1. art and entertainment
2. music
3. musical instruments
4. pianos

PIANO
THE
PLAY
TO
HOW
HAMBOURG
MARK
HOW
PLAY
TO
THE
PIANO
BY
HAMBOURG
MARK
PRACTICAL
WITH
DIAGRAMS
DIUM
OF
AND
-
ILLUSTRATIONS
ABRIDGED
AN
FIVE-FINGER
THIRDS,
COMPEN-
EXERCISES,
OCTAVES
ARPEGGI,
PRACTISED
BY
CHESTNUT
I7I1
"
PHILADELPHLA*
SCALES,
AS
HIM
PRESSER
THEODORE
AND
STREET
CO.
COPYRIGHT,
BY
PRINTED
IN
THE
THEO.
1922.
00.
PRESSEE
UNITED
STATES
OF
AMERICA
FRIEKD
MY
TO
DEDICATED
MUIR
D.
FOREWORD
Hambourg
Mark
South
Voronesh,
of
a
Russia,
musical
great
in
education
talent
of
professor
1891
left London,
After
years.
his
debut
in
Vienna
later
made
made
he
Concert
a
year
of his
in
principal
1895
In
was
at
tour
this
of
to
general study,
England,
in
the
paved
tour
upon
Hall, appearances
and
A
visit
Australia
to
be
a
time
in
ICngland
of
the
In
the
whole
he
year
made
of
that
marked
his
four
recitals
during
of
autumn
and
in
a
particularly
to
few
a
study
American
first
the
concerts
of
period
period of
A
Continent,
the
recitals
1902,
second
conclusion
the
1899.
on
of
for
more
This
played
he
year
after
which
tour,
leaving
years
himself
series
a
80
of
and
the
Queen's
the
at
Lamoureux
at
and
change
second
spring
had
he
to
the
at
fulfil
Queen's
thousandth
one
in
tour
and
rest,
but
sununer.
vii
In
proved
was
also
Hambourg's
Mark
engagements
many
Hall
on
June
in
appearance
October
third
a
latter
which
Africa,
South
by
which
Africa,
fully occupied
recital
his
followed
concerts,
South
in
venture,
His
well.
as
important engagements
following
Festival
tour
a
for
1906, esiK-ciallyas
same
1907
tour
successful
most
of
concert
a
Paris.
in
and
primarily
until
Cardiff
American
second
undertaken
to
Concerts
Colonne
two
England
including
at
and
up
before
devoted
in the
in
the
Richter,
Dr.
of
the
England
For
embarked
pianist's engagements
period,
Philharmonic
a
first Australian
achievements
followed
activity
great
at
three
that
during
to
went
public at
by giving
Switzerland.
and
further
he
and
In
remained
he
public activity being confined
for
which
in
1897.
Hambourg
his
juvenile
England.
in
of
musical
a
migrated,
where
number
During
Germany
way
had
this
as
tour
London
Hambourg's
in
Mark
tour
himself
Europe.
concerts
Australia
in
to
Scholarship
the
to
success.
important
many
him
Moscow
conductorship
the
IMark
sensational
a
Liszt
bow
cities of
came
at
V^ienna,
fulfillinga
as
out
family
Society, following
as
own
the
his
in
under
well
the
and
full-grown pianist in 1894
a
his
Philharmonic
the
taking
whither
as
him
brought
Leschctitzky
winning the
under
study
province of
showed
promise
in
an
afterwards
1889,
in
Bogutchar
30th, 1879,
early age that his father,
piano-playing, personally took his
such
at
and
hand,
in
May
on
advanced
prodig}'
he
born
was
which
of
i8th
public.
occupied
the
same
FOREWORD
"iii
followed
year
a
farewell
great
by
six
He
and
has
time.
a
Albert
visit
July,
which
Hall,
fourth
the
alone,
the
touring
In
Mark
during
on
came
twice
been
Europe.
Britain
Paris,
people,
the
at
in
while
tour,
attended
was
Australia
to
after
1908,
extending
months.
throughout
fourth
American
concert
6000
over
over
third
a
191
4
all
he
year
while
Continent
in
was
Hambourg's
Canada
over
the
activities
1920
he
played
since
he
has
generally,
and
on
over
for
the
the
the
increase,
recitals
continuously
all
again
States
ever
120
over
been
United
are
then
and
in
playing
world.
Great
in
CONTENTS
PART
HOW
ONE:
PLAY
TO
PIANO
THE
rAGB
CHAPTER
I
II
PROLOGUE
HOW
III
ON
IV
CAN
V
VI
:
X
A
ELEMENTARY
^7
SCALE?
3"
PRINCIPLES
HOW
TECHNIQUE:
FINGERING
HOW
KEYBOARD
THE
.
OCTAVES
SIXTHS,
OI
ADVICE
AND
EXPRESSION
WITH
42
47
...
MEMORY
MISTAKES
PLAY
TO
35
.....""
MASTER
TO
THIRDS,
AND
COMMON
STUDY
FOR
HINTS
FURTHER
SOME
IX
13
...
GENERALLY
PLAY
YOU
ON
VIII
CAREER
*"
TECHNIQUE
SOME
PIANISX'S
THE
FOR
PRACTISE
TO
ADVANCED
VII
PREPARING
TO
HOW
HOW
AND
TO
70
THEM
AVOID
USE
THE
70
PEDAL
'
XII
A
SPECIMEN
LESSON
XIV
PLAYING
IN
EPILOGUE
:
PART
FIRST
9^
9"
AS
PIANO
THE
AND
CARE
FIVE-FINGER
HOUSEHOLD
A
FRIEND,
EXERCISES,
HOW
103
COMPENDIUM
FOR
AND
ONE
FOR
ABRIDGED
TWO:
ETC..
XV
SONATA
PUBLIC
CHOOSE
TO
MOONLIGHT
THE
( BEETHOVEN)
MOVEMENT
XIII
:
THE
USE
SCALES
AND
CISES,
EXER-
OF
OF
STUDENTS
ARPEGGIO
EXERCISES
.
XVI
SCALES
The
IN
THIRDS
fingering
used
AND
in
OCTAVE
this
book
II8
EXERCISES
is the
IO9
Continental
fingering.
ONE
PART
PIANO
THE
PLAY
TO
HOW
TO
HOW
Let
consider
us
the
youth
and
carve
live
we
bear
THE
than
is
case
tend
make
to
there
world
the
consider
up
a
The
outlook
in
arduous
decided
study
Of
them
for
real
develop
namely,
able
branch
the
determine
gift
is
into
as
to
of
in
inborn
or
degree
for
the
I
of
waste
for
mention
he
whether
Unless
time
take
to
scarcely
ascertain
and
try
seriously
decides
need
higher
deal
must
he
instrument.
forth
human
of
measure
itself
a
in
of
fusic^n
the
or
young,
for
disposition
certain
bring
a
the
exact
talent
true
a
to
the
for
therefore
and
precious,
and
good
a
before
than
concerts
he
him
to
possesses
commence
all.
it is hard
talent
be
life.
musical
the
in
rare
doubt
no
him
pianist,
a
should
highest
it at
course
to
The
are
of
of
of
walk
any
more
many
student
front
it
therefore
and
is still most
is
which
under
WORLD
great,
very
talent
young
disposition
this, it is in the
the
best
of
career
first business
his
that
has
the
the
be.
to
is
achievement
of
level
general
it used
than
the
though
MUSICAL
THE
artists, and
more
many
also
formerly;
yet
are
IN
in
At
artists.
strenuous,
distinction
at
all,
demands
public
executant
very
arrive
to
is, first of
It
existing conditions
the
competition
with,
begin
from
endeavour
all
its aid.
present-day
before
COMPETITION
To
the
await
difficulties
piano professionally,
the
up
with
that
that
CAREER
PIANIST'S
take
to
ever
rather
PIANO
possibilities and
himself
mind
increasingly hard
grows
FOR
what
for
in
attainment
the
least
I
nowadays
career
a
to
necessary
little
a
desires
who
out
greater
Chapter
PREPARING
PROLOGUE:
THE
PLAY
sense
power
containing
great
superiority
intcIHgcnce they
13
for
even
their
capacity
in
does
of
not
which
within
T
it
the
outset,
qualities.
necessarily
understand
elements
it,
which
in whatsoever
atlninment
actuate.
at
different
many
so
music
around
friends
It
is
strange
that
TO
HOW
14
PLAY
THE
PIANO
facultyof easy musical expressionalone is not enoug^h to ensure
into thinking so,
success,
though people have often been dehuled
bitter disappointment and
and
thereby much
misery have been
caused
to unrecognized aspirantsafter fame.
How
who
there
are
give the impression of being
many
with the musical instinct,and even
astonishinglyendowed
possess
is known
what
as
perfectpitch,which appears to be an unerring
the
discrimination
of the
between
ear
the
various
sounds
of
the
scale.
Such
wonderful
natural
to have
in
a
people certainlyseem
facility
all things appertaining to music, yet they often
do not
arrive at
in the profession. One
is told that it is
particulareminence
any
such a pity "So
and
So" has such a genius for music, but is so
he cannot
do himself
lazy he will not work, or so nervous
justice,
that some
other drawback
hinders him ! But the fact probably
or
like these,that the musical
is,in cases
propensityis there no doubt,
sometimes
in a high measure,
talent or
but the necessary
even
is not
power
present with
enable
it, to
it to
attain
successful
a
development.
should
then,
What,
the student
feels that he has the
sufficient talent
giftof music
accompanying it
seek
and
for
wonders
in himself
whether
when
he
he possesses
succeed
professionally? Well,
he must
is capable of many
consider, amongst
at the development of the technical
years of hard unremitting work
He
side of his art.
also find in himself physicalendurance,
must
other
inexhaustible
of
his
in emergency,
art
things,if he
of nerves,
determination,
patience,self-confidence,and, above all,such a love
coolness
courage,
to
for
its
own
command
sake
as
will
carry
him
over
every
disappointment.
THE
BEST
TEACHER
allowing that he has the signs within him of all these
he decides to
needful
at least he thinks he has, and
or
qualities,
he has then to make
take up the study of the piano seriously,
up
is
his mind
a
nd
this
about his first practical
undoubtedly
necessity,
But
to
go
and
learn
with
the
very
best
teacher
he
can
procure.
There
the
to be reallywell taught from
as
nothing that helps so much
artists have had to go through irksome
very beginning. So many
and
valuable time
irritatinglabour in later life,and lost much
in having to undo
the effects of bad tuition in student
days. It
is
is therefore
benefit to the beginner if whoever
an
enormous
the
responsiblefor his education insists on his being sent from
outset
to a reallygood and
experienced professor. At this early
important that the student, though
stage, also,I estimate it as most
is
PROLOGUE:
PREPARING
work
he should
THE
FOR
regularlyand
PIANIST'S
CAREER
should
conscientiously,
15
study for
not
long at a time.
Personally I have always found that two hours at a stretch of
and
it is far better
careful practiceis quite enough at one
sitting,
do several periods of work
in the day of shorter
duration than
to
be at it for many
hours
mind
and
to
ear
together. The
only
confused
become
after a protractedtime of work
by the constant
blur of sound
then
the practisingdegenerates into merely
and
discrimination.
senseless
Besides
w^hich the
repetitionswithout
fatigue and strain put upon the nerves
by such protractedstudy
student's health,and tend to impair
are
very injuriousto the young
his constitution before any of the wear
and tear of his profession
too
begin.
TAKE
Here
his
to
STUDENT's
THE
HEALTH
to
me
strengthby
exercise
constant
successful,he
be
OF
important to remember
say, that it is most
physicalhealth of the youthful pianist,and to
let
after the
CARE
will have
and
to
fresh
be
air, for later
fit to
endure
look
build
on
every
up
if he is
sort
of
excitement,
nervous
long hours in the train, much
perfectlycertain that good health and
great bodily fatigue. I am
strength are absolutelyindispensableto the modern
professional
the
notion
that
consists
artist
of
sort
an
pianist,and
generally
with
delicate lungs and
of a pale and sicklycreature
over-strung
is a conceptionof fiction! High strung, his professionwill
nerves
strain, such
make
him,
as
and
and
control
sensitive,but
healthy,otherwise
he
he
must
will
have
never
his
well
nerves
survive
under
the tension
of
public life.
There
is
no
doubt
that the unaccountable
failures of
some
people
with
have been due to
reallygreat talents, who deserved recognition,
their neglectof health and their consequent
inability
through sheer
them.
to face the tests put upon
physicalweakness
Just think what
a
long
concert
tour
means
to
the
artist in the
way
of
endurance!
Night after night appearing in big important engagements, with all
the responsibility
they entail ; day after day long journeys by train
often
or
steamer,
nights travellingtoo; yet, in spite of all
many
that, on arrival he must
always i)e ready to play with energy, spirit
and
unflagging interest,otherwise he will not inspireor convince
his audience.
his
The
faculty of interestingand carrying away
of his imagination working upon
them
hearers by the power
through
H
needful
the
artist.
he is
the music, is another
most
to
cjuality
succeed
he must
to
acquire it. or rather develop it.and it can only
in whatsoever
he is
come
through his learning to sink himself
HOW
16
with
conviction
mesmeric
I suppose
the
to
listeners
to
go
thus
if
it
speaks
become
one
forth
with
him.
wished
one
making of
the
mind
and
soul
around
fillvolumes
could
one
points which
all the
PIANO
THE
a
music
the
PLAY
dogrce that his whole
and
he is interpreting,
such
playing to
TO
fine
a
descant
to
pianist.
upon
But
this
remarks
the
to my
on
to be a general introduction
only meant
study of the piano, which I have been asked to write for students
therefore
in the subject. I can
be interested
and others who
may
few
of the most
to
a
me,
only touch here, as they occur
upon
intend to go in for the profession.
salient essentials for those who
is
DEVELOPING
good tuition,hard work and health, I come
consideration,namely, the development of a reliable
of
Having spoken
vital
another
to
It has
memory.
in the
up
a
in
perform
to
good
his
become
fashion
the
public by heart;
thirtyyears, and
For
one.
will often
ensure
last
MEMORY
MUSICAL
THE
the
mere
for
it is
habit
a
I do
that
know
not
that
confidence
to
the
account
of
his work,
give greater
giving a good
grown
always
piano
upon
performer, and
the
nervous
even
it-may
the
so
best
obsess
of
his
them
mind
the
been
have
fear
only
it is
while
the
absence
forgettingthat he
which
he
in the interpretation
will be unable
let himself
to
go
had prepared. However, the publicgenerally,
less,expects
more
or
and
that the pianist should
probably, if he
play from
memory,
these circumstances
fear of its failinghim, he does under
has no
inspiredrendering of his music.
give a freer and consequentlymore
At any
rate, it is an
urgent point to cultivate a good memory.
this memory
is a gift of itself,and needs
With
musicians
many
On
it perfectlyreliable.
and
ordered
to make
use
only constant
the other hand, there are
frequent instances of very great artists
another
whose
will play them tricks,and from
one
cause
or
memory
of
with
has
music
of the
presence
soloists
all instrumental
known
of
fail at
to
times, often
or
some
preoccupation. One
over-fatigue,ill-health,
of the most
extraordinary examples of this happened to a very
He
of
famous
was
pianist at a concert.
playing the Concerto
Beethoven
in C minor
had
arrived at the second
and
subject of
merely
the
from
beautiful
slow
progression to
of
Mendelssohn's
Beethoven
oblivion
to
the
second
wandered
the astonishment
which
movement
beginning
Concerto
of
in
G
minor.
into the
one
of the audience
The
then
his
own
Adagio
pianiststarted
in
a
in the Mendelssohn
and
similar
a
very
in
the
subject
the second
subject correctly,and
away
with
starts
moment
the
of
Concerto
dismay when
he
PLAY
TO
HOW
18
PIANO
THE
certainlynot prepared to play it at a
without
notice in i)ublic.
moment's
looking through it first!
from
That
arose
having no time to rehearse, and
contretemps
I earnestlycounsel all young
rehearsal
a
pianiststo insist upon
how
when
pla\ing with the orchestra wherever
possible,no matter
For
them.
much
it is
extra
cause
travellingor fatigue it may
almost out of the questionto obtain a reallysatisfactoryperformance
from
of a work
anyone's standpoint by just scrambling through
bravely
it, in
as
with
on
happens
Of
the
conditions
a
it is far
for
There
the
life.
upon
sincerelynot
things
like to
what
study, and
mind
power,
But
virtuoso
to
endeavour.
life,so much
"
"
simple!
music
professionallyit
subjectsat
am
have
For
certain that
the
uses
it is
alive
PLAY
and
with
the
and
risk
is such
up
much
so
pianist's
him
an
to
advantage
of
interest
student
to
the
intellectual
enlightened his vision of
more
TO
branch
every
and
energy
to
inestimable
most
becoming
absorbing
keep up
time, especially
during
an
any
then
even
recommend
Music
profounder his
DOWN
was
it.
point
about
before
speak
sometimes
same
broader
the finer and
NEVER
the
his brain
do
general education
that it is difficultI know
I
I
Under
of
in close connection
first is, that
neglect his
taken
other
in many
years.
to
a
the
know
but
one,
I would
The
to be called
used
doing without
young
are
well
if there
justified,
be
times
different.
is rather
case
you,
rehearsal.
many
they
make
closingthis chapter,which
outlook
concerto
same
artist to
other
two
are
the
rehearsal, in
about
difficulty
better
the work,
follow
not
public without
orchestra, and
pianistwould
the
should
in
the
done
and
conductor
same
orchestra
played
are
artist has
rendering he gives of
such
lest the
concertos
if the
course
with
when
was
time
all the
terror
I
it. but
AN
own
art
will become.
AUDIENCE
Secondly, though not quite in the category of what I have
high conception of his
just been saying, yet relative to the same
the young
to play down
to
never
professional
art, I greatlyurge
be
I
to
audience.
never
an
persuaded to play
By this
mean,
certain
the plea that they
music
class
of publicon
second-rate
to a
educated
to
not
sufficiently
are
appreciatethe best. This is the
by experience, for I have
greatest possible fallacy,as I know
and
condition and class
the world
sort
to
played all over
every
I have
of people,and
that they respect and are
always found
when
interested in one's art even
they do not quite understand
do.
it all, and that they appreciateand desire the best a man
can
The
artist should always try to stimulate his public up to the
PREPARING
PROLOGUE:
passing
their
entice
themselves
he
To
maxim
and
steep
play
of
to
the
they
will
though
want
not
estimation
their
to
the
resolution
into
first
and
then
in
will
he
rank
ought
standard
highest
pianist,
young
unfailing
ladder
Otherwise,
in
clap-trap
to
they
to
19
order
enjoy
may
again
come
of
level
to
and
they
what
him.
up
the
sink
never
moment,
in
from
and
fancy.
lowered
be
heard
have
the
for
will
music
of
kind
highest
CAREER
PIANIST'S
THE
FOR
and
win
with
time
the
be
to
hard
work,
make
his
rewards
of
the
cardinal
enthusiasm
way
success.
up
the
Chapter
TO
HOW
I
this
devoting
AM
the
practise
found
from
setting about
should
of
necessary
from
the
work
playing,
but
been
one
was
etc., down
Tausig,
I
am
method,
school,
or
fingers
and
mind
of
while
call
in
It
is also
to
set
of
as
I
up
pianomyself
pianoforte
my
the
.
traditions.
best
had
who
famous
second, the
Liszt,
pianists of
pianoforte
Such
Rubinstein,
Anton
Therefore
to-day.
organized
to
the
technical
of
trend
good
a
train
will
method
a
modern
pianists of
study according
to
and
of
school
the greatest
it.
definite
a
second,
stages
one,
my
the
through
starting
we
as
of
famous
in
;
Hambourg,
Michael
all
Systematically
start
in
in
Czerny.
many
many
believer
great
a
to
all
to
steeped
Prof.
extending
in
elementary
especially represents
produced
results
practising.
fortune
were
with
best
help
the
detail
to
physical.
the
of
Rubinstein;
studied
influence
his
have
way
observed
be
to
and
of
good
father.
Nicholas
has
playing which
in
who
my
Czerny
times,
to
I
efficacious
most
mental
schedule
the
teachers
of
both
especially
Leschetitzky, had
And
how
what
here
attention
inestimable
an
had
I
with
pupil
a
subject of
out
rules
attainment
fixed
such
more
know,
first
the
first, great
the
some
is
for
education
be
to
cardinal
fatigue,
for
outset
ordered
My
be,
over-
most
well
the
speaking,
practising
point
to
try
the
to
it.
Broadly
avoidance
shall
and
experience
my
PRACTISE
entirely
chapter
piano,
II
development.
Of
that
imperative
of
all to
I
many
they
stress
on
clever
are
main
piano,
this
ways
taught
how
at
I
that
technical
cannot
at
fact, because
there
of
children
30
the
in
are
fugues
compose
theoretical
a
later
be
first
of
their
just
For
of
actual
the
I
keyboard.
imitation
much
learn
acquire
musically.
in
directed
difficulties
fashion
it is
that
on,
children
musical
they
playing except
to
acquire
should
time
the
least
educating
to
think, especially in the training
and
master
believe
not
well
as
professionals
become
energy
to
facilityof
mechanical
lay
to
how
do
the
from
away
their
learning
instrument.
thing
education, but
intend
who
children
good
a
general musical
and
of
it is
course,
wish
to
now
so
instance,
Bach
after
few
a
kind
This
of tuition,etc.
hours
21
PRACTISE
TO
HOW
of
instruction
is doubtless
advantage in stimulatinggeneral musical knowledge and, above
little ones
and
developing the faculty
all, for trainingunmusical
but
in the
be completely lost to them,
which
might otherwise
be allowed
never
education of the young
pianistsuch systems must
has always to be, first of all,
the main
obscure
issue, which
to
the acquirement of absolute
proficiencyat the keyboard.
be for a period of
should
Practice
in early childhood
never
of
half
than
more
the
hour, aad
an
whole
to
amount
be
done
should
ought to be taken to procure music
will appeal to their imaginations,and
for children
to study which
of sound, which
be in pleasant forms
their exercises should
even
And
the best thing is to instil
interested.
will help to keep them
as
as
soon
possibleinto the mind of the child the desire for beauty
not
exceed
of touch
and
clearness
NO
No
Also
hour.
one
of execution.
