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INTRODUCTION
BY LEONARD FEATHER
(Author of The Encyclopedia Of Jazz ln The '60s)

For the student of modern iazz piano there are two main steps
that can lead to a genuíne knowledge of and interest in the
essential technical requirements.
First you have to acquire the good taste (aided perhaps by the
guidance of older hands) to determine who are the artists worthy
of study. Such valued judgments are not easily determined; taste,
you might say, is an infinite capacity for research, sifting and
examination. You eventually select men of the caliber of Bernard
Peiffer and Billy Taylor.
Second, you need the visual evidence of what these men are
doing. Critical niceties and delicacy of perception may evolve
simply from listening to records, but in the final analysis the
practice of music in any idiom normally requires such frames of
reference as can be found in this invaluable folid.
Billy Taylor is precisely the kind of musician to whom the
aspiring pianist should turn for guidance. His music is at once
intelligent and intelligible.
Biographers have tended to characterize Billy as scholarly,
intellectual, urbane, etc. True, he graduated from Virginia State
College with a Bachelor of Music degree. lt is nevertheless beyond
dispute that while leading his own combo for the past 20 years, or
while embellishing thá performances of groups led by Dizzy
Gillespie, Roy Eldridge, Gerry Mulligan, Artie Shaw and countless
others, he has created compositíons and solos that were the
product of emotion, albeit facilitated by his formidable scholarly
knowledge.
Because he is among the most articulate of iazzmen, Billy has
been in constant demand during the past decade or so as lecturer,
panelist, writer, disc jockey and all-around spokesman-activist. His
biggest coup in terms of mass acceptance was the assignment in
1969 as musical d¡rector on the daily David Frost television series.
 As the titles indicate, Taylor-made music can be cool and
caressing, wild and lively. The manuscripts that follow will show
you just how and where and why these objectives were attained.
Bernard Peiffer's background may seem on the surface to be
entirely different frorn Taylor's, since he was born in France and
had to acquire most of his knowledge of American iazz from
records. There are common elements, however. They are about the
same age; both are college graduates with thorough classical
training; both ídolized Art Tatum, and both use the¡r schooling
and technique as a means, rather than as ends in themselves.
Peiffer, who came to the U.S. in 1954 and settled in Phila-
delphia, has made numerous albums and appeared at jazz festivals
and college concerts. Though praised elaborately by critics and
fellow pianists, he has never quite achieved the eminence he has
long deserved.
When it comes to dues, Peiffer has paid more than his share,
but personal tragedy and professional reversals seem only to have
implanted in him an even firmer resolve to strive toward
perTection.
Of the four typical works that represent him here, two may be
particularly familiar: Tired Blues and Strip Tease were recorded
some years ago in an album of original works. The former shows
the ingenuity with which Peiffer can restructure the traditional
harmony of the blues pattern. Of the title, he says: "l didn't really
know the meaning of the word tired. What I should have called it
was Relaxed Blues." Strip Tease is an ingenious melodic line,
spiked with humor and calling for dexterity and concentration on
the part of whoever attempts to reproduce its undulant lines.
As a pianist who is not only turned on, but also turned green
with envy, by the likes of Peiffer and Taylor, I can study in a spirit
of particular admiration the contents of these pages. lt isgood to
see that countles pianophiles can now recreate the works of these
two giants, and encouraging to observe that they have been
accurately documented for posterity.
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TECFII\IQT]E
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Tone,Touch, Phrusing
andDynumics
by Lillie H. Philipp

Dover Publications, I nc.

NewYork
 1.1

;.I preface
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ü This book is an introduction to basic technique for atl piano stgdents, There is no simpler and

íf effective approach to Piano playing than acquiring a thorough knowledge of the essenüals, which are
overlooked in today's methodology. Technique does not really change with the times, but rather
íf
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expanded by the new music of each succeeding generation; thus there will always be the need to mas
the fundamental principles.
¿.1
Piano Technique: Tone, Touch, Phrasing and Dynamic.r is a guide toward this goal. It is a wor
manual, containing tecbnical studies, excerpts from piano works and photographs, all of which
be utilized by the student to develop a sound techaique in a comparatively short time.
e The technical studies may be practiced in as many keys as the student desires. He may make his
€ decisious as to which particular studies best serve his individual needs. Memorizing and practicing
without looking at the music is preferable. On very hot days, "loosening up" studies may be omitted.
ts the entire body is warm, the blood circulates more quickly aud the fingers are naturally more
GJ
With methodical practice, a good technique can easily be obtained.
While excerpts -do not make the srme demands upon the student as entire pieces, they will, however
É-3 familiarize him with different technical, srylistic a¡d musical approaches. He will learn how to practicJ
and what to look for when studying a piano work; he should repeat the excerpts over and over
E9
thus prepariag himself for the eventual study of the entire work. Í
L::i§ ' Hand positions in the photographs
I should be treated like studies. The student should apply them
his own hands a¡d copy the indicated motions repeatedly.
€B
The chapter "On Teaching Beginners" bas been included because this area of piano pedagog.v of
@ suffers from diffuse thinking. No gimmick can ever replace the logical build-up which is necessary
Iaunch the young student. Without individual attention, just as essential in class as in private instructi
€ the student's Progress will be impeded. The principles contained in this chapter, as well as
s3 the book, are derived from the author's lifetime experience.
i.) The student will find many of Robert Schumann's quotations in this book. They are truly the

s thoughts of a great pedagogue.

€3 Lillie Herman-Ph;Iipp
Los Angeles, 1969

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acknowledgments t
i

Smith Healy, Supervisor of

The autho¡ wishes to express her indebtedness to her friend, Mrs. Geraldine
the manuscript and without
Music, Los Angeles City Schools, who generously gaT of her time to edit
whose faith and encouragement th-is book might ,.r.r have been written.
Gratefi¡l acknowledgrnent is due
proved invaluable. The author is also
Mr. Virgil Thomson who read the manuscript and whose suggestions
Alexander Borovsky and to Mr. Artur Rubinstein for supplying photogaphs of various
;;;.frñ"-Mr.
hand positions.

helpful cooperation of the

The author wishes to acknowledge with thahk her appreciation for the
followin g individuals and institutions:

the Library of congress'

For biogaphical data: Mr. Nicholas stonimsky; M¡. William uchtenwanger of
of Toronto, Royal Conservatory-of Music'
Music Dvision, Washington, D.C.; M¡. lU. ,4,. feffery, University
übrary of the Performing Arts, New York Public ubrary; M¡'
canada; Mr. Thor E. Wootl, chief, Research
Frederick Free dman, Music Librarian, U.C.L.A.

For photographs: Mrs. Joblle Huss; Mr. Sol Hurok; Mrs. I¡na Nilsen' I¡ Conte Jr' High Sphool' Los 'í
Angeles;M¡. Cliff Paistey, Florida State University, Tallatrassee' I
{
Mora'
For practical advice: Dr. Virginia Whitfield, University of Oregon;Miss Gerda I

For proofreading: Mrs. Adelaide Tusler.

photographs of the author and of the author's hands were taken by Fred Seligo. Graphics on the "Tree of
Keyboard Masters" were done by Mr. Charles Roberts'

who organized this pubfication'

The author wishes to express her very special thanks to M¡. I¡wis Roth,
this form.
It is through his guidance and assistance that the book is presented in
 contents
.: Chapter I
Seating Position
!¡ Hand and Finger Positions . . .
3
The Thumb,-Wrist, Elbows
-,
1:-._

Depresied-Knuckles,Collapsed Fingen ': " ' '

The Thumb
. (,;rj
Scales .

