h e op e n i n g me a s u r e s o f
.
,

M os zk ows ki s J u ggler ess t h e D e b u ss y A r a b es qu e N o 2 or the

’
.
, ,

B r a h m s C a p ri cci o i n B mi n or .

In di a t on ic or c h r om a tic o ct a v e p a ss a ge s or a c omb ina ,

ti on of th e t wo a s om e w h a t d i ffe r ent tr e a tm ent is n e c e ss a ry

, .

Th e w ri s t i s h e l d c on s i d e r a b l y h i gh e r w ith the t h u m b c l os e t o ,

t h e e d ge of t h e b l a c k k ey s In fa ct th e t h u mb s h ou l d mov e
.
,

a w a y f r om t h e b l a ck k e y s a s l itt l e a s p oss i b l e Th e f ou rth fi n ge r .

s h ou l d b e u s e d on t h e b l a ck k ey s i f this fi n ge r is c on v e n i ent for

,

th e h and . If t h e h a n d i s s ma l l or s o s h a p ed th a t it i s v e ry a w k
wa r d t o u s e t h e fou rth fi n ger t h e fi ft h may b e u s ed i n st e a d , .

Th e t on e i s p r od u c e d b y th e fi nge r s in c omb i n a ti on w ith a s l i ght

v i b ra ti on of the h a n d a t th e w ri s t As a p r el i min a ry exe rci s e .

for thi s ki n d O f o c t a v e s t h e pl a y i n g of t h e chr oma tic sc a l e b oth

,

l e ga t o a n d s t a cc a t o w ith t h e f ou rt h a n d fi fth fi n ge r s a l on e is ,

a d vi s e d :

LH

Th e h a n d is h el d i f oct a v e s w e re t o b e pl a y e d t h e w ri s t
as ,

h i gh a nd th e fi n ge r s str a i gh t Th e a r m p a ss e s s t e a d i ly a l on g in
.
62 EA R S , B RA I N A ND FI N G E R S

a s tr i gh t l in e Th e s a me ma y b e d one w i th t h e th u mb a l on e
a .
,

k e e p in g it c l os e t o the bl a ck k ey s T h en p r oce e d with th e

.

o ct a v e s T h e re i s a l s o a n e l e v a ti on a n d d ep ressi on of the wri s t

.

wh en pl ay in g this k ind of oct a v e s a cc ord i n g t o the wa y the pa ss

,

a ge i s w r i tte n .

T h e a d va n t a ge in pl a y i n g mel odic pa ss a ge s w ritte n in o ct a v e s

in thi s wa y i s t h a t th e y ga i n a mo re c onn e cted a n d mel odic
,

c h a r a cter in st e a d O f b e i n g mer el y a s u cc e ss i on of o ct a v es a n d
, ,

th ere i s th e g r e a te s t pos si b l e ec on omy of mot i on .

Th e mor e t on e dema n ded in a n o ct a v e p a s s a ge t h e more the ,

a r m f orce i s c a ll ed i n t o p l a y F or exa mpl e t h e M en d e l ss oh n

.
,

S cherz o ( e n d of th e p a s sa g e in o ct a v e s ):

At t h e l a s t p a rt o f th i s p a ss a g e i n o rder t o ga i n a s mu ch tone
,

a s p o ss i b l e w it h t h e l e a st e ff ort th e w ri s t s h ou l d b e q u ite h i gh
, ,

w it h th e th u mb s tra i g ht a n d the m ov e ment fr om th e e l bow as

, ,

thi s b ri n gs t h e f orce of th e a r m d own on t o th e s tra i ght th u mb s .

T here i s a c e rt a i n q u a l it y O f b ou n din g fr om on e o cta v e t o

“ ”

th e o ther h er e w hich a id s in the m a i nt e n a n ce O f rel a x a t i on As

,
.

a r u bb er b a l l b ou n d s a ft e r h itti n g a h a rd s u rfa ce s o th e a rm ,

sh o u l d b ou n d f r om one o ct a v e t o a nother in f orte p a ss a ge s .

T h i s i s d e v el op ed in th e s l ow p ra ctice It i s a me n ta l c on c e pti on
.

of a s e n sa ti on r a ther th a n a p h y s ic a l r e a l it y .

Th e fir s t p a rt O f th is p a ss a ge f r om t h e M en d e l ss o hn Scher z o ,

i ll u str a t e s a n oth e r i mp ort a nt f e a t u re O f o ct a v e p l ay i n g w her e by ,

str engt h a n d e n d u r a n ce m a y b e s a v e d a n d t h e p a s sa ge gi v e n a
more m u s ic a l ch a r a cter Th e u n a c cen ted 8 th s a r e pl ay ed
.

l i ght l y f r om the wr i s t w hi l e th e a cc e nt e d n ot e s a r e gi v e n m ore

,

t on e b y a s tr on g a cc e n t f r om th e a rm u n ti l t h e C a t t h e t op h as
b e en re a ched T hen th e a rm i s u s e d in e v e ry t one a s exp l a in ed
.

a b ov e .
 EA R S , B RA I N A N D FI NG ER S 63

In v ery h e a vy ct a v e p a ssa ges w here fo rt i ss imo o ct a v e s a r e

o

d ema n de d for s e v er a l m ea s u re s it i s im port an t t h a t the s l ow

,

p r a ctic e b e d on e in the ma nn er w hic h w i ll gi v e the mos t t on e

a n d s p e e d in v e l o city In s u ch a c a s e th e r e s h ou l d b e v ery l itt l e
.
,

i f a n y m ov emen t of t h e h a n d f r om t h e w ri s t O n t h e c ontr a ry .
,

t h e h i n ge i s a t the e l b ow Th e h a n d s rem a i n c l os e t o t h e k e y s
.
,

b u t t h e m ov e me n t f r om on e o ct a v e t o th e n ext S h ou l d b e m a d e
a s q u ick l y a s p oss i b l e T he wri s t i s a ga i n h i gh t o ga i n t h e
. .

s tr en gth of th e th u mb Su ch oct a v es a r e fa ti gu i ng a n d s h oul d

.
,

b e p r a cticed on l y a f e w ti m es in s u cces s i on .

In a p a ss a ge l ike t h e foll ow in g f r om Le s chetizky s I nter me zz o

’

i n Octa ves it i s b e s t t o thi n k of p l ay i n g t h e e n t ir e p a ss a ge f r o m

‘

on e impu l se of the a rm .

Th e a r m f a l l s on t h e o ct a v e F a t th e top of th e p a ss a ge a n d ,

s ee min gly b ound s ov er th e res t of it In real ity a fter the fir s t .

,

t on e i t is w ri s t a cti on B u t t h e th ou ght s h ou l d b e of t h e p a ss a ge
, .

a s a w h ol e a n d n ot of e a c h in di v id u a l o ct a v e .

T h e h a n d w hich b y n a t u re is b est a da p te d for a fl u ent a n d

b r il l i a n t O c ta v e t e ch n ic i s on e w hich h a s a v ery wi de spa n b e
,

t w e en th e th u mb a nd s ec on d fi n ge r or i s l a r ge e nou gh S O th a t i t ,

ca n b e he l d r e l a xe d a n d sti l l r ea ch o ct a v e s w it h ou t a f e e l i n g o f
,

s tr e tc h i ng th e h a n d t o c ov er t h em I t i s n ot a d vis a b l e for p er
.

s on s with s mal l or sen s iti v e h an d s to a tt e mpt to dev el op a grea t

o ct a v e tec h n ic . I t r eq u ires mor e p h y s ic a l e n d u ra n ce th a n s u c h
a h a nd i s c a p a b l e of ma in t a i n i n g .

OB J E C T O F THE LE S S O N
I . Lea r n t oh e a r t h e c omp l et e c a d en c e w ith fou r v oic e s in
a l l ma j or a n d min or k ey s .

11 . L e a rn t o h e a r ch or d s a s t h ey a p p e a r in e x a m p l e s f r om
c ompos iti on s .

II I B e gi n o ct a v e w ork
. .
 C HAPT E R XV .

At th e ti me w h e n t h e c omp l ete c a d e n c e ca n b e w e ll h e a rd th e
,

p u p i l i s th or ou g h l y p r e p a r e d for a s p e ci a l Ha rm ony t e a cher a n d

,

sh ou l d w ith ou t q u e s ti on m a k e the ory w ork a p a rt of his m usic

st u dy F r om thi s ti me on t h e d e v el opment O f t h a t b r a n c h of
.

e ar tr a i n i n g i s c on ti n u ed b y th e s s te ma tic st u dy O f Ha r mony
y
a l on g th e s e l i n es .

In ord e r t o m a ke t h e a b il it y t o h e a r th e c a den ce of sti l l m ore

p r a ctic a l v a l u e ex a mp l e s sh ou l d b e g i v e n f r o m c omp o siti on s in
,

w h i ch the s e ch or d s c on stit u te the u n derl y i ng h a rm ony .

T he te a ch e r s h ou l d p l a y t h e exa mp l e gi v en a n d t h e p u p i l
,

sh ou l d t e ll th e ch ords on w h i ch i t i s w ritt e n fr om h ea ri ng it
pl a y e d . If thi s i s t oo d i ffic u l t a t fi r s t t h e t e a ch e r may p l a y the
m
,

sim e h a rm on ies for h im t o he a r a n d then r ep e a t th e p a ssa ge

,

th a t h e m a y l e a rn t o rec ogniz e th e s a me hh or d s in th e form in

w h i c h they a pp e a r in th e ex a mp l e .

f r o m G r ma n C h i l d
e

Ton i c “
) I IV I IV V I

64
66 EA RS , B RA I N A N D FI N G ER S

Th e c on tin u a ti on of t h e h e a ri n g of p ol yp h on ic w ork i s of g r ea t
imp ort a n ce a s it l ea d s t o a b e tt e r p r ep a ra t i on for t h e s t u dy of
c ou n terp o in t a n d th e p l a y i n g a n d u n d er s t a n d i n g of th e w ork s o f
,

B a ch .