CHILD
be
ought to
always sit with
left
him
ALONE
PRACTISE
SHOULD
child
should
care
to
and
practiseby himself;
that he gives each
see
someone
note
its
the little
object it is excellent to make
be
aloud
while playing. The
out
count
pedal should never
one
permitted,and each hand ought to be practisedseparately. For
of the
worked
hands
if the two
together the concentration
are
is divided, instead of being directed to one
mind
thing at a time.
of covering up of the sound
on
goes
Besides, a certain amount
clearness
when
both hands
are
playing,which is bad, and impedes
and
of execution
conception of the difficulties to be contended
full value.
To
attain
this
with.
intended
as
to
used
are
purely mechanical
etc.
articulation of the fingers,
apply mainly
for the
also, that such
separate practiceof
the
about
remarks
These
exercises
to
the
should
be
easy
and
not
each
hand
are
exercises, such
It is
strain
important,
the hand,
overstrainingof the
be practisedin all
scales must
and
Exercises
hand
in childhood.
the keys, not only in C major in which
they are generallywritten,
it is of great benefit to the child to be able to play as easilyin
as
is not
Another
to be observed
good maxim
one
key as another.
and over
over
again,
to be repeated ad nauseam,
to allow exercises
the unceasing repetitions,
with
the mind
as
only gets bewildered
for
and
serious
very
result
no
I
am
child,
as,
can
results
then
speaking
if the
develop
can
from
be obtained.
here
routine
at
of
some
length about
the
good systematic work
practisingof
is
a
acquired in
it becomes
earlyyoiUh,
habit
a
THE
PLAY
TO
HOW
22
PIANO
naturallythroughout
continues
and
lite.'
I
arrive
now
initiated, the
life-work.
great and
a
to
a
student
problem
small, namely
His
that
and, indeed, of
any
day, and
have
who
Those
mind
than
less
not
how
principally,
and
maximum
the
obtain
of
and
to
avoid
pianists,both
practisein such
all
to
average
pianist,be
not
three, under
more
advanced
an
five hours
than
ordinary
have
effort,
repetition.
much
too
practiceof
the
and
in time
economy
technical talent at all and
no
of
that
becomes
then
keep always fresli in
Generally I advise
student
stage, when, having been carefully
begins to consider the piano as his
further
a
young
to
as
way
at
circumstances.
great difficulty
musical
those whose
or
acquiring adequate mastery of means,
the whole
and often do, but on
is weak, can
practisemore,
memory
In any case
hours
of study only tend to staleness.
extended
very
his
of dividing up
should
devise a systematic way
the student
to
of practiceif he wants
hours
get the best profitout of his
until he has
For
work.
playing and the
experience in concert
frequent opportunityof performing in public (which thing, of
in
extent
impedes practisingand also obviates to some
always give a certain definite time
necessityof it),he must
day to purely technical study.
course,
this end
To
the
pianistought
to
every
COURSE
DAILY
REGULAR
A
the
draw
up
for himself
a
regular
as
following. First, a short space
to be pursued, such
of scales,
always be given to fingertechnique,ten minutes
the
course
should
arpeggi. Scales to be played in four different keys
each day, with their accompanying arpeggi in every development,
ten
also
of
minutes
the
and
chromatic
contrary
motion
scales.
Thus
if
four
keys are done each day, the whole range of
these scales
three days. After
scales will be got through every
exercises, comprising all the positions
twelve jive-finger
ten
or
and
Hanon's
be worked
at.
Czerny's Exercises
of the hand, can
I particularlyrecommend;
quite
which
the
they are
ones
are
and
for helping to acquire an
even
rapid articulation
excellent
scales in four
of
the
different
fingers.
Also
as
the
student
advances
he
should
add
daily round.
The
reason
why all this technical daily study is so essential is,
because
to obtain a supple,easy
mastery of the piano,it is necessary
And
and arms.
hands
real athletic agilityof fingers,
to possess
a
of regularexercises
justas an athlete in trainingdoes a fixed amount
Moszkowski's
school
of thirds and
sixths
to
his
HOW
TO
day, to keep the muscles of his
the pianistgo through
fitness,so must
and
hands
fingers.
arms,
whole
every
there
Now
in
details
the
of
train his
to
process
axioms
sense
common
many
are
similar
a
and
elasticity
in
body
PRACTICE
SENSE
COMMON
23
PRACTISE
practising,which
find
will
student
the
observed
be
to
by
out
certain
has
to
day a
play on a
experience.
he should
double
and
notes
octaves
occur,
piece in which many
that day make
a
on
point of practisingonly scales and exercises
should
take care
for the simple articulation of the fingers. He
and doubleoctave
during his working hours not to study the same
note
techniques as are to be foufid in the piece that he will be
playing later on in tlie day, for if he does so he will risk suffering
instance, if he
For
from
of
lameness
the
from
will appear
lameness
Such
hands.
positionsas are
working the hands too long in certain extended
great varietyof motion
playing,etc. Therefore
peculiarto octave
fresh
and
to
must
keep the hands
at, in order
always be aimed
vigorous. Also should the student experiencethe slightestfatigue
when
in the hand
playing scales and passages, let him instantly
until that feelinghas quite passed away.
cease
EXERCISES
OCTAVE
of
practising
Much
as
of
this
tends
sort
difficult to
is very
which
of
muscles
strain
to
is
playing octaves
the
of
contraction
the
in
used
the action
exercises should
octave
the
and
them,
a
good
produced by
deal
forearm, continuous
generates
work
of
sort
a
Personally,I think
cure.
avoided, for
be
ever
that
cramp
students
when
absolutelyimperative for some
only study octaves
piece they are learning,and then, if they used Kullak's Octave
the very best of their kind.
Exercises, they will find them amongst
If I had to pronounce
an
opinion as to what I had found to
for a pianist's
absolute essential of a physical kind
be the most
equipment, I think I should declare for a perfectlysupple and
few students
consider this acquirement enough,
How
loose wrist.
should
yet it is the
forces
who
instrument
finds
are
the
"
roundness
of his
victims
of
liancy
attack, all bril-
playing,all grace of expression. He
passage
his
from
and
gets harsh, unpleasant sounds
after
who,
hopelesslyincapacitatedby
tendons
always
tone
and
all softness
the unfortunate,
himself
the
of
finish of
and
of
secret
of
arm,
want
or
of
a
hours
many
sudden
a
of hard
swelling in
stiffness in his hand
care
given
to
the
work
"
both
one
these
development of
HOW
24
a
supple
real
wrist.
will
performer
rapid passages.
PIANO
THE
of action, there is no
perfect freedom
no
elasticity,
play for the tingers,and the
proper
in difficult
generally fail at the critical moment
Without
or
power
PLAY
TO
piano playing,various of which
advocate
liftingthe fingersas high as possibleoff the keyboard,
but I camiot
with a view
to acquiring greater power,
help thinking
is
of
thus
the
that
tone
hard, disagreeablenature, and
a
produced
to the smoothness
the time lost by such high articulation detrimental
and
Myself, I greatly advocate
rapiditywhich are so necessary.
and
pressing the keys,
keeping the fingersclose to the instrument
and
elastic quality and
thus
warmer
more
a
giving the sound
which
less wooden
tone
or
pianists
modifying the naturallymore
in the
certain
extent
have
even
always to contend against to a
of their constitution,as
finest pianos, by reason
compared with
stringedinstruments.
efficacious for the purely
I do not
find elaborate studies very
and
mechanical
development of technique, as the embellishments
make
studies only
which
the palatablenessof such
harmonies
from the main
distract the student's mind
point of advancing
away
There
are
schools
many
the technical
power,
of
thus
and
loss of
cause
time
and
effort.
For
its whole
only reallyvaluable study is that which concentrates
in pursuingthe true object to be achieved in each particular
energy
it is far more
branch
And
of work.
profitableto practise for
the technical problem
concentration
short time with absolute
on
a
in order
to
surmount
it, than to pass several more
or
definitely
hours
less wasteful
dallying with the difficulties wrapped up as
they are in elaborate studies with a pleasant gildingof harmonies
and progressions.
of the studies which
are
Also, many
given to students with
bad
music
view
to
a
technicallyare in themselves
helping them
the
as
well
as
indifferent mechanical
aids.
Of
course,
remarks
these
to include
certainlynot meant
real concert
studies, such as those of Chopin, Liszt, etc., but it is
that these are
not
to
purely studies for
scarcely necessary
say
technique,but are rather beautiful musical problems to be unravelled
of facility
has already been
certain amount
when
acquired by
a
with
the
regard
to
studies
in
general are
student.
Advanced
to
prepare
to
making
when
students
themselves
a
the time
concerts.
also
endeavour
certain
lines
should
along
repertoireof pieces,which
comes
for them
to
make
in
of
will
up
their
study,
be
useful
programmes
practising
with
a
to
view
them
for their
HOW
oQ
-i,k1
thought.
and
amoncr
It
masterpieces
Bach's
immeasurable
value
understanding
of
in
the
polyphonic
of
also
in
of
playing
hands
both
without
goes
developing
mind.
PIANO
THE
PLAY
technique
of
freedom
perfect
action
knowledge
detailed
most
TO
intellect
the
and
whole
addition
to
mdepcndence
and
saying
in
that
of
work
constant
feelmg
artistic
are
taste
of
and
III
Chapter
bare
The
word
technique,
to
give people
often
seems
It
significance.
able
play
to
odium
of
sort
strange
appHed
mean
perform
word
kinds
its
of
power
real
being
difficult passages,
very
to
seems
about
technician," they cry,
wonderful
to
certain
to
just the
them
the
of
impression
to
also
pianoforte playing,
to
erroneous
an
often
and
keyboard,
the
upon
to
seems
when
rapidly, and
very
GENERALLY
TECHNIQUE
ON
with
carry
it
**
music-lovers.
of
pianist,
some
"
a
A
nothing
but
more."
How
I
arisen?
have
considered
to
this
can
meaning
as
the
move
dexterity,"
fingers
part of
of
given
all his
attention
called
in
best
the
arrive
highest
the
at
more
its
perfect
attainment
that
expression
it
technique
Thus
endurance,
tone
is
of
but
can
at
acquired
he
be
one-fifth
the
him
highest kind
certainly
in
all
can
its
be
not
nor
can
signifies
does
Rather
of
means
every
to
command.
branches,
varying
intensity of
of
merely
arts,
action.
pianist
symmetry
and
of
has
development.
itself
artist
the
execution,
part
finger
production, touch,
only studied
has
who
one
pianist who
all other
in
as
within
possible for
colour
or
only
technician,
that
only
is
it
ATTAINMENT
comprise
to
can
great
a
with
rapidity of
rei)resents
phrasing, elegance
man
alone
word
PERFECT
agility and
than
far
the
but
the
and
and
important
very
piano,
branch
pianoforte playing,
in
Technique
a
subject;
results
SIGNIFIES
the
on
that
of
sense
digital
"
doubt
no
immense
to
"
it!
call
technique
whole
the
special agility
with
hands
able
capability pf being
one-sided
that
and
critics
the
as
branch
necessary
he
only
particular capacity is
That
small
prejudice against great development of technique
think that it is just because
technique is sometimes
feeling,
the
And
detail.
agility, has
produce
how
pianoforte technique; therefore
artist, if, indeed,
of
a
real
artist
all !
Now
emotions
I believe
of
the
that
many
people
artistic temperament,
27
have
but
the
these
imagination
and
qualities with
the
them
TO
HOW
28
for
outlet
lack
a
jj^ive
cannot
technical
the
of
want
PIANO
THE
adequate
their
to
vent
PLAY
expression.
they do not
of
means
because
tlunii^lus,
sufficient
development
enable
to
them
They
possess
do
to
so.
of all means
therefore
comprise the mastery
Technicjue should
the piano especiallycan
of self-expressionin nuisic, and
no
on
in
tends
atTord
manual
t
hat
the
to
ne":i^lect
facility
long
player
any
of
it
summit
For
him
arrive
the
to
at
interpretation.
run
help
that the more
stands to reason
physicalcapacitythe artist possesses
for clothing his thoughts, the less hampered will he be in giving
expression to the best that is in him.
INFALLIBLE
AN
artists who
The
who,
ones
sound
so
how
not,
How
so
beautiful
absorbed
much
consummate
execution
the
of
a
or
elaborate
of
means
in musical
the
are
writing the
those passages
to make
play,manage
full of expression that the listener will
and
the music that is being performed is difficult
will he be in the delightthe playing gives him.
techniqueis there sometimes
expended upon
quite simple melody, slow, soft and melting,
flowing into
realize that the piano
the
hard
they have
notice whether
never
or
which
are
passages
reallyg'eat command
have
matter
no
TEST
to
each
tones
other,
so
that
no
who
one
listens
can
only a mechanical
with
hammers
that strike upon
instrument
strings. What
copper
patience and study, too, is needed to develop the deep sonority of
the
in massive
touch
chords, and
light brilliancyof rippling
which
is
is
being played
progressions.
All
only
is
this
when
impossible without
of
mastery
every
technical
kind
of
vehicle
for
it is
and
command,
expression has
be approached with confidence.
can
acquired that interpretation
is no
There
greater sufferingto the artist than to have in his mind
the music
certain impression which
has created in it,and not to
a
his piano, because
he has
be able to reproduce the picture on
the other hand,
On
deter him.
shortcomings in technique which
the playing of some
what
great
joy it is to a pianistto resume
in
former
studied
he
had
which
diligently
masterpiece,
years, and
in giving to it the rendering that
succeeded
at that time had
never
But upon
he sought, owing to insufficient mastery
of means.
he
it again after this long period during which
starting upon
had doubtless been developinggradually,and probably unconsciously,
been
he finds
the
such
tha^
piece,and
a
reward
now
he
which
is worth
can
he
at
last do
never
could
all the labours
with
arrive
ease
at
what
before.
of Hercules!
he
wants
To
in
attain
is
is the
case.
tempo
more
than
confidence
plav
can
of
in
passages
the
than
Of
the
course
the
play
play
with
touch,
apply
feeling
and
strength.
with
might
Genius
the
however
means
capacity
of
of
medium,
its
not
conveying
over
which
the
noblest
should
imagination
a
pedal,
to
the
pianist
the
of
how
up
undervalue
or
cathedral,
or
them
the
of
make
which
one
must
to
the
complete
and
it
mastery
in
also
details
no
of
neglected.
but
temperament,
world
and
necessity
is
so
results
most
humble
aesthetic
even
be
its
even
every
indispensable
insignificant,
only
play
technique
the
to
architecture
own
attain
of
technique
go
elegant
To
objective.
in
palace
to
branches
despise
as
soft
given
finger articulation,
of
the
is
passage
have
must
and
mastery
technique
technique
may
has
playing;
workmanship,
some
achieve
finish.
and
the
learn
aesthetic
For
stone
building
pianoforte
of
is
rh"1;hm,
to
the
technique
he
many
his
aspects.
uninteresting
the
want
uninitiated
fast
grace
must
called
student
no
turn
acquire
he
these
produce
to
mechanical
the
harder
while
elan,
emotion
material
Therefore
in
and
successions
of
lot
absolute
brilliant
possess
must
power
All
comprehensive
work
must
he
with
its
in
colour
play
to
and
force
pianist
the
rhythmically
to
their
pianist who
rapid
a
the
to
implies
the
that
so
receives
with
technique
greatest
necessary
ornamentation
to
with
actually
which
splash-dash
ever"1;hing,
in
judgment
with
is
less
or
and
wonderful.
most
seem
more
that
contrary
tone
The
memory.
very
or
the
nervousness
pianissimo,
something
showy
more
and
and
tempo,
thereby
doing
often
slow
a
of
often
their
through
do
intricate
of
series
increase
failure
of
fear
is
play
to
fast,
very
It
speed.
to
difficult
more
music
in
sometimes
intend
is
it
that
moderate
a
they
from
or
long
a
at
Pianists
which
of
and
softly
than
loud,
think
to
ornamentation
intricate
and
passages
fallacy
great
a
29
FALLACY
GREAT
A
It
GENERALLY
TECHNIQUE
ON
through
has
been
the
also
vehicle
obtained.
Chapter
CAN
Among
the
for
me
about
many
the
advice,
certain
a
of
Rio,
other
but
words
about
music
without
that
immensely
to
play
If
Yet
as
do
directly based
advanced
and
scale
upon
of
standard
of
want
who
proficiency
in
the
what
does
not
plea
hackneyed
he
quote,
lacks
in
for
upon
examination
where
there
is
no
the
sonata
a
of
or
or
I
Rio),
ask
astonishment
scales
of
at
all.
at
them
proves
which
I
unable
of
lack
known
have
arrive
to
technical
is
many
at
any
knowledge
EXECUTION?
OR
at
times,
in
indulgence
"
execution
prove
the
they
Brahms-
scale-playing.
EXPRESSION
Who
what
passage-writing
through
performance
young
altogether unsatisfactory.
quite
are
scales.
Beethoven,
friend
progressions.
students
pianoforte
of
performance
contain
a
especially of
playing
practise
and
pianoforte
as
of
our
never
uneven
works
to
few
of
show
usually evince
they
much
say
and
works
Sonata
like
ask, their
I
what
want
finished
have
many
particularly
giant
such
so
are
to
mastery
whenever
me
They
that
pianoforte
it, the
of
houses
technique,
and
andante,
rule, unrhythmical,
a
most
high
to
they
scale.
answer
whose
lady
young
typical
masterpieces
Appassionata
tempo
a
me
they
ever
be,
or
in
and
request,
the
After
often
(most
my
of
that
play
to
come
and
"
of
branch
she
scanty
the
to
like, therefore,
knowledge
experience
my
Ballads.
Chopin
to
been
should
ask
limerick
so
was
attention
play great
to
important
Variations,
them
I
and
me
brio!
males
they invariably attempt
Handel
two
Rio.
skill
is true
also
to
well-known
a
whose
con
case
play
of
me
drawing
and
sufficient
and
Rio,
her
SCALE?
come
Allegro
for
"
than
students
do,
can
of
attempting
has
raw
lady of
females
London
and
remind
it is because
nearer
It
majority
excused
young
A
who
instead
be
must
PLAY
students
young
played Andante
I
YOU
TV
to
sufficient
?
be
As
a
command
30
referring
"
:
He
if
sheer
of
to
makes
this
of
execution
performers,
in
up
excuse
piece
such
expression
itself
nonsense.
the
did
not
For
expression
YOU
CAN
PLAY
A
SCALE?
SI
and ineffective. In a reproductiveart,
only be halting,stilted,
the perfectrendering of all the emotions
such as pianoforte-playing,
inspiredby the music can only be obtained through unlimited control
of technique,which, of course,
impliesabsolute mastery of manual
dexterity.
talented amateurs
who
So many
reallywish to study their art
attain professionalproficiencydo not
realize
and
to the backbone
first acquire what
is generallyknown
artists
that they must
among
school
school."
The
world
used
in this sense
as
a
good
means
a firm
by which difficulties
background of technical principles
in the most
The
be solved
can
logicaland profitablemanner.
acquirement of these principlescan
only be gained in the years
which
should
of
hard
work
serious
at
precede any
attempt
performance.
in the light of my
views
this
It was
on
interestingto me,
subject,to have been present recentlyat the Dancing School of
the Russian
Ballet.
Here
their greatest stars
practiseevery day,
exercises
for several hours, technical
and
eventually
steps which
intricate
constitute
wonderful
and
ballet.
And
a
though to the
seem
intolerablydull, yet
impatient the mere
study of scales may
it is a wonderful
growing gradually,and
feelingto notice power
insurmountable.
things becoming easy which at first seemed
can
"
"
PERFECT
On
the
piano
mastered, but
of
the
bad
of
passages
technical
none
there
more
SCALE-PLAYING
are
many
runs
branches
of
virtuosityto
be
perfectscale-playing.Much
impedes pianistsfrom gettingthrough
is due to ignorance of this important
essential
fingeringwhich
elaborate
"
than
detail.
equal necessitywith scales are arpeggi,which should
always be practisedin conjunction with them, with every kind of
should
make
different
and
serious
student
accent
rhythm. The
a
point of studying these for at least one hour every day, playing
scales and
ar])cggiin ff)ur different tonalities each day, and going
in the
through all their harmcjiiic developments as set down
compendium at the end of this book.
I believe
in ])ractising
scales slowly, and
playing each hand
concentration
and, above all,in working with the utmost
.separately,
of the mind.
One
hour
of concentrated
ten
practice is worth
hours
of mechanical
of difficultiesby people who
scarcely
repetition
of
think what
never
scales, must
they are doing. Practising,even
Almost
become
of
mechanical,
fjr
the
labour
is vain.