', :-.
. t, i Chapter II
Weight of Arm . .
:l
The Accent, Controlled DYnamics
I t-.
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Massaging Exercises . . . . . l
§
Trill Exercises
ci:9
Thumb Exercises
.E? Four-Finger Exercises without the Thumb
, Exercises in Pro gessive Difficulty
.-.=
'i-l Stuües with Accent on Fourth and Fifth Fingers
JJ
€1 Broken Chords
36
, Skips and leaps .
,f,3 Etudes . .
39

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Chapter Itr
t:y Tone, Touch
43
i.- .46
Chords
49
-: The Critical Ear . . .
q-,
é-i1 Chapter fV
Practicing and Fingering, Chromatic Scales
tl::.1

Chapter V
iÉ ThePedals """"'55
r',) Sight-reading...,.. " " ' ''58
Memorizing '""'"61
. t€y " " " '62
Embellishments:...
f,.113
Octaves " " '63
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ChapterYI \
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PhrasingandStyle " " ' " "68
H Slursandl.egato. """"'69
legatissímo ""'' """"70
t€, ""70
kggiero ..j...
LJ Ritardando "'""'71
Rubato " " '71
t:l: I
Summary of va¡ious composers's§lesandApproach to studyingTheirworks .... '. " '75

Chapter VII
ll
Teaching Beginners """ "79

88-90
:)i Tree of Keyboard Masters and Student§

rJ
introduction

There has been need for a book which contains suggestions and examples for developing
correct
though varied piano playing techniques and a methodology for practicing according to the ideas of great

teachers, past and present.

Lillie Herman-Philipp i¡he, Piano Technique: Tone, Touch, Phrasing and Dynamics fulfills this need'

Her book should prove to be a valuable reference guide for pupils and teachers in private and
public
schools.
Her emphasis on developing the proper playing skill and practicing technique is enhanced by tbe
authentic and interesting treatment of problems concerned with the studV of the piano'
The Tree of KeyLoard Masters presents in chronological order the history of keyboard pedagogy
from Bach to Rosina Lhévinne.
I am happy this book is now with us. ¡

Geraldine Smith HealY

Supervisor of Music
Los Angeles CitY Schools

about the author

Lillie Herman-Philipp, a resident of los Angeles since 1939?here she has been awell-known teacher of
piano and lecturer in music, was born in Berlin of American parentage. There she was a piano student of
Professor Moritz Mayer-Mah¡, continuing her studies with Michael Zadora, a student of Busoni, and iater in
l,ondon with Moriz Rosenthal, a student of Liszt.
She has concertized, coached and accompanied singers for concerts in Berlin and l¡ndon, working with,
among others, Emanuel List and Walter Ki¡choff of the Metropolitan Opera Company, Eleanor Ma¡low of
the Chicago Opera Company, and Thea Bieber of the Berlin State Opera House. She has also supervised
piano recordings in Paris, London and Berlin.
In'Los Angeles, she has given institutes and piano workshops for music teachers in the city secondary
schools under the auspices of the Los Angeles Board of Education. In addition to her teaching and
lecturing, she has been active in promoting young talent tfuough the YoungMusicians Foundation,where
she was a member of the board of trustees, as well as in oüer local organizations such as the Qai Festivals-
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Seating Position
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Except that it is several octaves longer, the keyboard is no different today thae it was at the time óf
a Couperln and Bach.
§3 The student must first assure himseif of üe proper distance from the chair to the keyboard. The
length of his forearm should be his guide. Ha¡ds and arms, if not forced into unsuitable positions, are
6 relaxed, but sitting too close or too far from the keyboard forces them into the wrong positions.
t.- r, The center of the piano is close to middle F, not middle C. Seated directiy in front of the pedals,
forearms raised, we find our fingers on the following notes:
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@ A child's hands may not even be that far apart, thus:
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If the seat ii the correct height so that the elbow of the raised forea¡m is kept on the same level with the
keyboard, the student will discover that in this natural position the elbow will be close but never pressed to
i.,. the body.
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with the
playing considerably' If he sits too low
The wrong chair height can influence the student's
*o'k hu'dt' and the weight of the arm will become a
elbow below keyboard ievel, the fingers wiil have to modulated tones'
burden; if he sits too high,his playing *.y b..om.
,igid andhe will be unable to produce
O'iy if the student is seaied properly, on the front lithe chair, with the bodytent slightly forwarrl' and
playing the
he secure freedom of movement' When
with the arms hanging loósely from the ,to.,rt¿.r, ca. the body'
restrained or forced to remain close to
higher or lorver registers, the elbows should not be

Hand and Finger Positions

the student should tum it' rhaping
s it as if he l"ttn¿s to hold
Before placing his hand on the keyboud'
an apple or a Pear.

thumb in a natural
His hand and forearm wili remain in one iine;
his wrist, flexible; his hand' curved; his
position; and his other fingers stightly curved inward' fifth fingers
When placing the fingers on the keyboa¡d,
the student mu\t be sure that the second and
key will not be on
are i¡ the center ol lhe ivory keys andthat the
co.,tact between the little finger and the
the side of the flnger.
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With the second and lifth ñngers in proper position, the third and fourth fingers will find their places a
automatically.
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The Thumb,* Wrist, Elbows
Now we have lour fingers on the keys.and must next find the proper position for the thumb. In a
arching the hand, we adjust to each person's indiüdual dimensions.
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The short-fingered student should cup his hand less than the long-fingered student. The knuckies are pushed
up by the fingers so that the first joint of the thumb can find its proper place with the side of the nail on
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the edge of the key. The arm must be relaxed; the wrist, fleúble;the fingers, firm in a curved position. {
As the student progresses, he wiil discover that the angle with which the thumb comes in contact with
the key is boüiid to vary. lf special passages, chords or octaves demand changes in hand position, the
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student may have to move the thumb further up on the ivory key in the direction of the black key.
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With the correctly-shaped hands on the keys, the student should keep the outside line of his hand, {
wrist and forearm asstraight as possible. Ifthis needs correction, he shoulti shift his wrist.
There can be no absolute law for hand position since the dimensions of various hands differ so rnuch-
q
It was the great Busoni who took a firm stand against the wouid-be lawmakers. Tobias Matthay tried to ¿
create laws but failed. d
The student can play on the cushions or the tips ofhis fingers. Bothways are correct.
t
¿

Ken Rbhsd!
*See pp.22-27.
The hands of Ernst von Dohnanvi

_-_--.
/ In Bach's time, during the, eighteenth century, when pianos had little volume and tones we¡e of short
\[ur¿rtion, it was the genera.l cusrorn to play with a fiat hanil and flat fingen. Today, with pianoshavinga
full voiume, the pianist has to depend upon his skiil to produce short tones.
The teacher must guide the student, consider the dimensions of his ha¡ds and never force them into
unsÚtable positions. If the thumb is too short compared to the length of the other fingers, as often
happens, the student wü be forced to piay more on the tips than on the cusfuons of the flngers. Chopin
and many others playedbn the cushions with ourstretched fingers. Those who have seen the late Josef
Hofmann play could not help but observe that he raised his fifth finger in the sirape of a fishhook.
It is a wasted effort to restrain motions which come naturaily, However, mannerisms must not be
taken for motions; the former strou.ld be kept under control.

Dep¡qssed KnUekles. Collap sed Finsers

In the nineteenth century, Clementi, Cramer, Kuilak and Nicholas Rubinstein taught piano playing
withdepressed knuckles without consideration for the hand's structure, a method which can easily creatg
muscular tensio&.
ihC liudent should not consider it unfortunate if he plays-.wiiñ- depressea knuckles, iiouia.A tru, i,
nature's doing and the structure of the hand is such that depresseh-knuckles-com. naturally.
14 {

Double-jointed or ccilapsed ñngers, however, are det4gellq], as the fingers must remain-.fi_I4:*qk$J-iL],g§.
The student must work hard tó over-co:ié-this ten?üñffi*Exercises will strengthen thE"liáleii in.i"'"tinE-
them urder command. Triil studies 61. I S-ZOüre recommended.
\J
From the contemporary descr:)úói{we know that "Bach placed his hands on the finger board so ,i
that his fingers were bent . . ."* t
--)
The Thumb
With mechanica-l progess in the development of instruments, it became more and more important to
develop strong fingers. Although the thumb, the crucial finger, is the most adept, it seerns to require our
special attention.
Before Bach's time and during his lifetime, the thumb was used when the other fingers could not do
the job without it, as, for example, in large streiches. Bach himseif was an exception, being the fi¡st to use
the thumb lrcely on both black and white kevs. The normal function of the thumb as nature intended is to
reach, grasp and hold an object which the other hngers cannot hold without its help. [n contrast to the
other fingers which function just one v/ay, up and down, the thumb goes tfuough two motions to depress a
key: sidewal,s and up and down.

A¡tur Rubinstein
Copyright, Korsh, Ottarw
*Forkei, Johann Nikolaus. fohann Sebasi.an Bac&. Translated bv Charies Sanford Terry, Harcourt, Brace
& Howe. New York, 1920, p.50.

