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  • IMSLP580604-PMLP934240-The Art of Octav... by Signund Herzog and Andor Pintér (IMPRIMIR PAGINA 2)

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    IMSLP580604-PMLP934240-The Art of Octav...by Signund Herzog and Andor Pintér (IMPRIMIR PAGINA 2)

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    19 views154 pages

    IMSLP580604-PMLP934240-The Art of Octav... by Signund Herzog and Andor Pintér (IMPRIMIR PAGINA 2)

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    rae ART OCTAVE PLAYING FIFTY PROGRESSIVE STUDIES FOR THE PIANO © COMPILED CLASSIFIED AND EDITED BY SIGMUND HERZOG AND . ANDOR PINTER PRICE $1.50 NET CARL FISCHER BOSTON NEW YORK CHICAGO PHILADELPHIA Fundamental Principles of Octave Technic Our ability to woe at will either the shoulder, clbow, wrist, FIVE MODES ( kpuckles, or the axis of the forearm as = pivor for applyin| OF ACTION — sower by leverage to the keys of the plane gives rhe to fee modes of action: whole-aru action, forcarm action, hand action, finger wctrn and lateral furcirn action Complete transmission of the power applied can only be gained, if a con- on of perfect freedom exists at the joint used as the pivot, while firm resistance is maintained at all the other je The tone-producing downward action can he a deliterate Ge rouce | muscular stroke ot & sudden Lifse of weight. Decisive, byilliant tone is produced by vigorous muscular stroke. Mellow, singing tone results when lapse of Weight initiates the descent of the key. Neither the amount of applied force nor the duration of weight-lapse should exceed the requirements of tone-production. Key-hed hitting and id pressing are the most pernicious of all the practises of faulty piano-technic. The five actions enumerated above, combined with the two CLASSIFICA- modes of touch, open up the wonderful tone-moulding posbili- oy ties of our arms and hands. Whademara ~ j toe Farearn = hole-arm ~ 1 rete, ant V Barware = acghe - Hand ~ \ Al forearm Lareral forearm should find judicious empleyment in our playing, if the technical and esthetic pur- poses of a composition are to be properly safeguarded. ‘The force and speed required in each particular instance will determine, w hat part of our arms should be set in motion by muscular exertion or relaxation, in order to produce the desired offcet. Finger-stroke—this most important of all pian OCTAVE touch “finde practically no employment in octave playing. The TECHNIC force generated by this stroke is. inadequate for octaves, and ies use for such purposes is therelure limited. Hamd-stroke is the chief means of producing brilliant, staccato octave eects, Pivotal action at the Wrist characterizes this stroke, a more of less sudden side-adjust- ment of the dhand otaietini taking care of positional changes. Forearm savige force and is eminently suitable for she playing of large chordi3fRiidené torGe-eeets will call for a whal-urmautroke, which, however, should not be frequently resorted to. Extreme speed in octave-pasages, going beyond the posibilities of hand-stroke, can only be taken care of by ww-cibration: a peculiar combination of sorearm- and hand-stroke. Perfect control of this stake -being imposible, only in pasages of rhythmical uniformity can it he succesfully employed In the playing of legato-octaves of mellow, singing quality, the housceigl will bbe found quite insu ad the farearm-scright