HOW
82
The
that
a
no
the
touch
most
PLAY
always
has
note
sini:;Ie
harmonious
of
should
student
musical
TO
THE
he
PIANO
and
intentlylistening,
uj^lyst)und, hut
an
antl the
is round
produced
tone
that each
is
and
be
played
full.
sure
with
Even
uninspiringexercises can be made to sound pleasingand
if played with
scrupulous attention to the quality
tone.
MENTAL
A
essential
that a certain pressure
scale-playing
the keys with
should
be given on
linger as it falls. The
every
importance of this pressure lies not actuallyin itself,but in the
For
the action of making
the effort of
principleit contains.
each
stimulus.
This
idea of
note
gives a mental
pressure
upon
activate
work
is also advocated
to
continuallyrenewed
pressure
of the professors of physicalculture.
by some
Springs are made
It is
to
this end
STIMULUS
in
"
in
for
dumbbells
the
hands
of
"
victims
body have realized by
minds
of their patientscan
be concentrated
to press the spring of the dumbbell, their
trainers of
the
These
upon.
experience that unless the
to
press
their work
by having
actions soon
become
purely
and
automatic
their muscles
to exercise
cease
properly.
it
is
also on
So
the pianoforte keyboard. The
player'smind
is kept alert by having to press the fingersdown
the keys,
upon
and
thus
think
about
what
he
is
forced to
being
doing. For if
the fingersmerely run
the keyboard without
over
attention,that
kind of practice
do no possiblegood whatever.
The
mind
must
can
be
the
the
soldiers
like
whilst
a
ilways
fingersare
present
general,
who
his
behests.
obey
No
doubt every
beginner should seek out a good teacher to
him
show
how
about
to
set
conquering difficulties,but however
wonderful
the teacher, it is up to the pupil to concentrate
and see
that his mind
works
in conjunction with his fingers. Hard
work
for the mastery
of detail and unlimited concentration
of thought
for arriving at any reallyfine performance on
the
are
necessary
pianoforte.
A
The
fault
of
COMMON
FAULT
players
preparationbefore attempting to
sufficient.
And
most
for
this
the
on
who
attack
teacher
to
come
a
me
great work
must
is that
has
sometimes
not
be
their
been
held
responsibleto a certain degree,because, naturallydesiringthe pupil
make
Liszt's
he
to
quick progress,
gives him
Rhapsodies and
Beethoven's
few
months
of
to play,after only a
greatest Sonatas
perfunctory study. The students also YiLve a natural desire to
the
of
in
Heaven
to
therehy
to
for
up
if
them
pianoforte
inspired
an
make
help
cannot
of
works
great
PLAY
TO
HOW
84
they
literature.
while
way
of
lack
have
PIANO
THE
practice
not
learned
Many
playing,
this
on
to
play
cast
I
hoping,
earth!
scales
their
up
suppose,
But
Heaven
and
arpeggi
properly.
N.B.
A
of
compendium
"
is
given
at
the
end
of
this
book.
scales,
arpeggi,
thirds
eyes
and
octaves
V
Chapter
ELEMENTARY
arrive
To
at
essential
start
to
'mechanical
side
of
am
in
the
of
of
sense
a
rhythm
there
Nowadays,
these
elements
them
while
greatly
in
he
the
one
is
is
difference
Now,
to
about
the
this;
only
fourteen
persists
one-half
for
inch
an
Again,
hours
a
will
from
the
will
while
the
many
every
on
a
table,
still another
and
also
one
who
should
Perhaps
this
play
is
a
to
sit
which
is
there
good
him
doubt
no
common-sense
crankisms
many
who
will
practising
will
he
only
no
thing
important
teacher
one
extent
He
at
will
success
than
liftinghis fingers more
from
it
at
arrive
him
tell
day, just doing finger exercises.
exactly
keys!
that
another
tlie
use
in
that
nature
the
only
way
to
it is necessary
to
keyboard
for
of
hours
scales!
do
might occasionally
35
be
by
exercises
at
all,
of
development
Then
technicjue is "Anathema,"
tells them
is
learn
practising
purely mechanical
and
all
the
that
pretend
hours
as
to
certain
without
exists
there
course
interested
produces.
For
of
outcome
a
most
playing.
piano
believes
declare
to
teaching
child
the
beginning,
of
go
never
fingers, by playing
such
he
tones
properly, the
never
years,
another
the
the
entertain
And
appreciate
begin
and
and
it makes
as
to
of
assure
always playing pianissimo,
only
study,
given
may
interest
unconsciously.
is the
the
will
this,
teaching children
of
systems
that
forms
supple
a
development.
musical
to
various
method
play
who
another
to
if he
fifteen
to
sounds
progressions
necessary
purely
be
of
the
is
the
together with
pupil
piano
may
produce
the
mechanical
student
and
object, but
music,
able
Of
to
way
hand
the
the
beginner,
that
so
with.
begin
the
and
ear
of
and
technique
the
should
technical
good
both
it
piano,
instruction
gradations
a
train
of
main
almost
the
the
elementary
in
the
of
study
case
and
many
regards
with
to
system
go
is
learning,
all reliable
the
which
really play
start
that
about
the
and
as
can
that
learn
facilitates
what
the
music,
they
to
hold
to
little
are
of
and
rudiments
the
understand
to
the
the
course,
opinion
and
harmony
how
of
articulation, is,
I
In
childhood.
from
hand
young,
very
in
result
real
any
STUDY
FOR
PRINCIPLES
there
and
are
that
to!
successful
with
a
natural-born
genius,but it would
he
in all the
experience of
assimilation of these
of
the
of
individuality
Fig.
But what
And
is such
be merely
a
I.
is
a
as
rules
are
a
a
great talent
Correct
and
arm
does
in
a
assert
seated
Why,
far to seek ?
system which
part of the hand
positionwhen
good method?
method
to
not
born
thinkers;
the best aids
a
start
guidance and
elementary rules,
and
would
call it, to
we
and
when
perfectself-expression,
more
a
school,
teaclKTrs
best
the
or
needs, at the outset, the
certain
of
arts
giftedbeing who
exceptionally
an
method
any
very far without
mind
For the human
PIANO
THE
PLAY
TO
HOW
S6
of
and
direction
the
amassed
the
complete
ment
the attain-
helps to
the
time
itself.
at
the keyboard.
common-sense
exaggerate, and
easy
for
comes
one,
No, undoubtedly not !
natural
go
with.
surely!
It must
that leaves
position. The
hand
every
will
keyboard, and endless time will be
saved in arrivingat an easy supplevelocityof the fingers. For the
which
is involved
terrific labour
by the neglect of these simple
and lightness
of articulation,only
in mastering swiftness
principles,
have
had
the bitter experience of bad
those
can
testifyto who
I am.
therefore, going to give here a few
teaching to start with.
I consider the essential pointsto aim at, when
of what
commencing
the
learn
to
piano.
then look comfortable
upon
the
POSITION
and
seated
when
at
THE
37
KEYBOARD
far, but
that his
so
the white
notes
when
With
the instrument.
his chair
exactlyat
distance, that is
medium
a
at
with
be seated
should
AT
STUDY
positionof the
regard to this, the pupil
middle
of the keyboard,
first thing,then, that presents itself is the
The
body
FOR
PRINCIPLES
ELEMENTARY
to
the
say,
neither
too
near
nor
too
fingersreach and fall easilyand naturallyupon
the front half of the
he is sittingupright on
chair.
pupil be allowed to lean back, but
The
seat
portion of his seat.
always be seated on the forward
raised
that
the
be
their
elbows
should
at
so
sufficiently
pupil's
On
should
account
no
Fig.
2.
Showing
angle will be almost
justa littlebelow it as
natural
the
cup-likeposition of the
on
a
level with
the
hand.
keyboard, if
thing
any-
in
Fig. i.
should
be held closelyto the body, and the wrist
The 'elbows
below
matter
the keys. Being thus seated, the next
dropped slightly
should
itself. This
the positionof the hand
to is settling
come
we
be as
follows :
The
fingersshould fall arched upon the keys, the
the palm
the keyboard, and
knuckles
raised, the wrist just below
this page
of the hand
on
(Fig. 2).
forming a sort of cup as shown
It is a very good plan with a beginner,to make him take an apple
size in the palm of the hand, hold it lightlywith
a ball of similar
or
the fingersspread out
round
it, and then drop it out of the palrn
will then retain
hand
descends
the keyboard. The
tiie hand
as
upon
the keys. (See
the cup-likepositionwith the fingersspreatlupon
Fig. 2.)
Having thus described what I consider the perfectpositionof
the hand, I will now
proceed to explain how to exercise the fingers
in order
to
retain
that
shown
position,and
make
it become
a
haf)it.
This
TO
HOW
38
will be arrived
the
by practisingin
at
arched
well
fingersdown
THE
PLAY
on
PIANO
five consecutive
to
Press
followingmanner:
white
notes,
the
and
fingerin turn, holding
the others down
meanwhile, and strike the key with the lifted finger,
taking great care all the time that the hand is perfectlysupple and
exercise, done every day
relaxed, and that nothing is stiflf. This
will soon
for five miiuites by each hand
give the fingers
separately,
and hands
a
perfectlyeasy and natural positionupon the keyboard,
and preserve the cup shape of the palm of the hand.
(See Exercise
No. I in compendium at the end of the book.)
altogether. Then
down
liold iheni
lift each
POSITION
CUP-LIKE
A
acquiringof the cup-likepositionof
enormously useful later on, in the playing of
This
the hand
will be found
scales and
arpeggi,as
the other fingers. In conof the thumb
under
it allows easy passage
nection
I
would
further
with the strikingof the keys by the fingers,
it strike with its
the fingerand letting
say that merely putting down
own
weight, is no good, as the sound produced thereby is inadequate
uncontrolled.
and
idea
My
with
a
This
is that
certain
of
amount
should
pressure
lifted,the fingermust
when
pressure
be
produced
the key, the
the note
upon
from
the forearm
be
brought
which
and
down
is struck.
transmitted
being all the time absolutely
arrives at a higher development
the student
relaxed.
Later
as
on,
the
be exercised purely from
of fingertechnique,the articulation can
fingers,but in the beginning, in order to acquire a full round tone,
of pressure
the forearm
the control must
be taught from
by means
through
from
the
fingersto
wrist
that part.
Again, above
for relaxation
of
all,I
the
cannot
wrist, and
too
the
much
rest
the necessity
insist upon
of the body, for in it consists,
obtainingan easy and sure
be forgottenthat as the piano is a
also never
technique. It must
be to produce
instrument, the great object must
purely mechanical
without
the sound
all gradationsof tone
being either forced, harsh
in the production of such
stifif. Moreover, the cardinal principle
or
in complete
the wrist, remain
is that the body, and especially
tone
I
am
convinced,
half the secret
for
relaxation.
of tone on the piano as any
to hardness
Nothing tends so much
precious
rigidityin any part of the body. Also to obtain this most
be
of
the
of
the
articulation
must
entirely
fingers
quality flexibility,
I have
and
of
the
as
hand,
controlled,
generated by the muscles
alreadyexplained as regards force,by the forearm.
PRINCIPLES
ELEMENTARY
the
recapitulate
whole
39
CONTROL
FINGER
To
STUDY
FOR
matter
and
condense
it,the principle
be established
up is that all control on the keyboard should
fingers,the hand and the forearm, the wrist remaining
by the
entirely
fingertechnique,and
set
opinion,appliesto all
is essential for arrivingat a completelysuccessful issue.
also be taken not to allow any beating of time by the
Care must
head
trick,
foot, as this may
or
easilydegenerate into a nervous
of
and
the
movements
tends to encourage
and certainly
rigid
jerky
the beginner,after each exercise
body. It is a good plan to make
off the keys and shake
it gently from
the
that he does, lift the hand
that
that the relaxation is preserved,and
wrist, so as to ensure
there is no excessive effort or fatigueof the muscles
or
any cramped
lift
in
the fingers
I
do not believe
action whatsoever.
strivingto
too
high off the keys every time when strikingeach note, because,
like the piano, every
instrument
in a highly complicatedmechanical
and naturallyany
be conserved as much
movement
must
as
possible,
effort only tends to lose time, thereby impairing the velocity
extra
supple. This,
in my
in fast passages.
very
people think
high they can get
I do
not
Some
that
a
by teaching that
clearer
and
the
distinct
more
fingersbe lifted
but
articulation,
from
my
agree with this,as I have always found
that if the wrist is relaxed, thus allowing absolute
own
perience
ex-
freedom
and with much
fingers,they will articulate just as distinctly,
added
lightnessand qualityof tone, if not lifted too high.
The
most
important elemental stage of thus holding the hands
in a natural supple position,having been well initiated,by means
such as I have just been trying to explain,the pupil will do well to
until he has
exercises
of all descriptions,
proceed with five-finger
and
the positionin question,
it has become
a
thoroughly mastered
second
With
thus.
nature
to hold his hands
to him
a child beginner
of from
six to ten, after a month
for not more
than
of i)ractising
the hands, according to my
ten minutes
a day, if well watched,
sonal
perexperience,should be absolutelyin order. The Five-Fingcr
Exercises of Hanon
excellent
in this respect for settlingthe
are
fingersin the right way, and also will keep a child interested in the
different groups
of notes
better for the
presented. I know of none
of elementary practising.
purpose
to
the
TECHNIQUE
We
extended
must
pass
on
from
IN
POSITION
EXTENDED
exerci.ses to
five-finger
positionsof the hand,
such
as
are
to
be
the
techniqueof
found
in scales,
HOW
40
PLAY
TO
PIANO
THE
here to speak of
I propose
arpeggi, chords, thirds and octaves.
about scales,
two
scales and arpeggionly,and shall first say a word
or
exercises
I have
for which
the tive-finger
are,
just been discussitig
of
scale
But
the
of course,
great difficulty
merely a preparation.
in
how
which
consists
to
successfully
learning
playing,
pass the thumb
without
the other fingers,
under
causing a break in the continuity
exercises, though through them
of the sound, is absent in five-finger
of holding the hand on the keyboard,
the student learns the rightway
called upon
in the
when
that it is always ready to do its work
so
scales, and also the fingersare trained to exert the necessary pressure
the key.
on
In order
to
STUDY
SCALE
BETTER
obtain this smooth
passage
in scales, I
of the thumb
kept absolutelyloose, and that in
is ready to pass, the wrist be raised
when
the thumb
slow practice,
temporarily from its usuallylow positionto a higher one ; also the
has to pass (in
fingerwhich strikes the last note before the thumb
inclined
be slightly
scales it is always the 3rd or 4th finger),should
is going to travel.
the hand
the direction in which
towards
Taking the ascending scale of C major, in the right hand, for
what I want
to pointout by a diagram thus :
example, and illustrating
that
advise
wrist
the
C.
(i).
be
always
D.
E.
2.
3.
F.
(i).
G.
A.
B.
2.
3.
4.
C.
(i).
Thumb.
Thumb.
Thumb.
-^Ascending right hand.
It will be
the E, which
that upon
seen
is raised
the line underneath
and
inclined
is struck
by the 3rd finger,
the direction
towards
the
represent the lifting
up of the wrist, and the
incliningof the finger. The thumb then passes easilyunderneath
has
hand
to
the
fingerson
same
movement
and
hand.
so
as
so
go,
to
to
the next
is
repeatedfurther
through all the
on
F, without
note
octaves
descending scales,the
For
raised when
the
thumb
up
in
falls,and
C.
B.
A.
G.
5.
4-
3-
2.
The
awkwardness.
the scale after the
ascending scales
4th finger,
for
the
The
is reversed.
process
follows
the fingerwhich
in the direction the hand
downwards
any
to
go.
F.
E.
D.
(i).
3.
2.
Thumb.
-^Descending righthand.
has
C
(I).
Thumb.
right
wrist is
clined
it is in-
VI
Chapter
TO
HOW
HINTS
FURTHER
SOME
THE
MASTER
KEYBOARD
Tone
is another
scales,
for
human
of
fingers
Even
the
weak
the
are
fact
this
the
weaker
are
the
which
upon
transmitted
is here
used
of
pressure
the
compensative
by
his
the
which
mind,
and
is alert
Later
it will
principle
the
is
gradations
of
expression
the
of
the' mechanical
sounds
Scales
black
notes
difficult
to
the
should
to
lack
keep
them
space.
that
the
arm
forewhen
upon
The
exercises.
pressure
conscious
habit
it works
upon
by practice,
give
to
extra
an
he
as
detects
may
quite
the
tempo,
Finally,
day
of
rounded
42
not
stimulus
work
to
piano technique
of
imparting
in
and
as
as
light
life
fact
the
into
music.
it
on
important
as
the
in
does,
so
to
do,
white
the
changes
which
Upon
it will
this
shade,
and
in all tonalities.
slightly extended,
it is
it has
that
part
a
instrument
as
muscles,
is, constituting,
mind
be
working
forearm,
the
its indirect
by
illustrate
to
properly.
vital
every
of
conscious
muscles
and
the
control
as
again
serves
through
fingers
based
played
fingers
the
of
be
the
the
by
which
in tone
the
insisted
already
pressure
absolute
how
seen
i.iuscles
upon
by
tone
the
be
from
fingers, according
it becomes
through
by
struck
it.
on
command
to
on
of
control
action
its direct
by
much
^th
From
firmer
and
unconsciously
weaker
fingers, establishes
the
upon
and
ones.
pressure
fashion,
its administration
theory of
the
the
of
equalizing
This
how
they require
that
ear
certain
4th
notes
louder
by
established
the
to
pressure
to
performer
the
forces
be
I have
in this
been
having
the
the
playing
that
strong
that
five-finger
in
equalizer,
an
and
mind
the
as
3rd
corrected
fingers, as
the
in
fall.
5th
be
articulation
the
of
speaking
are
only
the
to
liable
4th and
can
and
for
constituted
so
consequence
3rd fingers
and
weakness
This
natural
strive
to
others, namely,
the
ist, 2nd
the
object
physically
than
and
ensues
those
than
is
hand
ones,
1st, 2nd
the
difficult
most
ARPEGGI
AND
CONTINUED
SCALES
be
ones,
the
found
owing
practising scales
that
HINTS
FURTHER
HOW
MASTER
TO
THE
KEYBOARD
43
therefore it is always
they should be played absolutelyct)rrectly,
each hand separately.
to practise
best
ARPEGGI
In
ways
in
than
arpeggi
jumps,
the
which
the method
The
have
idea is the
itself is how
to
of
found
same
as
smooth
Showing
the
the notes,
(in this
towards
This
case
how
it is the
the direction
3rd
of
the hand
which
be
falls
illustrate first
from
and
small
presents
C.
On
the
lines under-
raised wrist
just before
from
has
placed upon
length away
in
thumb.
fingerwhich
3rd, on G) is raised
fingershould
inches
three-quarter
show, by the
the
to
G
between
3rd finger placed with
passage
to
arpeggio
problem which
The
jump
I attempt to
for
neath
the
wide
successful with students.
very
in the scale.
over
the
in
master
intervals necessitate
the
negotiated. I will take
C major in the right hand,
accompanying diagram
FlG. 3.
difficult to
more
be
to
Lhave
which
even
them
in
scales,as
chord
common
is
smoothness
some
the
the wrist
the
and
thumb
inclined
proceed.
note
exactlyone and
edge of the key towards
to
the
HOW
44,
the
of
back
C,
upon
is about
keyboard, and the thumb
nail away
lengthof its own
the
just the
a
PIANO
THE
PLAY
TO
quarter of
inch.
an
fall underneath
should
from
the
it
key edge, that
Thus:
(THUMB)
aHUMB)
Fig.
4.
Arpeggio.
showing
relative
C major.
Right hand
positions of the thumb
ascending,
finger.
and
positionis reversed, as follows : The thumb
and three-quarter-inch
falls upon
the note
at the one
positionfrom
and
it is lifted up by the wrist movement,
the edge of the key, when
the thumb
the case
the 3rd or 4th finger,
be, then falls over
as
may
to the note
below, about one-quarter inch from the edge of the
on
down
Coming
key.
Thus
the
:
C major.
Right hand descending
Arpeggio.
of
from
beginning with 2nd
diagram),
right
(starting
relative position of the
E, so as to show
finger on
fingers used.
Fig.
The
and
5.
movement
helps to
prepare
for smoothness
of the wrist makes
the hand
*
Arrows
for the
show
next
at
position. The
direction.
the
jump
principle
is similar
that
in both
is to say,
hands
the left hand
when
KEYBOARD
scales, only reversed
in the
as
THE
MASTER
TO
HOW
HINTS
FURTHER
ascends
the thumb
45
in the
by the
the key,
placed one and a quarter inches from the end of
it is the 3rd or
assumes
w^hile going down
4th finger which
position,the thumb fallingon the key at the quarter inch from
end of the key, as in the ascendingrighthand arpeggio.
wrist
and
Fig.
6.
thumb
the
C
Arpeggio.
(starting from
on
other
C,
major.
left of
as
so
to
Left
diagram),
show
the
hand
left;
is lifted
that
the
ascending
beginning with the
relative positions of
fingers.
C
Fic. 7. Arpeggio.
descending
major.