I
 a
{
i
i --;

The thumb has to be t:r:girt to be in constant readiness eirher to move under the other ñngers or to
get out
of the way. Observe the positions of the thumbs when depressing the second finger of the right hand and
the third linger oi the'left hand.
f!'
i'.
l. Bart6li: Mikrokosmos, Vol. IV. l(o.98
m. l-3 r

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Re'piinieO by pqmission of Boosey & Hawkes Inc.
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fa
<,./ The thumb is a necessary adjunct and, at the same time, is inclined to be lazy - an unhappy
the student should study at
.f1 combination. Thérelore we invent exercises, anchoring alternate fingers, which
scaies'
§,.tJ
üe beginning of each practice session, following up with other exercises and
;
,1-:., Uncontrolled movements of the elbow are certainly out of place ancl;'u.'krvud
looking. If üe ñngers
witli the elbow; the flexible wrist will
are trained and well controlled, the student need not revert to antics
t--',
do the turning.
E,,
L¡J Chopin: Fantcisie-lmpt oñptu, 0p. 66
7 /.J.lrgro agitato J ,: ar
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(ji m. 23
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 1 í-

As mentioned in the section on hand position, we do not always play on deaci center ol the fingers.
ll'e may pivot or turn the finger tips so that the thumb has less distance to travel for smooth execution. To
prepare the thumb lor shiiting under the hand. particularly for fast passage work or scales, we may want to
rurn stightly on each finger as if pivoting. Although rhe finger tips or cushions wiil be right over the keys,'
the keys will not always be struck from the same angle. The angle of the finger at impact will vary.

The more You turn the wrist in preparation for the thumb, the easier the shift will be. We use the
wrist for this motion, and the thumb will hit the key partly with its nail and partly from the side.

.§. Prokoticff: Visior¡s Fugitiues, No.2

m.7-9
fuidanre

@lsog ty MCA Music, internationat copyright secured, used by permission.

ó. Chopin: Etude, 0p.25, No. 2

m's
Prcsto )=r*
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7. Chopin: Etude, 0P' l0' \o' I2
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--
í.::) Scales*

Ed Youmustsedulouslypracticescalesandotherf]ngefexercises.Buttherearellulny
spending rnany hours
who imagine all will be accomplished if
they
{ !ttp-o:
Persons
niechanical p,^.ti... tt is as if one shouid busy
each day, till they grow old, in mere
I
r-.:-:,
and alwavs faster and
f'-3 I himself daiiy with repearing th. AB¿;;;i"rt "-'possible,
faster. Use your time better' Robert Schumann
f,A
Rules for Young Musicians
t:-::l

!.-'.:l
.--:i1 the stait' with the ingenious
Practicingorplayingwithoutattentive.listeningisofnova]ue.Evenscalesneedourconcentration
f
ilr. beginner ,rrorr¿ t.urrr"th. s.al., right from
-.1i,'
:. tl and our ear,s artention.
ringering we use t"¿"v,'it"v 't'"TJ t' '*t'*d:;;; ;',t=l1il::lfil?il:1ffi;lffií.tT I't
There is no better
;
ij, ffi;ñ for music in all keis'come naturally'
Preparatl

good training for the ear'

(,r: I
Czerny'attheageoften,became.Beethoven,sstudentandstudiedwitlrtrimfromls00to1805. thumb' In his
that he play the scales. in ;i;;t' ;t" stressing.the proi)er use o[ the
Beethoven required exclusively with the scáles in
§¡;,
Czerny *riteri "ín the lirst lessons Bettho"n L'usied hinself of the
autobiography players: the proper position
r'-T) all keys. He showed me many things
that were then unknown to most the full value of these
hands and the iingers and the use
of the ó"i;"'n"f rutt' didi recognize
t:,J 'h'*;' entire
""t"tnon,n,';; ;;; ar Beethoven, stressed.scales, movin*
rro* one note to the other over the
+:i-, i note before the finger
,rui*, the hand po.ition *itt' ti''t ity' ani n¡ver
striking
keyboard. He demanded h*.,(t,*lld: !:::'::,:'::ltit,jl,n"
the
E9
*.' o; +,.^ 1.or¡ snrrps rnrl arressios had to be ,,*;¡;;fu;ning etiátiei ttre
iiJ'il.'r,'' rtii;t¿á'po'i'ion' wtricn
"dT',""":.Tl']:**:ll:'ii'ff.',fiytrÍ';':;
raJ };#l ,i:T;lltfffi$fii',1".'#-::,',1'Jil;Xí'
the scales
thumb to move smoothlv and prevents
llHL,'J,I"ff H".*il;:L1'."":ll;ü':"1il;if'li'*"rn:lk,'"::l;:,:rthescareandwron¡
J::

l.-:--1 o"i;;;"
avoided. Only
notes can be avoided' then snouru ItE P'.o"'d
shourd he P'."*':^;^"^::::-^1"^".t"
::-11:Iii::::,T::*'"t;Xl.arred-for rhi
tó overcome uncalled-for accents' 1I¡3
exercises using accents to oue
and each tinr-
The student shoulipractice scales
[J piuv ,.u.ri-,i*", ou., trr. revuouri, *iii-t"ti. accents falling on different notes the thumb
requires that he dvnamics;'qlso'
L!' practicing scates in ,lrr;;;;;;;iI ,tr.ngth* rir,¿.r. una deveiop controu;d
will lose its prominence and become subordinat]j*::f:i::i:1"':t-ff::1.t':ltlUlff,l:ffiü
with accents' (See the sectiotr
HiJ"ff.':,:'.:filff'Jl: :::ffi :""::';o'il;,, u.ro,á
\:i/ practicing
¡:-t
the accent, P. 15.)
l.;. )

,.1..i
tl
*See Examples, PP. 8-10.

'a. )

t=j
 S'hen practicing scales and when gjvrngaccent l

m eEry dtird, $ote,play four oCtaves

ta ercly fourrñ note, play five octaves
an every fifth note, play six octaves
on enery srxrlr note, play five octaves
on every eighth tote, glay five octaves

Examples

Scales can also be practiced with each hand separately, with vuying accents and with the following
fingering.

r, h.

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The professiona.l may practice scales 20 to 30 minutes daily, according to his needs. The dedicated
student üould devote at least ten minutes daily to major, harmonic minor and melodic miiror scales,
practicing them in different styles - legato, staccato, piano, forte, fortissimo+taccato, and in thirds and
sixths.
Never strain or become rigid. Keep your natural position withyour body flexible, which will help to
maintain a free wrist and floating elbow. The arm leads the finger to the next key. Do not be careless and
play wrong notes; áe correct at all times. Speed will dewlop gradually.
In canying out these instructions, the student can provide his own variety.At one study session, for
example, he may decide to practice two major scales and two minor scales, though there is no law against
practicing more than two scales.
Suppose you have been practicing the F major scale withAifferent accents and then continue with D
minor. Without changing accents, you may want to play over the enti¡e keyboard, once in the ha¡monic
minor and the second time in the meloüc minor. Or, you may play over three octaves once back and forth,
the next time changing to five octaves, as long as you do not start and end with the accent on the thumb
when having played once up and down, as the purpose then would be forfeited.
Another suggestion: concentrate on the left hand playing forte while the right hand plays pianissimo.
Then reverse: play'the right hand forte and the left hand pianissimo. Alternate dynamics. As a rule, we
conquer passage work more easiiy with the right hand than with the left. Concentrate on your weaknesses
and prhctice periodicaliy with special concentration on the left hand.
After haüng practiced scaies with accents, play them without accents. If you sturnble, start slower
and graduaily increase speed. You can play scales as fast as you wish, provided you do not stumble and
your ear tells you the dynamics are even and that you are playing in strict rhythm.

I
 .. :
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:
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Examples
,,.
t' --
j' l. Parallel motion'
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, Three against tvo. ,tt

Four againsr three.

Three against four.