will have precedence over all other modes of touch in producing this class of tone-etfects, Under favorable conditions, in broad and slow melodic progresions, the we of wivh-arm-weight is appropriate and desirable. . . The lateral motion produced by the axial rotation of the forearm is used in playing broken octaves. Lateral firvarmestroke or lateral forearmsceight, according to the tone-quality desired, will hive to be employed in thése octave-formations. tic modes of CONTENTS tl Principe of Gctave Teenie cee ee Prete PART ONE BRILLIANT STACCATO OCTAVES PRODUCED BY MUSCULAR STROKE A. REPEATED STACCATO UCTAVES—Hand-stroke 2. Left Hau Octave Stanly Dining, ©. 10, Op, 24, No, 2. a 5 Getaves with Alerting Fiogers—Kiier oy Up. 20, No.1 : Octave Triplet Study “Ruiter, Ea, Op 200 No 7 5. Octave Velncey Seuiy—Gartt, €, Op. $5. No.8 5 6. Octave Baduraice Study Kuler a, Op 290, No. 2 B. STACCATO OCTAVES WITH INTERPOLATED SINGLE NOTES—Alternating hhand and finger-sttoke 2, Mind Octave” Sins Kehler, fa, Gr. Bo, No. 26 oe i A AGebatel clare Sty Kesler, J Ch te 9. Ostaves vite Laterplatt Doulie Notes Ranger, Br.y Op. Wo. § 8 10, Diananeal Octaves with Interpolated Double Notes Riper, E.R Op. 3% Xo. 7 2 ©. SCALE PROGRESSIONS IN STACCATO OCTAVES—Hand-stroke, with positional side-adjustments of the forearm AL Diatouie tare Seals Stuly—Coerny, K., Op. 5, LL Octave Sexes with Chrome Paling Neder ahs tare Sale Btoly—Iler, I, Up. 13, N03 “ i ies, Dp. 438, No. Y 15) tele iam Gcteve Sen Staly—hichl, AU. (8, Node. Le 16, Combination Octave Study —Crerny, Rov. 7h, No.4 D. LARGE INTERVAL-SKIPS IN STACCATO OCTAVES—Hand-stroke with quick 8, Qotve Sons beteHand Skips Dur » 19, Free Octave Skipe Ding, C. Hy Op. a6 21. Octave Meloy with Hawt Atternution—Vogt, J, Op. 143, No. @ s 23. Uniwal Oueve Shuly—foring, €: He, Of. 25, Nov Fees ” E, BROKEN-CHORD PROGRESSIONS IN STACCATO OCTAVES—Hand-stroke, ‘with vigorous side-motion of the forearm. [ight Band Octave Sad i Broken Chords Daring, Coli, Om, 3 So. 18 Itt Had Osta Sta in Brakes Chonta-—Doring. CH Op 21, So. 1 Gave Stay in Fatnted Broken Che —Coornys COP. Ti, No. 33 ‘uctave Independence Ssute- Woll, BO. 106, 80.3 (Gctave Pacaren in aralel Motion —lichly Aw Op. Hy Se 30 F, STACCATO OCTAVES RESTRAINED BY SUSTAINED NOTES—Finger-stroke 29, ostave Interference Study Seifert, C5 06:4, Ke. 9 : 8 BSRAE CONTENTS — Continued G._ HIGH-SPEED STACCATO OCTAVES—Arm-vibration Late Hand Octave Speed Studs—Handroek; Js Dp. 100, Ne, 25 0 Crosatc Octave Speed Study—Doring, C.H., Ops 15, Ro. 3 st (Octave Paasges in Uneven Rhythar Dring, ©. H., Op. 25, No.6 s H, STACCATO OCTAVE-CHORDS~Fersa: Repented Octaver with Adie Notes—KBtler, 1 . * L OCTAVE-CHORD ACCENTS—Alternating forearm and hand-stroke ctave-Chord Stty—tieht, Ay, Op, 154, NOL 12 7 os ‘Chord Accents with Broken’ChordAccompanitent Vogt, J. Op. 15, No. 12 6 J. INTENSE OCTAVE-CHORD ACCENTS—Whole-arin stroke Bimemaal Octave-Chord Stady—Llschhorn, A, Op. 179, No 12 in PART TWO MELLOW LEGATO OCTAVES PRODUCED BY LAPSE OF WEIGHT K. MELODIC LEGATO-OCTAVE FORMATIONS —Forearm weight Legato Gctave Study —Dibler, Th, Op. 42, No, us L_ LEGATO OCTAVES WITH INTERPOLATED DOUBLE NOTES~Aternating forearm-weight and finger-stroke Melodie Octave Study with Interpolated Dosble Notes—DSbler Th, Op. 42, No. 4, re M. CLOSE LEGATO.OCTAVE CONFIGURATIONS —Forearm-weight, with quick positional side-adjustments of the hand Chromatic Octave