Left hand
(starting from
right of diagram), beginning with the
the relative position of
4th fmgcr on E, so as to show
the
fingers used.
rules apply in all the varieties of arpeggio
Exactly the same
playing.
who
wish to acquire any
for students
It is absolutelyimjK-rative
of scales
in pianoforteplayingto practisea good amount
proficiency
and arpeggi every
day as given at the end of this book, for these
*
Arrows
show
direction.
difficulties
get
a
fine
B
easy
which
investigating
C
of
ivho
he
with
morning
keyboard
starts
A
the
Therefore,
on.
ever}'
find
are
PLAY
TO
HOW
46
course
a
technique
will
be
the
the
of
of
treasure
to
him
and
a
advantage
of
pianoforte
no
will
mastery
to
one
can
thoroughly
and
arpeggi
and
inestimable
house
regularly
work
scales
coming
which
without
piano,
his
starts
PIANO
THE
him
literature.
gradually
over
when
the
he
VII
Chapter
SIXTHS
THIRDS,
TECHNIQUE:
ADVANCED
AND
OCTAVES
I
here
PROPOSE
of
pianoforte playing
Of
Octaves.
and
this
course
the
But
gives rise.
chiefly intended
confine
shall
that
I
in
occur
personally
less
I
going
of
explaining
to
of
stages
student
every
one
bring
him
to
of
To
great
pianistic style"
thirds
no
instead
they
make
together
with
that
mean
doubt
an
a
it be
preserve
a
point
exactly
of
for
be
aim
the
which
may
art.
in
passages
I
precision
from
them,
of
it
otherwise
of
that
note
necessarily
should
loses
all their
playing,
all passage
into
degenerates
agility and
giving
sions,
progres-
opinion,
my
I
compose
thus
tone,
A
this
By
one.
"
"player-
a
double
to
in
thirds:
term
notes
single notes,
or
display
the
that
I maintain
For
sixths,
both
pressure
same
away
the
ing
play-
note
it must
what
in
striking
the
outline,
notes
double
"pianistically plastic"
charm.
thirds,
in
of
sequences
and
melodic
a
these
play
absolutely mechanical
character
whether
of
study of
the
to
thereby taking
but
melodic
seek
people
many
with
then
commence
the
of
modem
as
cuts
I
and
OUTLINE
MELODIC
A
his
of
branch
proficiency in this
are
difficulties
the
For
it
now
two
or
shortest
and
out
with-
students,
virtuosity.
easiest
the
discover
to
make
to
mastering
in
subject
which
to
working
pianoforte technique requires great development
and
such-like
independence of the fingers, so
of
Sixths
written
discussion
am
useful
find
complex
technique
Thirds,
been
have
for
that
or
of
study
treatises
practical help
more
these
in the
material
remarks
the
myself
which
methods
few
for
and
the
all
advanced
or
really a highly complicated
is
books
nearly exhausting
higher
found
be
is to
as
innumerable
which
about
briefly the
discuss
to
mere
musical
every
significance.
For
whereas
the
embellishments,
often
prove
the
them
case;
to
regard
some
on
be
the
elaborate
earnest
musician
close
contrary,
intricate
and
reasoned
47
as
passages
will
cal
entirely mechani-
realize
analysis
will
embroideries
that
this
almost
of
is not
always
melody.
TO
HOW
48
in
Now
musical
double
witb
melodic
tbis is all far
ideal remains
with
only
having to
results
are
one
be
will be C
which
start
and
it is to
to think
fin^^^er
managed
USE
Well, I will
more
enoujj^bas
at
E.
of
sort
some
line to
But
the
the
accomplish satisfactory
is
of, what
be done
to
when
?
once
CONCENTRATION
MENT.M-
from
obtain
develop.
as
complicated,especially
in
as
bere, just as mucb
acbieved
be
to
bard
And
simpler case.
two
because
notes
PIANO
passaj^es it is easy to
tbe l)rain bas only one
note
sinj]^le
contour,
THE
PLAY
the
Next
first third
come
D
in the
scale of
in
F, and
and
major,
attempting to
will
difficulty
C
rapidly from the first tliird to the second one a
This is the ungovernable tendency of
be immediately encountered.
each fingerto run
apart from each other, and refuse to pulltogether
come
at all, A purely mental
difficulty
though is tbis,and it can be overby trainingthe mind, and accustoming it to govern the hands
pass
fingersin complete independence one of the other. In fact I am
control
and
can
that in general,technical facility
convinced
only
concentration, and not merely through
be obtained by great mental
mechanical
practice.
is why some
That
people are able to learn to play a scale in thirds
and
they possess the necessary power
musical
talent
have quite as much
of brain, while others who
may
six hours a day at it!
will never
at .allthough they work
master
one
I do not mean
to say by this that thirds do not
requirean enormous
in
hour
an
quitedecently,because
they do, only to be successful
study, because of course
concentrated brain effort.
be accompanied by much
the practicemust
efforts of a good pianoforteteacher
of the principal
Therefore
one
faculties
the mental
should be to stimulate in ever"' possiblemanner
of
amount
of his
pupils.
Thirds
note,
on
should
be worked
with
say. in the third of C and
the
in the third of D and F on
that is to
the E,
of the
pressure
E
fingeron
the pressure
F, and
so
on
up
the top
should
be
the scale.
Fig. 9.) In continuing the scale,after having struck C, with
thumb
the 1st finger or
ascending), the
(taking the right hand
fingeris raised and D is approached with the 2nd finger. The ist
fingeron the C is taken oflFvery abruptly,almost as if it was on a
spring hinge, whilst the top note E is held by the 3rd finger,which
(See
slightlystiffened and is kept
raised.
(See Figs. 10 and 11.)
becomes
been
down
The
after the lower
bottom
note
one
has
of the third
TO
HOW
50
PLAY
PIANO
THE
raised even
a
finder,the wrist being meanwhile
and the hand
inclined in the direction upwards to which
little more,
it is proceeding. (See Fig. 12.)
Desceiuling,a similar inclined position is taken by the thumb.
(See Fig. 13.)
In the left hand
it is the thumb
in the ascending scale, and the
the position.
5th fingerin the descending one which assumes
side
ball of
or
the
Fig.
10.
Position
finger whilst
held
At
the end
fingeringto
the
the
showing
upper
one
raising of
lower
and
on.
of this
be
the
is slightly stiffened
used
chapter on page 60 I give what
for simple third scales,and also
I find the best
for chromatic
scales in thirds.
PRACTISING
SCALES
IN
SIXTHS
Passages in sixths are extremely complicated and are rarely to
much
extension
of the hand,
be met
with, as they necessitate
so
and it is consequentlydifficult to play them
legatoat all. The general
that for thirds, but it is
as
principlefor playing sixths is the same
the continued
advisable to practisethem
not
a
great deal,,because
extension
of the position may
injurious to the hand, and
prove
strain
or
cramp
can
result.
TECHNIQUE:
ADVANCED
THIRDS,
OCTAVES
SIXTHS,
Fig.
II.
hand
after
Third
Fig.
12.
of
Position
Scale
in Third
the
from
to
has
one
ing
ascendclined
inthe above
position in passing
gers
the 5th and 3rd fin-
Right hand
assumes
from
to
the
Fig
of
3rd
13.
the
and
ist.
RiRht
hand
fingers to
hand
descending, showing inclined position
passing down
the 5th and
3rd.
wlicn
from
the
thumb
and
51
ird
progression
the
ist
the
been
next
complished.
ac-
HOW
St
THE
I
have
to
come
now
been
PRACTICE
Octave
continue
and
PLAY
TO
THE
OF
Technique
to
be
PIANO
OCTAVES
for which
written.
Now
every
the
sort
of studies
real octave
wrist,
tension and
combining great strengthwith high nervous
like the capacityfor playing staccato
is a giftof nature,
suppleness,
bowing on
But those who
the violin.
do not possess the power
can
develop it
of playing octaves,
There
several methods
to a limited extent.
are
one
being with a loose wrist and the 5th fingerslightlystiffened.
for octaves
This is a good way
in a slow tempo, but when
speed is
of the arm,
contraction
required it can only be secured by nervous
To
the wrist being kept stiff meanwhile.
accomplish this needs
much
muscular
strength,as the advantage of the loose wrist has to
be discarded, and whenever
the rapidityof the tempo intreases,the
of the wrist must
increase also.
stiffening
As far as the practiceof octaves
ing
go, I do not think merely playI
have
there
them
in scales is efficacious,
and, as
already said,
branch
of piano
studies
devised
difficult
this
most
on
so
are
many
Those
of Kullak
are,
technique that it is best to work with them.
work
unwise
excellent.
It is very
to
at
octave
I find, especially
ever
it is so fatiguing
than
minutes
for
at a time, as
ten
more
playing
But there are
of helping
if overdone.
and may
injurethe arm
ways
of octaves.
oneself to relieve exhaustion
during long sequences
useful for all, though generally each
of these devices are
Some
of his
for himself
according to the structure
player finds out means
muscles.
own
particular
I mean
To illustrate what
by these helps against fatigue,I will
of Chopin. The
great
give an example from the A flat Polonaise
in the
passage
is a tremendous
octave
which
may
become
Fig. 14.
almost
Extract
from
second
part
length,as
for
all
the
left hand
pianistsknow,
lasts 34
and
the
bars,
strain
unbearable.
the A flat Polonaise of Chopin, showing
lasts 34 bars.
in left hand, which
Octave
passage
ADVANCED
Here
TECHNIQUE:
it is
semi-circular
a
THIRDS,
considerable
from
motion
relief to
left
SIXTH^
think
right.
to
of
Thus
the
OCTAVES
53
as
passage
in
a
:
(m
i
Fig. 15.
Diagram
four
e
illustratingthe mental
Octaves
as
component
device
parts
of
of placing each
half a circle.
group
of
for the right
enormously difficult octave
passage
hand
ance
Rhapsody of Liszt,it will be found to be of assistthe
from
the
wrist
to keep changing
positionof
being high
Thus
low.
to becoming
:
Again,
in the
in the Sixth
Fig. 16.
First
positionof
hand
This
from
very
small
the tension, and
going again. (See
most
action of
continuous
sets
the
wrist
sequences
wrist
held
hi^;h in
This
of
gives respitefor
of the
the momentum
Fig. 17.)
octave
with
playing.
Octave
same
any
a
second
contraction
nervous
apply to
length,provided they are
movement
can
in scale-like
octaves
which
because
here
are
I should
high
arpeggio-likeoctave
^v****i
positionof
low
of
hand
rather say,
passages
no
has
speed
in Octave
give relief from
to
and
quantities,
rate
a
reiteration.
of
action
arpeggi.this same
has to be occupied with the
the mind
uncertain
very
form
in
move
tlie distances,or
PIANO
THE
in the
or
progressions,
Second
Fig. 17.
with wrist held
where
PLAY
TO
HOW
54
only
to
a
would
for
answer,
of
judging
playing,
fatigue.
For
can
all
be
jurnps
possible
Therefore
obtained.
mental
not
matter
feelingthem.
eye judgment
be
But
device
will be
in
of any
^
^:^
Fig. 18.
Extract
from
"Hungarian Fantasie"
Octave
of Liszt,showing
difficult
passages.
of the Octave
measurement
lower bridging lines indicate the mental
passages
of the
lines indicate the 2/4 time in which
the sound
in Triplets. The
upper
rhythm must
proceed undisturbed.
The
help
in the
difficulty.This
contrivance
in groups of threes in the mind, no
which
they are written. I take an
Fantasie
of
Liszt for
piano and
imagine the octaves
what
the rhythm is in
is to
matter
example
orchestra
to
out
show
of the
Hungarian
the idea.
always be remembered,
It must
a
creation
the
of
become
evident
mental
measurement
must
in
with
the
proper
interfere
it will
55
that the device
of course,
imagination and
or
OCTAVES
SIXTHS,
THIRDS,
TECHNIQUE:
ADVANCED
wise
no
be
is
only
allowed
to
rhythm. But as a
negotiatingof rapid
always facilitate the
jumps correctlyand continuously. The last passage in the Concerto
for piano and orchestra, also serves
of Saint-Saens
to
in C minor
of reducing the difficulty
illustrate the method
by this calculation of
the mind.
(See Fig. 19.)
^^
Fig. 19.
device
Passage
of
below, though
Still
where
from
considering
more
the
C
minor
sound
hard
intermediate
of
Concerto
in groups
Saint-Saens
the Octaves
of
the
rhythm
than
so-called
notes
between
must
of
remain
simple
the
in successive
to
threes,
as
in
octave
octaves
W
illustrate the
indicated
3/4
mental
by the lines
time.
technique is
have
to
be
that
struck
progression of rapid chords,
such as are
in the opening cadenza
of Liszt's E flat
be found
to
(See
tremendous
Concerto.
with
a
Fig. 23, p. 57.) This starts
of grand chords
in C major, which
is extremely difficult
sequence
and can
to play accurately,
only be mastered
by unceasing practice.
In such a passage the wrist should be kept loose and the intermediate
notes
(in the chord of C major it is the second fingeron G) should
of
be struck with rather a stiff finger,so as to form a sort of ix)int
and 5th fingers,
however, fallinglooselyon the
support, the thumb
together with
them,
as
56
two
notes,
octave
form
a
HOW
TO
C
Octave
and
cup-hke position.
Fia
20.
and
than
intermediate
with
afore-mentioned
passage
I
should
when
position of hand
Showing
impression.
hand
be arched
ana
:
imperceptible
; in fact,here
mental
PIANO
The
stiffeningof the intermediate
almost
a
C.
Thus
Octaves
The
THE
PLAY
give
in chords
the
playing
notes.
be very
finger must
sUght
again it should be little more
fingeringwhich I use in the
out'
of
Liszt
the
concerto,
in
be struggling with that
who
hoi)ethat it may help some
may
(See Fig. 23, p. 57.)
particularcadenza.
scales with intermediate
For
notes, it is of
rapid octave
very
with the fingerin its
note
assistance, instead of strikingthe middle
interferes here with speed,to strike it upon
which
natural position,
in the following
as
the key with the firstphalange jointof the finger,
the
passage
out
of Saint-Saens'
Fig.
21.
Showing
C minor
intermediate
joint
to
Concerto.
note
taken
help speed.
Thus
with
:
phalange
HOW
58
PLAY
TO
be
effect,therefore they imist
PIANO
THE
studied.
jiatieiitly
For
them
practising];
with eciiudstrength,tiie wrist
I advise iisin^the ist and 5th rin":;ers
and
fro as
if it and
to
beinj:;kept stiff and the hand oscillatinjj;
of one
There
made
the fingerswere
are
piece with the forearm.
excellent studies for the development of broken
octave
techniquein
Czerny's "Kunstfertigkeit."
INDIVIDUAL
And
now
for
a
few
CHORD
words
about
PLAYING
individual
chord
playing,as it
important to discover the rightway to produce a fine and noble
when
sound
strikingthese. The first essential here is to find how
to obtain
Strength there must
strengthwithout hardness of touch.
be, of course,
tempered by judgment, for without it the pianistwill
be unable
to give out
enough and graduating increase of tone when
For especially
in a dramatic
piecewhere one often meets
necessary.
of tone
with an
culminating upon a given
ever-growing crescendo
force he cannot
achieve
point,if the performer lacks accumulative
end in an anti-climax
and the whole
this effect,and so the piecemay
artistic meaning of the work
be missed.
is to throw the hands
Now
to produce strengthof tone
one
way
the chords
down
on
by liftingthem high above the keys before
striking. I do not advocate this,as it is so uncertain, and disaster
by his fallingupon the
easilyovertake the playerat any moment
may
For
it needs
notes.
great precisionof eye to strike many
wrong
notes
togethercorrectlyfrom a height.
force be applied without
the
extra
How, then, can
sacrificing
the tone
of notes
or
quality? With
abrupt chords I find
accuracy
the followingmethod
efficacious,
namely, a quick contraction of the
forearm,
as
though they
accompanied by an action of the fingers,
into the keys.
were
tryingto dig themselves
of a great passage,
For final chords
the same
at the end
digging
should be supplemented
of the fingersand contraction of the forearm
of the hand
turning round upon the notes with a sort
by a motion
of jerk,as if it was
The
trying to lock or unlock a key in a door.
time having finished th'Mr digging action should
fingersat the same
contract
Passages ending
slightlytow^ards the palm of the hand.
mence
vehethat has to be struck with great power
with a singlenote
or
action
of the hand,
also be manipulated by this same
can
is
so
which
adding
I call the
extra
chords, where
"lock-the-door
strength
when
distinctive
though
successfully,
with
accent
motion."
It is
most
effective
in
in pianissi^no
and
even
necessary,
is required,it will be found
to apply
these, of
course,
the
turning
and
con-
TECHNIQUE:
ADVANCED
the
of
traction
THIRDS,
will
hand
only
amount
that
with
OCTAVES
SIXTHS,
to
slight
a
59
abruptly
pressure
administered.
In
pressure
volume
from
the
should
instrument
recall
cases
and
strength
that
advise
individual
abrupt
his
I
general,
a
the
ahvays
See
of
For
and
deep
and
his
Tables
first
of
aim
Scales
will
legato
chords,
the
and
sound,
elements
of
make
in
whether
produced
thereby
to
playing,
of
be
resonant
iron
chord
successions
should
tone
forearm.
wood
be
in
or
all
Thirds
his
its
pianist
forget.
page.
from
draw
constitution
next
the
concentrated
hard
avoid
audience
on
by
in
blows
which
it
TO
HOW
60
SCALES
IN
THIRDS
J,
"
X^'.i'ii^v
PLAY
WITH
^
^'
.
?-."?:.
MARKED
3-,i'3:^3:ti:^'5'',',.T
THIRDS
-iUj
5 HJ?
FINGERINGS
m^^}fu
CHROMATIC
^j"^A-,.^
PIAxNO
^33
'JU9
A
THE
or.'
ml;
I?j/' /Xi_j
^
'',{1
ViAysl
i^
i
"""
-^
ti
tie-fh/fc^^U
m
3
u
^
ifofmmtT'
fe
S
7
ti
3
"
"I
/I
II
"^
"
1
(1/1
I
"
/
,
.
i
r.ls
*hiv\i\ik
T,i\i"i\^i
MiUJtiiJ
^^HWTr,.
S#MSJ
^'""i/,\'
"c..
J i
i '5
'
p
i?W^^
I
Chapter
ON
Correct
FINGERING
is
fingering
conduces
only
not
of
to
the
VIII
AND
essential
very
a
an
but
of
part
piano playing,
supple technique
easy
music,
MEMORY
it also
assists
in
and
the
to
for
proper
giving light and
it
formance
per-
shade
to
passages.
This
some
is because
and
weaker,
are
when
strength
of
some
the
fingers
them
by using
required,
certain
a
by
stronger
are
according
natural
their
to
and
nature,
different
of
gradation
is
tones
thereby generated.
In
to
the
use
thumb
when
later
to
early days of pianoforte playing
the
take
time
these
due
admitted
were
key
with
that
the
reason
the
to
owing
that
it
the
all upon
at
it
the
this
by
until
even
wrong
keyboard,
still forbidden
was
and
thumb,
perfection
pedal;
of
applied
facilitate
jumps
even
a
but
free
until
At
main
and
teachers
quite
legato
tone
be
recently
it
short
a
on
so
the
pedal had
enjoys,
now
did
people
employment
of
the
thumb.
by
the
skilful
over
flowing, continuity of
the
tone
and
not
it
to
partly
was
black
the
on
still if it
rate
bound
limited
objection
any
be
can
a
thus
was
awkwardly
the
would
which
much.
smooth,
awkward
get
This
mechanism
so
the
But
to
employed.
the
rather
working
impossible
was
help
its
of the thumb
use
its construction.
was
of
of
fact
to
thumb
and
5th finger
considered
was
ago.
The
not
two
black
a
the
or
it
black
notes
really
keys
for
not
were
reached
not
was
if the
the
the
consequently
was
think
of
using
Nowadays,
of
it to
course,
application of the pedal,
be
can
obtained
in the
most
passages.
NATURAL
Pianoforte
TECHNIQUE
technique might
be
almost
said
to
be
divided
exactly adapted
to
suit
into
two
schools.
The
powers
modernized
passage
are
one
of
seems
the
by
writing
unsurpassed
as
if it
were
instrument,
and
Choj)in,
culminated
of
these
both
as
effectiveness
pure
and
is that
in
which,
the
j)rc-emincnt
pianoforte
genius
of
both
peculiar
been
greatly
Liszt.
for
composers
technique
brilliancy.
having
the
as
the
The
piano
regards
pression,
ex-
TO
now
62
other
The
school,
and
to
even
THE
PIANO
the contrary,
on
lines
having developed on
PLAY
those
could
the
antagonisticto
of
the
human
almost
be
described
piano'snatural
hand.
Some
of
the
as
tions
limitafinest
pianoforteworks, however, are to be found in this category, two of
and Brahms.
its greatest representatives
( It nmst
being Schumann
that I am
be remembered
speaking here entirelyfrom the point of
view of purely mechanical
cal
technique,and not consideringthe musiside of the questionat all.)
of the pianofortecompositions of Schumann,
This is why many
and
so
are
especiallyalso of Brahms,
terriblydifficuk; to master.
Brahms
of
seemed
never
the
instrument
to
he
stop
consider
to
writing for, but
was
creative
facultydevelop unhindered,
Thus
of technical unsuitability.
some
written
are
in defiance
almost
in order to
pianist,
and effect,would
significance
and
let his
imagination and
undeterred, by questions
of his most
the natural
arrive
the limitations
beautiful
techniqueof
passages
the piano,
investingthem with their full
often be glad of twenty fingersto play
he possesses!
them with instead of the mere
ten which
In this kind of music, tending as it does more
orchestral
towards
the player must
often resort
efifectsthan to purely pianistic
to
ones,
obtain
the
that
first
all
to
at
seems
against
fingering
mastery
reason,
For
in
all piano playing the
the difficulties.
over
though in general
should be firmlyestablished
that the hand
look natural
must
principle
be
the keyboard, yet here that rule must
and elegantto the eye upon
thrown
overboard, in order to preserve the necessary expressionand
so
that the
of
about
much
at
plasticity.