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E-,7 Weight of Arm

One must diflerentiate belween mass a¡d weight. Mass is matter in butk; weight is the amount
Pressure a body e,Yerts uPon any support. The mass of the arm is unchangeable, whereas we have cont
over the weight through our muscles. Xhe strength of the tone, its duration, its penetrating power,
ú:- 4 on the speed with which we hit the keys. The main proponent of the weight of arm method was
t. -é
Deppe (1828-1890), a conductor by profession, but also one of the outstanding piano pedagogues of
\i!:/
time. Deppe's contemporaries, Kullak and Tausig, did not teach this method. We surely cannot look for
in the eighteenth century or the early nineteenth century, when pianos had a small iolume of sound.
É,::rl The position at the keyboard is described in Chapter I. The arm hangs loosely from the
fingers curved. The weight of 'the arm is raised to the keyboard; you feel the weight of your shou
evenly supplied, in the finger tips. There may be a slight bend in your wrist which need not be corrected.

9,¿::l

c#
E::3

ti :,,

bv
f:':-i

.1:: .

\a2,

i:-::.,
Since you are completely relaxed, you will certa-inly not raise your fingers high: Your common sense must
i i-it tell you that it is very tiring, if not impossible, to iiit ihe fingers high with the weight of the arm bearíng
,' down on them
' I*gato will be easier to achieve and will sound smooth if you listen carefully to the duration cf'each
,..'s!. individual tone played. When playing with weight of arm, it is of the utmost importance that the finger
--:i\ should release the tone immediately, as soon as the next tone has been played, so as to av.oid overlapping
which destroys clarity.
3- Bccthorco: Rondo, Op- 51. )io. 2
¡- 3I -$l
Aodan¡c c¿ntebilc c grezioso )= ou

Fingers must always be curved inwa¡d lirrnly but never too strongly since one will lose the sensitive
feeting of the tips or cushions.
The forearrn vrill gain prominence as one discovers that it is the guiding vehicle, and instead of giving
stroulders any funher thought, one will conc€ntrate on hands, fingers and forearm. As the student will
undoubtedly reason that it may be more ti¡esome for the hngers to support the weight of arm, he should
make use of this weight with moderation.
Using only weight of arm can become very monotonous, but it is very useful in producing a single
tone, and for passages that demand even dynamics, as in Beethoven, it is unsurpassed,

Schunrunn: Fontosicstiicllc, 0p. 11. "l\urum."

l-l Langsam und zart J = so
Slor and tender

<:>

12
 It). []ccthorcrr: Sor¡ala, 0p. .31. \o. I
rn. J0 - {5
Allegro vivace

on weight' One hand may

You may use this touch in one hand while the other goes along without emphasis
be light-.fingered and the other heavy, using weight
just for i¡dividua] tones.

11. Chopin: Fortaisie' Impromptu, 0p. 66

m. {3-{S Moderato cantabi .9
I

so¿to uo c¿

J\;
:> :> :>

+>'

l'
l3
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?

12- R¡sh¡rtull: Ele¡c, 0p.3, No. l.

r-{l-1ó Piü vivo ó-

With controlled weight of arm you obtain more nuaice, a greater variety of shading at the finger tips,
as it is easy to make tones sing with a flexible wrist and with weight. The tones will sound rountl and full,
neve¡ hard or harsh. If you learn io use the pedal correctly in connection with the singing tone, you can
achieve wonders. The slightest unevenness can be detected ifyou listen unceasingly to the tones as they are
piayed. ln no time, your "watchdog," the ear, will be your strorgest critic and aüy. For a Perfect legato,
one tone must be ca¡ried over to the next one, so that no one finger gets prominence over another.
l¿st but not least- for fortissimo octaves and chords, where power and strength alone may not be
sufficient, the weight of the entire itir6ivn into the piano will not oniy get the effect desired, but the
"r-
tone will have a penetrating power you ca¡not achieve in any other -*n.r. You literally take the cnorá*)
into the hand beiore you throw it into the piano. A contemporary writes in one of hisletters to a friend;j
'.Liszt's hands were always in the ai¡ [fingers in position] striking the keys lrom above and very, very
seldom hitting a lvrong note."

Rhopsodíe XII
I
!

ratlent. e rinforz. ossoi

P ¿s onte

14
 ll. Liszt: Rhapsodie hongroíse No'15, "Rákóczi \larch"
m. l-t-22
Tempo di Marcie 219119

t,- 11

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¿--.§

I.:iJ
í-4.
i-i:l

f-::l
I believe that uszt combined his percussive touch with the weight
of his arm' His chords were literally
O thrown into the piano with a Penetrating power'
playing must exPeriment on his own, and
The student who will familiarize lLimself with weight of um
¿:n
,,il
thus come to understand when and when not to use it'

[,:r ]
úü The Accent*, Controlled DYnamics
dynamics are under perfect control, there is no unevenne§s' lf
the irngers are not under perfect
h;itl If
And who enjoys hearing misplaced accents Produced by
control, one will hear accents where none belnng.
r.J the thumb, or what is just as bad, effects of weakness produced ty
the fourth or fifth ñnger? The restr:lirled
;5 the other ñngers and is a forenrost
E:J action of the fourth and fifth fingers influences the independence of
and all muscles andligamentshad
technical weakness of many. If bylature all ñngers had equal strength
equal flexibility, technique would be easy to attain'
P¡actice with accents' using exercises'
l.;: I The beauty of a good performance lies in controlied dynamics'
and light are to painting' Concentrated studies will
Í::ü scales and pieces. Accents aie to mu§ic what shadow
train hands and fingers and the constant attention of the mind'
when practicing scales or exercises with accents, each fingel gets its
turn"lhe accent falls on a
controlledindependence'The
ir:. different hnger each time, which strengthens the fingqrs and hel-ps tocreate
;^:: l
given with the free-acting rvriit and the weigit of the forearm, which will influence the activities
accent is
with your finger' you might be
.:,'..r
\_i/ of the fingers and help to develop a suppie hand. Ii yÑ give the accent only
tone instead of a futl and round tone'
i., inclined to raise the finger too high, proáucing a harsh
)
is practically impossible' Practicing with accent isyour
To try and equalize the strengih of the fingers
( and scales in the same
self-imposed control. tt will be of great value to practiie pi.c.t as
.l\ well as exercises
manner.
t¡.:l every other measure' Gradually'
When working on a piece, accent the lust beat of each measure or
gradually they will disappear and you
the more the piece develops, the iess pronounced will be the accents;
with witl keep wri§ts relaxed and
will discover that you have created higlrlights. Besides, practicing accents
' .)
flexible, and You will not tire. g
!')

-:.')
+See Scales, Chapter I, and Stuües, pp. 19-37.

15
''..a)

-1;

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t'i

Q .\;-t
 SonEt¿, I\. {57

notes or chords
Beethoven made extensive vse of sforzando in his compositions. He wanted special
the very thing you, in tum, create by practicing with accents'
played with emphasis to create higlJights -

16. Beethovcn: Sonote, 0p. 53, (lYaldstein).

m. 2ti
Allegro con brio

17. Beethoren: Sonote, 0p. 57, (Appassionata), II i\lovement.

m. {9-50
Andante con moto

16
 Massaging Exc¡r:l.;es
lt i: arlvísablr io massage the fingers belore starting to practice so that the blood :'usires tfuough üe
faster. On very hot days you will not need these preparations. As you must have discovered for yoursel
when your entire body is warm, your fingers will practically rün away with you.
Stretch: Push the closely-held+ogether second, third, and fourth fiurg,,:rs cl the right hand berween
knuckles of the second and thitd ñngers of your left hand, ruc'li:rg them rapiüy in a clockwise
NluLÑlgJUlt¡lcwUultu4¡luuulururÉu¿Jvr,vq¡1v¡t
counter+lockwise motion. You will feel the stretch a¡d warmth. Use the identical massage between thl
third and fourth ñrgers and the fourth and fifth fingers. Reverse this procedure for the other hand.
C
ú
¿
é
é
J--i
(.-!i/
c
B C
r(ü é
. r.f\ With stretch exerciseg, we are setting into motion a part of the hand üat is ne¿lected' If we stretch ou!
arms and hands, we flex the muscles and stretch our hngers. We must exercise the muscles which we usualtYf
c'; I neglect.

fl) Stretch Exercises at the Piano: Holding straight the,wrist, hand and fingers ofone'hand, spread the,..ond
and third fingers apart. Depressing notes C and F or G, push the fingers up into the keys so that you leeff
thestretch.
,i) 1
(;, C
s-J
é
C
r:l'¡ C
{:1
é
é
€l Then, keeping the fingers in the stretched position, turn the palm of the hand lust to one side,
then totheé)
f other.
(, G
é
uj
i-::::)
é
iil
C
é
,-:4. ,
\.:.)
é
the fourthé
(:r Repeat this motion severai times and proceed to the othe¡ fingen, the thi¡d and fourü as weil as
and ñfth. It, for the fourth and fifth fingers, the d"istance from C to F or G is too great, use C to E' Yout
{:: cannot enlarge the space between the ñngers, but this exercise wiil help to keep the ñngers sullle^ a1o]
flexible. Strerch with moderation and never lorce the fingers too far apafi. However, you should feel a$
stight putt. é
and hard6
Rub the knuckle of each individual linger in a clockwise and counter-clockwise motion Eood
job'
several times. (You cannot hurt yourself.) The thumb and second linger will do the
t
171

e
I
With üe thumb and second finger of one hand, grip each finger of the other hand separately and rotate it
firmty in its socket several times. (Loose rotation ii useiess.) Never pull your fingers or joints, as it can be
harmful.