Turas—Bichl, A., Op. 144, No. 10 am N. BROKEN.CHORD PROGRESSIONS IN LEGATO CCTAVES—Forearm-weight, ‘with vigorous side-motion of the upper-arm Legato roken-Chort Octave Stady-Rler, La, Op. 290, Xo- 14 ne ©. OCTAVES COMPOSED OF LEGATO AND STACCATO NOTES— Alternat forearm.weight and finger-stroke Arcalatary Ootave Study—Caerny, ©, Op. 838, No 38 16 PART THREE BROKEN OCTAVES PRODUCED BY LATERAL FOREARM-ACTION ight Hand roken-OctaveStedy—Bieb, H., OB. 40, NB.2 19 1a Hand lroken-Octave Study-—Wolf, 8, OB. 105, No. 10 rr Staccate Broken-Octave Stuly-—Clementi t, Grarige a4 Pacouttumy,"” No. 2b 1% Stretek Developmen Seale-Sehimitt, A. Of: 18, NS-18 10 Broken-Octave Trem Stady~Dihler, Thy OB. #2, Na. 2 i PART FOUR OCTAVE STUDIES COMBINING SEVERAL ACTIONS t Octave Stady Picket, Bj Op. 1 a (Gxtare Virtuosity Staiy—Keroger, :BRILEIANT STACCATO OCTAVES PRODUCED BY MUSCULAR STROKE $e — A. Repeated Staccato Octaves ‘Aste a Sigmund Frws RIGHT HAND OCTAVE STUDY Seeerns ©. H, Déring, Op 24, NO4 Moderato sempre stacc. eeeeeee Copyright MMTV by Carl Biesher, Sow York LEFT HAND OCTAVE STUDY for hand-stroke ©. H, Dring, Op. 24, N02 ee Moderato |= 2 seule “sempre staccato aS oT OCTAVES WITH ALTERNATING FINGERS for hand-stroke L. Kohler, Op. 290, Not Moderato mf hss simile B48 4 simile 4“ OCTAVE TRIPLET STUDY for hand-stroke L. Kohler, Op. 290, No 2 ‘Moderato Thesess BaSSeHSAA SABHA RHAS FASSSS Basoaaeaa OCTAVE VELOCITY STUDY for hand-stroke ©. Gurlitt, Op. 68, NYS Allegro molto pare Sempre staccato 5. - 10 eres, molto decres. SESS: F SSSSSSS ores. poco a poco a2 OCTAVE ENDURANCE STUDY for hand-stroke L. Kahler, Op. 290, N04 ‘Moderato 4 B. Staccato Octaves with Interpolated Single Notes “BLIND OCTAVE” STUDY for alternating hand and finger -stroke Allegretto vivace nf $3 L, Kohler, Op. 290, No 26 ores Babe ACCENTED OCTAVE STUDY for alternating hand and finger - stroke 1.0. Keasler Allegro maestoso a i Ng aaa S con energie Ff, ven marcato ‘ MAA 8 Ae A OCTAVES WITH INTERPOLATED DOUBLE NOTES for alternating hand and finger-stroke F, Burgmiiller, Op. 105, NS All legro dolce, con leggieresza 2 @¢ ® © HM &¢ WM & BT Poco riten, Sa es ta * &@ * GM e poco riten. 3 i 8 @ & MM # MW * & 8 DW poco riten, [h ea tempo be 20 BIMANUAL OCTAVES WITH INTERPOLATED DOUBLE NOTES for alternating hand and finger-stroke E.R. Kriger, Op. 30, N04 Allegro molto 21 ry eS | ee es al Se le OT ts 7 Se ~~ SF ores. see tae C. Scale Progressions in Staccato Octaves DIATONIC OCTAVE SCALE STUDY for hand-stroke, with positional side-adjustments of the forearm Carl Czerny, Op. 553, NO4 A \derat agro moderato gy es = rae oe St 5 £ 7 e i. p leggicramente a7 A ‘A A A IN A a tempo poco rit, ne OCTAVE SCALES WITH CHROMATIC PASSING NOTES for hand-stroke, with positional side-adjustments of the forearm F Bargmiilier, Op. 105, N° 9 Allegro non troppo Sate aa padelicato = vil 30 dim., rit REITERATING OCTAVE SCALE STUDY a for hand-stroke, with positional side-adjustments of the forearm Allegretto grazioso F. Hiller, Op. 45, N05 $ uf sempre staccato eset oes 18. 