MY
There
fit their
hands.
own
is to
method
My
thumb
certain
themselves
fingerany
of the notes
are
black
given
of
the first note
on
cover
pianistsdisto
specially
and most
fingering,
particularcombinations
of
countless methods
are
for
METHOD
or
by startingwith the
of whether
irrespective
any
that
then use
up the fingers,
passage
the passage,
white keys. I
of the
the contour
is to say, 2, 3, 4, 5, as they naturallyfall within
But
the passage
as
deploys under the hand, I substitute
passage.
those
the strongest for the weakest
fingersupon the notes which
weak
fingersshould
strongest
and
the weaker
and
shade.
of them
If
by
take
would
ones
ones
The
all is the
natural
on
in the
be selected
the weak
on
beats,thus
fingersare
the
4th,
5th being somewhat
it becomes
succession.
the strong beats
advisable
of
to
The
a
passage,
natural light
producing
and 3rd;
the ist, 2nd
strong
sequence
of
ordinary course
the weakest
stronger than the 4th.
take the 4th fingerit
be
should
will enable
this arrangement
possibleby the
wherever
preceded
MEMORY
AND
FINGERING
ON
it
strike with
to
3
I
63
ist
or
2nd
finger,as
Thus
power.
more
U^^
i
^e
X3L
Fig. 24.
Extract
Chopin's Ballade
from
for
weak
in A
^1
J
flat
showing
:
'
3 X
substitution
of
strong
fingers.
for weak
substitution
of strong
fingering above is as usually played without
fingering eliminates the 4th finger completely,thus substituting
fingers. Lower
The
the
strong
for
the
weaker.
where
In passages
whichever
I use
notes,
there
are
big
fingersfall
intervals
easiest
between
within
the
successive
the radius
of
each
gap.
Fig. 25.
It is
account
not
Concerto
has
gone
minor
start
Rubinstein.
a
fingercan he employed, and can
same
basis, using up the fingersthat
finger.
best
of
with the 1st
passage
this is the case
before, but when
always possibleto
of what
in D
be
come
finger,on
])roceededfrcjm
nearest
to
the
the next
ui)()n the
starting
TO
HOW
6i
I make
but
here
the
employ
iihistrate the
To
example
Fig- -'5)
Now
using the
the
better
the 2nd
the
two
way
and
Rubinstein's
fingersnext to
is to employ
4th, or 3rd
example given
tlie white
alike on
linjj^ers
of
usinj:^ the thumb
and
below.
each
the
of notes.
upon
the black
in
Concerto
other
D
ever,
keys what-
keys
minor.
I
give
(See
pianistsplay these by
in succession
;
but I find that
or
3rd together in trilling,
and
ist
black
and
kinds
some
trills,
///('fingeringof
to
as
PIANO
both
from
an
THE
between
distinction
no
PLAY
the
case
5th,as
(See Fig. 26.)
as
present itself,
may
in
J*
5i
-2E
IkenL
t-i^
tl
t-ii(t
tt*
ht["n^
Nu/
Fig. 26.
This
mode
of
The
Fingering
of
CITvJ^
Trills,
trillsgives velocityand
fingering
smoothness
with
pianistswho change the fingers
in the example given in Fig. 27, page 52.
as
frequentlywhile trilling,
But I do not find that this repeated moving of fingersproduces either
its use, and
extra
smoothness
or
rapidity,in fact I do not advocate
where
the trill lay between
in any case
it would
not be possible
a black
and a white key.
of
the minimum
Fig. 27.
effort.
Frequent
There
changes
are
of
fingers during trills which
I do
not
advocate.
When
and
with
it
trills,
practising
graduallyincrease
an
even
the
articulation
is best to
speed
can
time
slowly in triplet
rapiditycombined
requisite
start
until the
be attained.
HOW
CO
the
change
from
fnii^jers
5 to
it clown,
still h(^Klins;
while
without
note
PLAY
TO
break
a
the tcvipo is of
This
a
for hands
witiiout
with
a
;
to
1
ready
but
this
5,
the
on
proceed
only be
to
can
note
same
the next
to
when
used
speed.
fmj^ersis a very effective way of producing
using the pedal at all,but it is only possible
long elastic
stretch.
that
it is
the motives
for
HINTS
ON
Sometimes
it may
be advisable
both hands, if by so
spread over
be obtained.
can
rapidityor smoothness
doing greater brilliancy,
In general,unless such a disposition
of the passage
is specially
marked
its use
be left to the discretion of the
must
by the composer,
fixed
teacher or the ingenuityof the student.
For
there can
be no
rule about
the employment of such divisions ; expediency and
cessful
sucto
divide
of
be
to
sound
PIANO
from
or
as
moderate
very
substitution
legato octaves
i,
so
in the
THE
a
so
passage
effect
are
their introduction.
MEMORY
Correct
is a
And
fingeringis also a help to memory.
memory
it is now
the fashion
most
as
important asset to the modern
pianist,
for him
It will,
to have
to
play everything in public by heart.
therefore, not be out of place here, if after speaking about fingering
I now
with the faculty
few points in connection
to consider
turn
a
of memory.
For
study
such
will
then, especially,
pianist,
the
has
he
as
so
much
a
complicated
accuracy
in his memory
For
the
actor
Also
nature.
sense,
while
remind
him
if he
and
support
he
substitute
unduly disturbingthe
to
at
and
once,
be
must
of
for
word
one
the
singerhas
forgets for a
a
much
greater
the actor.
without
another
the
serious
it is of
often
than, for instance,the singer or
often
can
remember
to
always be
memory
accompaniment
But
moment.
with
of the text, both
pianisteverything depends on the correctness
from
the standpoint of his getting through his performance, and
from that of the enjoyment of his audience.
Now
the more
logicalthe composition is,the easier it is to learn
Beethoven
Therefore
the works
of Bach
and
are
never
by heart.
the
so
hard
to
remember
as
those
of
the
modern
such
composers
being built up
as
The
on
former,
Debussy, Ravel, Scriabine, etc.
that quicklyimpress themselves
of structural symmetry
generalprinciples
the brain,
on
depend p:iore on
pos.sess
a
Most
piano.
I
are
much
easier to memorize
and
atmosphere
harmonic
than
the latter,that
colouring and
therefore
less definite outline to fix in the mind.
people have their
myself find it is
own
a
way
of
good plan
learning by heart
to
look
upon
memory
on
the
as
ON
FINGERING
into three
able
supplement
These
them.
Ocular, and
MEMORY
distinct parts of the
divided
to
AND
the others
I
three
in
same
of
case
67
facuhy, each
one
failure
of
lapse or
the
distinguishseverallyas
the Mechanical
being
of
one
the
Harmonic,
memories.
DIVISIONS
THREE
is that which
acquiringthe
of sounds, development of progresknowledge of the combinations
sions,
of a composimodulations, and general musical construction
tion.
be obtained
This kind of memory
can
by dissectingthe music
into so many
periods,subdividingit into harmonic sections, figuring
the mind
and thus stamping upon
out the various changes of tonality
of the music.
a clear perceptionof the form
Visual
is generated by the impression
The
Ocular
or
memory
transmitted
the brain by the written pages of music
made
to it
as
on
and
notes
to seeing the various
by the eyes. These get accustomed
in the
lines in certain placeson the pages, and in definite dispositions
different periodsof the piece,and the reflection of their vision on the
The
Harmonic
memory
eye of the brain remains
music
has been removed.
inner
of
The
third kind
of memory,
after
from
comes
visible written
the actual
the Mechanical
one,
page
from
comes
the
of
practiceand repetition
and
the habit of playing the groups
unconsciously. This last is certainly
ence
unreliable of the three memories;
ilie most
because, if by inadvertdifferent fingerfrom
in a passage
the pianisttakes only once
a
his hand
is accustomed
the one
to, it may
put him completelyout, and
fingers,which from continual
during study, take
passages
progressionsof notes almost
a
breakdown
him
to
can
if he
ensue
retrieve his momentary
mechanical
has
got the other
not
memories
be
solelydepended
I call it sometimes
of
rescue,
the three
therefore
without
upon
the
modes
the
help of
LEAUN
In any
fail, the others
of memory
must
the other
only.
Auxiliary memory
all three
aid
lapse.
Therefore, like everythingmechanical, this fingermemory
to
to
be cultivated
BY
BIT
as
much
two,
case,
come
can
as
is not
in fact
ever
whichto
the
possible.
BIT
memorizing, as well as for the
general mastery of a piece,to learn it bit by bit,taking eight bars or
reiteration is bad, for it only fatigues the
Constant
at a time.
so
brain without
imj)ressi()n.It is better to
producing the ref|uisite
play s(jinethingonce or twice over, carefullynoticingeach detail and
It is advisable
for the purpose
of
then
stop
it.
(lii^cst
to
separatelyby
heart
so
PLAY
TO
HOW
68
A
as
PIANO
THE
is to learn each hand's part
way
visualize it mentally with such distinctness
good
to
recjuired.
play any given bar by itself
be able .to commence
and
unhesitatinglyat any point in a piece,
it is effective to study a piece in
asked
Sometimes
when
to do so.
the evening,then go to bed and think the music
over
mentally,note
wards
by note, and chord by chord, as if reallyperforming it,and aftersleep.
Having done this, the student, upon going fresh to work next
piece of the evening before
morning, will often find that the new
returns
clearlyto his mind as if it was
already a familiar old friend.
if the power
of learningby heart
No
need be downhearted
one
does not come
immediately. For nearly everybody can obtain it in
considerable
a
degree by training,though some
people no doubt
have
natural
talent for it that scarcelyseems
to need
a
exercising
at all to keep it vigorous. Certainlythe pianistwho
by
possesses
has
trained
it
and
also
arrive
nature
a
carefullycan
good memory
music
the
incredible
in
most
at
by heart. To wit.
rapidity learning
the story is told that he
Van
Bulow, the great pianist,of whom
in F Major for the
of Tchaikovsky's Variations
learnt the whole
and played
St. Petersburg and Moscow,
piano in the train between
the same
them
evening when he arrived !
by heart at a concert
the
that
student
doubt
No
the
music
he will learn
if
can,
more
musical
the easier
possesses,
longer he will retain it. It is
talent
by heart, and
the
a
man
of
the
though one
greatest
enhancements
to
extent
prejudicial reliability
The
in
the
of memory
following way.
during publicperformance
He
temperamental player loses himself in the beauty of his music.
imagines that he is improvising,he feels as if what he is playing
soul.
is really the expression of his own
Suddenly the dream
and finds that he is stillplaying
! He
awakes
vanishes
to actuality
is perhaps
! He
set pieceby a certain composer
a certain part of a
He
of
douche
consciousness.
cold
bewildered
by the sudden
!
next
realizes his surroundings, he falters,he forgetswhat
comes
this kind
suffered terriblyfrom
Rubinstein, greatest of pianists,
he put down
which
of lapse of memory,
entirelyto being carried
equally
away
certain
by
Rubinstein
student
that
temperament,
of talent, is to some
his
than
is not
Still, better
temperament.
by
the
any
exactitude
manner
of
of
means
the
a
the
temperament
pianola! However,
Rubinstein, and
what
of
the
was
the
be conceded
to
genius cannot
forgiven to his commanding
the temperamental player will find
ordinary mortal ! Therefore
will generallybe a source
in his publicperformance that memory
than comBut this anxiety ought to be more
of anxiety to him.
FINGERING
ON
for
pensated
and
patience
be
by
reasoning
compositions
are
writing,
distinguish
workings.
the
is
for
to
where
many
that
be
a
of
gift
developing
found
the
the
mind
different
ME
memory
while
power,
but
adapted
admirably
reflection
the
simulated,
even
AND
true
God.
a
most
must
parts
MORI
69
can
be
acquired
temperament
The
precise
music
can
of
with
always
each
is
of
forms
on
their
most
in
For
complicated
be
never
Bach
memory.
by
the
his
phonic
poly-
alert
individual
to
Chapter
COMMON
SOME
MISTAKES
IX
ADVICE
AND
HOW
TO
AVOID
THEM
When
to
student
a
how
study,
"
:
I have
any
likely no
are
Master,
what
I
serious
has
some
of
in my
of
of
worst
they
beset
the
formance
per-
"
He
has
probahly
which
most
common
those
which
faults, and
students
of
tuition?
careless
players, just
the
piano
these
Well,
difficult
very
eradicate.
to
much
as
the
at
their
as
gifted brethren.
WRONG
To
begin with,
damaging
its
very
dangerous
pedalling
There
glamour
the
pedal
is
piano
quite capable
otherwise
might
should
pedal
regarded
and
variations
sort
of
passage
Misuse
be
be
used
as
a
of
general
and
the
fine
for
means
tone-colour
of
hot
becomes
pedal
is
of
but
producing
at
vapour
to
to
certain
precise
or
hear
pedal,
really
the
much
they first
be
allowed
Yet
bad
the
effect
cover
steam
up,
by
and
which
start
play
to
of
use
of
and
the
what
The
music.
definite
moments,
special
should
tone-effects
not
each
as
horrible
70
fault, and
can
affect
great
a
note,
enveloped.
a
a
notes
by
of
sort
a
piece of
a
never
it
when
marring
rendering
enhance,
to
mist
chord
of
a
is
produced
with
ambition.
completely
the
execution.
clamouring
greatest
of
of
more
yet enthusiastic
to
sound
children
even
always
It is their
pedal.
of
blur
pedal carries
that
are
pedal
and
one
of
use
The
inexperienced
the
the
so
much
too
deficiencies
that
its own,
than
alluring temptation
many
doubt
no
failing, or
usual
places.
the
to
PEDAL
more
wrong
an
so
up
of
no
another, also
covers
is
the
is such
one
learning the
with
in
attraction
It
into
welling
is
piano-playing,
application
performer.
OF
USE
there
good
to
and
be
his
to.
most
talented
most
desires
is, whether
me
himself, and
generally
are
he
finished
fellow!
attention
the
whom
tell
to
you
Poor
his
various, and
has
playing?
unsuspectingly through
and
he
discovered
drawn
the
with
really want
yet
some
artist
when
playing!
not
ever
are
fall into
his
the
to
ask,
faults
has
then,
time
many
in
he
one
Aloreover,
less
he
faults
What,
may
does
which
several
same
often
very
Serious
play
to
comes
and
COMMON
MISTAKES
AND
alike ; it should
small
it
state
which
produces
the
on
of
in the
even,
ardour
comes
for
the
along
beauty
"^A
Fig. 29.
Examples
Prelude
TO
AVOID
71
the
listener
is similar
the
that
to
lungs,namely, fatigue,nausea,
alas, drowsiness!
ANOTHER
Now
HOW
carefullyguarded against. Indeed,
mind
air creates
overheated
lassitude,and
be
ADVICE
the
of
BLUNDER
temperamental student, burning
the
music, longing to make
the
with
noble
Pfd7
in C
Sharp
minor.
S.
Rachmaninoff, Op.
3,
No.
2.
the Prelude
from
in C sharp minor
an
of
excerpt
written
and
(below) as often played by
by the composer,
enthusiasts
with the rig^hthand
tion
striking each note in the first two bars a fracafter the left. In the third bar of the lower
example the chords will be
seen
arpeggiocd instead of together, and again the right hand coming in after
the left in the last two
chords.
showing
Rachmaninoff,
(above)
as
{\
elx
Fig. 30.
chords
of
pitfalllies
enthusiasm
Prelude
some
fine
ready
that
in C
to
the
Sharp
minor.
S.
melody speak
out
cntr.ip his zealous
melody
in
Rachmaninoff,
its
Op.
message!
endeavours?
I"otli hands
slionld
3, No.
What
2.
special
Why, in his
Ik- j)r")perly
HOW
72
brought
out,
fraction of
he
TO
gets
second
PLAY
hand
one
after
the
THE
PIANO
playing
after
loft hand
the
other!
Only
a
tloes the
right hand strike,
but in that
the whole
sound
grandeur
in the irritating
after which the performer is strivingwill he dispelled
effect of one
at a
part of the harmony always reaching the ear
This
is a most
slight interval after the other.
frequent failing
musical
enjoy tremendously what they
people who
amongst
very
does it occur
in slow movewith them
are
ments,
playing; and especially
when
the two
hands
they will arpeggio the chords between
much
that it sounds
like drawling in speech,or even
like
to me
so
enthusiasts
lose their sense
of the symmetry
stuttering. These
in their intense
of the sound
its component
pleasure over
parts,
a
loss of
it is hard
and
music
can
siniultancousncss
that
thus
lead
the
virtue
very
them
of
into
taste, and
of the
line between
guiding
to
a
true
HURRYING
Hurrying
by
nervousness,
the
is
the
certain
judgment, proceeds
The
fervour.
player who
it to
nearly as
a
of
want
sentiment
THE
of
error
and
lack
of
of
sense
artistic
perception
sentimentality.
TEMPO
bad,
though indifference,want
tempo
of
danger.
Dragging the time, another tiresome
of overcause
generally from the same
this blemish
suffers from
mostly owes
proportionand
lies in their love
that
and
of
is sometimes
caused
confidence, and
the
generalmistake of looking upon a crescendo as an accellerando
inclined to be nervOus
also give rise to it. People who
when
are
playing before others often get a queer kind of defiant sensation
hover
in sight; the
let's get
when
technicallydifficult passages
with
of feeling,which
it
it over
and be done
makes
them
sort
hurry in an extraordinary manner.
Of course,
hurrying may justas well arise from a lack of instinct
Where
this is the case, it is rather a
for rhythm in the student.
hopeless look-out, as it is so hard to inculcate a real feeling for
is not
who
with
it. But
naturallyendowed
rhythm into someone
it has often been
experience to listen to students who were
my
of rhythm, and yet who
highly-developedsense
giftedwith a most
difficult passages,
their technically
until I
over
hurried, especially
This
kind
of increasingthe
began to get positivelybreathless.
of nervous
control.
speed was, of course, due to want
very
"
"
FAULTY
As
hurrying and
somewhat
with
RHYTHM
dragging the tempi are both errors
faultyrhythm, I will speak of this next
also
nected
con-
as
a
the
TO
HOW
74
technical
PLAY
THE
PIANO
perfectionof passage-playingand
and
it
cause
be
to
ward,
awk-
laboured.
heavy
fall into, which
is
Kccpiiuj the clh(K\.'Sout is a trick that many
IxDth unsightlyand tlctriniental in tone-production,
because
it forces
into unnatural
the hand
a
nd
stiffens
the
wrists, as well as
positions,
and
impairs rapidity
supplenessof execution.
E.x-cessiir movement
of the body, too, while playing,is disturbing
of elasticity,
to the player'spower
to the sight and
yet it is a bad
is
much
habit which
to help people
indulged in. No doubt it seems
to intensifywhat
they are feeling,but this is an illusion. Exaggerated
gesture,
on
the
contrary, tends
rather
to
diminish
an
be deep, and
weakens
it, by a
impression which might otherwise
the
suggestion of hysteria,while too frecjuentlyit borders on
the impression is altogetherlost.
ments
Movecase
ridiculous, in which
of the body while
playing can be divided into two classes,
namely, jerky movements
(generally confined to the head and
ments
shoulders),wdiich produce stififness and tension,and swaying moveof the whole
frame, which disturb the rhythm.
don't
make
faces
playerspick up the peculiarityof making extraordinary
This
is a very
absurd
faces during their performance of music.
habit that is terriblyhard
to get
a
fault,but it too often becomes
it is done quiteunconsciouslyas a rule, and is also
rid of, because
of emotion, and
instigatedby a desire to express the maximum
for the
sometimes
provoked by the physical exertion
necessary
making
performance of a technical feat. The only remedy for
mirror
is to have
faces
a
hung in front of the culpritwhenever
he is practising.
who
better
the student
loves his right hand
how
about
And
of not letting
the Bible maxim
Pie seems
than his left?
to follow
his left hand
is doing, chieflybecause
what
know
his right hand
that it is
is not doing much
his left hand
at all!
By this I mean
is generallythe weaker
bad to neglectthe lefthand, which
member,
with
notes
anyhow, and not to allow it to develop its fundamental
work
obvious
and
sonority as the more
significance
just as much
should
be
the left hand
Of
of the right hand.
never
course,
it should
sustain
and
the right hand, but
permitted to drown
harmoniously support it.
Young players also err very often by incorrect style in their
Bach
be played
cannot
performance of different kinds of music.
should pervade
with
the highly-colouredromantic
passion which
Some
"
"
COMMON
MISTAKES
of
renderings
spirit
played
classical
with
me
is
lurking
always
this
he
and
the
one.
sounds
of
spark
if
only
the
of
Chopin
pedantic
most
and
unnatural
his
You
well,
his
may
but
lessons
which
play
remember
genius,
when
And
evils
many
commonplace
right
the
will
These
player.
the
it.
even
here,
great
to
the
lie
may
is
all
hope
to
of
manner
:
you
with
play,
your
they
I
if
feet
must
their
all
would
upon
be
pupils,
that
him
in
the
result
the
talented
pianoforte
after
heinous
nothing,
say
only
of
greatest
dejected
his
to
"
exhortation
in
a
possesses
so
real
many
remains
mentioned
sustain
to
palliates
forceful
most
following
manner
up
faults
being
Leschetitzky,
finishing
of
so
there
but
man
the
are
discovered.
be
remember
well
in
which
there
hindrances
fire
individual
genius
can
of
grave
divine
that
the
still
only
no
each
it
that
from
are
has
done,
teachers,
the
detail
which
I
French
had
have
direction,
every
one
every
prevented
be
in
reflection,
from
suffers
of
ability
too,
weird
modern
rubato
think
to
pianist
the
consoling
deficiencies
them
for
thereljy
the
with
the
appreciation
of
precision
distorted
disheartening
perhaps
pitfalls
said
dryness
Bach
I
75
effects.