Finger rolling exercise without the thumb: Curb the tightly-heldtogether four fingers of one hand into a
fist. Push them into the palm of the other hand, rapidly roli the fingers up and down and alternate hands.
This is an excellent loosening up exercise.

I8
 r
P
t
;
f Trill Exercises

I At rhe piano: TriJl exercises and anchoring one flnger. (These can be considered the King Studies-)
Exercises wirh accents through the wrist. The accent, executed with weight of arm, will necessitate
I a
t
I free-acting wrist. Wrist down for each accent Eiven.
*
I
i
:

The
,..::' Alternate hands after each individual exercise, devoting more time to especially weak frngers'
foilowing exercises can be practiced one octave higher or lower and extended over one octave or more'
on any tone that is
Since it is the student's aim to hold the wrists and eibows free, he can start his exercises
f:.,r1 convenient. The anchored finger must be kept down constantly.

É,..3 Trill Srudies

l2
t" _.t I. First and second finger. Accent on first finger' :>
lc
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t.:] .¿.¿.a -
frr- t-
I
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t 2
-r')
2
>t
i... :'i
2. Second and firsr finger.
5

e,. 'i

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l:)

\J ó¿
ts:'rt
ZB
9r>
il) Third and second finger.

§a
.;J Third ^and fourth finger.

>> >3{ =étc.

3¿
6. Fourth and third finger.
l'h't
7. Founh and fifth finger. a
t=t >ú

Fifth and fourth finger.

Rhythmic Variations. Same practice patrern as Nos. 1-8.

Chromaric Variarions. Same practice pattern as Nos. 1-8. These studies may be shortened to fire r.asrr.s.

A
l. h.2
JtJt ¿ ¿-) ¿
--
?í
I
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t,
t

vetc.
AAA
J¿¿t l¿)¿J¿J)

Ag A
r.h. I

-
 Thumb Exercises: These exercises aÍe to be practiced with utmost relaxation and a flexible rvrist; the elbow
shall not be resrrained and may move away irom the body. Repeat exercises with multiple lingerings, each
repetition using alternate lingers.
(Note: Diamond-shaped notes are to be depressed silently.)

The preceding may be studied vith anchored thumb and reverse fingering.

Example: 5ú
t4
rr33{
r.n.2 2 2 2 2 2 2 2

2. Chromatic Variations on Study No.1. Same partern. Also to be practiced

ri¡h reverse fingering.
IL

etc.

22
 .,

'l'hese excrcises vill train ¡hc to ixrvc smothly

l. The same parrern as Nos. I and 2, withour anchored finger. thusrb
and rrain rhe fingers to move easily over the thumb.
l6t6
l¡la
l3l3
t212

I 2 l. 2
l3l0
tll{
t 5 I ü'

r ,l

23
 B
4l
:r7

r- Gcc¡ic l'ariation.

clc.

elc.
2l
3t lú ¡6 tt
l5 l¡ l¡ lt

¿ 'ii7i tl
6l
lt
7- Chromatic' 6 ¡
l¡
lú16
¡-h. r r t /

+ + ¡l{t {l
t §l5t 6l
I

8. Additional Studies ri¡h anchored finger, rithour accenr.

{
235

24
 _Jf
,-: 'l' f
ft 9. fith accent.
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a
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-3 2 3 ¡ 5 ¡

12

26
 #."
ka
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il
::

Fow-Enger Exercises without the Thumb: This forces you to lift the fingers. lf üere is a tendency toward
overiapping, start these exercises staccato. E major is the easiest scale. Then proceed legato to other keys,
extending them over as many octaves as you wish. Give the accent with the weight of the arm. This will
"b¡eak" the wrist and force you to work the fingers. The four-finger exercises, with their ever<hanging
accents, will strengthen the fingers and develop independence. They strould also be practiced over four or
more octaves without accents and as fast as possible. To give the fingers a higher fall, the outer edge of the
hand should be held high. The wrist motion will then turn the hand out.

Note the high fa[ of the 5th finger.

i
I
l-
u

I
I
i
i

I
t
ir

28
 8-;
>l g - >
l-¡ Z -
ú1312=

23a623{6 *'' u 2> i

q
II
a
{
I
Í
etc-
q
Studies I and 2 are also ro be played
without accents and as fast as possible' Ií
I
2.
¡ú >->27+r-? ¿.
r- {
.6 fc CI
ctc.
d
q
C
= q
=
eac. {
q
,É
q
aa- {
," a
{
a

-{
=(
T
{
four-finger exercises
up his fingers in a hurry,rhe tritl exercises'the (
If the studenr is pressed for time and has ro limber
;.J l. thumb exercises are recommended' (
::
-:.,j 29 (
(
Í.J (
:-. t

Jli.
 Excrcises in Progressive Difficulry
t_

5?ú
r2at§(r)s¡

iz a t?i s¡ í2 z t=
J. S¡udies Nos. J and 4 to be played as fasr as possible.

r.h.z 3--j-.j ¡ 3 2

fi
i
I
:
t -<zE::-- <-ñ\ -ár::>\
f
i

á;:\ -<.]fr---

30
 {úF--

f ,' : B
ft
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lil

f,. '.
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t
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t'.
\: -i

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.

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r-\
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u) 'l) t
Ta

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+
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et
a!:-1 t
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¡-fr
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{fr1
YJ)
zfii;;
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6-:i1
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t

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d:3t
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:t -.-_--/
€.rt
f3 i ---------/

(:'
L;'.j
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ts:l:::l
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ár
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t+ z
I 43
32
 F_

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l. Broken Chords with stretch.
It inor
4535354I:
2124242r
r.h. I ri z { o 5 ¡ 3 2 I oú d-

Minor Ma lor

l. h.

elc.
_5 á2 5342 3 | ú3¿231
tz t2
4
5
2
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53 :¿ii3e" 4242
53ó3
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53

34
,...
:^.
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{. 8E- -:----l--'¡
¿n .
'.h.t-1 tzL E
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t.h.¡ 3 ¡ z 3 l5 a

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6.r

Ir:?

ti, {
5
L,,
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u ."..
t)

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a--.:t

6. This study to be played as fast as possible.

''!.-* ,:i2
-.ig
-,:)
n.. l

1: ,!

. . -:l 2al3

jl:

L: -:
 s ,I,{;1, s t ,: ,--
f" '.,

I
Skips end Leaps.
.¡' 13
s q
8-r 8-1 66
h-
-r-
- "ifi 8-r
:>
8-r
:>
8-r 8-'I
:>
:> :> 8¡ 8;1 8f 8f 8--'I 8r 8-1
la
81 8-1
8-1

>
> > ;
8-.¡
5
8r
5
8-¡
8-.r 8J ; 8-.r 8-t 8J 8-.¡ 8-r 8-.r 8-t 8-¡ 8--¡ 8-..r
etc.
I
q
8-.¡ 8-.1
8-¡
1
8a 8a 8-'' 8 --'t 8-1 8-'r 8-r 8r 8J 8- 8l 8l a¡ o-r 8Sl ,8* 8-1 8f 8l

>

>

fl_, s_.,ra-, s-, 8_r 8-r ffi_, 8--r

,>_.,
8--.r t, ,i 8a 8: f 11 ú dJF, fr ú É ú,,..
8--¡
8-] 8-1 61 8-1 ,8-r 8l

g)et c.
I 5 l5 IJ I
I I l¡ I 6 I ú
I 3 t3 I 1 I I
I 2 t2 I
I
3
2
I
I
3
2
I a ú 111 6 I
I 1 1 {l{ I
,.h.1 5 6lú ó

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t r

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a ;!

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:

36
I

I
I

I
t4 5
L1 1
l5 5
> :>> > >= ?- 7= i= ?> i- =- --
33

l5
l4
t4
:>
5
1
6 =É
r_- r--=_ r_r á: ;.>
8---, r-: r.: i-: # 1; ;>
 8-- Br¡hms Sonalo, Op. J. in f #rinor.
Icasurcs 16 Iend rhemselves yell as
srudies for leaps for rhe righr hand.
?
:
-. --I I
3

I
:

!
!

can be broken uP, rePeated, and

developed in any runner the student desires.
f;'j.0'" see examples

Examplcs

38
I .j
':.
.)
r.¡
II
Etudes
written for the
Piano etudes are lenera-lly pedagogical pieces of music of short or long
duration,
literature' Alkan'* the French
.. purpose of turrhering technical abüty and preparing the student for
minutes'
piano
piu"it, and pedagogue, wrote some which last as long as ñfteen
the etudes ofCa¡l
{\ It is the belief of many pedagogues that students cannot staft too early to study740 was wrítten for
Czerny.** Czerny's .,uJ., ár. goJoictrooting for velocity and
for fingering' Opus
Opus 299 likewise stresses speed'
advanced students, stressirlS intefretation as well as speed.
4..
)
student to repeat some exercises thirty times-
o czerny,s school ,¡ ín" wiruoso, opu§ 365, advises the
I advise against this since endless repetitions can improre the performance only
if they are done attentively'
iJ and practicing without an ob§erving ear wiMee d a poor memory'
thing. After repeatiog
r1) It is hard to remain att.r:riv: aj.ie r ten rcpetiiíons, although this is a¡ individual
hands, the tempo can then-be increaÉd
.. .r;.¡;;t,*., *irr,"ui stunrbling and without looking at cne's
not in:prove,he should repeat the procedure the next
t:-r and the etude played twice more. lf the student does
day and continue to do so until he is abie to increase the tempo wiüout stumbling'
t=l
is no need to conti¡ue working on
once the student has rnastered the etudes in correct timpo, there
a, twice a month'
them, though it can do no h::ri¡l if he repeats them once or
cramer,st etudes have always been popular, although they do not create any problems' He avcided
€, runs as much as possible a¡d seldom wrote beyond the middle
of the keyboard'
t;j always be enjoyed'
For the adva¡ced student, Henselt's Etude opus 2, No. 6 will
É-t

LJ

rÍ'¡
.4,

f:.t
Ei, l. h,
q9 PP legatissimo
É.h
tly

gJ
stacc *
¡i:J poco rit.
É-B
rii/
tj- l

,,-ir
u;J
ii-r
Lr'
(.y
r:.i ¡ sinrile

t:,

* Alkan, Charles Henri Valentin, 1813-1888'

** Carl Czerty was born in 1791, the year that Mozart died'
year later fhan Beethoven'
tJohann Baptist Cramer, born 1771 ' one
 lB. Ibid. Godorvskt's transcription
Allcgro Con leggierezza, quasi zeffiroso J. = u.
8;--------- ----'
Í¡
.2
?
I
I Ii 5{
2l il:,

P esta ccaL0
t21
t2 i¿5
53 Y . .-:

a
c,
ol2
icú i3l 2t?
¡5ú
Tí3í-
I senza P edale
0------.---
u40
512
5có{ 5 3 ú
2
2l2t t Í¡

.t

+ --
ito¡1
ii? ,l
2
45 6
With permission of the original publishers,. Robert Lienau, Berlin

etc.

legato
egat1 e
e slacc. elc. stacc.
legato e stacc. c¿c.

Ignaz Moscheles' etudes are recomrnended. They are a transition from school etudes to concert etudes. The
next step should be the Chopin etudes, which are, and most likely wiil always remain, the best ol all etude
literature.

10
 o,
.|'l
j
19. Iloscheles: Etud¿, 0p. 70, No. 3. m. l'3 ;
A chroma¡ic stud¡ interspersed vith double notes.
Allegro brillante J= roo

*tAlZtz
.2-1 l2l'
. L 2

T"r2cl 77r'2

ll

20. Chopin: Etude, Op. 10, No' 2. n. l'1

A chromatic study, interspersed vith chords.
Allegro ) =. ttt ---
3{3{
t-c¡{a{aá.
señpte legal¡
,13 ¡ 6 3 ¡3{Ú3¡

Observe position of third hnger.

 Liszt wrote twelve etudes in .the form of exercises, all of them forerunners for his Etud.es d'execution
lfrngendonle.
For the student who intends to make piano study his career, Chopin's and Liszt's etudes are concerr
material and demand systematic study. Otherwise, etudes should be selected to fit indiüdual needs.
In Kabalelsky's Ttventy-four Preludes, Opus 38, we detect the pedagogue. No. 6, if studied like an
etude, disregarding the demanded tempo (A.llegro molto), is excellent practice for the free-acting as well as
for the anchored thumb. With the exception of four measures it is written in broken chords throughout. It
is a very eilective piece, and if practiced in the suggested fashion, can be ma¡tered to perfection.

21. Kabalevsky: Prelude,0p. 38, No. 6

n. ó-lI
molto

crescendo

O t s+0, lg47 by MCA Music, international copyright secured, used

by permission.

Piano literature is rich in good etudes for ail grades. To include them in one's practice sessions will
improve velocity and siglit-reading ability. They should be practiced with dynamic changes;
the ñngerr.ng
demands the utmost attention, and when the student masters them, he is well
on the ¡oad.

42
19. §loschcles: Etude, 0p. 70, No. 3. m. l-3
A chromatic stud¡ interspersedvith double nores'
Allegro brillante J=,oo

2312
| 2 L
rytr-fr-r,
7zl2r2
r 7" 2

---\
=/-l

20. Chopin: Etude , 0P. 10, No. 2. n. l'1

A chroma¡ic study, interspersed with chords'
Allegro ) =.ttt ---
gl34
t-.35{o{a5{
sempre legarc ¡ ú. 3 ¡3{3{Ú

C
:f
¿- e
4
é-:
C
G
C.
J
4
c
G
G
C
C
C
C
Observe position of th-ird finger. G
4rá
á
C
4
,J
I
fiszt wrote twelve etudes in .the form of exercises, all of them forerunners for ñs Etudes
d'execution
tmnyendante.
For the student who intends to make piano study his career, Chopin's and
uszt's etudes are concert
marerial and demand syslematic study. Otherwise, etudes should be selecied to fit índividual
needs.
tn Kabalevsky's Twenty'four Preludes, Opus 38, we detect the pedagogue. No. 6, it studied like an
etude, disregarding the demanded tempo (Allegro molto), is excellent pru.ti." for the
free-acting as well as
for the anchored thumb- with the exception of four measures it is written in broken chords throughout.
It
is a very elfective piece, and ifpracticed in the suggested fashion, can be mastered to perfecrion.

2[.. Kabalevsky; Prelude,0p. 38, No. ó

a. 6- ll
AIIcgro molro

O t S+0, tg4i by MCA Music, international copyright secured, used by permissiln.

Piano literature is rich in good etudes for all grades. To

include them in one's practice sessions will
improve velocity and sight-reading ability. They should be practiced
with dynamic changes; the fingering
demands the utmost attention, and when the student
masters them, he is well on the road.

42
 C
G

III
li)
C
h -':
1':

a
l:r:
-a
chapter C
C
i. r.'j
C
i:: :
t
C
C
:
¡

art'
t
Without enthusiasm nothing ¡eal comes of
Robert Schumann !(
Rules for Young Musicians
(
(
Tone, Touch r a sensitiütY
-^-^:+ t
students develop to
of attentive piaying and practicing, conscientious ,
Tliro,.r¡,uh years
hammer strikes'
tone, or Latll.r, il',e.speed with which the changes with thel
Helmholtz, the great physiologst aná physiast, claimed.that tone color
Hermann
it, b.¿, moves- eir'her last or slow' t"tttt'?or;,t1 (
varying speed of tr,. rrun,--.r- rie nÁm.r, ^rt..t.uvrrrg with which the key is strtrc
value deperids on the speed
producing loud or ,"ft ;;;"r. The dynamic same' I
of the tone will remain the
hammer strikes at a constant speed, the color listener'ifhe "leares the listener
If a pianist's playing does not create any t*"ti""¿ reaction in the
be the resút, to a seat.*t..t,;i;;;
touch.or strike control'l
cold,, (a phrase we hear repearedly), it may and pianists' ever mention{
popold CoÑtit,, two-great
Neither the clever Josef Holmann nor -Pe.dagogues Through combination of
tone production in thei¡ writings; Carl Czerny
áot' íot tpt"ft of it eittrer'
which wel
or in succession, one can produce all the beautiful effe"ts
different intensities, simultaneously yARYING SHADES oF ToUCH oRi
auribute to the secret of touch. My definition i,
ir,, iouo't'lng' THE
STRIKE INTENSITY ARE TONE PRODUCTION'
Toimprovetoneproduction,thestudenttr,,oti"tnattentivelytothetonaleffectheisproducing'
have the intensity he wants'
He has to constantly *iyr" and try "g"i" T9 ^grir, ,o produce tones which to the ñngersto
and the sensitive ear. In tum, it is up
The fi.ngers ur. *d.' the command of thelrain We reaiiy have three
tone duration and strength'
be in command of the keyboard and to control
i
they function
split-second commands from the ára¡n, ,*i
*A fingers' ln the master pianist;
simultaneouslY.

A¡tur Rubinstein
Copyight, Karsh, Ottaw

L.i
i. 1

>:-- .
 q
ü 1
f!
of t

ThEstudent,sea¡willgaduallyrespondandlea¡ntocontroltheintensityofthetone,andwiüitthe
t="*;*T:H*1'ffilt'i#';" created with curved ringers, with weight
or without weight- lt can also

beproducedbyplayingonthecushionsofthefingersheidcomparativelystraight,}/aChopin.

Chopin's left hand

x
";:;*X r' |;:'Y*: F ryd ry d c h o im,
e c p t4 ar w

Youcannotproduceabeautifuloranug]ysinglenote,butwiüacombinationoftones,youcán
yiur pia"o sing'-The ears control the intensity of
the
make your piano piaying sound beautiful
and máe
tone,andüesensitivrty"of.h.ñng.,.willlearntorespondthemorethestudentprogresses.
Itisnoteasytogetagoodtonelromthepianowhensittingwiütheelbowsabovekeyievel.But,lor and Ravel' this may
a
..slappy" touch, where you may want to .r.uá"to'phe'e and color' as in Debussy
as does the opening
la pluie lends itself well to this approach'
be perfectiy in order. D"irrry', iañins sous touch while retaining your normai
page of io*.r.r, you can io proo,r." a "slappy"
Ravel,s sonatne.
porition at the piano, with elbows at key level'

can take advantage of

However' there are times where we
The tone of the piano diminishes rapidly'
this and create fine special effects, as in short motives'

Mendelssohn: SPring Song, 0p. 62, No. 6

l'4 Allegretrograzioso J=ee
5

r-J

44
 Emil Sauer: Boi¿e ñ musique, (Sprel uhr)
l-s Te mpo giyo )
f. ¿] -a\ *)-
a. _É- !

a
una corda
automaticañente a
a
a
senza P ed,
i
Wilh the consent of Messs. B. Schott's Sdhne, Mainz
a
a
Antoine de Kontski, a contemporary of Chopin undoubtedly influenced by his teachings, wroÉ
L'indispensible du p¡aniste. His method went to the extreme of recommending playing with straight fi:rges a
and low wrist. It was his belíef that touch with the custrions of the Frngers makes variation in shadirg nuc:
a
easier. He ajso recommends carezzando lor pianissimo passages.
a
A staccato passage (detached notes) can be played with the tips of the fingers. One cail also strlke ::s
a
keys as if dusting them, the ñngers hitting the palm of the hand. I prefer a staccato played with the forea:¡:r
where the fingers are practically motionless. With the released weight of the forearm, the fingers depress lle a
keys and then release them immediately (half tone, half silence),n fortissimo or pianissimo, in any streng:l
a
desired. The strength is contrr:lled by the height from wtrich your forearm is reieased. Very fast staccsrc \s
played with the fingers. rl
Staccatissimo, 'one-fourth sound and three-fourths silence, shall be played as short as possible.
For mezzo stacanto, the finger should rest on the key, depress the key and reiease it immediatel-v,
J
employing the forea¡m with a fle.xible wrist for this motion. J
a
a
j
J
J
a
a
J
J
a
a
J
U
J
J
J
It is far easier to play loud notes in the bass with the left hand than in the treble wirh the right hard. J
It does not take much effort to overemphasize the bass, with or without weight. We will come 3cross :-
fault frequently, not only in students. i
J
J
J
I
a
tf
=
 Chords
Special attenrion has ro be given to chord playing. If the dynanucs of the fingers are not under strict
control. the longer t-ingers may produce more tone than the shorter ones. This Produces mcailed'for
o!€rrones. The coloring of a chord is changed by playing one of its component tones louder than the
others. .t *e pilay the top note louder, the chord sounds brilliant; if we bring out the bass. it will sound
warmer; bur if pne of ttre middle tones comes out most strongly, ihe sound will be harsh. A chord may
sound ugly and sloppy if the tones are not ptayed strictly together. However, tak-en in even arpeggio, the
chord soirnds full and rich.

\y
A good way of playing arpeggios (broken chords) is to use the weight of your arm with a roiiing motion.

?< Gricg: Concerto, 0p. ló, r\ minor

m,.')
Allegro molto rnoderato J=r.

r
l
I
I

46
 ,,.)
q
¿!
-l
., 1

a
d
C
r:'.
¿
é
é
¿
rt
é
¿
fli ,lt¡ G
¿
C
¿
e
c
C
t¿
¿
c
¿
e
C
C
C
c
C
e
c
C
C
If the student knows that there are no secrets of touch, he wiil intensify his study to master his c
control of dynamic effects. t-istening to his own playing will be of the greatest help to him.
If you want a melody to sing, keep the accompanying figuration softer and you will get the desired I
effect. J
C
C
C
C
C
J
4ta
J
C
 2i-- C_hopin: §oclurne, 0p. 27. \o. 2.
r. I-) I¡nto sostenuto i.. = ,o

semye legalo

In spite of the two slurs in the first bar., the pedal can be held if the indicated fingering is used.

2ll. Schurnulrn: W i dmung(Dctlicut iorr). l. iszt's trrnscripr ion

m. l-7
Inni lebhaft (Lively, rith feeling)

ACCenaal, a

fhe mltoOy, as well as part of the accompaniment, is carríed in one hand.

48
 !t
g.r
', :)

r)
The Critical Ea¡
/1.
: _-:

AJways play as if a master heard you.

Robert Schumann
Rules for Young Musicíans

i '--!

...-:\
when practicing, do you listen with a critical ear? You will undoübtedly hearitifyouharastrucka
t:;-)
. than just observing
wrong note. But the student should realize that he must demand more from himself
,-a\
t:.. I

;,
t,t
wrong notéi.
demandsonhimself
With carelessness and negligence, you mistreat your eafs- A student who makes
üe-cámm"nds of his eus; the sense of hearing needs as ifitensive training as the
will be riir¡rcrrgh end oUey
and duration and
I::,:
luigers and stroul¿ Ue developed systematically. The student should listen to tone strength
l
learn the conrrol of tone shading. only then can perfection be attained.
you can even bc
Rhythnr is ¡lcr controUeá ¡y ihe ear. Yóu form a pattern and follow through;
¡.H
t-]J '"*''il;:1 §:|il,lJiI[JJiIlH,nd what are tones without rhythm? Rhythm is order in movement-
gt Time is an abstract quality, yet timing and tempo are anything but abstract..
Music is a o.manding master, ,rting ro, more than controlled rhythm and
different degrees of speed'
'i'::tr
will execute wha.t the brain orders but the'
lt makes demands on the sáui, the ear, andthe broin. Tlte hngers
the thoughts and the ear on each note is a
t:? brain must know what to order. Practicing without concentrating
execution if he has trained himself to hear correctly" -
waste of time. The student can orüy control ex.act
I1.
but before you can afford the luxury ofbeing carried away by
You need the ear also for inspiration,
1

There are timeswhena

the sounds you are producing, tt. .", must be tr4ined to continuous self*rearing'
salon' uncontrolled
student may have to limit his powers. When performing for a small group in a
private
bravura would be acoustically out of place.
raill

L:J
Reflect early on the tone and character of different instruments; try to impress
the
peculiar coloring ofeach uPon your ear.
Robert Schumann
ar"- l
E;,¡, Rules for Young Musicians
(-.J

t::.-l

--;r

a
_:ri

É-::l

€g
rú

i.. ,

,€ij

t
t
)

chapter IV

If I do not practice for one day I wiü hear it,

If I do not practice for two days my friends will hear it'
If I do not practice for three days the audience will hear it'
Hans von Büiow

kacticing and Fingering, Chromatic Scales.

dedicate{, he will
Every music student has the desire to acquire a good, re[able technique. If truly
work diligen-.iy since he knows that there can be nt excellence without effort. tn acquiring a good
technique, reliable fingering is essential'
so orl' (In¡om1 old music
We regard the thrrmb as the first finger, the index finger as the second, and
index finger being
the thumb is ma¡ked "O" and the oiher-fingers marked as for string instruments, the
number one, and so on.)
wo¡k ottt a
When studyi-ng a new composition, professional and non-profesional alike wf.l first
on the music
that is best suited to them. It will assist memorization to make fingering notations
fingering"have
see4, music with diffe¡ent fingerings written one on top of the other, and this by accomplished
itse"lf. I
is comfortable for
pianists. w¡V ,fiht one change fingering over and over again? Because fingering that
for a fast-tempo. The student should be very definite in
slow playing need not rr...rruÁ,.'be-satisfactory
deciding on his fingering, as a haphazard one can be disastrous'
..While playing always think ahead of the approaching noteg for these often necessitate modification
of normal ñngering."*
a
speed until he is able to
One should practice slorvly so as to avoid stumbling, onty gradually increasing
play in the right tempo without faltering. Stumbling will tell you that you are playing too fast, that your
you not have repeated the
fingers have not been sufficiently pr.pr.d for the required temPo oI tirat may
passage olten enough. How often must you repeat? ti-tir i, itt¿i-ri¿ual. No matter in what tempo you play,
of time. Reading carefuily and accurately, practice
you should always attempt to piay in absolute equality
from hand position to hand position and from phrase to phrase'
How does one attain speed? One prepaies for it gradually, by practicing slower than the required
slow or
tempo untii the fingers find their place in an increased speed. However, you must avoid playing too
any need to play it
dragging. Once you know the piece, keep up the right tempo since there is no longer
slower. It is also unnecessary to play slower than the power of concentration demands'

Dragging and hurrying are equally great faults.

Robert Schumann
Rules for Young Musicians

* C.P.E. Bach'. EssoY on the Tnte Art of Playing Keybóord Instruments, edited by William J' lvlitchell' W'
W. Norton & Co., New York, 19a8, p. 44.

50
 rI
;l
rl
lfyou have made a mistake, correcr it immediate-ly. This wiil help your memory. It is sc:rs¿less !o JI
repeat pages over and over alter one has mastered them; unless
one \:ants to improve phrasing, it is a u¡¿ste
r{
ol time.
one may often wonder why, after having rnastered a piece,
p'e do not always play it well' we may 4
stumble. Why is that? This rvill happen to everyone' master
mexn rhat dilficult runs or p^ruj.i have not been sufficiently
and student
prepared.
condition
alike' and it does notnecessarily
It may simply nrean that the
your fingers' Be sure that your
4
d
ñngers rt this moment .r. not lñber enough. The answer is:
finlers are warm. (Jbsef Hofmann used to
exercises to get them to obey you instead
say he
olworking
preferred
over and
a pot
over a
of hot
piece
water
that you
to exercises') Revert to
know' often' however'
tackle a piece you have
4
d
liin"rit,*üration but knowing that your ñngers are at your command, you may
not looked at in a long time and play it perfectly'
play from the music even if he
e
For reüewing older pieces in one's repertoire, the student should
knows it from memory. otherwise how can one check to see if mistakes have crept in?
' It is not adüsable to practice each hand separately si¡ce we play with ten fingers and not just wiü
e
4l
assure correct reading' but
two hands. One may have ü go over each hand ieparately in certain places to
:: the normal procedure is to practice with both hands together' ¿
d
,.:

fingering' However' for

For pieces, the stuáent should use the most advanta'eous, the easiest
,:-L-lr
exercises and in practicing passage work, the most difficult
inellective practicing.
ñngering is advised'

The student may at times consider different finger and hand positions;
Much time is wasted in

in changing lrom Bach's

I4
rounded fingers to Chopin's straight ones' we will use different muscles'
it ]'
á
J
I'
_
i. l

,-: :.1

i::::; d
:r'
J,
itat

I;!l
Alexander BorovskY's hand
I
G
Rounded fingers
d,
\.J
l-::)
Eliascheff, New York

29. Buch, J.S.: The Ylell'Tempered Cloui¿r' Vol' I

I1,
t:_J PreludioX m. 1-2
Allegro molto moderato J=8a d'
d
Fi:i::

d
1;,
r C
C
-|t, C
ll1,) C
Fugo X. m. l'3 C
C
G
;
;
G
C
G
G
o'\
t

Sviatosiav Richter's hands

Extended fingers

30. Chopin: Etude, 0p. 19, No. Il. m. l-2

Allegro J=re
l3

>
v elo ce
t.

Also, practicing pianissimo, as many great pia¡ists have been known to do, will help to further technique
and improve velocity.

Fingering flor Chromatic Scales (Czerny)

2313t3

52
 t.
.Jl;.i

G
For r last tempo. the folloiving fingering can be recornmended: d
d
,d
d
d
c
c
c
Fingering for chromatic major tlúrds (Czerny) C
r. h.
aa3t5340{3 43,1 3{3 5¿3¡3Ú1 c
d
Á5 2L2l2L 3212132
23 í;tzalz12r

2312t2 3l2l212
C
12l2l32L213 453a04 53{0131
3{0¡3Ú43{cÚ ¿
t. h.¡
C
c
Czerny's Fmgering for chromatic thirds has been universally accepted. Chopin neveí
wlote any major G
chromatic thirds in his compositions, and most iikely lor this reason was not interested in constructing a é
lingering.
G
Fingering for Chromatic Minor Th.irds (Chopin) é
r.h. r
3 4 r34u{3aÚ34
izll2L2r2r
3¿35{0¡34iJ§¿3
iiálit2rt2tzl
d
2
é
é
rl2
3¿0
lzt2ll212l2ll212
Ú¡3{3{3óa§3{3¡3'
é
¿
Chopin used the first finger on consecutive white keys, (E-F)' (B{)'
d
Liszt, among many others, iiked to write major chromatic thirds' C
4 l

.ll. l.iszt: Rhopsodie, I'lo. l'5. Catlcnza é

Cador:a o,i libitum
8-------
c
I

I cggi c rorn cn f
I
I Well into the twentieth century, the rule existed to change hngers when repeating the same note
For the clavichord this nrle was justified. If the player changed the ñnger when repeating the
ser¡eral times.
same key on the claüchord, ir would'create a pecuLiar übrato (Bebung) as the string of the claüchord
responded to modulation even after rhe finger had struck the key. Not so with the pianoforte. Once the
hammer has hit the string you may just as well hold the key down with a broomstick.
Hans von Bülow, pianist and conductor. who had been Liszt's student and who became his son-inJaw,
adopted the rule of changrng fingers which was accepted universally. Today we know better. If ihe student
creates the desired eflect without changirg fingers, he should not abide by this outmoded rule.

32. Chopin: Prcludc, 0p. 25. \o. 6

Assai lento 5
§5 5555554 2411 E

Itis lar easier to use the same finger, and the student will be well advised to use this method unless he needs
very fast repetitions, as in some of Liszt's Hungarian Rhapsodies with theii cimbalom imitations.

33. l.iszt: Rhapsodic horgroise, \o. 8

g {5-
I¡nto a capriccio iztt32t4 3

J
J tñcs[0

^-./

Occasionally we may find sustained or syncopated notes edited with a change of fingering. The
student will ñnd this very helptul, particularly for sustained notes.

3{. Chopin: P relude, 0p. 2ti. \o. I5

m. l-3 Sosrenuto

54