C ont in u i ng f r om th e s i mp l e f or m s i l l u s tra ted in Ch a p t e r ! II

in a l l of w h ich th e t w o v oic e s e n ter e d a n d c onti nu e d t ogether
, ,

i n tr od u ce t w o v oi c ed pa ss a ge s in w h ich th e sec on d v oic e e n t e r s

l a t e r th a n th e fi r s t F or ex a m p l e :
.

Gu r l itt

T h e f ol l ow i n g p a ss a ges w rit t e n in t w o v oi ces a re t o b e u s e d a s

a c ontin u a ti on o f th e exerci s e s for c on c e n tra t i o n g i v e n in Ch a p ter
X I ( Her e a s in C h a pter VI th e l ength o f th e p a ss age g i v e n
.
, ,

m u s t b e d eter m i n ed b y th e r e t en ti v en e s s o f t h e p u p il )
.

B ee t h o e n v
 EA RS , B RA I N A ND FI N G E R S 67

T E CH N I CA L WOR K
(VE LO C I TY )
Th e un d e r l y i n g p ri n cipl e O f p l a y i n g w ith fl u e n cy a n d v e l o city
is t h e a b i ity t o
l
“
l e t g0 — in oth e r w or d s r el a xa t i on
”
, .

Th e a b i l i t y t o thi nk q u ick l y a l s o pl a y s a n i mp ort a n t p a rt in

ma in t a i n i n g s t e a d i n e ss a n d c on tr ol in r a p i d it y .

T h e fir s t th ou ght in t h e d e v el opm en t of v el o city i s t o s t im u

l a te t h e i d e a of pl a y i n g a g r ou p O f n ot e s w i t h t h e t hou ght
of t h e gr ou p a s a whol e a n d n ot a s a s u cce ss i on o f s i n gl e tones
,
.

A t fir s t it i s n ot a d v i s a b l e t o a tt e m p t t o h a ve a b ig t on e in f a s t
p l a y in g . Th e p ri n ci pl e g i v e n in t h e d e v e l op me n t of a s i n gl e
t on e sh ou l d b e f oll ow e d W h e n t h e c on d iti on O f r e l a x a ti on in
.

ra p i d ity i s O b t a i n e d w ork for m or e t on e b u t b e s u re th a t t h e

, ,

c on d iti on r em a in s the s a m e B e gin w ith a sh ort gr oup of o n l y

.

t h r e e t o fi v e t on e s :

Pl a y th e m a t fi r s t q u ickl y b u t l i ght l y or e v en on t op of th e
, ,

k e y s w ith n o t on e in or d er t o ga i n th e s en sa ti on of l e tti ng go
,
“
.
"

A f ter e a ch gr ou p swi n g t h e a r m a t t h e s i d e a n d b e s u re th a t th e
, ,

s ame fe el i n g O f l i gh tn e ss r ema in s in t he h an d a n d a rm wh en pl a y
in g t h e s h o rt gr ou p of t on e s th a t p re v a i l e d w h e n th e a r m w a s
,

sw i n g in g I f th e y a r e r el a xe d th e t one s w i ll b e p erf e ct l y e v e n
.
, .

U n e v e nn e s s i s c a u s e d b y s ti ffn e s s T he th ou ght i s t o b e c e n ter e d

.

on th e pl a y i n g of th e g r ou p b y on e i mpu l s e f r om th e h a n d — n ot ,

b y a s ep a r a t e i mp u l s e f r om e a ch fi n ger T h e g rou p s a r e b e gu n
.

o n th e th u m b a s i t i s e a s i e r t o dr op t h e h a n d in a r e l a x e d con
,

d iti on on t h e th u m b th an on t h e fi f th fi n ge r A ft e r t h e fir s t .

g r ou p h ow e v e r th e f oll ow i n g m a y b e d on e :
, ,

Li st en c a r e f u l l y for the e v e n RH .

n e s s of q u a l it y a n d in t h e fol
,

l o w i n g g r ou p H
b e s u r e th a t t h e th u mb d oes s ou n d h e a v i e r b u t has the
'

n ot ,
68 EA R S , B RA I N A N D FI N G ER S

s a me e v enn e ss of q u a l ity th a t p re va i l e d in 1 2 3 4 5 W ith this

.

a s a f ou n d a ti on b u i l d u p t o a on e o ct a v e sc a l e or ov er
,
.

In t h e lo nger grou ps k e ep th e s am e i de a O f on e i mp u l s e for

,

t h e gr ou p a s b efor e . O th e r k e y s b e s i d e s C m a j or S h ou l d b e
p r a cti s ed , a l s o chr o m a tic s : It i s t a k e n f o r g r a n t e d th a t th e

fi nger s h a v e ga i n e d c on s i d e ra b l e i n d e p e n d e n c e in t h e e l e m ent a ry
fi n ge r w ork b e for e thi s v e l o cit y w ork i s b egu n .

F l u e n c y in a r p e ggi os a n d o ct a v e s i s b r ou ght a b ou t on th e s a me
pri n cipl e :

I H
.

In the de v e l op m e nt of oct a v e s a s ti l l s h ort e r gr ou p i s a d v is a b l

,

at fir s t for th e a d d e d s tr e tch O f th e h a n d i s a pt t o c a u s e t e ns i on
, ,
 EA RS , B RA I N A ND FI N G E R S 69

In chroma tic o ct a ve s t h e p rin c ip l e of t h e s o c a l l e d fi n ge r o ct a v e s

,
-

s h oul d b e ob s e rv ed .

J u s t a s s oon a s th e s e g r ou p s ca n b e d on e e a s i l y t h e p rin ci pl e ,

s h ou l d b e a ppl i e d t o c ompos iti on s i ll u s tra ti ng it For e xa mpl e : .

E a sy ,

B ro wn , Pi xi es S lid i n g Down Hi l l .

D e n n ée , W a lt z i n G maj or .

Ku ll a k , Ghos t i n the Chi mney .

G u r litt , S pa ni s h Da nce Op 228 , . .

M ediu m ,

Ma cDowell , S hadow Da nce .

He l l e r , P relu de s 0 p 8 1 Nos 3 , .
, . a nd 10 .

G ri e g , Li tt le B i rd and M a rch of the D wa rfs .

Ph Em B a ch
. .
, Solfeggi etto .

J . S B a ch.
, 8 th I n ven ti on .

L a v a l l ee , B utt erfl y .

Ch op i n , W a ltz , 0 p 6 4 , No 1 . . .

A dva n ce d ,

Sc a r l a tti—
Ta u s ig , P a s tora le .

Sch u ma nn , B i rd a s P r ophet .

A rth u r Hi n t on , E tu d e A r a bes qu e .

L e s ch e tizky , I nte r mezz o Scherz a ndo .

B e e th o v en , S cherz o fr om S ona ta 0 p . 1 4 , No 2 . .

A n ot h e r p oi nt in v
city fi nge r w ork w hich i s w orth y of n otic e
el o

i s th a t th e r e i s O ft e n on e t one in a gr ou p a rou n d w hic h th e oth e r s

c en t e r C on s e q u e n t l y t h e i mpu l s e c om e s on th a t t on e a nd t h e
.

r e s t of th e n ot e s s eem t o b ou n d f r om it F or ex a m pl e : .

L e s c h e t i k y s “To cc a t z
’
a
”

Th e i mpu l s e h er e c ome s f r om thr ow i n g of t h e th ird fi n ge r

a .

B e e th o v en , Sonata , 0 p 28 .
,
l a s t m o v e me n t a t t h e en d :
B ee t h o e n S o n t
v ,
a a O p 28 .
70 EA RS , B RA I N A ND FI NG ER S

S i mi l a r l y i n S ch u ma n n s Tr a u mes wi r r en :
’

S c h u mann “Tr aume sw ir re n

,
”

T hi s p r i n ci pl e ca n be a p pl ied to mu s ic for ch i l d r e n a l s o ; for

i ns t a n ce :
“-

Sch y tte s , Ta g
’ 7’

O B J E CT OF THE LES S ON
1 . C onti nu e th e h e a ri n g of f ou r v o ic e s .

II . B e gi n v el o cit y W ork .
 C HAPT E R ! VI .

Th e c a d en c e up thi s tim e h a s b e e n he a r d in it s s i mp l e f or m
to
of T on ic , Su b D omi n a n t a n d D omi n a n t
-

, , O t h er h a rm on ie s
ma y b e u s e d in p l a c e O f th e s e ch or d s w hich gi v e t h e c a d en ce a
ch a nge of c ol or b u t d o n ot a l t e r t h e ch a r a ct e r of it T h e s e ch or d s
.

w h ich ma y b e u s e d a s su b stitu t e s for t h e ori gin a l I IV V , I ma y

, , ,

e v e n b e c on s i d er e d a l tera ti on s of th e m .

The d e v el opme n t O f t h e a b il it y t o h ea r a ch or d w ritten d i ff er

en t ly th a n it a pp ea r s in t h e s i mp l e c a d en ce ( b e in g u s e d a s a
su b s titu te for th e ori gi n a l f orm a nd s e rv in g th e s a m e pu rp os e) ,

i s hi gh ly i mp or t a n t a n d s h ou l d b e c a r e f u ll y s t u d i e d F oll o w th e
.

dir e cti on s in t h e p r e v i ou s l e ss on .

E x a mp l e s for tra i n in g t h e e a r t o h e a r thi s p oin t a r e a s fol lo ws

F or in s t a n c e t h e D omi n a n t Se v e n th s h ou l d b e h e a r d a s t a ki n g
,

th e p l a ce of the s imp l e Domina nt :

Th e Su p e r Ton ic ch or d s h oul d b e h e a r d
-
as t a k in g t h e pl a c e of

the Su b D omina nt :
-

Cl u v 1 0 1 li v i v7
x I 0 1 U V 1
I
.

71
72 EA RS , BRAIN A ND FI N G ER S

Th e f oll o w i n g e x a mp l e s c on t a i n i l l u s tr a t i on s of the u s e of b ot h
Dom i n a n t Se v e n t h and Su p e r -
T on i c ch or d s .

Ex t r ct
a s f r o m G er m n C h i l d re n s S o ngs
a
'

11 v v I
7 7

B ee t h o ve n S ch u ma nn

Be eth o en v

D I 11 v7 1

P E B . ach

Cmmor l
74 EA RS , B RA I N A ND F I N G E RS

E v
,
I It,

The Su per toni c Seventh i n M i n or :

E minor 1 1 17 V A minor l II 7 V I Cminor I u,

Puiinor 1 “ v 1
8 min o r I II; V I
7

Tc h a ik o vs k y t l e Ro manz e

Emme t l A minor l n,

C mi no r VI
 EA RS , B RA I N A ND FIN G ER S 75

Ch o p i n

F m in o r 8 mi

Th e t h e mi nor Su b Dom in a n t in a maj o r k ey wa s s u g

u s e of -

g e s t e d b y s om e o f t h e ex a mp l e s g i v e n in Ch a p t e r ! I I I ( B a n d

C ) fo r h e a rin g tria d s F or h e a rin g thi s ch ord in t h e f ou r v oice d

,
.
-

c a d en c e p r oc e e d a s f ol l ows :
,

et c . i n ot er e s
h k y

Ill u str a ti on s of thi s f orm O f the c a d en c e :

He ll er, Pre l u d e, N91

V 11 0
7

El: m i no r IV
76 EA RS , BRA IN A ND FI N G ERS

Se el s o Ch op in Etud es 0 p 1 0
a , .
, No . 10 ( l a s t thr e e me a s u re s )
a n d N0 1 2 ( l a s t t w o me a s u r e s )
. .

I n hea ri ng the Di mi ni s hed S eventh chor d in t h e tr a in in g w ork ear ,

th e poi nt for t h e p u p i l t o fir s t d e t e rmi n e i s t h e k ey in w hich it i s

writt en Th is h e w il l b e a b l e t o tel l a fter he a ri ng t h e ch ord
.

res ol v ed T h e c h ord it s el f pl a y ed w ith ou t it s re s ol u ti on may

.
, ,

s u gge st a ny n u mb er O f k ey s B ut a s s oon a s th e res ol u ti on i s

.

p l a y ed i t s ch a r a cter i s a t o n ce deter mi ned

,
.

F or ex a mp l e :

or
Cminor o r m jo r
a A m in or o r m jo r
a ELmin o r o r m aj o r F3 m i nor o r majo r

After h e a r in g t h e s e D i mi n i s h ed Se v enth ch ord s a nd its

on e o f

res ol u ti on pl a y e d the pu p i l s h ou l d b e a b l e t o n a me t h e k ey in
,

whic h it i s writt en and t o t el l on wh a t t one th e D imi n i s h ed

,

S e v en th i s f ou n ded He s h ou l d k now th a t this ch or d i s f ou nde d

.

on th e s e v e n th d egree O f t h e h a rm on ic m i n or sc a l e a n d ma y b e

c o ns i dered in th e l i ght of a D omin a nt M in o r Nint h w i t h the

D om i n a n t t on e om itted :
C m i n o r V9 Di m 7 th

I t may r es ol v e i n t o eith e r ma j or or mi n or .

E x a mpl e s il l u str a ti n g the u s e of thi s ch or d w hic h s h ou l d b e

,

p la y e d for th e pu p i l to hear a f ter th e p re l i mi n a ry w o rk i s d on e ,

a r e a s f oll ows :

Ba r lo w Up 98 , N91
,

v I Di m 7 th A mmor
C l 7
I
on Gl I
 EA RS , B RA I N A N D FI N G ER S 77

A minor Di m 7 th 16 Di m 7 ih 16 [I
on Gil
B eet h o ve n , R ondo i n C

C mi no r I dim . 7 ih on B

B e e th ove n , So n a ta , Op 1 0, N91

C mino r d im 7 th I 16

mi nor 1 17 d i m th
on g
A
G

S c h u b er t ,
‘
Fa i t n i n S pr i n g "

d im 7 i h
on D
78 EA RS , B RA I N A ND FI N G E R S

S c h u ma nn Nov e l e tt e
,
N96

F3 m inor Di m 7 th
. on E
3

T he s e fe w ex a mp l e s s h ou l d b e s u ffici e n t t o g i v e t h e i d e a h o w t o
a pp l y the e a r tr a i n i n g w ork t o t h e h ea rin g O f mu s ic h a rm on ic a ll y .

T her e i s p r a ctic a lly n o l i m it t o th e a m ou n t o f m a ter i a l w h i ch

ma y b e u s ed A s th e p u p i l a d v a n c e s in hi s t h e ory w o r k h e
.
,

sh ou l d b e c ap a b l e O f u nder s t a nd in g a n d h e a rin g mo re c o mpl i

ca t e d h a r m ony .

TE CHNI CAL WO RK (CHORD PLAYING)

As a r u l e c ho
, rds a r e l
p ya ed c l o s e t o the ke y s — t h a t i s pr e , ,

p a r ed . B y th i s is me a n t th a t t h e h a n d sh ou l d b e ov e r th e n o t e s

of th e ch o rd b e fore s o u n d in g th e t on e T here a r e S O m a ny fa c
.

t ors e nter in g in t o goo d c h ord p l a y in g h o w e v e r th a t th ey mu st n ot ,

b e ov erl oo ke d F or ex ampl e th e s h a p i n g of t h e h a n d t o fit a
.
,

ch o rd h a s a lrea dy b een spoken of a t th e b e gi nn in g of t h e ch a pter

on a rp e gg i o s ( T he c u r v ed firm fi nge rs on t h e w hit e key s a n d
.
,

the fir m b u t stra i ght fi ng e rs on th e b l a ck key s w ith th e h an d a s ,

w el l ar ch ed a s the s ize of th e c ho rd a n d the s h ap e o f th e h a n d

a ll o w s ) .

The loo sen ess of the a r m fr o m t h e s h ou l der is a nother v ery

M p ort a nt fa ct or in ob t a inin g a good q u a l ity of t on e Ha rdness .

of t o n e in ch o rd s i s a l m os t a l w a y s tr a ce a b l e t o sti ffn ess i n th e

arm ,
— p a rtic u l a r l y in t h e sh ou l der .

A ch ord p a ss a ge s h o u l d b e p r a ct i s e d s l ow ly en ou gh for the a r m

t o b e rel a xed a t e v ery ch ord Th e i mp u l s e in ch ords c om es
.

u s u a ll y f r om the u pp er a r m T he a rch ed h a n d r e st s on t op of
.

the k ey s ov er th e ch ord b e f ore t h e t on e i s s ou nded T here i s a n

, .

i n s t an t of ten s i on in the u pp er a rm w h i ch c a u s e s t h e to n e b u t ,

th e rel a xed c on dit i o n of th e a rm m u s t b e immedi a te l y re su me d .

T h e w ei ght of th e a rm i s a dd ed to th e to n e b ut t h e w r i st m u s t ,
 EA R S , B RA I N A N D FI N G ER S 79

have as m u ch e la s ticity as poss i b l a t

e mom e n t th e ch ord i s
th e
s ou n de d Th e a dd iti on o
. e f th e w i ght o f t h e a r m g i v e s s on orit y

t o th e to n e a n d p re v e n t s t h e h a rd s te e l y q u a l it y w h ich p r e v a i l s
“ ”

i f a ch or d i s p l a y e d w ith t oo mu ch ten s i on A good e x a mp l e of .

su ch ch ord s i s fou n d in t h e Ch op in P relude No 20 In a more , . .

a d v a n c e d f or m in the i n t r od u cti on t o t h e Tch a ik ovs k y C on ce r t o

,

i n B fl a t mi nor .

I n a n i s ola ted or s t a cca t o chor d w hich i s t o b e p l a y e d b ot h

s ta cc a t o a n d pi a n o t h e h a n d i s p r ep a r e d on t h e k ey s a n d th en
,

fl i e s u p fr om th e w ri s t w ith a s l ittl e d i ggi n g i nt o t h e k ey s a s

“ ”

p oss i b l e W h e n a l a r ge r t on e i s d e s ire d m or e f orc e f r om the a r m

.
,

i s ex e rt e d c a u s i n g gre a t e r r e fl e x a cti on E xa mp l es of b oth k ind s

, .

O f s t a cc a t o ch or d s a r e a s f ol l ows :

“
wil l O t h e W i s p Ku l l a k , O p 6 2, N91
"
’
c,
.

Pa rl

I n lega to chor ds r equ iri ng a si ngi ng qua li t y r a t her tha n bi gn es s

of ton e , t h e h a n d i s h e l d p r e p a r e d ov e r t h e ch or d c l os e t o t h e ,
80 EA RS , B RA I N A N D FI N G ERS

k ey s w h i l e th e
, ar m and wri s t s i n k w ith w e i ght i n t o th e key s .

F or ex a mp l e :

S ch u ma nn ,
O p 6 8 , N94 1
.
o me nt MU S ica l "

C h o p i n No c t u r n e O p 3 7
, , N91

An oth e r i mp ort a n t po n i t i s i ll u s tra ted h e re —the , n eces si t y of

p la yi ng the u pp er voi ce wi t h a d ecide d l y s i n gi ng qu a l i t y of tone .

Th e t e ch n ic a l w ork d on e b y t h e fi fth fi n ge r in t h e e l e m e n t a ry
fi nge r ex e rc i s e s p r ov e s i t s v a l u e h e r e for th e firmes t t on e h a s t o ,

b e ma de w ith th e w e a k e s t fi n g e r Th e firme r th e fif t h fi n ge r i s .
,

th e more on e i s a b l e t o a ll ow t h e w e i ght of t h e a r m t o r e s t on it
w i t h ou t a f e el in g of c on tra cti on a n d t h e b e tter th e t on e O f th e ,

ch ord w i l l b e O th e r i ll u s tr a ti on s of thi s poi n t may b e f ou n d in

.

The P oet S p ea k s f r om S ch u m a nn s Ki nder s ce ne n S u nda y M or n ’

i ng b y Ku l l a k Ma cD ow ell s W ate r L i l y Ra ch ma n in off s P r el ud e

,

’ ’
, ,

i n C s ha rp mi n or a n d th e B r a h m s I nter mezz o O p 1 1 8 NO 2
, , .
,
. .

A s u cc e ss i on O f ch or d s s u c h a s i s O f t e n f ou n d in a ccomp a ni ment
to a me l ody i s p l a y e d s i m i l a rl y
, F or ex a m pl e t h e F ou rth Pr e l u d e
.
,

o f Ch op i n Th e l e f t h a n d rem a i n s c l os e t o t h e k ey s in a w e l l
.

a rch e d p o s iti on w hic h i s mod ified a s t h e ch ord s ch a nge T h e

, .

t on e i s ma d e b y the w r is t in s ome w h a t th e s a m e m a nn er a s the

“
R o c k ing W ri s t w i th t h e h a n d r e ma inin g firm An ex a mpl e
”
, .

of th i s in a n e a s i er f o rm i s f ou n d in R ei n ec k e s Thou s a nd a nd One
’

Ni ghts .

Chor ds whi ch de ma nd a ver y s trong a ccent p a rt i c u l a rly in a ,

“
r a p i d t e mp o a r e pl a y e d as if pu s hed a wa y f r o m th e p l ay e r
,
”
.

Th e h a n d i s c l os e to th e k ey s b u t a s u dd e n i mp u l s e f r om the a rm
, ,
 PHRA S ING

The hea ri n g of P hr a s i ng i s a n i m p ort a n t p a rt o f t h e e a r tr a i n i n g

w ork A t fir s t it i s b e tt e r t o s el e ct p hr a s e s O f r e gu l a r l e n gth a n d
. ,

th os e w hich a r e d efi n it e b oth rh y t h mic a l l y a n d h a rm on ic a ll y .

F or ex a mpl e t h e Nachts tu ck i n F b y S ch u m a n n :
,

A ns w er s
!u e t i o n

Th e p u p i l sh ou l d thi nk of th e p hr a s es i n th e l i gh t of q u e s ti on
and an sw er ,
a s h e w i ll b e b e t ter a b l e t o r e a l ize th e ir r e l a ti o n s h ip
in t h is wa y . H e S h o u l d b e a b l e t o te l l w h e r e th e p hr a s e s e n d a n d ,

wh ere th e p eri od e n d s fr om h ea ri n g th e pa ss a ge pl ay e d So fe w
,
.

p up
i l s ca n rec o g n iz e a p hr a s e b y s o u n d th a t i t i s i m p o
, rt a n t t o

d e v el op thi s p oi n t in t h e e a r tra i n i ng .

i
S mp l e b a l l a d s l ike S w a n e e R i ve r o r C o m i n t h r ou gh the Ry e
’

i ll u s tr a te thi s p oi nt a n d a r e v ery u s ef u l for t h e h ea ri n g O f

,

p hra s e s .

Th e f ol l ow i n g are al o u s sef ul ex a mp l e s for i ll u s tr a ti n g thi s :

B eeth o ven .
M i nu et fr om S ona t a 0 p 4 9 No 2 ,
.
,
. .

M i nu et from S ona t a 0 p 22 ,
. .

A nda nte fr om S ona ta 0 p 1 4 No 2 ,

.
,
.

Ba ch . Ga vot te fr om Thi r d E n gli s h S u i t e .

Sch u m a n n Ha p py F a r mer .

F r om F or eign P a r t s .

C h op i n Chora le from Noctu r ne 0 p 3 7 No 1 ,

.
,
. .

P r elu de 0 p 28 No 7
,
.
,
. .

Th La ck. Ca b a let ta .

M en d el ss oh n Cons ola ti on a n d S pi nnin g S ong .

R e i n e cke So n a ti n a ,
0 p 4 7 N o 1.
( 2n d m ,
o v e me n t ) .
.

82
 EA R S , B RA I N A N D FI N G ER S 83

The a bi l i ty to hea r cr es cen d o a nd di mi n u en d o ,

t
ri a r da n d o a n d

a ccel e a nd o,
r le ga t o a n d s a cca o, t t is a poi n t which t firs t th ght
a ou

s ee ms s
r fl u ou s t o d w e l l u p on
u pe a n o o
.
e B u t it i s s t o i s hi ng t n tic
h ow v e ry of t e n a p e r s on p l a y i n g i s u n a e o e a e e e e b l t h r th s ff ct s
in hi s own w ork He thi n k s th e m a n d t hi n k s tha t h e i s ma ki ng
.
,

t hem b u t t h e l i st e n er h a s n o r e a l iz a t i on o f i t T a k e for e x a mp l e
, .
,

a me l od y l ik e thi s on e f r om M o z : r t : .

The p up i l s h ou l d b e a b l e t o t e l l f r om h e a ri n g it w h e r e th e ,

cr e s c e n d o a n d d i m i n u e n d o s t a cc a t o e t c a r e f ou n d a n d b e a b l e
, , .
,

t o p l a y t h e s h a d i n g s e t c a f t e r h e a ri n g th e m
,
.
, .

B ee t h o e n
v

Me n d e l ss o h n S o ng
,
w i t h o t \Vo
u r d S, N922

B ee t h o e n
v ,
R ond o i n C

F or t h e h e a ri n g O f sl r s u a nd th e a b i l ity to c l ea rl y d efi n e t h e
84 EA R S , B RA I N A N D FI N G E R S

d i ff eren ce b e tw e en st a cc a t o and sl rs s
u , u ch me l od i e s as th e s e
s h ou l d b e u s ed :
F r o m G rm n C hi l d re n s S o ng
e a
’
s

Re i n e ck e

S c h ub e rt

T h e te a c h er s h ou l d s e l ect mel odie s f r om th e c omp os it i o n s b e i n g

s t u d i e d a s fa r a s poss i b l e —
, p a rtic u l a rl y if th e p u p i l h a s d i ffic u l t y
,

w ith th e s e p oi n t s .

PE DA LINC

The u se o f the p ed a l sh ou l d be st u d ed i f r om th e s t a n d p oi n t of

ear tra i n i n g , good p ed a li ng d ep end s u p on the a bi li t y to h ea r wel l

as

mor e t ha n a ny thi ng e l s e Th e f oll o i n g e l e m e n t a ry e x e rci e

. w s
fr o m S ch mitt s U f th
’
se o e Ped a l g i v e s t h e b e gi nn e r th e i d e a of
“
th e so c a l led
-

sy n c op t d a e
”
p ed a l , w hic h i s the fi r s t u s e of it .

! J I J 3 J I J I
I 2 3 I 2 8

l
8

i
3 8
Fe d
t f t f
f f
-

T h e p p i l sh l d n tice b y l i s t n i g c l s l y th t t h p d l
u ou o e n o e , a e e a

c n cts t h t
o ne s w hic h th r w i s e w l d b e di s c
e on e ect d T h e o e ou onn e .

e xercise sh l d b e d e t fir s t s l wl y th n w it h i n cr s ed s p e d
ou on a o , e ea e .

W h n pp l y i g th is t o a p i c
e a s l ct
n i f p ss i b l w h ich h e e, e e on e o e as a

s i mi l r b t F x mpl Sch m nn s F m F i gn P t
a ea . or e a e, u a
’
ro or e a r s , or

in m re p p l r s ty l T h m e s Si mp l C f i n
a o o u a e, S hy t t o
’
e on es s o , or c
’
e s

H p Pl y
ar T h e t ch r sh l d p l y
a er . s cc ss i n f ch r d s
ea e ou a a u e o o o

u s i g thi s sy n c p t d p d l p rp s l y ll w i g th e p d l t
n o a e e a , u o e a o n e a o

bl ru f t h ch r d s w i t h
on e o th r Th p p i l S h l d b
e o bl e ano e . e u ou e a
 E A RS , BRAIN A ND FI N G ERS 85

to t ellw hich on e it i s , a nd wh
th e r i t i s c orr e cte d or not th e n e xt
e

tim e it i s p l y e d
a E v e n w it h a n a d va n c e d p u p i l it w i l l O f t e n b e
.
,

f ou n d q u ite as n e c e ss a ry for h im t o b e tra i n e d t o l i s t e n c a r e f u ll y

for c l e a r n e ss of p e d a l i n g Not on l y s h ou l d th e te a ch e r pl a y for
.

h im t o l i s t e n t o t h e pe d a l i n g b u t t h e p u p i l s h ou l d b e m a d e t o
,

s t op aft er e a ch cha ngi n g of the p eda l l i s t e n to wha t he h a s

p l a y ed
, ,

a nd be a b l e to te l l whet her the p eda l i ng wa s r i ght Th e f oll ow i n g .

c om pos iti on s a r e w e l l a d a p te d t o t h e s t u d y of t h e p e d a l .

M a cD o we l l s W ild Rose ; S ch u ma n n s Roma nz e i n F s ha r p ;

’ ’

R u b in s t e i n s B a r ca r ol l e i n G mi nor ; Li s zt s Tra ns cri pti ons of

’ ’

S chu b er t S ongs .

Th e h e a ri n g of th e f oll owi ng e x a mp l e s of p ed a l e ff e ct s i s n ot
on l y for t h e p u r p o s e of s ti mu l a ti n g t h e p l a y e r s a b i l ity t o h e a r
’

hi s ow n p e d a l i n g b u t a l s o t o ga in t h e c on ce n tra ti on n e c e ss a ry t o
,

h ea r s u ch e ff e ct s w h en th ey a r e ma d e b y oth e rs M od e r n .

p i a n i s t s O ffe r so ma ny a n d s u ch v a ri e d p e d a l e ffe ct s th a t a k e e n ,

e a r i s n e c e ss a ry in o r d e r t o a pp r e ci a t e a n d u n d e r s t a n d th e m .

Pe d a l in g h a s d e v el op e d a n d ch a n ge d w ith in a few y e a r s a n d i s ,

n ow a fin e a rt .

The f the p eda l to con nect tones w h ich c ann ot b e c on n e ct e d

us e o

b y t h e h a n d s i s s o c omm on th a t it s h ou l d b e ma d e a pp a r e n t t o
,

F or in s t a n ce D e b u s sy s C l a ir de L u ne :
’
th e e a r .
,

or th e Ch op i n S cherzo i n B mi nor :

The c onne ct i on of the fu nda me nt a l tone wi t h the p e da l ve ry

i mp ort an t Ch op i n s Noct ur n e i n D fl a t:
.
’
86 E A RS , B RA IN A ND F I N G E RS

or th e Sch u b e rt I mp r omp tu No . 3:

Th e s e s h ou l d b e pl a y e d fi r s t with o u t p ed a l th a t t h e dryne ss O f ,

t h e fi gu r e w h e n w ith ou t th e b l e n di n g O f th e p ed a l may b e h e a rd , .

T hen sh ou l d b e pl a y e d w it h a b l u rr e d ped a l in g w ith t oo l itt l e ,

p ed a l
,
etc a .n d,
a l s o c orr e ct l y th a t th e ea r m a,y b e tr a i n ed t o h ea r
w hy th e i n c orrect p e d a l ing wa s not good a n d j u s t w here th e ped a l
wa s t a k e n Th i s s h a rp en s th e e a r for th e s u s t a i n i ng of t h e
.

f u n d a m e n t a l t on e a n d t o a q u ic k er p e rc ep ti on O f poor p ed a l in g
, .

A p u p i l ma y b e a b l e t o f oll ow p e d a l ma rk s a n d b e a b l e t o u s e the
p e d a l b y s i ght t ol er a b l y w e ll
“
B u t u n l ess h e l ea r ns to hea r wh y
”
.

the p ed a l i s s o ta k en a nd to fee l wi thi n hi mself the n eed of h a vi ng i t

so don e , he ha s ga i n ed l i tt l e or n ot hi ng whi ch wil l hel p hi m to p eda l
a n ot her comp osi t i on we l l O th e r e x a mp l e s of thi p oi nt a r e :
. s
vs
Cha n s on Tri s t e , b y T ch a ik o ky , a n d P relu des , Nos 1 , 7 , 1 5 a n d .

17 by Ch op i n A n ot h e r ex a mp l e of t h e c onn ecti on of the f u n d a

.

m e n t a l t on e i s i l l u s tr a ted in th e f oll ow i ng me a s u r e s H er e i s .

p r e s e n t e d t h e p r ob l e m of t h e f u n d a me n t a l a s a p a rt of a n a r p e g
g ia t e d ch or d w h ich i s o f t oo g r e a t a s tr e tch for t h e or d i n a ry
,

h a n d t o r e a ch In s u ch c a s e s th e f un d a m e n t a l t on e i s re a lly
.
,

l
p y a ed a t th e l a s t o f th e p r e c e d in g m e a s u re a n d i s i mme di a tely ,

c a u ght b y th e pe d a l w hi l e t h e t op O f the a rp eggi a ted ch ord

,

c om e s in w it h th e r i ght h a n d F or ex a mpl e : .

He l l r P l d 0 p 81 N91
e ,
re u e ,
.
,

is pl ayed
 EA R S , BRA IN A ND FI N G ER S 87

Th e p u p i l sh ou l d be a ble to hea r wh r
e e t h e p e d a l wa s t a ke n ,

wh en u s ed c o rr e c t l y , a nd tell to w he n and why it wa s c orr e c t

wh en d on e in t h e fir s t m a nn e r . Sim i l a r l y in M e n d e l ss oh n s
’

Spinni ng S ong :

Se e al o s Ch op in ’
sP r e l ud e , No 23.
,
and R u b in st i
e n
’
s M el ody in
F
f
I
THE U SE O F TH E PE DA L FOR TO N E CO L O R AN D SHAnI NG

I n n u me r a b l e e x a mpl e s O f thi s u s e of t h e p e d a l ca n b e f ou nd , a nd

sh ou l d b e gi v en tr a i n i n g w ork in or d e r t o d e v e l op a
in t h e ea r ,

g r e a t e r s e n s iti v e n e ss t o p h r a s i n g a n d w h a t i s c ommon l y k n ow n
“
e xp r es si on A s th e p eda l i s s u ch a n i mpor t a n t fa ct or i n a idi ng
”
as .

th e pi a ni s t to col or the ton e a nd give e xp res si ven ess to hi s p la y i n g

, ,

i t i s ne ces s a r y for hi m to b e a b l e to hea r the efiects hi ms elf b efor e h e

ca n e xp ec t to ma k e t he m hea r d by o t her s .

On e of m os t s i mp l e b u t e ff e cti v e m e a n s i s t o g i v e t he im
th e

p r e ss i o n o f cr e s c e n d o a n d d i m i nu en d o b y t h e u s e O f t h e p ed a l .

Th e p a ss a g e i s r e a ll y pl a y e d cr e s c e n d o w i t h a s u d d e n p i a n i ss i m o
f oll o wi n g i t Th e p e d a l b e i n g h e l d r e t a i n s t h e t on e of t h e cr e s
.
, ,

c e n d o a n d gi v e s t h e e fl e ct of st e a d i l y d im i n i s hi n g t on e s
,
F or .

e x a mpl e :

Moza rt ,
F a nta s ie in D mi n or
 88 EA R S , B RA I N A N D FI N G ER S

In s i mpl e form , Ku ll ak
’
s Ni ght i nga l e :
Ku l l a k ,

T he f ol l ow i n g p a ss a ge i s f rom Li s zt ’
s Bi rd Ser mon :
L i s t B i r d S ermo n
“ z ,
”

Pl a y th e s e si mi l a r e x a m p l e s wi t hou t peda l wi t h peda l b u t

an d ,

wi t hou t di mi n u en d o a n d th e n wi t h the a b ove efie ct a n d b e a b l e to

, ,

Se e a l s o t h e A l a b ie ff L i s zt Ni gh t i nga l e
'

hea r the difl e r e nce .

-

( c a d e n z a ) a n d t h e B e e th ov e n S on a t a 0 p 27 No 2 ( fir s t mov e
, , .
, .

me n t m ea s u r e s 3 5
,

S i mi l a r t o thi s i s t h e su s t ai ni n g of the ha r moni c s t ru ct u r e of a

p a ss a ge b y the p eda l a l l ow i n g t h e h a r mon y t o s o u n d thr ou gh ou t
,

the p a ss a g e a n d gi v i n g it a v e i l e d e ffect .

T h e D omi n a n t a rpe ggi o c omp l e t e l y v e i l s th e b y t on e s in t h e -

s e c ond me a su r e ma ki n g th e D omi n a n t ch a ra ct e r O f th e p a ss a ge
,

cl e a r t o t h e l i s t en e r Pl a y thi s wi thou t p eda l a n d a l so wi th other

.

peda lin gs t o d i s ti n gu i s h th e d iff e r e n c e Se e a l s o H e ll e r P rel u d e

.
, , ,

0 p 8 1 No 3 (m e a su re s 6 1
.
, . S ch u b e rt L i s zt F r uhli ngs gla u be-

,
90 EA R S , B RA I N A ND FI N G ER S

Sc h u m a n n , m — la st me a s u re s ):
Ca r n a va l .
( P ro e n a d e , tw o
Sch u ma n n , C l Pr o m n a d e
" ”
a r n av a , e

In s i mp l e f or m, Ku ll a k ’
s Ghos t i n the Chi mn ey :

The hea ri ng of the f the ped a l for the pu r pose of i ntens ifyi ng
us e o

a n a cce nt a n d a t t h e s a m e ti me j o i n i n
, g t w o t o n e s s o th a t t h ey
f or m a s l u r i s i l l u s t ra t e d b y e x a mpl e s s u ch a s t h e f ol l ow i n g :
,

Tc h a i k ovs ky ,
R ma o nc e in F mi nor

C h op i n ,
B a lla d e in G mi n o r

Se e s
al o th e S ch u b e rt I mp r omp t u 0 p 90, No 2 ,
. .
, (fi f t e e n th
m e a s u re f r om th e e n d) .

In a l l O f th e s e e x a mp l e s , th e st u d en t s h ou l d be a ble to hea r
the m wi t h mor e t ha n on e k i n d of p eda li n g .
 EA R S , BRAIN A ND FI N G E R S 91

In b ri l l i a n t sca le p a s s a ges t h e p e d a l m a y b e u s e d pr ov i d e d t h e
, ,

foo t i s r e m ov e d f r om th e p e d a l i mmedi a te l y a t the e nd o f t h e p a ss

a ge . Su ch p a ss a ge s s h o u l d b e i l l u s t ra t e d fir s t wi t h ou t p eda l ; , .

s e cond wi t h the p eda l h e l d ove r t i me ; t hi r d wi t h i t cha n ged on ce or

, ,

t wi ce d u ri ng the p as s age ; a nd fou r th h eld t hr ough ju s t to the end a s

, ,

t t
s a e d a b ove .

Sin din g , F ru e hli ngs ra u schen e p a ss a ge s In L

( S h ort sc al .

M a cD ow e l l Polon a i se ( fir s t me a s u r e ); L e s ch e tizky Et ude

, ,

Her oi qu e ( m e a s u r e s 23 24 a n d 3 9 , , C y ri l Sc ott Da n s e Negre

, ,

( e n d ); Ch op i n G mi n or B a l la de ( e n d ) a n d Et u de 0 p 25 N0 1 1
, , ,
.
, .

( e n d ); B ra h m s Rha p s ody 0 p 7 9 N o 1
, , .
, . .

Th e s e e x a m pl e s a r e on l y a v e ry fe w of t h e s i mp l e p e d a l e ff e ct s ,

s el e c t e d with t h e i d e a of gi v in g p u p il s p r a c t ic e in h e a ri ng th e m ,

a n d t o d e v e l op i d e a s of th e ir o wn o n th o s e l i n e s T e a ch e r s w i l l .

fin d thi s w ork in t e r e stin g t o b e d on e in c l a ss e s Pu p il s ca n p r a o .

t i s e l i st e n i ng t o th e m b y p l a y in g e x a mp l e s for e a ch other .

MEMO RIZ IN G
The nece ss i t y for s peci a l d eve l op men t f the i n te l lect u a l sid e of
o

mu si ca l me mory w a s t ou ch e d u p on in Ch a p t e r s V a n d V I in
r el a ti on t o ch i ld ren s w ork ’
.

F or p u p i l s a l itt l e O l d e r a c om p os iti on l ik e t h e Ph Em B a ch
, . .

Solfeggi etto O ff e r s e xc e l l e n t ma t e ri a l for t h e f ou n d a t i on of h a r mon ic

m e morizi n g A S s oon a s the p u p il k n ows t h e T on ic D omi n a n t
.
, ,

a n d Su b D o mi n a n t ch or d s h e ca n a pp l y h i s k n ow l e d g e d ir e c t l y
-

t o t h e fir s t l i n e of t hi s c om p o s i t i on a n d ca n r e a l iz e t h e u s e O f t h e
,

T on ic a nd D om i n a n t ch or d s in it .

A n o th e r c om pos iti on w hich O ff e r s e xc e l l e n t ma t e ri a l for t h e

f o u n d a ti on of h a r mon ic m e m orizi n g i s t h e P res d u n Ru i s s ea u
’

b y Ka r ga n off T a k e t h e fir s t p a ge for e x a m p l e :
.

s ea u ”
92 EA RS , B RA I N A N D F I N G E R S

G I D m ajo r IV
( m od lat i o n )
:

T h e p u p i l s h ou l d fir s t a n a l y z e it h a rmon ic a lly Th e n in hi s.

p r a ctice , h e s h o u l d l
p ya s l o w l y e n o u g h t o b e a b l e t o th in k of
th i s u n d erl y i ng Ha r mon y a s he p l a y s a n d t o hea r it a t the s a m e
,

ti m e :

G major I
—
l — D1 2 V, I

He sh ou l d b e c a r e f u l t o hea r a n d s ee th e s e ch or d s b e fo re h e
l
p ya s the m I
. n th i s w a y the th o
,u ght gu i des th e fi ng er s i ns te a d
of the fi n gers p la yi n g a u toma ti ca l l y .

F or i n s t a n ce b e f ore h e b e g i n s pl a y i n g the p i e c e h e s h ou l d s ee
,

, ,

on t h e k e y b oa rd t h e T on ic ch or d of G ma j or in the s e p o s iti ons :

s s
W h i l e h e i p l a y i n g m e a ur e thr e es an d f ou r h e sh ou l d see the
,

v
D om i n a n t Se e n th ch o r d a s it l ook s on t h e k ey b oa r d a n d f u ll y
,
94 EA RS . B RA I N A ND F I N GE R S

t o thi nk f this
o ha r monic s tru ctur e b efor e p l a yi ng i t; a n d to t
re a i n

the me l odi c s
l i n e of the c om p o iti on a t t h e a me time s .

W hen t hi s p ower of thi n k i n g a hea d ha s b een ga i ne d a qu a li t y of ,

menta l con t r ol i s given to the p l a yi ng, of whi ch even the u ni ni t i a t ed

li s te n e r i s con s ci ou s
:
Th e foll ow in g i s a l i s t of c omp os i ti on s e sp eci a l ly a d ap ted for
t h e d e v el op me n t of m e morizi n g in th i s w a y .

Medi u m Gr ade of Diffi cu l t y :

Pb Em B a ch
. Solfeggi etto
.
,
.

B a ch , Ei ghth I nve ntion .

B e e th ov en Rond o i n C maj or, .

do . A n d a n t e fr om S ona ta 0 p 1 4 No , .
, . 2 .

H e ll e r , P r el ude s 0 p 8 1 Nos 1 2 3 a nd , .
, .
, , , 15 .

Ka r ga n off
’
P r es d u n Ru i s s ea u
, .

R u b i n s t e in P ol k a B oheme , .

M o z k ow s k i S cher zi n o i n F maj or
, .

L e s c h e tizk y W ell en u nd W ogen , .

Ad va n ce d :
B a ch , Prelud es Nos , . 1 , 4, 15 , a nd 20 .

B ee th o v en , A da gi o t
ca n a bi l e fr om S on a t a , 0p 13 . .

B ee th ov e n , Ron do a Ca pricci o .

Ch op i n , Et u des , 0 p 25
.
, Nos 1 2 .
, , a nd 3 .

“
S ch u b e rt -
Fis ch o f, B a l l et M u si c Ros a mu n d e .
”

Sin d i n g , Gob l i n .

G l a z ou n ow , Ga vott e i n D maj or .

G l u ck Sa in t Sa én s , A l ce s te
- -
.
 C HA PT E R ! V III .

SO ME U S E F U L H I N T S

Inc on c l u s i on a fe w r e ma r k s c a l l in g a t t e n t i on t o s ome f e a t u r e s
,

of t h e w ork m a y b e he l p f u l t o b ot h t e a ch e r s a n d s t u d e n t s .

A s wa s s t a t e d in Ch a p t e r V the fi r s t obj ect th a t w e w o r k for in

,

tech nic i s ge tt i ng the tone p la ce d th a t i s ge ttin g t h e p l a y i n g a p

, , ,

pa r a t u s s o a cc u s t ome d t o t h e c orr e ct p os iti on a n d S O p e rf ect l y

rel a xe d th a t pu r e fi nger a cti on b e c om e s p os s ib l é
,
.

A S s o on a s a s l i ght p r ofici e n c y h a s b e e n a tt a in ed s o th a t a ,

s im p l e E tu d e or tw o can b e pl ay e d wi th these condi ti on s ma i n

ta i n ed the pu p i l s h ou l d a p p l y thi s fi n ge r a c t i on t o p i e c e s
“
,
"
It .

is mu ch b e tt e r for h i s mu si ca l devel op ment for h im t o b e gi n t o

p la y s ome t hi ng i n s te ad of d eve lopi ng the p u r e l y t echni ca l s i de t o a
,

hi gh d e gree b e f or e a pp l y i n g it t o re a l m u s ic .

If on e w a it s too l ong b e f or e a pp l y in g t h e w ork t o c om p os i t i on s ,

t h e p l a y in g b e c o m e s s tiff a n d u n na tu r a l s a v ori n g t oo m u ch o f
,
“
me th od F u rthermor e te ch n i c i n the br oad se ns e i s n ot p u r el y
”

,
.
, ,

me cha ni ca l ; ther e i s a n i nte l lectua l a nd mu si ca l techn i c a s w e ll ,

w hich can b e a cqu i red a nd developed onl y from mus i c .

O n e mu s t b e p r e p a r e d t o e xp ec t t he f oll ow i n g s y mp t oms in
th i s fir s t a pp l ic a ti on of t h e t e ch n ic Th e firs t p i e c e s c a nn ot b e
.

s a id t o b e i n ter pr e ted : t h e t on e i s Sma l l u n c e rt a i n w a bb ly a n d

, , ,

on t h e s u r f a ce of t h e k e y s O n e thi n k s r a th e r of a ch il d t otteri n g
.

a l on g b y a id of a ch a ir th a n of a p e r s on ma kin g fir m r a p i d
, ,

s tri d e s b u t w e a l l a r e ob l ige d t o t a ke ou r fi rs t s t ep s in thi s w ay

, .

A S t h e t e ch n ic a l w ork go e s on a n d t h e fi n ge r s g a in in fir mn e ss
,

a n d s t r e n gth f r om t h e d a i l y p r a c t ic e a l i t t l e m ore su r et y cr e e p s
,

in t h e k e y i s p r e ss e d mor e fir m l y t o it s fu l l dep t h a n d t h e l i s t e n er
, ,

c a tch e s a gl i m p s e of s ome a t t emp t s a t t on e c ol orin g .

Ne xt a s mooth S in gi n g l e g a t o b e g i n s t o a p p e a r a n d a n a cc e n t
, ,

n ow a n d t h e n c ome s in t o e n l i v e n t h e s c e n e a n d g i v e v a ri e t y .
96 E A RS , B R A I N A N D F I N G E RS

The fin e p oi n t s of a rti sti c a cce ntu ati on , of c ou r s e m u s t,

be l e ft
for l a t er s t u dy .

B y t h i s t i me the p pil u b e c omes able to m a k e t h e mu si ca l

a r chite ctu r e p l a i n B y t h i s r em . a r k is me a n t t h a t h e e l i mi n a t es
t h e pa i nfu l di sti n ctn ess of t h e mea s u r e s a n d b eg in s to ma k e i t ,

po ss ible for on e t o h e a r th e p hr a se a n d s ente n ce .

It is t o o s oon h ow e v e r for ela s ticity of r h y t h m to b e sa fe for

, , ,

a n y u s e o f it a t t h i s s t a ge n e c e s s a r i l y b e c om es a n a b u s e .

W h e n t h e p u pi l is s u r e e n ou gh of fin ge r a c t i on t o b e able t o
ma k e u s e of t h e d e p r e s s i on of t h e w r i s t a s a me a n s o f g i v i n g
v ariety in t on e c ol o r th a t fe a t u r e is b r ou gh t in a n d al s o t h e u s e
, ,

of t h e a r m in p r o d u c i n g a b r o a d a n d b ea u t if u l t on e Thi s i s of .

the gr eatest i mp or thn ce W ithou t the fr e e u s e of the u pp er a r m

.

th er e ca n b e n o moder n pi a ni s m .

O r c h e s tr a l e ffe c t s a r e n ow r e q u i r e d of pi a n is t s Th e o l d s c h o ol .

of d r y fin ger a cti on w i t h it s p e d a n t i c e ff e c t s of l ou d a n d s oft fa st ,

a n d s l ow in s t u d i e d a l t e r n a t i on a n d it s l i m i t e d u s e o f t h e p e d a l
, , ,

h a s p a s s e d a w ay .

U nl ess t h e finge r s h a v e t h e s t r e n gt h a nd s ki l l t o ma k e a r e s on
a n t s i n gi n g t on e a n d fir m l y g r a s p t h e c h o r d s — u n l e s s t h e r e is a
, , ,

p r op e r u s e o f t h e a r m t o gi v e v ol u me of t on e —h ow ca n t h e p i a n i s t ,

hope t o e v en s u gge s t t he b r ill ian cv of a n or c h es t ra w i th its s i n gin g

v i ol i n s c e l l os a n d s on or ou s i n s t r u m en t s !
, ,

A s t he pl a y e r g a i n s gr e a t e r s ki l l in u s i n g h is t on e c ol or s he ca n
b e gi n t o pay a t t e n t i on t o mu s i c a l p e r s p e c t i v e
.

He r e c om es in .

on e o f t h e g r e a t e s t d i ffe r e n c es b e t w e e n t h e a mateu r a n d t h e

a rti st . Th e a ma t e u r is s o c on s c i ou s of e v e ry l i tt l e d e t a i l that he
b r i n gs e v e ry t h in g o u t w i t h p a i n fu l d i s t i n c tn e s s Th e r e s u l t is .

th a t u n i mp ort a n t figu r es a ss u me u n d u e p r omin en c e in t h e mu s i c a l

p icture .

Th e w i l d r os e b u s h g r ow i n g a t t he foot of th e mo u n t a i n
, ,

t ow e r s u p a s h i gh a s t h e m ou n t a i n p e a k Th e g r a s s o n t h e l a w n
.

g r ow s a s hi g h a s t he tr ee t op s In h is e ffort to m a k e e ve r ythi n g
.

s ta nd ou t n othi n g s ta n ds ou t
,
The r es u l t is ju s t a grotes qu e con
.

g l omer a ti on w i t h ever ythi n g ou t of p r op orti on

,
I t is on ly a ft e r .

t h e player h a s b e c om e d e vel oped a rti sti ca ll y t h a t he ca n u s e t h e ,

m u s i c a l d i s c r i m i n at i on n e c e s s a ry to the a d ju s t m e n t o f t h e p e r
 THE MU SIC STU D ENTS
LIB R ARY
A se r ie s of Ed u ca t io n a l Te x t B o o k s-
su i ted to th e
r eq u i re m e n ts of t h e a ve ra ge s u t d e n t a n d cove r i n g
e ve r y e s se n t ia l bra n ch of m u s i ca l i n s t r u t i o n .

PIA NO

Bu rr o wes
’
Pi a n o Pri m r e . Fre d . F ie l d B u ll a r d , Ed .

E nla rge d e d i t io n wi t h p r o n o u n ci n g di ct io n a r y . $ 1 00
do . Pa p er 50
Ea rs , B r a in a n d Fin ge r s . Ho w a r d W e ll s C o m bi n e s
. e ar
tr g wi th p ia no t e c h ni c
a ini n I l l us . . . 1 25
H a l f H o u r Le s s o n s i n M u s i c M r s He r m a n n Ko t z s ch . .

mar C l a s s w o r k a n d g a m e s for be gi nn e r s F o r
. .

t e a c h e r s a n d m o th e r s I ll u s . . 1 25
I n t e r p r e t t i o n o f P i a n o M s i c M a ry V e n a b l e
a u . .

S t u d i e s in t h e m e a n i n g o f p r in t e d s ig n s u s e d i n
m u s ic a n d th e ir b e a r in g o n t h e i n t e r p r e t a t io n o f
,

s t a nd a r d w o r k s 2 00

Na t u r a l L a w s i n P i n o Te c h n i c M a r y Wo o d Ch a s e
a

P r e s e n t s t h e e s s e n t i a l l a w s o f a s o u n d p i a no
. .

t e c h n ic 1 50

Pi a n o T c h in g : It s P r i n c i p l s
e a n d Pr ble m s e a o .

C l a r e n c e G H a mi l t o n A M W ri tt e n b y a p r a ct i
. , . .

c a l m a n t o m e e t p r a c t ic a l n e e d s I Ha s . 1 50

O R G AN
Pr i m er o f Or g a n Re gis t r a t i o n Go r d o n B a l c h Ne v i n . .

C l e a r co n cis e f u ll y i ll u s t r a t e d a n d wi t h i n t e r
, ,

l o c k in g D ic t io n a r y o i Or g a n S to p s 1 50

V I O LI N
Ho w to M a s te r th e V io l in
. . Pa v e l L B y to v e t z s k i
. .

g u i d e for s tu d e n t s
A p r a ct ic a l r a n d te a c h e s I ll us . . . 1 25
Ho w t o S t d y Kr t er
u B e nja m i n C u tt e r
e u z W ha t
. .

e v e ry v io li n t e a c h e r d i s c u s s e s a n d i ll u s t r a t e s i n
t h e l e s so n r o o m . 1 00 »

N o t e z— Th e s e bo o k s a r e bo u nd in n e a t s e r v i ce a b l e c l o t h , .

V O I CE

A B C of M u s i c A u g u s te
. a th e u Pa n s e r o n M
( Ed i . . by
N C . . Pa g e ) A s t a nd a d p i m e of v o c a li z a t
. r r r io n 1 50
Co m m o n l a ce s o f Vo ca l A t r . Loui s A r th u r Ru s s e ll .

e p l a i n t r u th s o f v o c a l art p r e s e n te d i n si m p l e
u n t e c h ni ca l l a n g u a g e 1 25
En g lis h D i c t i o n fo r Si n g e s a n d S p e a k e s r r . Lo ui s
A r th u r R u s s e ll F o r a l l w h o s e e k e fin e d
. r or r
a t is
t ic u s e of the E n gl is h l a n g u a g e 1 25

r ch Di c t io n g r Spe a k e r W ill ia m
'

F e n fo r S i n e s a n d s .

rk
r l
H a n e s s A no d Th e . e eme l n ts of Fr e n ch
r c t r c
p o n u n ia io n e d u e d to a fe w fu nd a m e n t a l
ri c l r l t r
p n ip e s , e a di y m a s e e d
H e a d Vo ic d O t h r Pr b l m
e a n e o e s . D A C l ipp in g e r
. .

P R A C TI CA L TA L KS O N SI N G I N G
Re s o n a n c i n Si n g i n g n d S p k i g Tho m a s F ill e
e a ea n .

bro wn M D An e x p o s it io n o f f u nd a m e n t a l s
, . .
,

wi th br e a t h i n g a n d v o c a l e x e r c i e s , I l l us s . .

Tr a in in g f B y V ic
o o
“
C l a u d e E ll s w o r th J o h n so n
s
’
o es . .

A g u id e t o t h e co rr e c t p l a c in g o f bo y s v oi c e
” ’
s

Tw l e ve Le n
s so in t h F nd m n t l
s f V ic e P u a e a s o o e ro

d c t i n A r th u r L M a n c h s t e r
u o . Pr e s e n t s . e .

c l e a r l y t h e fu nd a m e n t a l ill u s t r a t e d by e x e r cis e s s .

T R A I NI N G H A R M O N Y A N D C O U N T E R P O I N T
EA R ,

E T r i n i n g f T c h r n d P p i l C A Al c h in
a r a or ea e a u . . . .

D e i gn e d to t e a c h t h e p u p il t o th in k i n to n e s
s ,

a n d so to s i n g n a m e w r it e a n d p l a y w h a t h e , , ,

he a rs
I t rv l Ch rd
n e a s , n d E T r i n i n g J ea n Pa r k m a n
o s , a ar a .

B r o w n E x e r c i s e s a n d e x a m p l e s in r u d i m e n t a r y
.

h a r mo n y a n d e a r t r a in in g fo r u s e in co nju n c tio n
wi th p ia no s t u dy
H r m n y Sir J o h n S t a in e r M u s D o c A s t a nd a r d
a o . , . .

t e x t boo k p r e s e n t in g t h e p r in ci p l e o f h a r mo ny
-
s

with co n ci s e n es s a n d l u ci d it y 1 50
H r m n y S i m p li fi d F r a n c is L Y o r k A p r a c t i c a l
a o e . . .

t e x t bo o k p r e s e n t in g in a co n cis e m a nn e r t h e
-

fu nd a m e n t al p ri n c i p l e s o f h a r m o n y with n o n ,

e ss e n t i a l s o m itt e d

Di n n ! f H r m n y Er n s t F r i e d ri c h R i c ht e r
a a o a o Tr a n s
b J C D Pa r k e r A p r a ct ic a l g ui d e to t h e s t u d y
. . .

. . . .

0 h a r m o ny 2 00

H r m n ic An l y i
a o B e nja m in C u tt e r Te a c h e s o n e
a s s . .

to a n a l y t h e h a r mo ni c s t r u c t ur e o f bo th c l a s s ic
ze

a n d m o d e r n m si c u 1 . 50

C n t r po i n t Sir J F r e d e r ic k B ri d g e Co m b in e s fr e sh
o u e . . .

n e s s a n d p l a inn e s s wi th tho ro u g h n e s s 1 50
Co n t r po i n t Si m p l i fi d F r a n cis L Y o r k A co n
u e e . . .

cis e t e x t ho“o k o f for m a l co u n t e r po in t ( Se qu e l

-
.

to a u th o r s H a r m o n y Si m p lifie d )
’ ”
1 50
G u ide to M u s i c a l C o m p o s i t io n H Wohl fa h r t Tr . . . .

b y J S D w ig ht O n t h e in v e n t i o n o f m e l o d ie s th e ir
. . .
,

t r a n s fo r m a t io n d e v e l o p m e n t a n d s u i t a b l e a e co m
,

p a n i m en t 1 25

F O R M I N ST R U M E NT A T I O N A N D A C O U S T I C S
,

I n s t r u m e n t a t i o n E b e n e z e r Pr o u t M u s D o c A v a l
.
, . .

ua b l e g u i d e a n d a s s is t a n t t o s t u d e n t s w h o w i s h
t o g a i n a k n o w l e d g e o f t h e p r o p e r b l e nd in g o f
o r ch e s t r a l j n s t r u m e n t s t h eir c o m p a s s c a p a b il it i e s
, , ,

50
Le s s o n s in M u s i Fo m c
Pe y G o e t s ch iu s M u s D oc
r . rc , . .

A m a n u a l o f a n a l y s is o f a l l t h e s t u t u a l f a t o s r c r c r
i
a n d d e s g n s e m p l o y e d in m u s a l o m p o s i t io n ic c 1 50

M u s i c a l Fo r m s . E rn s t
e Pa u e r . A co m p e nd i m o f t h e u
va t y l e s o r s p e ci e s
r io u s s o f c o m p o s it i o n w i th
a n a l y s is o f th e ir s t r u c t u r e . 1 50
So u n d a n d I t s R e l a t io n t o M sic C l a r e n c e G Ha mil u . .

ton A M , A h a nd b oo k o f a co u s t ic s a s r e l a t in g
. .

to m u si c B a s e d o n t h e l a t e s t d i s co v e ri e s a n d
.

e xp e ri m e n t s F u ll y i ll u s t r a t e d . 1 50

C O ND U C T I N G H I S T O R Y M U S I C A PP R E C I A T I O N
, ,

A ND D E F I NI T I O N S
Es s e n t i a l s i n C o n d u c t i n g Ka r l W G e h r k e n s A M . .
, . .

O n p e r s o n a l r e q u ir e m e n t s t e c h n i c o f t h e b a t o n , ,

i n t e r p r e t a ti o n r e h e a r s in g p r o g r a m m a ki n g e t c
, 1 , , . 50
O u t l i n e s o f M u s i c H i s t o r y C l a r e n c e G H a m il t o n A M . .
, . .

A co m p a c t c l e a r c u t w o r k for c l a s s u s e a n d t h e
,

ge n era l r e a d e r F u l l y i ll u s t r a t e d . 1 75
M u s i c A p p r e c i a t i o n C l a r e n ce G Ha mi l to n A M . .
, . .

B a s e d o n m e th o d s o f l it e r a r y c ri ti ci s m thi s u n i qu e ,

t e x t bo o k i s fo r th o s e w h o w is h t o l is t e n t o m u s i c
-

w i th q u i c k e n e d h e a ri n g a n d r e a l u nd e r s ta nd i n g .

Wi th 24 p o r t r a i t s 28 d ia gr a m s a n d o v e r 200 ,

c u ts
mu si c 1 75

M s i c C l b P r g r m s fr m Al l N t i n s Ar th u r El so n
u u o a o a o . .

Ou tl in e s t h e v a ri o u s s c h oo l s fro m a ll n a tio n s wi th a
ri c h s e rie s of p ro g r a m s a n d o v e r o n e h u nd r e d po r
t r a it s 1 75
So m E e n ti l in M
sse i c l D fin
a i ti n s
s Ma c u s a e o .

C o nn e ll A m a n u a l of d e fin i t e i nfo r m a ti o n co n
.

ce r n in g t h e po i n t s e v e r y m u s i c s t u d e n t s h o ul d b e .

s ur e o f 1 25
 SO NG V O LU MES Ed i t ed
BR AHM S J O HANNES F orty Song s H igh V o i ce L o i o ce J am es H
FRAN Z ROB ERT F i fty Songs H i gh V o i ce L w
. . . . u

o W i ll i a m F o s t e r A p
GRIEG E D V ARD Fifty So n g s H igh V o i ce L w V o i ce
. . . .

o He n ry T
HAND EL GEO RGE F RIDERIC V l I Song s and Ai for High Voi ce
, . . . .

V l II Song s and Air s f o r L w V oi ce E b ene er

, . o . . rs
z
o o

J EN S EN AD OLF Fo rty Song s H igh V o i ce Lo w V o i ce

. .

, . . . W i ll i a m F o s t e r A p
LIS Z T FRAN Z Th irty Song s H igh V o i ce Lo w V o i ce
, . . . Car l A mb r

SCHUB ERT FRAN Z Fifty Song s H igh V o i ce Lo w V o i ce T

S CHU MANN R OB ERT Fift y Song s H igh V o i ce L w V o i ce
, , . . .

o W J He n d
STRAU SS RIC HARD Forty Son g s H igh V o i ce Lo w V o i ce
, . . . . .

Hu
TC HAIKOV SKY P I F orty Song s H igh V o i ce Lo w V o i ce
. . . .

. . . . .
J a m es H L1

W AGNER RICHARD Ly ri f T n , . cs or e or

W AGNER RI C HAR D L yri c s f Ba itone an d or A mb r r

W O LF HU GO F ifty Song s H ig h V o i ce Lo w V o i c e
, .

N e
‘

FIFT Y MASTERSONGS H i gh V o i ce Lo w V o i ce
, . . .

He n r y T
FIFTY SHAKES PEARE SO NGS H i gh V o i c e L w V o i ce
. . .

. V i n ce n t M . o , us .

M ODERN F REN C H S O NGS V l I B e mb e rg to Franck

! h i li p
o
V l II Ge o rg e s to W d o r
P
H gh V Lo w V
. . .

i o xce O Ice o i

ONE HUN D RE D F O LKSO NG S O F ALL NAT I O N S Me di u m V o i ce

. . . .

G ra n vi ll e B a

ONE HU ND RE D S O NGS O F ENGLAN D H igh V o i ce L w V o i ce

.

G ra nvi l l e B o a

SEVENTY S C O TT I SH S ONG S H ig h V o i ce L w V o i ce
. .

He l e n H p o o

S I! TY F OLKSO NGS 0 F FRAN C E Me d i u m V o i ce J u l ien T

. .

S I! TY PAT RI O T I C S O NG S O F ALL NATI O N S Me d i u m

.

B a

S O NGS B Y THIR TY AM ERI C ANS H i gh V o i ce Lo w V o i c e

.

. H .

S O NGS FRO M THE O PERA S F OR

S O NGS F RO M THE O PERA S FO R ME Z Z O E K . re

S O NGS FRO M THE O PERA S F O R ALT O

S O NGS FRO M THE OPERA S FOR T ENO R
S O NG S FR O M THE O PERA S F OR BARITO NE AND B A SS E K . . . re

Eac h volum e in h eavy p p er cl o th b a k in fu ll cl oth gilta i es c

O th er volum e s in pr ep ra tion B ook l et s g ivin g f ull particul s th po rtrai ts Ed i t o rs
, , , .

a ar W i 0
of volum es pub li sh ed FREE o n reque st
. , ,

, .

NO TE T h ese w o r k s wi l l b se n t w i t h r e t u r n p ri vi l e g e t o t h o se w i t h a cc o u n t s i n g oo d s t a n d i n g
t o t h o se w i t h n o a cc o u n t p
e
ip t f pf w hi c h ll b r e t urn d u on r e ce o zce . W i e e
l ess p o s a ge i f n o t s a t sfa c t o r y
,

t , i .

\V i t f
r p a r t i c u l ar s
c or f o u r E a s y Pa y m e n t Pl a n o .