It
when
and
the
false
Yet
AVOID
with
of
totally
a
caricature.
the
and
manner,
limelight
not
all
in
TO
nor
music
the
thus
merely
becomes
to
surrounds
approached
HOW
Tschaikovsky,
or
that
Music
school.
its
Schumann
atmosphere
ethereal
ADVICE
AND
faults,
telling
with
of
gentlemen,
was
keyboard
feet."
a
satisfying
if
only
it
Chapter
TO
HOW
EXPRESSION
WITH
PLAY
"
interpretative artist
true
letting
music
the
critics who
phrase of those
as
looking
shoes,
to
feel
originally
For
at
of
power
music
by
life
and
controversies
about
this
pianist whose
part
it is to
interpretation
of
Of
the
of
As
from
of the
most
of
varied
as
regards
of
this
the
have
of
to
but
such
the
masterpieces
distance
mainly
to
that
the
to
diverge,
till the
ideas
certain
of
means
the
should
separates
fact
find
must
basic
the
in the
profession.
the
and
kept carefully
rules
guide
to
it is about
and
these,
music,
classical
called
up
the
music
that
opinion
my
creations, it comprises
written
were
school
to
are
be
must
some
are
modern
or
treasures
as
"
whole
as
most
Beethoven
of
death
effects
are
recognized
and
and
for
the
distinct
greatly amplified and
though
genius of the composer,
great
arisen
was
continual
interpretation
commonly
remain
similar
very
features.
structural
finest
it
speak here.
and
the
to
his
perversion
impossible
now
of
kind
main
the
Around
some
that
of
between
there
to
is
expression,
according
which
interpretation
in
but
music,
line
it is
presented by
part
forms
this
In
music
in the
There
appeal.
kernel
the
romantic
the
rekindle
public performer
the
and
I wish
compositions
1826.
be
reason
which
what
regards
distinct
aspect
boundary
that
these
to
poser's
com-
imagination,
his
demands
that
art
of
music
this
student, from
doing
merely
the
into
individuality with
and
distortion
for
and
view,
some
in
of
vices
odious
in
the
course,
of
is
photography.
step
poignancy
so
effect
highest
the
to
ality
individu-
its creator.
essentially an
its
least, for
felt,and
by
is
the
with
fantasy,
endowed
endeavour
interpreter
he
and
standpoint of
the
stereotyped
a
attitude
passive
a
with
content
borrow
(to
Such
from
imagine
to
what
again
all the
the
must
be
regard personal thought
art
USE
TO
HOW
only
not
"
itself
reproach).
musical
the
at
rather
No;
of
source
a
should
for
speak
AND
PEDAL
THE
The
X
of
contains
thought, which
musical
tions
tradipianoforte literature, many
the
methods
interpretation
by which
of
be
approached.
from
us
the
This
time
pre-eminently
some
76
of
is
due
their
great
partly
creation,
performers
PLAY
TO
HOW
EXPRESSION
WITH
AND
USE
PEDAL
77
periods,which
their pupils and
followers,
teachers on a lesser plane. Thus
became
themselves
who
afterwards
teacher
from
to student, until by degrees
the tradition grew
up
definite point of view
itself into a prescribedand
it crystallized
given renderings of these works
dov.n
by
renderings have been handed
have
that has
into account.
be taken
to
various
at
TRADITION
ON
LIGHTS
NEW
preter
to-day,as always, the mission of the authoritative interthrow
to amplify and
new
lightsupon these traditions, and
which
his less-gifted
to accept the general version
content
It is
be
not
have
brethren
subscribe
to
and
for
him,
in music.
written
down, like
hold
critics who
to
so
poetry it ought
to
people who
work
of
sort
should
older
express.
is not
to
that controls
get any
to
that
conviction
natural
feelingand
It is difficult to
understand
how
of the great classics
It
performance.
musical
the
arrogant
further
these
sure,
radical
to
seems
than
a
sort
submit
genuine music lovers
many
educational
duty. It is, I am
temperament
by
of
interpretations
called
of colour, fine
power
which
of
the
on
more
to
their
life
task
much
been
a
were
of
shadow
exactly a
authority about
be interpreted. They like to invest it with
dryness of expression which tends to render
talk with
traditional
the
especially
able
be
thought
at
because
based
are
music, the
a
same,
line of
emotion
recited without
often
views
such
the greater the
musical
guiding
musical
of
school
a
effort
words
masterpieces of music
the
the
or
interpretation
the
be given just
notes
as
they
any
many
Artists
have
expression.
or
like
They
is
that there
I know
course,
condemns
practically
which
the
remain
principlesmust
student, they will form
for
Still,even
vision.
his mental
Of
for the
as
faith.
reverent
fundamental
great artist the
the
with
to
mere
to
of trial of tediousness
endure
good deal
divergencesof
a
that
me
only
to
a
hold
arrangements
of
as
kind
a
of
matter
ideas
about
such
views
detail
and
majesty of the pictureis missed.
times met
I have many
truly musical people who found liach and
Beethoven
dull, and were
surprised at having been stirred by a
which
sonata
appreciated before.
they had never
great fugue or
been allowed the
because
And
I am
certain it was
they had never
For
can
opportunity of realizingthe full glory of such music.
one
imagine
wealth
great
the true
while
perspective,
narrow
of
a
nobler
or
wider
imagination, intellect and
sonatas
of
I'cctbr)ven.
range
in
wliich
feelingthan
to
find
is to be found
every
in the
TO
HOW
78
PI.AY
THE
s
PIANO
of was
written
in the
pianoforte nuisic we know
such
of simple dance
form
alleinandes,
measures
as
courantes,
These
were
performed upon very
gigues and so forth.
pavanes.
the
best
known
instruments,
being the
primitive-keyed
amongst
only suitable
virginals,harpischords and spinets,and they were
of treatment.
to the plainestmethods
Indeed, the story is told of Dr. Arne, the celebrated eighteenthments,
of those instruthat he said about one
century English composer,
earliest
The
"
devil's
It is the
instrument,
own
like
masters,
my
the
quillwith a squeak at the end of it."
veloped,
dehave
Only since the variety and capacity of instruments
the complex and polyphonic
created
and
also since Bach
which
revolutionized
harmonies
pianoforte music, has the scope
of harmonical
so
greatly enlarged, and the
expression become
problems which surround it so complicated. The discovery of the
the
on
pedal,too, changed the whole complexion of interpretation
technique it seems
strange to
piano, while in the lightof modern
scratch of
a
of
the advent
before
that
think
the
Bach
the
of
use
and
thumb
absolutelyforbidden by the best teachers.
5th fingerwas
the hand
held high and
stiff; a
In those
days the wrist was
the
also used
for sittingat
doubt
instrument,
no
high chair was
of rigidity
have been one
attitude while playingmust
and the whole
and precision.Any rendering of this primitivemusic was
necessarily
employed. All violent crescendo
very quietand limited in the means
effects were
fined
condiminuendo
impossible,and the rhythm was
or
lilt of the gigues of that
the swaying but monotonous
to
of the pavanes.
Certainly
statelymeasures
day, or to the more
to play a piece of
it would
to say the least of it,indecorous
seem,
also of the
the
sixteenth
of
of
music
Liszt
Chopin
artist
in
his
on
even
Rhapsody,
or
a
or, vice versa,
of
of
the
render
to
coldness
the demure
sense
conception
pianofortewith
modern
a
Liszt with
is where
This
masters.
the
a
century
style should
different
come
the
the
donment
aban-
passionate
the
of
in, to
aspects of
early
help
musical
composition.
STYLE
MUSICAL
And
what
is musical
impression reflected upon
modes
of thought which
was
kind
written.
arts.
has
had
I think
the music
were
by
it
the
be
can
in former
its diverse
characteristic of the
and
and
customs,
epoch
when
suffered
the
it
every
only each
just
now,
of expressing these things in the
centuries
ways
explainedas
manners,
For, after all,people lived, loved
of emotion
period
style?
as
we
do
PLAY
TO
HOW
EXPRESSION
WITH
AND
PEDAL
USE
79
of music itself
interpretation
for the purpose
performance? Is it not the employing of all
technical means
of life into the inanimate
to infuse the spirit
possible
musical
it to be kindled into a definite sound-picture
form, and cause
On
the pianoforte this is done
of the Hstener?
for the mind
by
tone-values
of
and
variations
of accents,
diminmeans
(crescendo
ritardando)
{acccllcrando and
ticndo), variations of rhythm
Accents
and
the
enable
of
manipulation
pedals.
varietyof touch,
of
the pianistto bring into prominence certain notes, or groups
tions
might be comparable to cries,exclamations, interjecnotes, which
bursts
in the elocutionaryart, or
of
sudden
colour in
to
then, do
What,
we
by
mean
the
of
,
painting.
These
scale of human
being
the
of the
is
for
emotions,
does
the
to
his
aesthetic laws
same
possible,when
RULES
As
far
give a
of music.
blend
distinct
from
and
Time
should
form
of the
Skilful
to
time,
also
be
enable
be
must
to
well
with
descending passage
without
manage
will
notes
to
held
be
always
the
Rhythm,
too,
as
so
indicate
to
atmosphere.
create
sound
which
on
its assistance.
to
diminuendo.
a
harmonies, in order
the
to
clearlymarked,
fall, and
ought
true
rhythm
accents
a
changed according
be
not
played without
and
is
INTERPRETATION
OF
crescendo,
a
tlie tones,
fingers could
where
as
concerned, I
are
general rules of interpretation
few which
appertainto what might be called the syntax
the following. An
Such are
ascending passage should
played with
The
pedal must
as
as
material
and
circumstance
many
far
the
as
be
to
of
what
And
in their work
all these
govern
difference
the
him
to
into account.
taken
will
the
imagination, represents
painter,or the voice to the actor.
of
plianttool
the brush
up through the whole
of the pianist,
well-trained hand
other similes could be followed
and
colourless
and
preserve
the
defined, that it may
Music
insipid.
general
composition.
use
of all these
it is for the
makes
means
mentality of
the
the
up
pianist
to
art
of
employ
interpretmg.
them
in their
dispose of
them, and thus invest the whole work with the pulsatingbreath of
natural
exist in the interpreter
a
actuality. No doubt there must
his outlook, and this can
only .spring
good taste which will govern
from
musical
and
instinct
education,
trained
sound
by hearing
a
by
there are
without
that
artists
For
it
saying
perform.
great
goes
varying degrees,
no
absolute
rules
to
mould
about
them,
combine
them,
There
interpretation.
can
and
but
l)c
some
now
so
TO
PLAY
THE
PIANO
styloand taste to stimulate the imagination of
the student, and
help him in his task.
I have
As
already pointed out, thq interpretationsof the
of
music
established
tradias
masterpieces
by great artists become
its
tioiis. Still the personalthought of the performer should
make
of the most
influence
felt in the rendering of all music, even
classical type, if that rendering is to be of any
and
real value
to the general dicta
interest, only this personalityhas to conform
of the style. Thus
it will be found
fine artists will
that no
two
There
be a thousand
interpreta piece in the same
way.
may
outlines of
broad
Fig. 31.
I.
"
Opening subject
of
Chopin's Prelude
in F
major.
Medium
very
one
Accompaniment
Tempo.
legato in the right hand and fingers
very
the keyboard.
No
crescendo
The
diminuendo.
or
impression is
of complete tranquillityor
twilight.
near
differences
of
particularperformance, and
each
of
them
This
fact only illustrates how
in much
imagination and colour may be infused into interpretation
well be compared
variety. For great musical
compositions may
beautiful landscapes, which
to
are
ever-changing in colour and
effect through the action of atmospheric conditions.
On
two
no
days does the country look alike,yet its composition and outline
remain
fixed,everlasting.
It is told of Beethoven
that he played over
of his own
one
idea of the
compositionsto a talented pupilin order to give him some
side,and then asked the student to play the same
interpretative
piece
the
ing
remarkand
This
master
was
again.
done,
complimented him,
that although it differed greatly from
cidedly
dethe original,it was
better.
expression in
equally correct.
their
HOW
8'3
TO
PLAY
THE
PIANO
it imperative
piano itself,with whicli wc arc deaHng^,makes
device
that every
to
conjure up perspectiveand cliarm should be
into
all typewriting effects of precise
service, and above
hroui^ht
be strenuouslyavoided.
strikingmust
of
the
THE
In
ATTITUDE
OF
fact, the keyboard ought
Irgato passages
be
keys must
obtain
or
in
caressed
melody
with
a
THE
HANDS
to
never
be
struck
hard
at
all in
of
On
the contrary, the
kind.
any
of almost
sort
stroking movement,
And
in connection
with
this
requisitetone-values.
there is another
thing to which I attach great importance,namely,
in its attitude on
that the hand
the keyboard should
reflect in some
degree the spiritof the music.
to
For
the
instance, it
formally when
century
music.
would
not
be
natural
to
in the
playing Chopin as
Again, in a vivacious
hold
performance
piece the hands
the
of
hands
as
sixteenth-
should
look
sprightlyand full of energy, while in slow cantabile movements
For
the
they should present a soft and sinuous appearance.
even
fact of the hand looking hard and stiff during playing will assuredly
affect the sound
adversely,and rob it of beauty of quality.
All these things are
with
the preparation
intimatelyconnected
fine
of a
touch
the piano. The
word
touch," as a musical
upon
term, signifies
reallythe mode
by which the fingersattack the keyboard.
For
the great difficulty
with on
the piano
to be contended
w'hen
it is necessary
to
produce a singing tone lies in this, that
by its mechanical
a
composition, if once
key is struck upon the
instrument, no further modification of the sound-qualityis possible.
No
vibrato or
be
afterwards
can
mellowing of the tone
plied
apas
on
stringed instruments; with the piano, all is over
when
the finger has once
fallen and
the hammer
has
struck
the
strings.
Therefore
the tone
must
anything that can be done to sweeten
be attempted before
the strikingof the note.
that
By this I mean
time should
the action of lifting
the
an
infinitesimal
elapsebetween
fingerto strike and the definite fallingof the fingerupon the key.
Touch
be thus prepared in the playing of all melody and
must
and
of the hand
singing passages with a slow pressing movement
fingers. This caressingtouch could not, of course, be employed in
where
direct quick blows
of the fingers
rapid difficult passages,
time.
In such cases, and in the
are
indispensablein order to save
higher development of technical brilliance,no more
liftingof the
fingersis necessary than is compatible with distinct articulation.
"
SOUL
THE
83
PIANO
THE
OF
PEDAL
USE
AND
EXPRESSION
WITH
PLAY
TO
HOW
sustainingpedal,which Rubinstein
is the best friend
the soul of the piano." It certainly
aptlycalled
the
to
overcome
the pianisthas at his disposal for helping him
it
drawbacks
of the pianoforte'sconstitution,and without
material
no
legatoplaying or prolongationof tone would be possibleat all.
there are
two
Of course,
pianoforte,even
pedals on the modern
is only used, as its name
sometimes
implies.
three, but the soft one
The
loud pedal,as it is called,is the real
for deadening the sound.
I speak of the pedal in future
as
a
important factor, and when
that I am
referring. The
general term, it is always to this one
"loud
name
pedal''is reallya misnomer, as its function is rather
I
loud
the
to
come
now
or
"
to
sound
the
sweeten
brilliance
to
and
rather
than
that
beat, as
bar
to
DO
The
pedal can
qualityto
that
obtain
in the
the
also
open,
loudness.
IMPAIR
be
tone,
used
be
used
the
pedal
be
never
best
the
example
NOT
also
actual
should
it should
harmonies;
first beat of the
with
and
more
also
to
add
pedal is a
if badly employed.
also l)ethe worst
possibleenemy
terrible than the general blur cast over
everything
it is appliedwithout
expert knowledge. A few
the tone
good friend it can
Nothing is more
by the pedal when
it
simple rules about how
I have
already mentioned
different
it
render
are
If the
follows.
as
be
must
changed
on
directly
taken
in
results,but
on
the
syncopation
below.
DISTINCTNESS
in
though
passages
here care
to
must
give
be
a
more
taken
taining
sus-
not
to
be applied
pedal can
the bass note
without
is given on
on
causing any blur if an accent
is built. The
which
the passage
pedal may be applied in a greater
degree in the higher than in the lower registersof the instrument,
the higher tones
can
as
stand, and also need, more
sustaining
impair distinctness,but
than
the lower
of
sustenance
the
gentlyand
ones,
tone,
a
whilst
and
pedal it should
gradually.
great
deal
more
last possess of themselves
a certain
therefore
blur more
quickly. When
plying
apthese
never
be
banged
on,
but
pressed down
possess a good knowledge of harmony in order
for it is necessary
when
to be able to apply the pedalcorrectly,
using
It is essential
to
All
of chords.
something about the structure
of tone
by the pedal produces a most
unpleasant
blurring over
be
the
and
must
rigorouslyguarded against,
impression upon
ear,
in
a
when,
some
particular
specialeffect is required.
except
passage,
it to
understand
HOW
84
such
as
F
this
only
TIANO
THE
liallade of
minor
in the
I'LAY
TO
Chopin,
in the
example given
below.
But
the most
to
outlying instance
elaborate study of tone-colour.
is
^^lf^iy".
an
which
reallyappertams
The
generalelementary
^C
%
Fig.
Example
Prelude
33.
showing
tlie
pedal
(Chopin).
syncopation with
flat
in D
taken
?^t
in
the
beat.
noticed that the pedal is taken directlyafter the note is struck and not
1 he clamp
it the finger not being released until the pedal ,s pressed down
duration
the pedal.
of holdnig down
the bass part indicates the exact
It will be
on
Snde'r
remains
rule for the student, however,
the
pedal is bad"
in fact, it is
commit
Professional
amateurs,
but
Fig
Example
34
^'^'
the
the
taken
for
oedal '=.
is
two
P^*^^'
"^^".ff"-.
".
faults
the
his
takes
pedal in
a
correct
is
way
minor
Ballade.
bars
instead of being changed at each bar. This
the wind
whisthng through the
surging water,
or
duration
of
holdmg
pedal.
harmonicallv,
upset
than
more
apparent in their playing. This
exact
the
pianist can
much
pedal very
unfefthe'bS'pa'rt
Trelr^^L^X
indicates the
down
a
by
tones
special blurring effect of pedal in Chopin's
showing
F
Here
Here
so
experiencedartist
the
because
be
blurringof
of the worst
one
use
pianists
it will not
that the
so
that
it blends
the'outlines, while
or
harmonies,
clear colour.
the
and
the
the
tones
player who
neglects to
training
thereby produces a
naturallyand
does
not
change
smudge
possess
the
of
does
pedal with
sound
not
standing
the under-
mstead
the
of
HOW
the
managing
beautiful
by
the
it
sound
and
many
is
vivid
most
varied
binding
EXPRESSION
WITH
pedal
The
by
PLAY
TO
indeed
wisely
the
the
there
be
can
combinations
together
will
pianist
satisfying
and
of
essence
more
no
different
to
conjure
impressions,
which
of
life
PEDAL
USE
AND
pianoforte,
the
up
while
out
to
fascinating
the
pedal
tone-colours.
85
of
the
study
is
able
his
and
music
of
lovers
than
to
the
obtam
XI
Chapter
HOW
What
the
is the
most
time
the
same
acquire
must
produce
to
The
of
most
of
study
the
is
as
of
and
the
at
the
of
instrument
"
to
sing!
the
make
play fast,
different
them
player
people
"
and
and
artists
others.
or
case
in
those
generally
of
of
muster
pass
sound
part
will
In
sound
it
gives
makes
matter,
the
namely,
play clearly,
to
requisite
the
by
tone
all these
make
to
or
full of
the
be
day,
so
lack
much
and
of
of
soft,
or
the
this
much
kind
harmony
subtlety
And
86
this
of
more
quality
music
more
the
as
Schumann,*
variety of
of
the
romantic
and
and
than
in
forte,
messo
or
to
painter,
keys always
modern
indifference
the
interested
Chopin
as
to
that
the
more
such
elaborate
felt.
of
mainly
striking
easily, as
less
colour
this
does
colour
not
are
compositions
own
TONE
loud
performance
the
our
that
not
done
play softly;
to
perception
with
either
way,
more
so
a
content
are
same
finer
pianists
some
but
OF
pianist what
the
to
musical
of
schools
and
the
be.
may
whole
the
mechanical
a
he
enough
not
with
STUDY
possess
Besides,
study of tone,
less
belongs
atmospheric.
represents
some
is
the
the
How
say,
of
of
be
can
"
kernel
It
the
only
not
properly
qualify
to
alive
THE
Tone
much
play loudly,
to
be
must
that
or
world
in the
itself
standpoint
and
sing."
play slowly,
to
as
how
vary
is the
instrument
the
heard
are
This
gradations
real
to
varieties
inspiration.
and
realize
to
infinite
its
anything
much
from
power
instrument?
within
also
interpretation
it is wonderful
taste
but
piano merely
Constantly
out.
it combines
For
pianist
a
purity, of abruptness,
of
absorbing
and
attainment,
province
instrument,
to
intricate
all
at
yet
the
surely
not
his
in
and
which
powers
from
tone
teach,
to
Is it
pianoforte
the
on
all the
art?
in his
singing
technique.