32 OCTAVE SCALES WITH SUDDEN TURNS for hand-stroke, with positional side-adjustments of the forearm AYbert Biehl, Op444, NOt Allegro LEFT HAND OCTAVE SCALE STUDY for hand-stroke, with positional side-adjustments of the foreerm Allegro Albert Biehl, Op. 144, N23 we 36 COMBINATION OCTAVE STUDY for band-stroke, with positional side-adjustments of the forearm ©. Greeny, Op. 140, 8049 ak $43 , Bees ee gaia Vivace 22 a ie 4 He ofate a0 D. Large Interval-skips in Staccato Octaves OCTAVE STUDY IN RIGHT BAND SKIPS for hand- stroke, with quick positional adjustments of the hand R. Kleinmichel, Op. 61, Ne 6 Allegretto con, moto | oo * a & ‘Fa. cd sempre staccato a0 sempre staccato sempre staccato 43 OCTAVE STUDY IN LEFT HAND SKIPS for hand - stroke, with quick positional adjustments of the hand ©. H, Doring, Op. 25, Nez Molto vivace ‘ Pie z , 18. Yn rieer a FREE OCTAVE SKIPS for hand-stroke, with quick positional adjustments of the hand ©. H. Doring, Op. 25, NO 4 Allegro moderato BAB 49 oy INTERLACED OCTAVES for hand-stroke, with quick positional adjustments of ¢he hand L,Birkedal-Barfod, Op.22, N° 2 Molto Allegro = ——<$<——===s £ Ba OCTAVE MELODY WITH BAND ALTERNATION a tor hand-stroke, with quick positional adjustments of the hand J. Vogt, Op. 145, N° 9 | Con fuoco 5a TWO-PART ALTERNATING OCTAVE STUDY for hand-stroke, with quick positional adjustments of the hand ©. Cxerny, Op. 740, No 38 Molto Allegro martellato UNISONAL OCTAVE STUDY eA for hand-stroke, with quick positional adjustments of the hand ©. H. Diring, Op. 25, Ne 7 Molto agitato sempre staccato Sfeee Seats 60 a a_»_*_» =| =I 7 ee eft ol SSS = = = = > fF # « + pet 2 £ + += o£ = 2 ‘s- SF on > = = z te te Bet eS as wo a : ere saggessseseesss aeesaeres vetiee 63 64. Broken-Chord Progressions in Staccato Octaves RIGHT HAND OCTAVE STUDY IN BROKEN CHORDS for hand-stroke, with vigorous side-motion of the forearm ©. H. Déring, Op.24, NO 15 Allegro moderato sempre staccato — g = LEFT HAND OCTAVE STUDY IN BROKEN CHORDS o7 for hand-stroke, with iyurous side-motion of the forearm ©. B. Béring, Op. 26, N0 14 Allegro moderato 5 uff energico es OCTAVE STUDY IN EXTENDED BROKEN CHORDS for hand.stroke, with vigorous side-motion of the forearm 0. CZRRNY, Op.740, NY 33 Molto Allegro Sees — sempre éoice ry OCTAVE INDEPENDENCE STUDY for hand-stroke, with vigorous side-motion of the forearm B. Wolff, Op. 406, Wo 3 Allegro commodo B55 ree ” a « OCTAVE PASSAGES IN PARALLEL MOTION for hand-stroke, with vigorous side-motion of the forearm iehl, Op. 145, NO Presto ‘A. Riehl, Op. (45, NO 30 a Set sempre staccato ei = 1) The fifth Ginger for the white- key-octaves and the fourth Finger fur the Dlack-key-octaves should. be uniformly employed throughout this study, °F. Staccato Octaves Restrained by Sustained Notes OCTAVE INTERFERENCE STUDY for finger-stroke U. Seitert, Op.48, NOS Allegro moderato ; 29. simile ‘simile G. High-speed Staccato Octaves LEFT HAND OCTAVE ‘SPEED STUDY for arm vibration 8. Handrock, Op. 100, No 25 Allegro moderato energico Sipre stats a 8 5, oso ae Sea oaee if feeseek 88 FL * D.C. (senza repetizione) sin’ af “Fine” @ SG CHROMATIC OCTAVE SPEED STUDY for arm-vibration ©.H, Doring, Op. 25, NO Moderato 5 A tps caus neebee goes be bee ba 31. 4) ‘The fifth finger for the vhite-key-octaves and the fourth finger for the black-key-octaves should be _swiformly employed throughout this study. | : Plelatoloisie. 8s OCTAVE PASSAGES IN UNEVEN RHYTHM for arm-vibration ©.H, Diring, Op, 26, NOG Allegro non troppo ries 32. S energico shee bee Sat sempre staccato Fs. tebe beens a) The fifth finger for the white-key- octaves and the fourth finger for the black-key-octaves should ve uniformly employed throughout this study. on H. Staccato- Octave-Chords REPEATED OCTAVES WITH ADDED NOTES for fore-arm stroke L. Kohler, Op.290, N°16 Moderato v2 98 RIGHT HAND OUTAVES WITH ADDED NOTES for fore-arm stroke J. Vogt, Op. 145, No 15 Poco ores a o4 LEFT HAND OCTAVES WITH ADDED NOTES for fore-arm stroke J. Vogt, Op.'45, No 46 Allegro a Ee 2 con Fuoco as te 4% £ poco eres. 228 I. Octave-Chord Accents OCTAVE-CHORD STUDY for alternating forearm and hand- stroke ‘A. Biehl, Op. 154, Ne 42 Allegro risoluto a a a a a ak 36. Zz CHORD ACCENTS WITH BROKEN CHORD ACCOMPANIMENT for alternating forearm and band-stroke J. Vogt, Op. 145, N12 Allegro con fuoco J. Intense Octave-Chord Accents pee BIMANUAL OCTAVE-CHORD STUDY for whole arm stroke A. Liisehhorn, Op.'79, NO 5 - Larghetto 38. RN ie v 105 ll. MELLOW LEGATO OCTAVES PRODUCED BY LAPSE OF WEIGHT ee K. Melodic Legato-octave Formations LEGATO OCTAVE STUDY for forearm-weight ‘Th. Donler, Gp. 42, N°4 12 canto espressivo Andante_semplice eee ry eee 39. 106 —— = iG _———— PP as > = > J oes. be = be 108 L. Legato Octaves With Interpolated Double Notes MELODIC OCTAVE STUDY WITH INEKFOLATED DOUBLE NOTES for alternating forearm-weignt and finger-stroke Allegro agitaso Th. Dohler, Op. 42, Ne 40 eg t 40. con gran forza cate, i ot ee Pen a4 => Seater pars ae an M. Close Legato-Octave Configurations as CHROMATIC OCTAVE TURNS {or forearm-weight, with quick positional side-adjustments of the hand A. Biehl, Op. 184, No 19 Moderato assai Te s-Te bas Brae ire to BYE s.stan Tet tae serhssssiel ataee iaie tte 4 > 4 Pp espressito—= 41. ua 18 “tN. Broken-Chord Progressions in Legato Octaves LEGATO BROKEN-CHORD OCTAVE STUDY for forcarm-weight, with vigorous side-motion of the upper-arm L, Kohler, Op. 280, Ko 14 Moderato assai ne O. Octaves Composed of Legato and Staccato Notes ARTICULATORY OCTAVE STUDY for alternating forearm-weight and finger-stroke . ©. Czemy, Op. 335, N9 33 Allegro vivo e scherzando iP canto ben tenuto y Fp ee d’, 4 9 6 ow) 3 [sempre steccatissimo| : fi 8 III. BROKEN OCTAVES PRODUCED BY LATERAL FOREARM-ACTION “1% RIGHT HAND BROKEN- OCTAVE STUDY for lateral forearm-action E. Biehl, Op. 40, NO2 Allegro moderato * LEFT HAND BROKEN-OCTAVE STUDY i for lateral forearm-action Allegro brillante B, Wolff, Op.106, No 10 126 STACCATO BROKEN- OCTAVE STUDY for lateral forearm-action ‘M, Clementi, “Gradus ad ?arnasnumy N9 28 Veloce . 5 ee § 46. 1237 180 STRETCH DEVELOPMENT STUDY for lateral forearm-action A. Schmitt, Op.{6, Nt Moderato ee 47. BROKEN - OCTAVE TREMOLO STUDY for lateral forearm-action ‘Th. Dobler, Op. 42, Ne 29 ec fee seee ee Allegro Vee faa e 48. Bcd espressivo LY, OCTAVE STUDIES COMBINING SEYERAL ACTIONS Lash BRILLIANT OCTAVE STUDY for diversity of action and touch , Pirkhert, Op. #t sempre stuccato > 2 Sa. & con bravura | gt a aa & Se. te toa 4 & 4) The siti finger for the white-Key-octaves and che fourth finger fOr dle black-key-oetaves Mould te sniform- Fi 0 as a fa. & Ba. & ‘Xa. simile ate: rote bit ores. ne apa BF 140 Feteteret er Segmarcalissino bth animato sempre staccato Ra.simile martellgt? |, pte 2 ate alt eteie ite 5 ‘Sa Sa. accel, poco a poco te = aie = con gran fora # * stringendo > incalzando a - we Se, ——— Ie ad Posesee™ ite 142 OCTAVE VIRTUOSITY STUDY for diversity of action and touch Allegro vivo E.R. Kroger, Op.30, N96 is aigis fees 28 aa5 $56 56 legato sempre 50. aah z a_»__ Ba—_»__# a simile By Permission of dhe Publisher Breitkopt & Hkrtel #24 West sth Street New York 13 4 qf bapearSarSatsa ca pes cbadpsdbedsdds

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