Looking
skill
necessary
tone
highest technical
to
of
thing
softness, of roundness,
and
musical
difficult
and
SING
PIANO
THE
successful
fine, noble
sensuousness,
of
elusive
be
to
a
loudness
MAKE
TO
is
tone
in
will
itself
in its combinations
tone
on
the
especially
player's
upon
the
HOW
TO
MAKE
THE
PIANO
SING
pianoforte,which yieldsa good full tone
struck too directly.
not
But
when
playing classical music a dry or
modern
if
87
without
effort
any
prosaic tone is a
terrible drawback,
it renders
it,even
to musical
people,tedious
and wearying to listen to, because
of the dead monotonous
delivery
of the performer. Whereas
if each chord, each phrase,each melody
is reverentlythought out and made
to glow with
beauty and variety
of the great music
of tone, all the glory and worth
be brought
can
home
otherwise
to those
might have been bored
very listeners who
by it.
be obtained
the
on
Beauty, and with it variety,of tone, can
pianoforteby several means.
Rhythm has something to do with
it.
Pressure
of the fingers when
affects it ;
striking the notes
of the wrists help to attain it. In melody.
supplenessand elasticity
should
be caressed
of the piano, rneltingone
into
tone
out
note
another
of the hand.
In sparkling
by an undulating movement
technical
it should
be outlined
ot
conciselyby means
passages
in some
rhythm, in the w^ay of accents
places,and in others by
divisions
of values, with
careful
regard to the balance of light
for
shade
and
will
of the passage.
Such conciseness
relief for the technical ornamentations
in the structure
produce
impart to them
a
fine
vigour
of tone
power
for chords
struck
hand
will
emit
hard,
and
brilliance.
and
AVOID
Great
of tone
is very
with
metallic
HARSHNESS
difficult to
direct
sounds
and
produce without
powerful blows
that
must
shock
ness,
harshof
the
the
ear.
and appliedthrough the forearm
strengthis concentrated
into the notes
if
to the keys, the fingersbeing pressed down
as
of the piano, the harshness
will
about
to force a great weight out
will be the result.
be avoided, and
full, deep singing tone
a
the piano is left
with
the orchestra
in a concerto
Sometimes
alone
suddenly to usher in a grand and powerful phrase, the
and
orchestra
tone
having just before been playing with immense
of sound.
This
wealth
hay)pens,for instance, at the end of the
last movement
Concerto.
of Grieg's Pianoforte
(Sec Fig. 35.)
his
In such a place,unless the pianistcan
tone
thing
bring
up to somerichness
which
the
orchestra
the
volume
and
approximating to
he now
has to bring
has just left off giving out, the pluase which
His performance of it will give
in alone will miss its whole effect.
of the orchestra,
imitation
the impression of a poor, stilted,hard
like the effort of a mouse
trying to carry
or, in fact, it will sound
But
if the
TO
HOW
8S
the
on
of
of
work
with
tone
a
a
So
Concerto
Pianoforte
of tone
of
E
chords
halanee
be
pianistmust
and
sonority.
(Iii)th
in the (i|HMiinij^
bars of Liszt's
tlat is anotlirr
the
instance
where
hardness
with
atmosphere
an
in
tremendous
against him
the wh(^le passa"::e unbearable, instead of, as it should
the rightqualityof sound, profound, and
fraught
makes
be. if given
this
acconii)lisli
to
orehestra
cadenza
ii^raiuhose
The
PIANO
THK
ji^reatstrenijth witli
able to combine
with
lion.
whole
PLAY
of
impending
excitement.
(See Fig.
27,, page
57-)
Fig.
A
35.
The
minor,
end
of
showing
the
last
after
two
of
movement
bars
that
Grieg's
piano
Pianoforte
is left
alone
to
Concerto
in
continue
in
triple forte.
if
For
the
of
chords,
it
as
some
do
when
mere
sledge-hammer
a
to
obtain
noise, and
can
upon
great power
contain
none
grand sequence of fortissimochords
much
the same
should be invested.
In pianissimotone
of thing
sort
appliesas regards the qualityof it. if the tone produced is only a
quiet sound, the result of a very gentle fall of the finger on the
is there in it?
be soft, but
what
It may
key and nothing more,
without
aesthetic value
it will remain
cold, impersonal,insii);d,
any
business
is to put warmth
or
significance.Therefore the pianist's
into the softness, so
tenderness
and
that, though pianissimo,the
the
sound clingsand appeals to
ear.
chords
and
of a passage
at the end
outstanding notes
Abrupt
without
also difficult to play with sufficient terseness
are
sacrificing
concentration
the
of
force
of the
of
but
here
tone
again
;
beauty
blow
given will rob it of the hard noise of the impact, without
losingone jot of its energeticcharacter.
of the
w^hich
like
endeavouring
degeneratesinto
only
epicqualitywith
tone,
down
pianistjust comes
a
a
in any
it is monotonous
PLAY
TO
1K)\V
DO
nuich
just as
case,
PIANO
THE
tone
as
that
is unsweetened
bhir of this murky sound
the continual
because
pechil,
But
ahnost .beyond en(hirance.
the ear
wearies
intelHgentstudy
in changing
careful
of the effects of the pedal, and
management
of the music
alter, can
the basic harmonies
it when
develop it
and
life
into the most
precious essential for imparting warmth
by
to
the
tone.
the player's
on
dry and hard tone-production
beautified by applicationof
be entirelytransformed
or
part cannot
the pianist's
This is because
it is done.
the pedal,however
skilfully
hard and direct in the actual strikingof
is at the outset
finger-attack
is nothing to be
there
the keys, instead of being caressing,and
So when
until this fault is eradicated.
practisingit is a good
done
initial
Still,an
to
produce a melting and sustained
thing to endeavour
melody without first applying the pedal at all ; and the same
be
done
with
tone
in
should
chords.
pianistshould learn to attack them with power and volume
of sound, avoiding harsh
blows, before evoking the pedal to come
he is able to produce beauty of tonehis help. Then, when
to
ment
qualityunaided, he can study pedal effects with profitand enhanceto his playing.
The
A
Some
people no
pianist's
best
doubt
endowed
inspiration
for
facility
piano, generallyowing to the
are
with
a
natural
producing a beautiful tone on the
elastic
particularconstructions of their hands, which are pliable,
But
I think
sinuous
and
that, with sufficient careful
by nature.
study and attention given to the subject,every player can arrive at
it seems
its acquirement, even
a
though to some
greater difficulty
than
to
others.
Anyhow, it
technique,and
to
is
of the
one
necessary
possessing it
without
make
most
charm
the
branches
of
pianistwill
poetry of expression emanate
or
pianoforte
find
possible
it im-
from
his
instrument.
I
of
can
tone
of
think
than
For
to
refer
that
conclusion
fitting
more
no
to
Anton
of
to
Rubinstein's
who
a
chapter on
attitude towards
beauty
this
undoubtedly one of
how
the piano," used always
the greatest exponents of
to sing on
to tell his pupilsthat he had
acquired his knowledge from listening
the singing of the great tenor
He
to
Rubini.
happened to hear
and
Rubini
was
so
sing one
day,
impressed by the wonderful
question.
master
"
touch,
was
HOW
quality
remained
his
to
reproduce
voice
which
every
THE
is
the
student
something
that
of
Rubinstein's
best
idea
tone-production
of
tone
that
for
91
afterwards
ever
the
inspiration
of
SING
PIANO
sound-production
Certainly,
piano.
human
one
his
of
MAKE
TO
the
the
would
his
Rubini's
voice
of
sound
pianist
do
ideal
to
well
a
upon
beautiful
imbibe
to
follow.'
is
Chapter
LESSON:
SPFXIMEN
A
chosen
HAVE
of
beloved
It is, therefore,
first
I will
be
The
"
the
Quasi
Opus
creative
during
second
period.
Grove
invented
this
on
then, wanting
he
"
by
of
to
the
title
"
In
place.
of
Lichnowsky,
"
the
the
this
G, and
in
Rondo
Contessa
edition
own
the
been
discounts
Princess
the
to
the
gave
my
Moonlight
the
compared
But
Lucerne.
Beethoven's
popular
"
of
first movement
romantic
it
edited
the
of
various
Le
L' Absence,
the
atmosphere
C
and
not
as
the
in
Retour,"
minor
mysterious
92
on
the
order
etc.).
to
Sonata,
light
and
I
the
a
several
make
to
Lake
from
name
"Pathetique,"
inappropriate
sharp
scene
critic,
publishers, christened
titles
given
musical
the
received
of
public (such
"Moonlight"
moonlight
a
it is
been
have
to
contemporary
have
custom
by
sonatas
to
also
the
after
with
celebrated
a
may
supposed
w^as
first movement
Adieux,
Les
title
Moonlight,"
The
is
which
Sonata,
Liechtenstein.
of
Princess
the
to
by Rellstab,
Sonata
more
the
and
away
dedicated
be
publisher who,
of
something
rather
her
gave
has
romance
herself
lady
dedicated
was
one
The
who
its
much
great
Master's
the
as
gether
to-
produced
works
his
and
of
were
sharp minor
C
in
the
1802
forming
published by Hallberger in Stuttgart in 1858. and
of
the
Beethoven,
Moscheles,
pianist, a personal friend
old
stated
to
in
also
written
sonatas
general classified
Beethoven
how
dedicate
to
Rondo
the
took
Sonata
an
But
two
and
Guicciardi, and
score.
by recounting
romance
learn.
by Beethoven
1802, and
March,
1801
is
Sonata
Gulietta
Contessa
the
of
Beethoven,
what
to
the
that
known.
should
this
as
as
universally
so
entitled
was
one
of
of
part
belong
says
in
years
the
activityon
which
was
published
These
27.
this time
to
Fantasia,"
and
it is
Sonata,
the
sharp minor,
C
Sonata,"
students.
to
una
1801
year
of
minor
sharp
people, and is so well
of the pianoforte must
of
history
C
Moonhght
lesson, because
all students
short
a
in
Sonata
himself
in
give
in
Sonata
"
the
as
conditions
which
one
special interest
of
known
and
all sorts
by
the
of
specimen
my
SONATA"
(BEETHOVEN)
movement
commonly
subject of
the
first
the
Beethoven,
"MOONLIGHT
THE
MOVEMENT
FIRST
I
XII
them
ale,"
"Pastor-
myself think
spirit of
the
reflects
the
which
shade
connected
with
the
nothing
has
of
presence
all is
where
emotion,
the
moonlight, biit represents
cloud, wind and fury.
annoyed
about
of
storm
he considered
it,as
of his other
many
sonatas
"
"
mains
reMoonlight Sonata
musically;but still the
the lovely
favourite.
Probably the fact,technically,
warm
a
slow
great
a
POPULAR
IS
be finer works
to
last movement
a
sharp minor was
great favourite from the
and Beethoven
publication,
jokingly even
pretended
of its
be
to
IT
93
in C
Sonata
moment
certainlythe
But
moon.
WHY
The
(BEETHOVEN)
with
do
to
MOVEMENT
FIRST
LESSON:
SPECIMEN
which
with
movement
it
is well
commences
within
the
reach
performers on the pianofortemay help to account
its fellows,since so many
amateurs
popularityover
their own
able to derive pleasure from
are
rendering of it,
in all,of which
Beethoven
wrote
certainly
thirty-twosonatas
half
still
and
beloved
admired
ever
as
are
as
they were, and
nearly
continue
to form
an
absolutelyessential part of the repertoireof
form to its highestperfection,
every pianist. He brought the sonata
of his predecessorstoo
stilted and
and, having found the models
formal
tions
innovafor the wider
expression of his thoughts, he made
in those days were
considered the most
of what
daring kind,
Like
forms
the
he
all
found.
of
and improved upon
originalmen
could
and
his
tolerate
not
genius,he
being fettered by conventions,
untrammelled.
soared
mighty spirit
is one
The
of Beethoven's
most
original
Moonlight Sonata
second
of
his
the so-called
period of
compositions
works, and in
freedom
it he shows
his
of thought by commencing
the Sonata
which is not in sonata
with an adagio movement
form, and which
of very moderate
for its extreme
"
"
time
the
at
was
innovation.
entire
an
the end
after
without
each
Sonata's
freshness
the
represent
the
whole
that
This
work.
has
it
ensure
"
an
subito
Attacca
the
three
thread
continuous
a
work
is
unusual
of
and
imparted to it a
everlastingplace in
il sequente
movements
"
were
thought running
free
treatment
modernity
the
of
and
literature
of
consists
of
pianoforte.
THE
The
a
puts
showing
structure
which
He
break.
movement,
designed to
throughout
the
a
fact, the whole
According to Beethoven's own
to be played straightthrough
of the modern
sonata.
precursor
directions the three movements
were
a
to
In
first movement
haunting
and
MOVEMENT
FIRST
of
beautiful
the
"
Moonlight
melody,
full of
Sonata
romance
"
and
pathos.
HOW
!)t
TO
PLAY
THE
PIANO
of undulating harmony.
continuous
stream
The
a
on
tloatiiig
should
of
be
it
of
the highest imagination,glowing
interpretation
with a quiet radiance
of fantasy and
feeling. The tone employed
and melting in quality,imparting at the same
be warm
must
time
the mysterious resignationand
the vague
of the music's
unrest
atmosphere. The opening five bars should be played in a manner
kind
of rhythmical stream
to
to the triplet
a
convey
figures,and
thus create
an
impression as of a continuously undulating back-
CUO)uy^
CJ-bo
1
I
Example
ground
for
the
melody
which
No.
is
i, bars
1-4.
presentlyto
The
start.
octaves
louder
than
the triplet
played somewhat
figure in the right hand, so as to produce the requisitedepth of
of sound
should not overstep the bounds
tone, though the volume
of "piano"
{p)."Ex. No. i, bars 1-4.
The melody is introduced in the
fifth bar, and must
give the idea
the accompaniment.
of floating
on
in
the
bass
should
be
At
change
major
here
Example
No.
2, bar
10.
the
bar
the tenth
of
into
the
harmony
the
G
note
right hand
"
Ex.
there
No.
a
comes
from
the
key, and
(the first G) in
minor
should
2, bar
be
tuated.
accen-
10.
Proceeding onwards to the last quarter of the fifteenth bar and
insistent temper,
leadingto the sixteenth,the melody adopts a more
which
be rendered
by emphasizingthe notes B and C of the
may
melody in the right hand, especiallythe C. In fact, this note C
SPECIMEN
should
seems
LESSON:
to
longing
these
arpeg^ato
be taken
to
me
which
same
pianissimoas
represent
cannot
notes
a
MOVEMENT
FIRST
of
kind
a
with
cry
the
of
(BEETHOVEN)
95
accompaniment underneath.
unutterable
heart-ache,
a
It
sudden
appeased. In the following bar, where
be repeated
appeal appear again, they may
Ex. No. 3, bars 15-18.
of echo.
be
"
Example
No.
3, bars
15-18.
to be like a second
Coming to the twenty-fifthbar, there seems
in the
voice appearing with a question in the treble and an
answer
In these bars
base, and then another question,and the answer.
the
amount
of
tone
expressionimparted
28-31.
be
can
to
the
somewhat
increased
questioningphrases.
Example
"
No.
4, bars
28-31.
and
Ex.
a
No.
plaintive
4,
bars
TO
HOW
96
A
similar
bar
At
one.
development
thirty-twoa
PLAY
is to
THE
be
PIANO
fouiid
in bars
begins to rise
storm
and
continues
thirtyand thirtyin the
to
harmonies,
increase
with
graduallyascending crescendo
a
of
and
tone
acccllerando
until
movement
it reaches
of
its
culminating point on the first
note
(B sharp) of the thirtybrought
Example
No.
5, bar
force.
36.
should
bar, which
sixth
"
out
Ex.
From
here
considerable
with
No.
be
5, bar
onward
36.
the storm
intensityuntil it returns with a
bars to the subdued
spirit
rallentando in the fortieth and forty-first
It
is
of
the
of the originalatmosphere of
great importance
piece.
from
of
the music
the
of
stress
down
during the gradual calming
itself
bars thirty-seven
to forty,that the melody w^hich has embodied
should be brought out thus.
of the harmonies
in the inner structures
gradually diminishes
of emotion
"
Ex.
No.
6,
bars
in
37-40.
^..'^jr^r""^
"4 1 n
A
A
Example
No.
6, bars
37-40.
opening melody,
with
the original,
its course
variation on
and
then continues
some
In the
of key and
both in modulation
progression of passages.
and
fifty-seventhbars the melody should be especially
fifty-sixth
the rhythmical figuresof
brought out and made
apparent above
Ex. No.
the accompaniment.
7, bars 56-57.
The
next
part of the
movement
resumes
the
"
The
to the
movement
now
sinks towards
fourth bar the fateful
sixty-
its close,and
notes
from
in the left hand
the sixtieth
rightdown
XIII
Chapter
PLAYING
It
is
is to
that
success,
and
almost
art
an
the
at
performer's
been
mastered,
been
of
none
his
I
audience.
of
his
hall,
on
quite
shock
a
and
this
because
is
activity of
such
great
time
the
brains
their
and
(and
experience before
moods
to
of
receive
his
people
some
for
during
moments
almost
out
in
the
of
his
its small
to
the
at
not
Hence
noise
outside
a
attention
the
hypnotism.
of
audiences.
impressions
have
nificanc
sigquite
moment
them
acts
of
most
learns
Once
from
to
his
98
the
is
stimulus
student
in
only
a
acquired
public,
it will
be
are
throbbing
to
who
the
has
becoming
question of
instinctivelythe
feel
having
a
the
succeed
who
it), there
possess
he
those
public ;
as
To
imagination.
special gift, or
a
in
appearing
around
crowd
interpretative artists
and
ideas
GIFT
SPECIAL
predisposed
temperament
a
or
proportion
was
his
the
performer
of
out
mind
his
that
doubt
no
of
the
of
and
sudden
any
completely
so
composer's
state
great
actuality.
temperamentally
expectancy
to
complete medium,
certain
of
sort
a
a
three
player compelling
the
startle
will
him
into
at
fact, that
the
slight,
its
of
A
There
only
hope
oblivious
become
to
as
the
that
in him
give
of
sentient
netism,
Mag-
the
may
himself
throw
to
between
magnetism
noticed
however
him
persuaded
am
often
wits, and
naked
there
these
performances
transformed
be
listeners, creates
I have
pianist
the
platform
the
thus
the
performance
in his
for
transmission,
of
which
the
are
a
has
means
For
Concentration,
of
good
in
much
public platform.
by
imperative
and
surroundings,
vehicle
for
count
to
Power
stimulate
while
work
his
the
and
to
is
essentials, it
into
of
or
technical
much
how
how
matter
no
the
to
hearers.
order
in
And
seems
commimication
of
convince
this
satisfaction
less
or
For,
through,
gone
Personality
sources
more
audience,
the
to
with
public
in
play
to
give pleasure
achievement.
atmosphere
exposed
and
afford
to
of
sense
has
training
time
itself
and
interest
to
say,
same
acquired of
be
to
PUBLIC
IN
this
his
ing
vary-
ness
sensitive-
privilege
PLAYING
,to
compel
them
99
PUBLIC
in all he
him
follow
to
IN
thus
does, and
standing
under-
an
And
perfectlyestablished.
found
that the
this understanding is accomplished, 1 have
when
of his surroundings any
be conscious
to
more,
performer ceases
them
between
because
all adverse
himself
in his
with
him.
But
will
be
have
elements
secure
interpretation,
as
long
as
the
soon
become
that
reconciled
mind
the
artist is conscious
and
of
of
he
the
their
can
lose
public is
presence
and
lessness,
restthem, coughs, whispers
through unquietness amongst
will he put all
Then
woven.
etc., so long is his spellnot
of his technical equipment into play to endeavour
the resources
himself
from
to the audience.
to produce the magnetic current
of tone
which
be a monotony
prevents him
Possibly it may
this he will try to change and
vary
reaching them ; to counteract
the
feel
that
he may
his tone-colour with greater subtlety,
or
rhythm
will then strive to put more
is not charged with life. He
pulsation
and
of the public
to give a
into it in order to focus the attention
their
that
he is settingbefore them, so
finer relief to the music
fail to apprehend its beauty. For
minds
cannot
though many
little
nothing and care
singleindividuals in an audience may know
of a great big public can
for music, yet the general collective mass
sponding
be galvanized into becoming like one
single vibrating nerve, reinstantaneously to every variation of colour, rhythm and
passion.
"
"
MUSICIANS
ABSOLUTE
I call
what
are
play instruments
absolute musicians, that is to say, they depend entirelyand solely
for their expressionof thought. They are
the music
independent
on
to
and their appeal is a direct one
of all gesture, word
or
scenery,
of
of
sound,
combinations
the
emotions, through the medium
in the widest
music
sense
has
variously presented. Therefore
of nationality,
bounds
no
stumbling blocks of race or language
no
Terra
or
])e felt as well in Kamschatka
to confine it. Its api)cal
can
and Paris.
del Fuego as in London
I have played the Beethoven
"Moonlight" and ".\ppa.sssionata"
.\frica,
in South
and empire bnilckMs
alike to gokl miners
Sonatas
States of America, to
niiliinnnires in the Western
to cowboys and
in New
in Canada,
to Maoris
ranchers
and railway magnates
even
found
and
in Vancouver,
they all listened
Zealand, and Chinamen
And
understand.
when
interested even
and were
they did not (|uite
of music
it is a curious
fact that I have noted the finest niasteri)ieces
inferior works
than
on
almost
always produce a greater itni)r(ssi()n
Now
audiences
all
good musicians
which
are
more
who
or
less uiufhu
atcd
musically.
HOW
100
Another
that
THE
PI.AY
strangle thing which
sitinctimes
when
1
for
greater
one
alert to
overcome
I have
am
but
me,
doubt
no
personallyexperienced is,
at the crucial
physically,
I do
not
to
mean
usual.
The
effort
mind, having
my
bodily weakness,
all around.
PIANO
feelinguntit
likelyplay better than
1 will very
moment
it is
TO
acts
say
to
be
is
a
more
consequently more
fully
powerfor a moment
by this that
in a weak
state
physically;
advantage in publicplaying to be
that would
obviously be an absurdity. In fact, there is of course
no
publicprofessionwhere good, sound bodily health and strength
an
necessary
excitement
are
of
and
to
success,
continuous.
so
controlled
temperament
by
But
the
because
the
mind,
the
mind,
wear
and
tear
and
must
imagination
always be the
of every sort of condition
and remain
undisturbed
And
in this dominance
conditions
over
unexpected eventualities.
dominant
by
essentials
not
are
lies what
factors
technique of the platform, and comprises also
of such things as different acoustical
the mastery
propertiesof the
place the pianistis called upon to play in. This may often prove
difficult problem and
a
cessfully,
experience to negotiate sucrequire much
if
the
for
short
has
artist
a
especially
only to appear
in
where
he
and
that
has not played before.
a building
performance
But
less tell after
or
by long experience the pianistcan more
strikinga few preliminary chords the kind of acoustical difficulty
which
he will have to contend
with.
If, for instance,a hall has too
much
for the piano, then the music
be taken
at a
must
resonance
slower
In places
emphasis than elsewhere.
tempo and with more
like the
I call the
Albert
Hall,
this is the
in
London,
the Free
or
Trade
Hall, in
chester,
Man-
is,of course, a good deal also a matter
of perspectiveand
that a
atmosphere. For it is quite obvious
which
would
be perfectin a small placemight be entirely
finenuance
lost in the Albert
tion
Hall ; and vice versa, the emphasis and deliberato give the right outline to a big declamatory phrase
necessary
in the Free
Trade
Hall might sound
rough and exaggerated in a
Now
the business of the true artist
buildingof lesser dimensions.
and
the best amateur
is to propagate the finest art wherever
they
For
of
the
the
be.
to
moment
tune
happen
though
popular
may
have
any
the
an
immediate
case.
success,
abiding impression.
imagination
of
even
But
the
it will
once
most
a
not
last,neither
can
it make
has struck
great musical work
mind, it will leave
superficial
fact it is
quiteastonishinghow manj
quite unmusical, yet will
though otherwise
people there are
always go to hear and enjoyone particulargreat work, such as one
certain symphony, or opera, or sonata.
And
this, just because the
to make
some
unforgettableimpression
specialwork happened once
an
unefifaceable
It
memory.
who
In
PLAYING
them,
upon
anything
so
they reallycontinue
that
about
more
PUBLIC
IN
music
other
to
enjoy it without
knowing
before.
than
HOLDING
101
PUBLIC
THE
magnetic spellwhich should
this
bind performer and audience
together,I wish to show how
be
it is sometimes
of holding the public,as
termed, can
power
To
return
turned
advantage if
to
occasionallyin
occur
when
connection
I
Brunswick, Canada,
performance
floor of the
rather
only
way
The
arises,such
emergency
of life. I well remember
concert
a
St.
may
in this
John's, New
hall,the
being no available concert
big public meeting-room on the first
to the room
was
by one
only entrance
there
that
in
a
The
the
staircase,and
wooden
in
once
as
staircase
same
was
the
out.
room
all,and
hall at
giving
building.
narrow
walk
every
held
was
outside
an
was
of
the kind
to
more
once
was
crowded
so
people were
In the middle
of my
that there
was
no
space
to
pass in the
the platon
form.
crowding
everywhere, even
first pieceall the electric lightwent
out
crowd
plunged in the blackest darkness.
suddenly,leaving the vast
narrow
They began to get up and grope for an outlet to the one
have
would
soon
stair,which in the congested state of the room
in
absorbed
so
caused a panic if it had continued.
Luckily I was
what
I was
actuallynoticed that the lightshad
playing that I never
disappeared and I went on playing quite unconsciously (I think it
fugue of Bach). And when the audience realized the music
ing
was
proceeding as if nothing had happened,insistent and commandinto their seats and
of Bach, they subsided
the music
is ever
as
did not attempt to move
again till an attendant, after a short time,
found
candle, lit it,put it on the piano and eventuallysucceeded
a
in extemporizing enough lightto keep things going.
in Sydney
kind happened to me
once
incident of the same
Another
was
a
about
place,and there were
five thousand
people in it that night. During the performance a
and affected the electric dynamo, so that
broke
out
tropicalstorm
foolish people shouted
there also all the lightwent
out, and some
noticed anything this time either,so engrossed was
"Fire!"
I never
if nothing had
and
I continued
as
I was
I in the music
j)laying,
still going on
Here
occurred.
again the publichearing the music
Hall, in Australia.
Town
It is
a
vast
supposing
regained their trancjuiliity,
much
wrong
if it
was
not
listeningwithout
Becoming .so absorbed
remained
necessary
that
even
to
cease
panic till lightwas
in the music
be very
playing,and they
could
there
has been
not
procured.
a
of
peculiarity
mine
earliest
since
cost
nie
future
my
and
when
in
there
was
then
at
given
a
this
cadenza
did
they
terribly
dismayed,
I
to
came
and
had
back
modulate
I
playing
mv
arrived
I
managed
the
point
Duke,
who
at
the
into
get
looked
Suddenly
original
key,
stopping
Without
ally
gradu-
and
again
orchestra
the
where
the
music
right
orchestra
!
at
was
chords.
of
gressions
pro-
developing
conductor
from
away
series
a
I
and
ing
perform-
The
the
me,
concerto
alone,
began
keys.
what
miles
was
by
to
catch
to
understand
not
found
other
into
meant
musical
the
and
Duke
the
While
in
play
to
talent,
play
again.
in
the
Grand
had
to
toy
of
was
of
had
I
nearly
fine
one
the
middle
the
doing,
was
how
could
he
I
know
I
interested
so
wandering
not
myself,
to
got
what
and
thoujj^ht
joined
orchestra
forgot
if
which
very
I
which,
In
piano
somehow
progressions
aghast,
sat
the
the
I
I
and
a
before
music.
in
it
nine
me
play
to
orchestra
study.
to
for
point
that
other
Moscow
cadenza
a
the
performance,
my
gained
interested
of
boy
little
a
father
my
was
with
with
remainiiii;
mv
who
concerto
satisfied
by
taken
was
only
incidentally
and
Dukes
pianoforte
was
1
Grand
Russian
able
were
pick
to
up.
me
Grand
The
over
was
he
time
same
I
wanted
boldly
said
thing
and
if
the
a
I
had
he
was
asked
but
me,
;
beauty
wandered
TchaikovsJcy
in
it
the
!
was
off
I
into
concerto
that
fear
no
improvisation
1
one
this
him
time
was
all
able
in
the
At
give
to
a
father
my
middle
only
and
steam-engine
toy
give
about
The
me.
And
me
I
an
of
the
the
myself
extricate
to
present.
would
ance
perform-
contretemps.
complimented
of
amazement
I
been
like
should
at
had
only
not
world
the
to
so,
he
what
me
I
that
pleased
that
by
entertained
the
when
laughed
musical,
was
been
so
imbroglio,
the
from
I
PLAY
career,
!
entwine
steam
a
chiUlhood,
PIANO
THE
TO
HOW
102
got
engine
cadenza
it
too.
now
of
XIV
Chapter
EPILOGUE:
HOW
AND
the
during
of
powers
spirit of
as
accessibilityto
everyone
yield pleasant
effect
and
a
gentle strumming
who
never
many
to
it
make
of
conditions
and
sorts
rattling
polkas
out
the
helps
presence
its
prevent
being
a
the
my
piano
from
the
cokmrs
can
that
has
even
out
stokers
come
It is tf)ld of
XIV,
dance;
cheer,
by
or,
vulgarize
for
vehicle
it
when
OF
SPELL
also, I think,
hard
West,
people.
business
the
under
the
the
of
music
103
it does
art
of
the
with
not
sion
expres-
softening influence
and
this
so
much
amongst
rough
lonely prairies,sailors,
people
of
all
times
some-
and
races
all
piano.
Fouf|ti('t.the splendifland
speaking
adaptability
this
pioneers, backwoodsmen,
ship's hold,
spell of
place of
music.
of
found
I have
on
ently
rever-
remote
any
highest
viding
pro-
PIANO
THE
humanizing
men,
farmers
from
a
but
the
little,yet
the
village
a
indispensable
its
contrast,
a
all
tunes
in
merrymakers;
the
to
hymn
where
go
science
amongst
voice,
instrument
institution,
or
truly noble
unexpected
most
travels,
miners
the
the
sound,
the
piano of
old
to
lives.
occasion,
life
its tin-kettle
much-treasured
and
THE
on
cracked
can
joy
of
which
musical
interpretation in great masterpieces
and
The
of
in
of
in their
of
sort
its
labour,
of
combinations
every
It
playing.
music
vantage
ad-
to
great deal
a
of
its
measure
amount
developments
The
for
go
tends
piano perhaps
the
of
moods
it enlivens
where
entertainment
the
waltzes
hospital
soothe
to
in
nurturing
and
the
on
; the
homes
country
of
out
form
people.
plenty of spiritand
fingered
higher
wonderful
for
of
great
any
too,
the
serve
most
evolved
has
men
hall
of the
one
any
its scope,
adaptability to
its
of
of
great
a
divine
the
and
instrument,
piano gives
the
on
with
meet
wideness
The
and
without
once
little
little of
a
in
its popularity
unparalleled
its
to
elementary stages
in the
at
the
friend, is due
household
real
a
tribute
homes
universality of
in
growth
best
humblest
ONE
FOR
CARE
enormous
is the
the
to
even
This
music.
the
fiftyyears
last
bringing
AND
and
piano
the
FRIEND,
HOUSEHOLD
A
AS
CHOOSE
TO
of
rise
rapid
The
PIANO
THE
ill-fated
one
of
minister
the
Court
of
who
Louis
was
HOW
101
not
he
amateur,
an
music,
do
TO
PLAY
THE
PIANO
exclaimed, "How,
Monsieur,
for
not
care
you
for you, you
are
play the clavecin, I am
sorry
indeed
condemninj:^yourself to a dull old age!"
He
was
thinking no doubt of the joy which all can experience,
without being great performers,in picking out favourite tunes
even
the piano,stumbling over
the themes
of well-loved
on
masterpieces
and
of enchanted
hours passed in the
thereby reviving memories
you
hall
concert
We
not
or
house.
opera
all know
the
unutterable
haltingtravesty of the
devotee, and
What
a
without
best,always sympathetic,unchanging, patient,
for the outrages it sometimes
has to suffer,at all times
never-failingresource.
No
to
boon, therefore, is the piano in the home !
comforter, a magician, all in one! Always
give its
to
rancour
a
most
1
friend, a companion,
ready
the
even
to the imagination of the
thing
a
nd
of expressionmake
enthusiasm
intensity
inestimable
an
which
affords
real
much
for lack of execution
up
A
how
satisfaction
musical
as
the
those
who
has
instrument
from
ask
THE
that to know
means
how
Of
everyone
does seem
larity
poputo
give
desires
to
CHOICE
RIGHT
If, therefore, the piano
quick
so
something
strangely
anywhere throughout a house.
be found
to
universal
handle,
to
easy
indeed
and
a
surelyfollows
so
such
it. Therefore, almost
piano in the home,
lackingif there is not one
have
it is
piano, because
attained
ever
much
so
choose
to
so
people, it
many
instrument
at the
good
pianos, like everything else,
course,
according to the degree of reputation
to
a
important.
are
largelyjudged and selected
enjoyed by their respectivemakers, and the person who has no special
advised
bad
instrument
well
of
what
is
is
a good or
knowledge
first-class
his
look
for
at
firm, who can show him examples
to
a
piano
by all the best producers. At any rate, he is safe to get a good
is very
outset
article from
qualityof the
by any maker
But
of the
utmost
into
room
is
also
instrument.
auction
at an
find experts
pivise
to
It is very unwise
unless it can
room
to
be
him
sure
through
importance to
and
and
vases
to
upset
the
see
fine
a
piano
full of flowers,
one
hinges
of
of
the
after
look
as
it well.
covered
often
one
vases,
the lid ruins
over
and
the
the
about
the
and
buy a piano
one
inspectedby some-
go
professionalknowledge.
possesses
it is not everythingto have a first-class instrument
who
a
and
them,
I cannot
with
does.
water
action ;
;
it is also
bear
to
go
graphs,
family photoThe
housemaid
tricklingdown
while
the family
HOW
106
one's
private
point
of
give
weeks
habit
If
I
I
for?
look
middle.
perfectly
fingers,
and
But.
such
the
And
my
of
work
the
human
of
its
give
the
as
in
same
of
to
of
possibilities.
its
the
they
must
temperament,
secrets.
piano
the
have
to
like
and
tone
the
in
"
in
am
hall.
It
fact, it is
well-trained
a
be
equal
let
horse
race-
the
all
to
only
make
be
w^ill and
inspire
the
a
keys
the
how
to
and
as
sound
glorious
perseverance,
friend
and
with
eulogize
he
hears
it possesses,
those
to
to
produce
It
to
richness
ambitious
un-
pleasant
those
and
tired
easily
who
extent
or
companion,
above
life
its
its stimulation
interest
and
of
few
a
yet prove
not
only
enthusiasm.
away
are
a
it is able
all the
perience,
ex-
wonderful
when
excitement,
pass
of
by experts.
marvel
of
of
judge
myself
satisfaction
instrument
the
under
where
what
again
difficultyand
such
the
to
firm
more
wealth
it disclose
for
in
opportunity
after
but
pedal,
sounds
superhuman
the
once
laughter,
charming
can
me
can
the
if
knowledge
looked
and
power
even
as
pliable
first-class
a
are
complete
And
real
to
Who
good
a
registers
and
should
promptly.
emphasize
me
seek
bass
had
let
with
one
is easy
go
what
by ascertaining
not
and
it is.
time
and
it takes
is to
house,
own
for
act
has
tears,
it, and
desire
master
touch
soul,
who
evoking
instrument
an
and
effects, the
devotees
moments
the
fitting finale,
emotions,
at
action
kept
mechanical
great
the
one
ingenuity
its wonderful
can
a
adjusted
my
treble
before,
are
for
pedals
thing
instrument
variety
such
best
as
now,
the
If
instruments
beloved
try
said
next
of
1
some
I
of
power
it may
search
all
the
whether
oneself.
things
of
in
whether
have
I
that
piano
a
first
well
and
also
as
first-class
buy
should
I
which
properties
pedals
so
instance, when
ones
its
to
professional
a
piano-maker
my
special
as
the
l'\)r
and
me
acoustical
race,
from
it.
to
as
Next,
repeat
its
I should
throughout,
tone
by
perfect condition,
into
upon
going
were
Grand
bisj^hall.
a
tested
the
to
PIANO
several
is
It
it starts
imposed
demands
from
regulated,
brought
before
in
is selectctl
concert
action
and
prepared
Concert
reference
the
tuned,
the
sclectiii};
playing.
with
resonance
THE
piano
the
of
PLAY
performance
a
my
before
the
is
for
view
recital
a
or
use,
TO
all
and
talent
master
couraged,
dis-
only
and
its
TWO
PART
THE
BEING
EXTRACTS
ARPEGGI
PIANIST
DAILY
EXERCISES,
FIVE-FINGER
FROM
AS
OCTAVES
THIRDS,
MARK
HAMBOURG
PRACTISED
SCALES,
BY
XV
Chapter
SCALES
EXERCISES,
FIVE-FINGER
ARPEGGIO
AND
EXERCISES
I
advisc
STRONGLY
Exercises
the
of
of
articulation
and
student,
too
the
advances,
is also
It
fingers.
play through
to
advisable
some
but
gradually
attention
scales
in
break
a
the
to
the
play
to
without
straight through
Exercises
Arpeggio
he
as
day, increasing the Tempo
rapidly, and paying careful
every
them
playing
never
the
each
key.
hand
given
Exercises
the
All
should
here
always
played by each
be
separately.
following Exercises
The
and
be
may
repeated
three
be
can
or
played
either
Forte
or
Piano,
fatiguing the
times, but without
four
hand.
bar
Each
semibreves
The
1.
Right
the
with
played
and
be
to
liftingthe
repeated four
under
marked
fingers
different
and
kept pressed down,
be
to
times.
them,
fingers about
counting
the
from
inch
an
the crotchets
while
be
to
aloud
keyboard.
hand.
5
i
^^^Vrrr'^^Wi^'^^-^-^-^-'-^^-
iir
5
4-
i
^
MUA'''^^jjj:^'^JAC^un
The
2.
5
4-
Left
for the
exercise
same
left hand
to
be
way.
same
hand.
/
/
/
/
2
Z
2
2
3
3
g
2
3
3
'V
4.
^=fe4^^=f^
4
^)
the
played
4.
4
4
"
3
3
3
?
2
f rrrpr-^rrrrl-ferrrri
i
109
sj
4
4-
S
5
g
3
HOW
TO
SCALE
AND
no
scales
These
arpeggio
arpeggio
in all the
EXERCISES
day with
practised every
in four
exercises
PIANO
ARPEGGIO
be
should
TFIE
PI.AV
different
tonalities will
keys.
be gone
the
Thus
through
ing
accompany-
every
twice
and
scale
during
the
week.
Thus
:
First
C, D
day"
Second
day
A
day"
Fourth
day
Scales
to
be
"
flat,A, B
m
in
C
and
practised as
being paid
Arpeggi.
^^
y^^
flat,B.
Begin again
separately,care
of the wrist.
flexibility
Scales
flat.
E, F, F sharp, G.
"
Third
flat,D, E
Right
below
to
the
hand.
on
every
passage
C, etc., etc.
day slowly
of
with
the thumb
each
and
hand
to
the
AND
SCALES
Scales
in
C
and
Arpeggi.
Left
ARPEGGIO
EXERCISES
111
hand.
^W..^..'^-
HOW
112
Scales
in
D
flat
and
Arpcggi.
TO
Right
PLAY
THE
PIANO
hand.
-ikL..
114
fingering
The
keys
of
fingering
Scales
in
B
!":. V,
D.
flat
is
and
the
HOW
TO
given
in
G,
same
Arpeggi.
A,
as
PLAY
the
and
that
Right
B.
PIANO
THE
C
For
given
hand.
example
major
the
below.
E
flat
and
is
B
similar
Hat
in
scales
the
the
AND
SCALES
Scales
in
B
flat
Arpeggi.
and
2
Left
ARPEGGIO
hand
/
"^'j^^"'^^
(
:;"5-
2
1
.v^^^"/
f4
"
"*
"
t"*r
t'^^
"
w
w
"
TiP^^r-Tr
Sw
*
*
"
iirr
^^
EXERCISES
115
The
Scales
in
F
fingering
I
"t
^
and
sharp
J,
for
Arpeggi.
the
F
sharp
Right
PIANO
THE
PLAY
TO
HOW
116
scale
is
as
follows
:
hand.
g#^^k":a^^
4.
^m
WW
W
w
^^m
4-
-f
"
r
in
Scales
^
F
sharp
and
ARPEGGIO
AND
SCALES
Arpeggi.
Left
^^
P
^^^^^^^^m
i^^^^^#
hand.
EXERCISES
117
Chapter
SCALES
SCALES
4
i a.
FINGERINGS
WITH
THIRDS
IN
OCTAVE
AND
EXERCISES
MARKED
hand.
Right
I.
THIRDS
IN
XVI
s
}
i
3*
3l
34.
'
^^^
-^gr
These
II.
Left
be
fingerings can
used
in
all tonalities.
hand.
"t""
CHROMATIC
III.
IV.
hand.
Right
Left
hand.
Minor
Minor
THIRDS
thirds.
thirds.
-f^rri
rrn
"
I
^
^m
_J
135454'
V.
VI.
Right
Left
"3*si.
hand.
Major
thirds
hand.
Major
thirds.
Il8
I
i
IN
SCALES
THIRDS
AND
OCTAVE
To
be
practised
slowly
EXERCISES
OCTAVE
119
EXERCISES
and
very
#
pm
32:
wrist
staccato,
very
loose.
fi
m
TO
HOW
120
PLAY
THE
PIANO
II.
^flw
^m^
mtfW^m
mm
m
J
^
^^_
iz::
I
f
m
^
:SP~Tr
""
:^
P
s
i
:#:
^
:Z2;
L.
I
I
I
=f
_"
"
".
HOW
123
TO
PLAY
THE
REPEATING
PIANO
OCTAVES
^^JJlJlTJib^
m
r
rr
rr
imtf"'
4
i^
"
"
"
i
"|
"
[t
1=3=1
=3=3
m
i
1Z3
4
"
"
i^
EXERCISES
CHORD
fiu
lUi
i
i
"_*
f
s
=3-
"
555s
J5
5
2
2
2
S555
3
33:
-^
"
^
"
1^
:?=?: