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EA R S B R A IN A ND F ING E R S ,
A TE! T B O O K F O R
PIA N O TEA CH ER S A N D PU PIL S .
BY
HO W A R D W E LLS
B O S T ON O
LI VER
O RK D ITSO N
NE W
CHAS H .
.
D I T S O N C O M PA N Y CHI CA G
Y
CO
.
L Y ON
O
H E ALY
Copy right, 111 CM ! I V B Y O LI VE R D ITSON I n ter n a tion a l Copy right Secu red
PREF A CE l
T he w r it er w i sh e s to make g ra t e f u l ac kn o wl e d gme n t to Pro f T heodore L es che t izky f or man y o f t he idea s .
exerci s e u s ed in t hi s b o k He ma k e s n o claim f eeli ng a he doe th at i t is a L e che t iz ky M e t hod “ t ha t t h e so called Les che t izky M e t hod ca nn o t b e emb odied in a ny b o k b eca e it i L e che t izky him elf Thi v ol me w il l erv e it p rpo e if i t help t he t eacher n d p u pi l t o realize t ha t in m ica l de v elop me nt it i ear n e tne o f p rpo e u n i t ed i t h co n een t t e d i n t elli ge n t li ten i n g w hich make s e v ery eff or t co n t W i t ho t the t rain ed mind n d t he fi n ely c lti v ated m ica l hear ing t he fi n ger n b ecome merely a t o mata i n capable o f co nv eyi ng either t ho ght or f e li n g H O W ARD WE LL S a nd
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B E RLIN , G ERMANY ,
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1 91 4
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CO NTENTS PA G E I
CHAPTER I I NTR ODU CT O R Y II How To GIV E AN D
III IV V
VI
TAKE A PIAN O LESS ON THE F IRS T P I AN O L ESS O N HEAR IN G S IN G L E TO NES ; TIME ; ROCKIN G WRI S T E! ER CI SE AND HEARIN G TIME ; B E G INNIN G MEMORIZ IN G ; Fm G E R A C T I O N HEARIN G ME L ODIES ; EI GHTH N O TES ; ! CK F m G S TR OKE ; F ING ER WO R K IN C L O SE P O S I TI O N HEARIN G ME L O DIES W I TH UPB EA T ; RE S T S ; Em c R WO RK IN FREE P O S ITI O N HEARIN G D O TT ED N O TES ; B ASS C LE F ; Fm GER WORK IN FREE P O S I TI O N W I TH INC EASED S PEED HEARIN G TIME ; H EAR IN G TONI C Dom m r AND — SU D OMINAN T TR I ADS ; WRI S T WOR K HEARI N G TR IP LE T S S I! TEEN TH S AND THIR TY—S E CO NDS ; PR PA A T OR Y WOR K F OR S CALES HEARIN G IN V ERS I ON S O TO NI C D OMIN AN T AND SU B D OMIN AN T TR IAD S ; E! ER CI SES F O C ONCE NTRA TI ON ; THE C L O SE TO U CH H EAR IN G Two VO I C ES ; S CALE S HEAR IN G TO NI C D OMIN ANT AND SU B D OMINAN T TRIADS IN C OM B INATI O N ; ARPE GGI O S HE ARIN G C OMPLE TE CADE NC ES ; OC TAV ES HEARIN G CADENC ES m C OMP O S I TI ON S ; P O LYPH ONI C WORK ; VE LOC I TY H EAR IN G CADE NCES (C ontin d); CH ORD P LAYIN G HEARIN G 0 F PHR AS IN G DYNAMI C S AND P EDALIN G ; ME MO RI IN G S OME U SE F U L HIN T S
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EA RS, BR A IN A N D F ING ER S C H A PT E R I
.
IN TR O DU C T O R Y
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W h y is it th a t ou t of the i mme ns e nu m b er of p er s o ns wh o s t u dy m u s ic , s o fe w acco m pli s h a n y t hi n g really w ort h w hile ! IS it beca u s e of lack o f ability or applica t io n ! O r is i t d u e t o t he
fact t ha t u methods o f traini ng lack the y s t em which we hav e in other b ra n che s of ed u catio n ! C n w n t t race the di ffic l t y t o the almo s t u ni v ers al lack of S YS TEM A TI0 tr i n in g f th e t the fa i l re t d vel p th e p ower s of con centrati on a nd to the n egl ct tab l i h the t chni c l w rk p n the co rect b a si ! T he be t to trai ni ng is that which make s t he p upi l c apab le of s elf d v l p m nt I f the p pi l h bee n t a gh t t o l i s t e n t o m us ic int l li w ithi n him elf a co n ta n t s o r c e of i n t r u c t io n a n d g e nt ly he h impro vem e n t w hich en able him to l earn from li t eni ng t o others n d w h i c h g i v e s him the abili t y t o hear him s el f Thi s ability to hear o ne el f cann ot be attain ed su dd n ly On t he c o nt rary i t i to be ac h ie v ed o n ly by y t ematic t ra i ni n g F r om t h e V ery F i r s t L e s son t hi s s ho l d b e t h e m ai n poi nt in the mi n d of bo t h teacher a n d p pi l Ev en t ho e p upil s wh are f ort un ate en o gh t o have a good ear naturally re q ire s pecial trai n i ng in ord r t o kno w h ow t o u se t heir en s e of heari n g a n d to de v elop t he co n ce n t ra t io n of m i n d w h i ch i n ece s ary t o ma k e it v al able t o t hem L ck f p r ogres a n d l ack f i nt r est n t he p art of a p u pi l in to a n eglec t o f t hi s i m por t an t part h i m s ical s t dy is ofte n d o f t he work The p u pil canno t be expec t ed t o impro v e rapidly w he n he is i n capa b le o f hear i ng wha t h e is d oi ng or w ha t he is o
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B RA IN
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A N D F I N GE R S
t b e s cces sful l y ta ught b y th u f the y s a nd fi ng rs l one G ood t eacher s are ea li in g t hi a n d are de v o ti n g more a tt e n ti o n t o ear t rai ni n g b t n f or t una t ely it i oft en b ro u gh t in too l a t e t o b e of p rac ti cal b e n efi t The trai ni ng of the r s h ld b gi n with the l a rni n g of th note s n n d i n e c h d y s p r cti ce nd b e conti n ed i n e ch l Some t eacher s t ry t o c l t i v a t e t heir p u pil s m ica l h ear i ng b y p l ayi ng for t hem in t he l e o n b ut t he le ss o n t ime is too l i m ited a nd t he av erage p pil h a s n t s u fficien t keenne ss f heari ng t o g t a ny t hi n g defi n i t e from it W he n t he t eacher d es p lay for h is p u p i l he ho u ld b e ab ol t e l y s re t ha t t hey kno w exa c t ly wha t he is i ll s tra t i n g a n d t ha t t he i r a tt e n ti o n i ri v eted on it He ca n t e s t t heir atte n ti v e n e s s b y playi ng a p a ss age in s e v era l ways a n d ha v i n g t he p u pi l s make compar i o n Ma ny p pil s t hi n k t hey are pay i n g s ffic i e n t atte nti o n to t he c u l t i v atio n of t heir h ear i ng b y t ryi ng to hear a f w chor d w he n t hey s t dy Harmon y b t thi e ff or t come s t oo l a t e t o b e made t he i nt gra l par t of t heir m s ica l e q u i p m en t w h i ch i t s ho ul d h a v e b ee n Some p pil s achie v e a fin e s e n s e Of hea ri n g a n d t he p o wer of c o n ce n tra tio n b y l o n g co n ti nu e d s t dy a nd prac t ice n d b y goi n g to co n cer ts b t it t ake s t oo m u ch t ime to learn to li s t e n in t hi s wa y e s pec i al l y i f t he p p i l s l i v e where c o n cert are not f e i a n e t The n t oo i t s t t h e b e i nn i h n i r st d y that p u pi ls t g g f q i ng The grea t maj ority Of p u pil s h ow ne d the u e f th i r h e ver n e ver ac qu ire t hi s a b il it y t o li s t en b u t ei t her remai n ho p e le s ly medi ocre or drop o t of m u si cal w ork Why is it t ha t t hi s c o ndi ti on is n ot recognized ! B eca e most l i tene r Y et p r n s a e b l t l y ati fied with thei r p wer i f one t e s t s t he heari n g of e v en ad v an ce d s t de nt s he is gen erally a t o ni s h e d t o fin d o t t ha t t hey h av e hear d almo s t n o t h in g of v al u e O n e rea o n wh y t ra i ni n g of t he ear i s o i mpera ti v e i t ha t t he i nt erpre t a t io n f a c ompo siti o n ca nn o t s t a n d b efore on e like a p i c ture a ny other w ork of ar t which may b e e njoyed a t I t m s t be s t died w h i le it is p a ss i n g wit h l i ght ni ng l ei re do
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E A RS
BRA IN
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F IN GE RS
A ND
3
rapidit y He n ce the mi n d of the li t en ers m us t b e p re p ared t o gra p the impre io n q ickly The act o f l i teni n g t o m i c is in i t s elf more con d ci v e t o mi n d w an deri n g t han to co n centrated atten tio n a s m ic s o o ften crea t e a mood w hich di tract s t h attent io n tra in ing w rk i s made a p ar t f st d nt r tin i t If d v l p c n c ntr ati n nd th facu lty f lf criti i m s w l l as m thi ng d fi nit fr m th h a i g f g od m i c bil ity t ga in th T O m ch ca nn o t b e s aid a b o t t he va l ue of con centr ati n Who doe n t kn o w the type of p pil p ci ll y i n m i c l w r k fiv ho r s daily h i tho ght take n w h S it at the p ia n o fo r thi n g n d with n othin g more d fi nit in hi mi nd p w ith v ario tha n the g n r l i m to l arn to play ! t bli h the In the t c h ni c l w rk i t i f gr t i mp rt n t r ight m c l r c diti n t th v y t rt w hen the p pil i at a n ch w ork i mo t a ily do n e Th lack o f el f n g wh n f the g reate t ad v a n ta ge to him i n in a yo n g p pil i H creat n diffic ltie f or hi m el f b y h i me tal attit de a n d h i ha n d i in the n at ral tate it a n be ea ily f orm d to m ee t the r q i r em e nt f the pian o A chi ld c n acco m pli h in a f w m ch a a n Older p pil w o ld in the ame l n gth m i n t t wice o f ti m e ( R f er ce i mad f co to tech n ical w ork withi n a child gra p ) Arpeggio octave etc m st be le ft ntil h i han d h grown t o t h m chi ld ch l w rk h i n t p r mitt d t mi l arn nd In w r ngly p r cti th fi r t p ri n i p l f gra mm r nd rith m ti c with th id i n th f d ing th m r r ctl y l t r y t thi i t o ft n d m i c l t r i n i ng W hy h l d h n t b r q i r d t d th i mp l t chni c l w rk f pi n p l aying acc r t ly nd i n thi w y v tim f hi m lf l t r n ! The co mm o n rror o f th in kin g tha t c racy in m ic i fatal t o m ical expre io n ho ld be di co raged That ch a n idea i pre vale n t t all is lar g ly d e t o t he ov r a c rat p d a nti c “ an d i c l p l y ing f th e wh g t th e xtr m f m th d nm We hav e i n ta n ce f pe r f ormer w ho se playin g ff er fro m t hi S ch p layer are n t m u ical by n at re n d hav e acco m pli hed t he ir re lt by the harde t w ork Th y hav e in gen eral s
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more th o ugh t for t he t chn ic f th t t han for th e a t its lf Wh e n a t den t i n der y tema t ic t ra in in g t here comes a time when he i t o co n cio of the process by w hich he express e s him el f nd i di t rbed by i t Thi i only tag i n hi d velop U nf ort n a t ely many per s o n s m nt thr ugh whi ch he m t p a s t a ge p l ay in p blic a n d in crea e t he wh o ha v e arri v ed a t t hi fal e im p re ion t ha t ys temat ic t ra in in g make t he p lay in g mechan ical When t he p ian i t h s go tt en b eyo n d t hi poin t howe v er he i n d de v elop on olid gro n d w here he i able t o t h in k for hi m el f t o the exte n t o f h i men tal n d m ical capacity m ch to b id gai n t th other extr m f a l l w Th r i q ite m ch fr d m whi ch t bli he h bit f m i ca l nd i ng t nd whi ch l t chni ca l l ov nli n d t l ck f arti ti c b a la nce P lay ing t he p ian o i n ot a n t ra l proce N o on e n cla im t ha t t he han d w orig in ally b i lt f that p rpo e St de n t are o f te n mi led by the t atem n t t ha t i t i n ot n e c e ary f or them t o go t hro gh a t horo gh co r e f t ech n ical w n relatio n t ra in in g They do n ot al way realize tha t t hei S hip t o m ical w ork i on n e n t irely di ff ere n t plan e t han t ha t If n b r v s th car r s f gr t arti t of t he ma t re ar t i t t ome ti m thr d fi nit n th t th y h a ve g n i t wi ll b gh n es of i t THE Y li ng nd th n g tt n w y fr m th con ci s ch ft n f rg t th t thi ch li ng w n c ary to gi v b l nce even nd arti ti c j d gm nt t th i r l t r d v l p m nt I t i n t expec t ed tha t t he t ch n ical w ork o t lin ed in t hi b ook S ho ld b e g iv e n t o t he excl io n o f all mus i cal w ork A f w S imple exerci e ch given here are n ec sary f or the e t ab l i h m nt O f t he p ri n ci p l f r l x ti on n d the d v l p me nt f the They S ho ld be giv en n t il t he pr in ciples ca n ha n d pi a ni ti ca l l y be cce f lly applied t o play in g compo i t ion W he n t he e eleme n tary pri n ciples are o n ce e tabli hed the dev elopment of t he co ndit ion o ght f or i a q e t ion o f Gr wth The dev otion of o n e e n ergie nd Ti m I t c nn t b f rced excl s iv ely t o t ech n ical w ork fo ny grea t len gth of tim e S ho ld n d i n ot ad vi ed n ot be n ece ary I t req ire patien ce n til t he ri gh t co n ditio n are e t abli hed F rom f o r to ei ght le o n s s u
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BRA IN
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F ING E RS
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to bri ng fin ger action a nd t he t on e place m ent The con ti n a t io n o f the techn ical practice from t hi ti m e is i m ply t o cli n ch the e p oi n t s n til t hey hav e become econ d n a t re su
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NOTE —Te a c h ers wi ll fin d t h a t t h e a mo un t o f m at e ri a l g i ve n i n e a ch o f t h e se ch ap te rs is mu c h mo re t h an c a n b e t ake n u p i n one l e sso n B u t i t is f o u n d s i mple r t o arra n ge t h e b oo k i n t h i s wa y So me o f t h e work , p a rt i cul a rly t h e e a r t rai n .
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o t i d o f t he r gul ar l so n t ra i n i n g r ci o t l i ned h r a re j t s u se f l f r v o i ce a n d Th v i ol i n st den t s for p i an i t s c h wo rk i v n m n In so m r pe ct y f o r t h m a t h p rod c t io n f t he i r t o n e bot h a s t o pi t ch a n d q al i ty d p n d di ct ly u po n t h i r ca ing ,
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A PIAN O
LE SS O N
Th e v ar i o u s b oo k s t ha t h av e b ee n wr itt en t o help t eacher s a n d p u pil s dea l wit h t he b e s t w ay s of gi vi ng l e ss o n s a n d ofi e r u s ef u l hi n t s re gardi n g p rac t i s i n g b u t n o n e gi v e a ny ad v ice to the p u pi l a s t o t he way he s ho u l d ta k e a l e ss o n ,
,
.
r q i ite a t a l on i nd ou bt dly con centrated tt nti n The ab e nt mi n ded dreamy p pi l wh o o nl y half hears wha t t he t eacher is s ayi n g a n d le t t he hi nt a n d correc t ion s g in at n ear a n d t a t t he o t her i w ell kn o wn in e v ery s t dio I f the t eacher q u e t io n s ch a p u p i l re gardi ng h i n der s tan d ing f s o m e explan a t io n t ha t he h s b ee n ma ki n g t o h im he fi n d either t ha t no i mpre sion h a s bee n made n t he p pil mi n d or tha t t he i dea conv eyed wa s SO v agu e a n d c onfu s ed t ha t i t i w orthle M nt l a l rtn s n d the d si re b th to u n der t n d nd r et i n n xp l n ti n m tb tr ng i n the p pi l a th d t rmin tion n th p r t f the t cher t m k hi xp l n ti n d q te The p pil s ho u ld b e cer t ai n at t he e n d f each le on t hat he h a defi n ite i dea of t he weak p oi n t a n d mi t ake tha t w ere me n t io ned to him w ell n u n der s tan di n g f t he b e s t wa y t o correct t hem He s ho ld hav e the determi n atio n to arran ge hi daily prac ti ce pro gram in ch a wa y t ha t a cer t ai n amo nt f t ime i dev ot ed e v ery day t o t he correcti n g f t he e mi stake a n d t he b uildi n g u p o f h i w eak poi n t In thi s w a y t he t eacher will n ot b e obli g ed to make the s me cr iti ci m i n sever l l n Th r va guen nd r t n di n g n b n i n th p la n f wor k lt if th r i t b e a n ythi ng d fi nite i n th r c hi v d The p pil w h how a det erm i n ation t o co n ce nt ra t e his mi n d e ntirely on t he l e s on w hi le he is t a ki ng i t is in t he mi norit y On e
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6
E A RS
BRA IN A ND F ING E RS
,
I
The in tro duct i on of o u ts i d e ma t te rs f or di c s si on a nd conversa tio n i by n o mean un us al a nd w hen a p pil c han ges t eacher i t i ge nerally the cas e tha t he de vote s m u ch o f t he t i m e of h is fir t le sso ns wi th the n w t eacher t o narrat ing h ow his former t eacher wa nted t hi or t ha t do n e O n the other ha n d s ome p u p il are so fearf ul of t he l ess o n ti me bei ng w a ted tha t t hey l oo k u pon a n exp l na tion as an i nterr p “ tion Their idea of a less o n is t o keep t he p ian o going all t he time The na tural res l t of t hi s attit u d e on t he p a rt of t h e p u p il is that the t ea c her feel he m us t l i mit hi ms elf to o nl y w ha t a ctual ly m t be aid and wha t he has to offer t he p u p i l ca nn o t b e gi ven fr l y a n d sp onta n ou s l y O f eq u al i mpor ta n ce wi th t he co n ce nt ra t ed a tt e nti on a t t he l e ss o n i the teach b le spi rit f the pu pi l A t eachab l e p irit i n t eas y t o defin e I t might be s aid t o b e a wi lli ngness on the p art of the pu pil to ept wh t th teacher has s
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t ea c her wis hes to ha v e a p u p i l foll o w him b lindl y, witho u t u sin g his own in te l li ge n ce No b r oad mi nded tea cher de s ires to i mpr ess a p u pil wi th the i d ea t ha t hi s is the onl y me t h od b u t w he n the men tality of t he p u pi l is b e in g u sed to ar gu e with t he teacher the n m u ch of t he l esson t im e m u st b e de v o t ed to co nvi n cing an d pers u a din g t he p u pil ins tead Of gi ving h im t he good
-
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,
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ich he is pp os d t b e k i ng S ch p u p i l are g e ne all y un con s c i o u s of this sp i rit as i t is an i n here nt cha rac teri s t ic b u t n at rally t here ca n b e no c ope r ti on bet w ee n t he tea cher a n d p u p il in su ch a cas e “ T here is a cla s s of so cal l ed ad v an ce d p u p il s who lik e to go “ from teacher to tea cher gett i ng ideas as t hey expre ss i t “ T hey al mo s t in v ariably s p ea k of t he i r t dying as coa chin g an d ge n erally des ire to p la n thei r own w r k Le o n in s ch i n sta n ces are a l w ay s a f r ce N tea che r ca n do nythi ng wo th whil for a pu pi l f thi typ e Th high r the idea ls of the teach r the more difficu lt do s h find i t t sy mpathize with th vi ew poi nt of such a pu pi l In di re c t co n tr ast is t he p u p i l wh o is over zea lous in hi d es i re to f l l w his t ea cher and so di strus tf l of hims e l f t ha t he wi l l n ot u ction
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E A RS
8
B RA IN A ND F IN G E RS
.
anythin g wi tho t t he minut t directi on This v r doi n g Of docility hamper s b o t h p u pi l a n d t eacher S ch a “ p u pil will al way s play l ike a c arefu l s t u de n t a n d n o ma tter “ w ha t his a ge may be will b e s po k e n of a s a yo u n g p ia ni t “ The n t here i t he di s co raged on w h o m u s t al way b e “ b raced u p Hi mo tt o i I ca n n e v er l earn t o do t ha t Wi t h a p p il of thi s temperamen t t he t eacher h a s t o pen d a grea t deal on t ime in the cheeri ng p p roce ss Thi s p pil is a of the le heav y b ur de n e v e n for the mo t hope f l t eacher to c arry “ E ach s t u di o h a s a e n iti ve p la nt a p p i l wh o m u t be “ cri tic i zed v ery caref l ly He o ft en a nn o un ces Y ou are t he “ Y u n eed n ot b e afra i d t o t ell me x t eacher I am the p u pil a ct l y w ha t y u t hi n k tha t i w ha t I come t o yo u r s t u di o for B u t ala s for t he t eacher w h o t ake him a t h i w ord ! Thi p p il is t he v ery on e w h o is not wi l l i n g t o s t a n d a n yt hi n g b u t t he mo s t g r d d critici s m “ The silent p p il is an o t her t yp e His a ttitu de a cts a a damper n a teach er zeal When the t eacher eek s for s ome i n dicatio n of b ei n g u n der tood by a p u pil of th i s character he is me t b y t he mo t di co ra gin g nre po ns iv e ne ss J t a p pi l m st b e en cou r g d i n ord r t k eep p hi s i nt r s t s mu t t acher m t wi th s ome en cou ra gement i n order to b e a bl e to pu t for th hi s bes t l
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The arti s t before a n a u dien ce i n ot more e ns i ti v e to t heir a tti t u de t o ward him elf tha n t he t eacher w ith h is p pil s I t i on l y “ wh n h fe l that they nd with hi m nd r t ndi ng ym pa thizing wi th his efforts tha t he ca n give them hi s ver y b es t wor k s
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E A RS
10
BRA IN A ND FIN GE RS
.
fix the length o f the q art er n ote mid dl e 0 for hi m a follo w u
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J J J l J J gm
J J J M
[
a
J J J J I
]
He s ho ld b e a b l t o t el l exac t ly w ha t is t he l engt h Of t he n ote s s o n de d e pecially t hey w ere pre e n t ed t o him in t he imple t po ible wa y ( witho t a ny v ri ti on of p it ch to di tra ct his att nti n) The n s ho w him h ow t o writ t he n o t e a nd h ow t o i ndi ca te t he In t hi w y he is t a gh t t o re c ognize t he rea l len gth of t he m Object t ha t i t he l n gth of t he n ote b efore he is s ho wn t he ( La t er on whe n the s e n e of rhy t hm h s pi ct re of i t on p aper b ee n more de v el o p ed t he p i t ch of t he n ote s may b e v ari ed in t he rhythm exerci e s b t a t fi t it i b e tt er t o hav e t he m i n d c o n ce ntra t e d on t he one t on e ) A p u pi l wh o h a s b ee n ta gh t t he l e ngt h of n o t e s in t h i s way “ wi l l fin d keepi n g t ime m ch ea s ier (See foo t n o t e ) I f t he p u pil doe n ot kn o w t he n o t e he s ho u l d be t a u gh t t hem firs t on t he keyboar d an d t hen on p aper Ha v e him ma k e t he s t aff hi ms lf t he n s t ar t h i m ou t to trace t he l oca t io n of t he n o t e s on t he fi v e l i n e s a nd fo u r s pa c es gi vi n g him O nl y E ( on t he firs t l i n e)t o fi g re from Th i s wi l l t a k e l o nger t ha n to gi v e t hem in t he u su al wa y b t a c hil d is l w y s mor e i n t res ted in s omething whi ch he has fou nd for hi mself an d rememb ers u
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I f he ca n figur e ou t on t he s tafi t he l o ca ti o n of mi d dl e 0 ( whi c h h e h as c ommen c e d t o l earn b y s o u n d ) he s ho u l d b e e n co u r age d t o d o so P u pil s O fte n percei v e t ha t t here is no p lace on t he s t aff for a ny n o t e l o w er t ha n D a n d s u gg e s t t he n ec e ss it y of a dd ing an e xtr a l i n e for it I f fo u n d in t hi s way t he n ame of t he n o t e on t he a d de d l in e wil l n e v er be for g ot t e n ,
,
.
,
,
.
.
NOTE —It
is impossi bl e
to m ap ou t t he e xa ct amoun t of work i n ea r t raining whi ch can b e gi ve n i n one le sso n F or a be gi nner t he amou nt i n di cate d will b e q u i t e e n ough b u t i t mi g h t n ot b e e n o u gh f o r t h e more ad v a n c e d p u p i l wh o s h o ul d go o n wi th th e work gi ve n i n s u bse q ue n t l e ss o n s ‘
.
,
,
,
.
E A RS F or p rac ti ce in n o t es l ike t h i s :
B RA IN A ND F ING E RS
,
I]
readi ng n o t e the teacher ho ld make a lin e of u
s
s,
tell i ng hi m it i a M i c l Roll C all a n d t hat he m t prac ti se it at home until he c n call all the n am e ea ily a nd q i ckly He n ly the s e v i n s ho d ha e a li e f or each day practice gi o n v g l s b u t in a di ff ere n t order n ote “ To gi v e the roll call he S ho ld go thro gh it in the followi ng “F r t — n w ered n — s n E the he o d the ote if it a n n i l i w ay “ to it n ame S c nd p ac A the n s o n d the n o te etc Hi mention i ng the locatio n o f t he n o t e on the staff fi st make him b rv it more ca r f ll y us
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TE CHNI C AL WORK (THE HANDP O S ITI ON) T he p u pil s ho l d be s ea t ed far e n o u gh fro m t he pian o t o gi v e The hei gh t O f the eat s ho ld be hi arm f reedom of motio n determi ned by the lengt h Of the u pper arm Th elbo w s ho ld be on a lev el with the keyboard The wri t a little below t h e lev el Se C t I The detail regardin g t he han d po itio n ho ld be caref ll y explain ed n til n der tood by the p pil The wri t i held S li gh t l y lo w er than the ha d in the elemen tary work the kn ckle S ligh tly rai ed part ic larly tho e o f the fin ger which w eaker n early in S ho ld be p a lin e with the other s the forma t ion Of t h ha n d al lows In thi w y the f o rt h n d fi fth fi nger hav e n eq ual c han ce o f action fro m t he kn ckle with the tro n ger fi n ger .
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E A RS
12
E ach
BRA IN A ND FING E RS
,
fi nger wi th t he excep t io n O f the th m b r t on it c us hio n Thi is the po it i o n t ake n for t he tech nical dev elop m e n t of the ha n d ( Th str n gth f th fi ng r ti p n b d v l p d Later on t he han d po itio n i on l y wh n th fi n ger i s h l d cu v d adapted t o t he n eed o f t he pa a ge t o b e p layed ) The arch be t w ee n t he t h m b a n d ha n d is i n i t ed po n to gi v e t he t h mb room e n o gh t o pa s n der t he ha n d f reely i n d arpe ggio s n ece s ary in s cale The teacher ho ld ill trate t hi s care f l e pla n atio n wi th h i ho ld S ho w w he t her he co m preh n d own ha n d a n d t he p pil i t by t yi ng t o p t h is ha n d in the s ame po itio n I t i better f or him t o re t h i arm n the table whe n he fir t t ake t h po itio n R mar k on h n d p i ti n The kn ckl are li ghtly elevat d n order to gi v e olidity a n d firm n e s t o t he ha n d a n d to e nable the fi nger to mo v e m ore f re ly f rom t he k n ckle th prepari n g the w a y for t he fi n ger actio n w hich come lat er The t h mb i held o t a n d c rv ed to gi v e it more freedo m o f mo v ement on t he o t ide of t he han d The fi n ger are c rv ed in order to c n centrat the fi n ger action n i t iven a t t he kn ckle to dev elop fi rmn d in t h fi n ger t ip a n d r ty a n d c l r n in t he fi n ger w ork T h is h a n d p os i t ion i s for t h e p u rpo s e of d ev e l o p in g t h e u
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h a n d for t h e p ia n o , a n d s h ou l d p o s i t ion t o b e u s e d in p l a in g
n ot
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a s a se t
y n b taken ea ily n d q ickly t he arm After thi po itio n ho ld be t aken a w ay f ro m the tabl n d the po itio n take n w ith t he fi n ger re ti n g on t he ed g e O f the table a n d t he a m loo e a n d relaxed from t he ho ld er The wri t ho ld be a li t tle bel o w t he lev el of t he han d a s t hi wil l e n sur e b e tt er fi n ger actio n from t he k n c k le Swi n g t he arm at t he S ide n otici n g the e n atio n of a loo e that t he co n ditio n may be retai ned w he n the ha n d i a m placed on t he edge of the table The a mi n g Of a ny n w p iti n h a s a te n den cy t o c u tiffn s C on e q en tly it i n ec ary to relax t he a r m ma ny t ime n d to take t h han d po itio n n til n f eel at home in it .
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E A RS
BRA IN A ND FING E RS
,
13
t b n ce f fi t a n d thi po itio n m t beco m e o n at r l that there i n me a n d re t ai n it Ev ry fi t to a t ach r t ll hi p pi l th t the wri t h ld b e l b t h w ca n th l e wri t wh n h h n id h w a p d d t h v p pi l b w ri t f l wh n th h a n d i i n p l y ing p iti n ! A nd d e n t l Rela xa i on i s th e
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TE CHNI C AL E R CI SE F OR THE PI ANO The p pil ho l d p t h i han d in po ition then s win g h i arm at h i s ide a n d p t t he han d u p in po ition again Thi wil l take away ny cram ped feeling of t he ha n d a n d a m a n d gi v e t he relaxa t io n nec ss ary b e fore a n oth er di ffic lty is pre e n ted NO bea ty f to n e or f r eedom o f xec tio n c n be bro g h t abo t The ti me t b gin r l i n g th m i s wi th the arm a n d wri t s ti ff iti n Th t i th wh n th h n d e fi r t p l c d i n p l y i ng p ti m wh n th t n i n b gins Thi ex rci e ho ld be p racti ed n ti l the han d a s m e t he po itio n witho t eff ort An Older p pil a n g n imm diately with the wri t exerci e o f the n xt le o n To m ake the poi n t o f a le o n a defi n ite po ibl a yn op i like the followi ng ho ld be in t he mi n d o f both t eacher a n d p pil : FI R S T
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O BJ E
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Learn middle C Learn to reco gn ize t he l en gt h of w hole hal f a n d q ar t er by o n d a n d al o t o writ e them ( Thi m t b e practi ed n ot ei t her w ith the t acher o w it h s ome on a t home ) I I I Learn wha t t he correc t p o itio n of the han d a n d arm i n d be able t o explai n the rea o n for t hi s p o itio n I V Learn to t ake the han d p o i t io n ea ily wi t h each han d V Lea r n the lin e f n ote w rit t e n o t I II
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C H AP T E R I V
I f midd l e C can n o t ye t be reco gnized there is di ffic u lty in recognizi n g middl e
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o rk n it as before I f 0 impre s C n t he m i n d by compari ng i t with t he o n d of B a n d D on ei t her s ide f i t Someti m e s e veral le ss o n ha v e t o be gi v e n t o t hi s I f C ca n be reco gn ized e v eral t imes in cce io n lear n D in t he s ame w a y After D h a s bee n lear n ed E may al o be gi v e n ( pro vided 0 a n d D ca n be q ickly reco gnized ) U su ally i t take In lear ni n g D a n d E be able t o hear s e v era l l e ss o n s t o do t hi t ha t D is a s eco n d a b o v e C n d E is a t hird abo v e V oice p pil S ho ul d s i ng t he t o n e a n d violi n p pil p rod u ce t hem on the violi n In fac t a l l p pil s ho ld p racti e i n gi n g t hem if po s ible In t he rhythmi c l traini ng wor k the n ext tep i to learn to hear ti me : w
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beca u s e the s e c ( I t is b e tt er to begi n wit h t hi s tha n w i t h t ime is di ffic ul t t o hear ) The p u pil hear s on d a ry acce n t Of ei gh t q u ar t er n ote s s o un de d on t he pia n o w ith s tro ng accent s on the fi rst third fifth a nd s eventh He is t old t ha t t he s e accent s di v ide t he ei gh t q u art er n o t e s i nt o fo u r meas u re s of two q u arter n o t e s each I f t he p u pi l is a begi nn er he s ho ul d b e s ho wn on m u s ic p aper h ow t he meas u re s w hich he hea rd ca us e d by t he ac c e n t s are in di p la ce d a t t he b egi nn i n g ca t e d b y the b ar li n e s a n d t ha t t he in dica t e s t hat each me as ur e co nt ai ns two q uar te r n o te s or t heir eq u i v ale nt He is then a s ked t o write s ome meas ure s made u p of b oth q u ar t er a nd half n o t e s in order t ha t he m ay un der s ta n d t hat a half n o te is t he e q ui v al e n t of two q u ar ter s In t h i s way .
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14
E A RS
B RA IN A ND FING E RS
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15
he l earns to h ear acc nts nd the p l e of rhythm f rom the fir t The mere CO UN TING the time w hich i SO o ften relied po n t he beat is h rd a n d f lt The co n ti n g is is of n va lue unl e n le ss t hi is do n e n e ve n In the R ll C ll w ork t he t o ne may n w be s o n ded by t he p pil w i t ho t h i n ami ng t he po itio n Of them S m e n w n otes n the t reble cl f m y be added The han d po itio n exerci se with the wi ngi n g arm ho u ld b e revie wed I f the p pil n take the han d po ition ea ily n d keep t h e arm relaxed the n ext tep may be taken Ri ght h re it mi gh t be s tated that ha lf th diffi c lti e th t th b gi nn r i h i r t c m fr m the ddi ng f n w t chni ca l r eq i r m t r d on w m nt b f r th p r i “ The n xt exerci e w S hall cal l t he r ck ing w i t Hav e the ha n d in t he po i tion j s t learned the fi nger tip s re ti ng n t he ed g of t he t able then mov e the wri s t s lo wly do wnward a n d p w ard t aki ng care t o keep t he kn ckle s f rom n d t hat t he ha n d r s i n ki n g do w n w he n the wri t is lo wered mai n in t he same relati v e po sitio n a s b e f ore S Cut I I The fo rth nd fi ft h kn ckle ho ld be on a le l w ith other ev en i f the fi l th fi n ger h to b e held traigh t a t fir st been After the wri t h lo w ered i t Sho ld com e b ack t o it ori gi n al po i tion no higher Ther e h ld b e no t n i n The han d ho ld re t ligh t ly on the t able ( t h a t mea n s C 11 that t here S ho ld be no di ggi ng in wi t h the fi n ger t ip ) The arm s ho u l d ha n g loo ely from the ho l der In order to keep the ar m relaxed s wi n g i t frequ ently a t t he s ide Thi s is n othi ng more tha n a nat ra l in t e nn i s or c o ndi ti on T he p ri n ciple i nv ol ved is t he s a m e a
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E A RS
16
B RA IN A ND F IN GE RS
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ol f for examp l e I f on O b er ve a goo d p l ayer o f ei t her of t he e game s he n o t i c e t ha t hi kill depe n d lar ge l y on t he freedom of mov eme n t O f t he arm in t he s ho lder An d w he n ' play t he game s him s elf he realize s i t more t ha e er n s n v o Thi exerci s e w he n well do n e s epara t e t he han d from t he arm n t o peak by mea o f t he ab s ol t ely li gh t wri st I t i very s so ) ( the s cc di n g x rci ses d p nd p n i t I t ho ld i mp rt nt b e prac t i ed o nly a f w mi nu te s a t a t ime a n d s ho ld be do n e al ter na tely wi t h t he le ft a n d ri gh t han d in order t ha t t hey may n t b ecome t ired a n d cramped A a r le t hi s exerci e i more di ffic l t t o do correctly t ha n b eca e i t h a t w o c o n flic t i n g p rpo e O n e i to a ny other mai ntai n t he n a t ral relaxatio n of the wri t nd arm w hile t he o t her is t o ha ve the ha n d a s me t he nn at ral po i t io n made ary by t he pia n o U nt il t he pos i t io n h become nat r l n ece t he exerci e s ho ld be a par t o f t he d i l y prac tice A t he fi nger t ip s recei v e t he greater par t Of t he w e i g h t O f the arm they ac q i re a firm feeli ng w hich mi gh t be de cribed a f eeli ng of s ctio n w here t hey come in co nt ac t wi t h t he key Thi s p oi n t O f firm fi nger is n w hich is n t al ways n der t ood The fi n ger ho l d n ot b e HEL D FI RM no s h ld there b ny t n i n i n the h nd On t he co ntrary the ha n d re t on t he keys Thi firm nes of t he fi nger c nnot b a n d t he fi n ger s A RE fi m f rced b t m s t b e grad al ly bro ght abo t by t he m s c u lar de v e l opm n t w hich is t he re s l t of the daily t ech n ical practice Thi p oi n t i impor t ant t ha t p ar ti c ul ar s t re s s is l ai d u p o n i t a t th e v ery b egi nni ng g
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e v i ew hearin g middle C a nd p o ib ly learn on o r t wo more t o n e s I I L earn b y s o un d nd by s i gh t wha t 2/ 4 t ime i “ I I I B e gi n t o p rac t i e the rockin g w ri t exerci e on a t a b le a n d at t he pia n o 1
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E A RS
18
BRA IN A ND FING E RS
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igna t re s n d n ote v al e I t i better in thi le o n to keep t h e rhythmical exerci e on one t o n e N w p lay u
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the p pil i a begi n ner a n d h a s n ot heard an yt hi n g abo t a dotted n ote t he idea is t o le t him p ercei ve t he n ece ity of i n g t he do t in order t o g i v e a n ote t hree co n t s The p pi l hear three q arter n ote s a n d t he n n n ote w hich is e q i vale n t to t he t hree q ar t er Thi is the ti m e t o tell him tha t there i n o n o t e which repre ent s t hree q arter co n t s We hav e to a hal f n o t e with a do t a fter i t I f t he p pil i a chil d the fir s t t ep in m emorizi n g ho ld n w b e gi n M ical me m ory i made p p artly of a relia n ce on the vi l l fac ltie the m s i c l th n d the i nt ll ct The la t l me n t io n ed are the o ne s tha t a n al way s be relied n nd s ho ld be c lti v a t d fr m the v ry b ginni n g I t is w el l e n o gh ordi n arily t o rely po n the fi n ger the ear or t he i m pre io n of the look f t he pri nt ed page (a many player s do ) b t n n f the s e m a ns n lwa y be depe n ded u po n t o tan d t he t e t of n erv o n ess or tage fri ght Go n e ltiv t i nt ll ct a l ng p p i l b gi n t n r th q e n t ly th y mem r i i n g th b tt r f hi m W he n s tarted at thi ea r ly ta ge it become a v ery ea y i m ple ma tt er A child ho ld t ake a n example O f t hi ki n d If
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He s ho l d l oo k a t t he fir t t wo mea re t hen clo e the book an d s e if he i able to t ell F or n w ha t t o n e t he me l ody begi n — n n s i ta ce to t ell in the fir t exa m ple ( a )t ha t it b egi n on E pro g esses a 2n d t o F t he n a 2n d t o G the n do w nw ard a 3 d t o E u
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BRA IN
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FING E RS
A ND
19
ote on w hich it tarted H e ho ld wri te thi s o t Then he c n be s aid to k n o w thi s thoro ghly t ha t i f he were p ti ing i t he co ld g i ve h is atte n tio n more comple t ely t o h i to n e w w ality or w hate v er he a s pecially orki ng for q Tw o mea re w o ld b e e n o g h t o m e m orize in on e le ss o n b u t i n the n e xt le o n he co ld take the re t O f i t A f t r a child h s memorized a S i m ple f o r m ea s re phra e in h alf a n d w hole n ot s he s ho ld be gi v e n a more co mplicated phra e b t on which contai n di ffere nt n ote v al ue s F or e xample : n
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Thi gi ve him t he ta k f re m e m be r i n g t he e chang in addi This is n ot t o b e do n e b y b t is t o b e t io n t o t he i nter v al H e s ho ld be able t o s tate v r b l l y h w the d o n e b y th mi nd melody pro gre e s pecify t he len gt h of the n ote s etc a n d b e able t o write it t Thi s al o i m pro ve h is ability to r d La ter he ho ld be gi v e n melodie i n trod ci ng dotted n ote a n d e t Thi s or t o f memori i ng ho ld b e applied t o t he littl nt n ti l he is ad v a n ced nd i iece hich he t die f ficie a w p e n o gh t o kn o w a bo t chord ( S C hapter ! V ) s
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TE CHNICAL WO RK ( FIN GER ACTI ON) “ The Roc ki ng W ri t exerci se ho u ld be co n ti n ed in the d ily m n i n ractice for o m e t i e to come The rea o f or thi i m ply t s p b i lity to d i t co r ctl y a n d ea ily b t t o ac q ire the t o g ai n t h c ndi ti n w hi ch t hi exerci s e de v elop The n ex t tep in f n dame ntal t ech n ic i t he pl ci ng f the t ne “ Thi s i do n e by e tabli hi n g p re fi nger actio n B y the term “p re fi i mea n t t he mo v em n t of t he fi n ger at t he n ger actio n kn u ckl j oi n t witho t the s li ght t f li ng Of t n i n in the h nd m d ri n g t he li f ti ng a n d droppi ng of t he fin ger wri t o h i fi ng r Every n w h play the p ian o i u p po sed to u s
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E A RS
20
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B RA IN A ND FING E RS
the r e are c om pa ra tively few wh o u se t hem witho t havi ng t ri ki n g with arm force ra t her t han s ome t e n io n in t he ha n d wi th t he fin ger man y p u pi l s come t o a s t a nd ti ll t chni O n e rea o n wh y cally is t ha t they are n con cio u ly si ng t he wr ng m u cle s The dev elo p ment of t he i ndivid a lity of t he fin ger cann o t b e b ee n e t abli s hed d o n e u n le ss t he ri g h t co n di t io n h ( In more ad v a n ced w ork t he arm force i s ed repea tedly a nd the w ei gh t of t he arm p lays a n impor t a nt role —ev e n in fin ger w ork In f ac t it i a n i m por t a n t fac t or in moder n pia n o playi n g B t t he fi r t w ork m s t b e do n e with t he fi ng r n l y ) To n e q a lity in pia n o playi ng doe s n t b y a ny mea n depe n d e n t irely po n t he i n tr ment I t i s i m por t ant for a pia ni s t to ha ve “ i t is for a s i nger to hav e his v oice h i to n e correc t ly p laced “ placed “ The p roce O f maki n g the to n e free i Si mpl tha t it is s tra n g e that there i n t more a t te n t io n paid to it There are i nger w ho e t o n e i n at rally fr wh are s pare d m ch of t he dr d gery w hich other fin d n ece s ary There are al o pia ni t wh are S e q ipped by n at re B t p i a n o p laying is so m u ch l e a n t ra l proce ss t han S i n gi n g hat almo t al w ay s a co r s e f trai n i n g i n ece ary to de velop a g ood to n e t o y I t is di appoi nti ng n othi n g of t he di ff ere n t q alitie s O f t on e to hear a p ia ni t witho t a good to n e Si t i t o hear a i nger with a di agreeable v oi ce When a i n ger to n e i onc S h is v oice i in a co n ditio n t o de v elop to it f ll po ibilitie i t is with a p iani t ( I f the correc t t ech nical co nd tio n are o n ce e tabli hed his p o wer s limite d o nl y by h is m nt l a n d m A with a v oice to gai n q a l ity there mu t be a relaxatio n in t he ri g ht place a n d te n s io n in t he right place The to n e m t h a V both fre dom n d firm n e A w ord of ca tio n is n ece sary here I t w il l be fo n d better to e tabli h the c o n ditio n of r l x ti n thor ghly be f ore layi ng m ch s tre s u po n t he tho ght of fi r mn The p ri n ciple of fi ng r actio n can n o t b e s cl early explai ned in a book in p ers on al i n tr ctio n e pecially a the mean of ge t b ut
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E A RS
BRA IN A ND FING E RS
,
21
ti n g at i t vary in the m all detail s O f te n a p pil han d hape a nd co nditio n In gen eral ho wever proceed v ary in follo w at fir t w he n taki n g the Allo w t he arm to re t n the t able ha n d po ition Then place the han d in the po ition gi v n in C t I Li f t the fin ger s lo wly wi t h as l i gh t a feelin g po ible Th fin ger m t retai n it c ur ved po itio n mo v i ng on ly in the other joi n ts a if it had n k n ckle A f ter thi s ex rci e h a bee n practi ed n the table e v ral ti m e take the am e po ition a t the keyboard whi ch w ed in the “ At fi r t drop the fi n ger n to the R ocki n g Wri t ex rci e r f ac f the key witho t depre i n g the key Af ter a f w tap like thi on the key allo w it to depre the key v ry li ghtly with a t fir t t a ny aid f rom the ha n d or arm e v e n i f n o to n e com Wh n the fi nger depre the key t here S ho ld be n p hi n g Th y r m ai n hi g h n d q iet The th m b p o f t h k n ckle play fro m it s ide a n d ho ld b e held well t from the han d The th m b m otio n co me s from the w r i t joi nt o n ly I t ee m at fi t i f n co ld n t m ake n y to n e in thi w y n d n ho ld try to m ake o n ly a v ery li gh t to n e or n o n e at all at fir t The fi nger a r e n t e n o g h n d r con t r ol t o do m ore t han t h i lo w fin ger w ork ho ld be do e f or a ti m e O nl y thi li g ht Any att m p t to m o v e the fi ng r rapidly or to m ak a la r ge to n e ca e t en io n in the w ro g place I f t h holdi ng do wn f the fi fth e v n the f o rth fin g r in the ha n d relea e the m from the key ca t ifin In playi n g w ith the fi f th fin ger there i a tro n ger te n d n cy to p ll fro m the ha n d than with the other fi ng r on acco n t f it w ea k n e C o n e q e n tly n ho ld take e pecial pai n n t to f r c the t n e with thi fi n ger Te t the co n ditio n f t h w ri t n d m O fte n in ord r t o keep the m loo Le t the arm w i ng at t he ide man y t i m e a n d prac ti e t he xerci e alte r n ately w ith t he le ft n d ri ght han d F or i n tan c take the eco n d fi n g er f t he le ft t he n the eco n d f the ri g h t etc The mo t i m portant poin t are to k p th n d NOT t l i ght f eli n g a t the kn c k l e s t o ha ve th ha nd q i t w rk f b ig to n e as
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,
BRA IN A ND F IN GE RS
v o i c e t eac h er a t fir s t has a p u p i l s i ng v ery l i gh t l y or e v e n h um in order t ha t he may g ai n t he s e n s a t io n of freedom in t he t o n e s o t he p ia n o t ea c her S ho u ld gi v e the ri gh t co n dit i o n s b y in I t s ho u ld b e u n der s i s t i n g on l ight t o n e s a t fir s t a t t he pia n o s tood h owe v e r t ha t t h i s ext reme of l i gh t ne ss is onl y t he fir s t s t ep As a ,
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LESS O N 1 B ecome s re of reco gn i zi n g middle 0 b y s o n d I I L ear n D a n d E a nd poss i b ly F a nd G a nd i n t er v a l s of 4 t h a n d 5 t h from C III L ear n t o re c ogni ze t ime a nd t he d i ff ere n c e b e twee n a nd t ime IV B egi n memori z i ng “ V B egin p u re fin ger ac ti o n O B J E CT
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the p p i l ha b y thi ti m e learn ed e veral to e by al o di fferen t rhythm n on to e he i n w ready to tak co mbi n atio n o f di fferent t o n e a n d rhyth m F or xampl A child ho ld be gi v e n a v ery i m ple m elody AS
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E A RS
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BRA IN A ND F ING E RS
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able to procee d f rther He s ho l d w or k to b e abl e t o member a me l ody Of five tones F or examp le : u
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T E CHNI CA L WOR K (! I CK FIN G ER S TR OKE) The s i ngle fi n g r wo r k ho ld b co n ti n d with the li ght to ne e ve n occa io n ally i m ply tappi g t h top f the key a te t o f t he co n ditio n f the ha n d U p t o t hi ti m e the fi n g er t r ok h b n tak n lo w ly to n The t roke may n ow be a t the k n ckle s re the li g ht n e t ake n more q ickly t ho g h the tempo f the exerc i s e i n ot t o be i n crea ed I t ho ld be n d r tood t hat w he n the idea o f in cr a i ng the rapidity f t he fi n ger come in a n eff o r t o f wil l i ary in order to g i ve the q ick st r oke C are s ho ld be n ece taken that the troke i cr a in pe d the rel a ati on o f the ha n d i r tai d U
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BRA IN
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FING E RS
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fi ng r fall n the key the w ei ght f t h m re t n the fi ng r tip b ca e the a r m i in a relaxed co n ditio n The i n crea ed peed f the fi g r troke gi v a m or e ri gi n g ton e The p pil m t l i t n car f lly to the t o e b t n t try to make i t lar ge I f the to n e i corr ctly m ade it will oo gai n more dyn a mic po w er witho t y e ff ort I t i i m po r ta n t that the q ick fi n g r t r oke be do n e rhythmi cally y in thi w y —C o n t 4 f or each to e the fi ng r g oi ng down q ickly n co t 1 re ti g n t h k y f or co n t 2 then n m o oi ick l y n co n t b th r t be ab ol tely 3 t g p q g ten io n or j rki n g f the ha d The f ollo wi n g ex rci e ho ld n w b g i v As t h e
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E A RS
28
BRA IN A ND F ING E RS
,
addi tio n to t he abo v e exerci e for two fi n ger the follo wi n g n d fiv e fi n ger s ho l d b e ed e xerci e s f or t h ee fo r s t he t w o fin g r exerc i se ) nn a They are played t he ame ma er s i n ( In
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the t ime the p pil get t o t he five fi ng er exerci e in t hi s po itio n t here s ho ld be a feeling f hea vi n e in t he v ery t ip of t he fi n ger w hile t he ha n d is re ti n g n t he key b oard a n d a feeli n g of li ght n s in t he a m n d wri t Thi s feeli ng will n t be pre en t i f t here is t en ion The fi nger w ork s ho ld b e a part f the daily t ech nical prac t ice f or s ome t ime t o co m e The de v elop m e n t O f t he s tre n gt h a n d in depe n den ce Of t he fi nger depe n d mai n ly on thi prac t ice “ Thi s is i m porta nt n ot o n ly f or the tech n ic b t for the de “ v e l op m n t of to n e The tro n g r n d fir m er the fi ngers gro w n d t he more co n trol t h player g ai n o v er the relaxatio n of t he “ wri t n d arm t he more f ree a n d fl oati n g doe s h is t o n e b ecome By
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C T O THE LESS O N Learn t o p lay a im ple melody by ear fir s t n ami n g the O BJ E
.
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i n ter v al s I I Learn t o reco gnize ei g h t h n o t e s by s o u n d I I I Lear n to hear a m elody w hich i ntrod u ce s I V D O t he q u ick fi n ger s troke V D O t he fi n ger exerci s e s o v e r lappi n g .
.
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C H APT ER V I I T he
.
heari ng Of t he t on e o f on oc t av e of t he C major s cal e s ho ul d be a par t of each l e ss o n un t il t hey are ll ea s ily reco g ni zed b y s o n d The s impl e mel o die s m u st nece ssari l y be con t i nned Up t o t hi s po in t t he melodie s ha v e b e g n on t he do wn b eat The u p bea t m t n ow be i n t r od u ced fir s t in t h h y th mi c al wor k on on to n e M e t ron o m e at 5 0 e
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T he
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heari ng of re t s Sho ul d b e b ro ght abo t in t hi s mann r : s
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E A RS
30
,
B RA IN A ND FIN G E RS
P lay t he abo v e melody t w o o r three t i m e s for the p u pil ; he m u st the n play it P robably he wil l lea ve the re s t ou t The t eacher t he n play s j u s t what the p u pil p layed a n d t he n w ha t he him s el f played u n til the p u pil n otices t ha t t here is a s pace b e t wee n s o m e of the n ote s The t eacher s ho u ld S how him h ow to i n dicate t he lengt h of t hi s s pace He s ho u ld b e a s ked t o hear t he n l ater t he hal f w hole a n d a n d w rite q u arter re s t s fir s t ei ghth re s ts .
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TE CHNI CA L WOR K (THE FREE P O S ITI O N) The fi nger exerci e s o f the p recedi ng l e s o n were really a p repar “ at io n for t he s a m e exerci to be do n e in t he follo wi n g free p o i t io n t ha t i with the ha n d a n d arm p oi e d n on fi nger o n ly while t he oth r s are held in t he air Thi i t he p o itio n commo n ly u ed in p layi ng P lace t he t h m b n d eco n d fi n ger so t ha t t hey make a circle w hile t he oth r are held in t he air witho t s ti ffe n i n g the ha n d T he ( The fo r t h a n d fi f th fi n g r s ha v e a t e n de n cy t o ti ff e n holdi ng of t he fi f th in too c rv ed a po itio n is likely t o cramp t he han d ) Se e C t I II After n o t ici n g tha t t he p o s ition i a l l right r lea e t he t h mb re tin g n t he s eco n d fi n ger o n ly B s re t ha t the t h mb n d fi f th fi n g er are a h ol t l y f re The re laxation f t he e tw fin g er s i a v ery i mporta n t p oi n t in tha t i t deter mi n e the co nditio n o f t he e n tire han d d al o C t III h it e ff ec t n the wri t St il l re s ti n g on t he s eco n d fi nger p lay t he t h m b ma y t i m e s li fti n g i t o nly a l i tt le abo v e t he key ( a hi gh motio n o f t he t h m b make the han d n t eady) N ext r t on t he t h m b p lay t he s eco n d fi n g er allo w i g it to drop f ro m a po itio n a little abo v e s
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E A RS
BRA IN A ND FING E RS
,
31
the key D O n t p h i n to t he k ey wi th a m f orce b ut d op the fi n ger n to the key wi t h the fing r s troke o nly C o n t in e with the remai ning fin ger in the sa m e m ann er : Hold nd ( lea i ng the t h mb ) play thi rd e veral ti m e Hold thi rd H old f rth ( relea i g t hird ) ( relea i g eco n d ) play f rth play fifth H old fifth ( relea i n g fo rth ) play f rth H old f rth ( relea i ng fi fth ) play thi rd Hold thi rd ( relea i ng fo rth ) play c nd Hold c nd ( relea i n g third) play th mb The n n playi n g fi nge r s are held loos ely in po itio n abo v e the k y I t wi ll be fo n d i n di pe n able to practi e the t w thre f o r “ fi n ger ex rci e in the free po itio n al o with the o ver n d fiv lappi ng fi nger a in the previo chapter The q iet han d f all t he o v er a n d the fi n ger actio n are the n e n s red a n d mo t lappi n g o f the fi nger in thi s po itio n gi v e th idea of re ti ng t he arm n the fi g r tip better t han a n ythi n g el e “ The pri n ciple i n vol v d in o verlappi ng the t o ne in t hi fr e po itio n may be co m pared t o a per o n ta n di ng q arely n both feet n d the n rai ing fir t on e foot then the other H e doe n t p r d wn i nto the fl oor t he w ei ght Of t he body r t n n f oot a i t i tra f rred from t he other n S in the exe r ci e the weight O f the a m S ho ld r t on each fi n g r tip it i le ft alo n e t o b ar t h w ei gh t a fter t h q ick do wn t r oke o f the fi nger The f orm Of the ex r ci e i like tha t f the clo e po itio n d e v e nn e f the fi n ger L i t e n f or t he q ality f to n e r
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C T O F THE LESS ON til each n ote f t h R e vie w the heari n g o f i n g le to n learn ed C o n ti n e the h ari n g f S i m ple m lodi Lea rn to h ar t h p b at in Si gl to d m lodi Lear n to r co g i e r t by o n d D o the fi n g r w o r k in the f r ee p o itio n O BJ E
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EA RS
34
BRA IN
,
FING E RS
A ND
The p pil s ho ld w rite the t w cle f clo e to gether s be f ore then S ho ld w rite E n t he lo w e t li n e f the tr ble the n e r a the li e f thi cl f with t he exceptio n of the li n e on w hich E i u
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The idea i to gi ve him t he realizatio n t ha t the o nly li n e b t w ee n t he t w cl f i f or middle C Any other li n e added to t h e ba clef abo v e middl C is t aken from the t rebl cle f Any li n e added t o t he t reble cle f belo w middle 0 i t ak n from the ba clef The yo ng p pil i ally n co n cio s O f t hi beca e t he t w o cle f are n t pri n ted clo ely t o gethe r The ba cle f w n t gi v e n t t he ti m e the t reble cle f w learn ed for tw rea o n —the m aterial w ritten f or a child fir t playin g i e n tirely f or the tr ble n d there i q ite e no gh f or him to learn at fir t witho t addi n g a nythi ng ntil the time come s for him to make of i t F or a more ad v a n c d p pil the ba cle f may n w be d for w ri t i ng melodie by ear F or i ta n ce s
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TE CHNI CAL WOR K ( IN CREASED S PEED) After ma teri ng the free fi n ger w ork o tli n d in the pre v io le o n the am e exerci ho ld be do ne w itho t the o v e r lap pi g idea There ho ld b e a q ick pli ft of the fi nger at t he a m e ti m e that the n x t fi n ger d rop t o make t he to n e b t the han d ho ld be kept q i e t a s po ible Thi q ick pli ft f the fi nger gi ve cl arn e to t he playi n g Thi fi n ger actio n may n w be applied to et d n d piece s n d arpe ggio Select a n et de t ha t is s impl a n d witho t s cale pa a ge The follo wi ng li t gi v e a f w co m po itio n which are wel l adap t ed t o the fir t applicatio n of fi nger actio n : G l itt The F i r ; K l l k N i ghti nga l ; H eller Pr l d Op u
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E A RS No
81,
D aqu in Pa s tor a l e 3;
.
Ta u s ig,
No
2
.
B RAIN
,
Le
,
Cou cou ;
35
Ku h l a u S onati n a ;
ad va n ced f orm
In
.
FING E RS
A ND
,
C hopi n
,
S
Et u d e
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carlatti Op 25 , .
.
The fir t w o r k on t he e m t n ece arily b e m ade mo r e t hn i l tha n m i c l a the tho g h t m t be co n ce n t rated n the applicatio n o f t h prin ciple that hav e be n ill trated by the exerci e I f t h i n gle fi n ger w ork h b ee n prac t i ed ca r f lly e very day the fi n g r i n d pen den ce S ho ld hav e been de velopi ng teadily tha t by thi t i m mor q ic k ne f mo ve m en t m y be re q i r ed o f the fi n ger by the i ntrod ctio n f ei ghth triplet n d i altho gh the t m po rem ai n the am e t n th n d in the rhyth m In the practic o f the e ele m e n ta r y exe r ci e ical trai i ng w ork the met r o n o m e i i n val abl b t t m h c nn t b id g in t th f it i n oth p r cti i ng The n it ho ld be d o n ly to t e t t he tem po the acc racy o f the rhythm in a di ffic lt pa age n d ixt e n th n w In t h fi ger exerci e ei ghth triplet introd c d : a
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child s ho ld n t do t h tripl t a n d ixtee nt h u nt i l l at er beca they hav e n t yet appeared in the ear t r ai i n g w ork d hi fi ge r are n t able to do th m w ell The diffi c lty that n Ol d er p pil w ill ha v e in doi n g them depe n d u po n the i n di T S i m ply be able to play the n ote f a t i n t by a ny v id al The fi n ger m t m o ve m ea n the id a in thi i n crea ed s peed f rom the k n ckle with the a m e f l i n g o f l ightn the a m l ati n f w r i t n d m; am e t din d th n d q i tn O f h nd that p r e vailed in th lo w rhythm I f the p pil fi n d t ha t e v n w ith ca r e f l practice he cann ot acco m pli h thi he S ho ld be co n t n t to play the S lo w er val e ntil the fi nger ha v e gai n ed m ore i depe n de n ce Tw v ery i mporta n t poi n t are to be Ob er v ed in the i n crea i n g peed n am ely the to n e ho ld re m ain f the ame q lity a n d nd i n d ixte n th that it had in the q arter in the triplet A
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E A RS
36
BRA IN A ND FING E RS
pee d Of fi g r mo v e m e n t i i n crea ed the fi ger m t p lay more l l y to the k ey The two fi nger xerci e in t he i n crea ed peed dev elop t he trill The three fo r a nd fiv fi n ger exerci e may al o be do n e in thi way In t he fo ll o wi n g t w o fi n ger exerci e the holdi n g f the fi n g er w hich co m e s b e tw ee n t he to n e s f the brok n 3 d s ti m lates t he i n depe n d e n ce Of t he fi n g r a n d q iet n e Of the ha n d
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C T O F THE L ESS ON Learn t o recognize dotted n ote by o nd Learn to hear melodie i n t r od ci ng dotted n ote s B e gi n heari ng f t he ba cle f D the free fi nger exerci e w itho t o v erlappi n g to n e I n crea e s peed in fi nger exerci e O BJ E
I II III IV V
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Hav e the primary a n d s co n dar y acce t clearl y d efin ed heard P lay al s o ‘ ‘ ‘ m n J J J M J J J 3 M [ l g lg i i u n til they ca n b e reco gni z d by s o n d Then melodi es wr itt en in t i m e s ho ld b g i v e n n s
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37
.
mann
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E A RS
38
BRA IN
,
A ND
FING E RS
The heari ng Of Harmo n y i f more i m portance to t he m sicia n t ha n the mere ability t o w rite a melody by ear The me n tal di cipli n e gai n ed b y writi n g melodie a nd di ffic lt rhythm f rom hearing t hem played prepare t he w ay for the heari n g f H ar mo n y w hich i a more di ffic lt matter The heari ng Of t he i n ter val Of the C m ajor cale S ho ld by thi t i m e g i v e n di ffic lty The fir t s tep in t he hearin g f chord i to recogn ize the To n ic t riad w hich the p pil s ho ld n d r ta n d i f o r med on t he k ey s o
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P lay t he three t o n e s of t he chord in s u cce s s ion
.
acc nti n g the m tro ngly s
e
,
Then play them to gether :
.
eldom di ffi c lt to hear proceed in t h ame wa y wit h G B D the D o m i n a n t chord of G maj or a n d F A G t h S b D o m i n ant The p pil s ho ld t el l t he t o ne s of the chord by ear nd ho ld realize that t he t o n e O f t he To n ic D o m i n an t a n d S b D o m i na n t “ chord s are all in the family of C major The e thr e chord r pre ent three cla se s i n to w hich all chord may be di vided C on e q e n tly the more thoro ghly t h y are learn ed the better it will be f or the w ork later n The p pil ho ld be able t o b o t h p l ay a nd write the e chord aft er hearing t hem played As
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P roceed
the ame way w ith t he To nic f C mi n or re that t h p pil a n ea ily reco gni e the di fferen ce bet w ee n B maj or n d mi nor by ear D o the am e w i t h the S b D omi n a nt f C mi n or in
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compari ng thi with t he S b D o m in an t of G major t hat t he p pil The D o m i an t i m y realize the di ff ere n ce bet w ee n t he t wo the s ame in bo t h keys F ollo w thi am plan thro gho t all the maj or nd minor cales I t will t ake s ome ti m e to do t h i s well The p pil ho ld be able t o b o t h play and wr it e t he s e chord a fter heari ng th m play d u
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.
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.
E A RS
BRA IN
,
A ND
FING E RS
39
TE CHNI CAL WO K (WRI S T A CT I ON) In addi tio n to the de v elop m e n t f t he co n cio n e o f a li ght “ w r i t w hich w b r o ght abo t by the Rockin g Wri t exerci e the pri n ciple f the m o v e m en t o f t he ha n d from the wr i t “ wr i t w r k comm o n ly kno wn ho ld b taken p Thi s i al o b t do n e at the table at fir t The ability t o let the ha d drop f it wn w ei g ht from t he w r i t witho t a ny e ff ort at triki ng do w n i the fir t t p With the w ri t held lightly hi gh r than th l vel allo w the han d to ri e lo w ly n d li ghtly d d r op do wn n to the tabl In the fir t wo r k f or fing r actio n it will be r m e m bered that t he fi nger w S lo w ly rai ed n d allo w d to f all li g htly In thi ex rci e for the wri t thi n k o f the ha d a fi ng r the w ri t havi ng t h ame relation to the han d that t h kn ckle had to the fi n ger The han d ho ld n t be p lled back w ith f orce or tensio n b t rai ed ea ily a n d li ghtly At the k yboard allo w the ha n d to d r op li ghtly n to the third finger that i the lo n ge t th n n the th m b n d thi r d fi ger then n t w n d f o r ; t he n th r ee d fiv ; the n n d fiv n the i nt r v al f a 6 th After the idea o f li gh tn e h b en gai n d t h ha d ho ld mo v e more q ickly b t keep t h am e co n ditio n Th x rci e may be practi ed with i n crea i n g peed R
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The more rapid t he motio n t he m ore clo ely t o the key m t that with th ixteen th the m o ve m e n t app r oxi mat n play a v ib r atio n f the ha n d t r ation o f thi pri cipl in i m pl f or m xa m i n t h n ill A E lf n t n by P arlo w ; Th Cl k by K ll k ; A t th B l ck mith by Z il h ; S w F l k by S h y tt F o r Old r p pil the M n d l oh n S ch r i n E mi n r ; D eb y A r b q i n G ; or M o ko w ki E ti n ll The w r i t practice i the begi nn i n g o f octav w o r k w hich co m e in m o r ad a n c d ta g s
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E A RS
40
.
B RA IN A ND FING E RS
C T O F THE LESS O N L ear n t o hear 6 / 8 t ime in s i n gle t o n e s a n d me l odi e L ear n t reco gn i ze t he To n ic D omi n an t a n d Sub D om chord s in C maj or a nd C m in or b y s o n d B eg i n wri s t work O BJ E
I
.
11
.
ina n t
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E A RS
42
Play f o ur q u arter s
B RA IN
,
FING E RS
fir t s
J n
AND
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t h en
oti n g the di vi io n o f each bea t i n to f o F ollo wi n g t he s ame idea a be f ore s
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Older p pil ho u ld be able to h ar xa m ple like
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n a m H u nfi I u e p P pil ho ld p racti e th e rhythm exerci e at ho m e f or con ce tratio playi g Middle C or tappi g t he m w ith a pe cil i g the m tro ome The n play them f or the t acher riti i d i h t r t t h d t t c t i n i d i l i M d i m y g rhy t hm S ho ld be gi e n F or example v ario I J H 4 4
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BR A IN A ND FING E RS
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h e a ri n g of th e T on ic D om i n a n t a n d in th e ir i n v e r s i on s s h ou l d n ow b e gi v e n : ,
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T h e s e ch ord s ma y b e i n tr od u c e d in oth e r k e y s a l s o T a ke t h e k e y s of G m a j or a n d F m a j or fir s t Th e p u p i l s h ou l d u n d e r s t a n d th a t in th e k e y o f G ma j or t h e ch ord G B D w hich h e p re v i ou sl y l e a rn e d a s D om i n a n t o f C i s th e T on i c of t h e n e w k ey a n d th a t t h e ch ord C E G i s n ow t h e Su b D omi n a n t i n t h e In F m a j or th a t F A C is n o l on ger Su b D omi n a n t n e w key b u t T on ic a n d C E G i s D omi n a n t in t h e k e y of F F or chi ld re n t h e m e l od i e s ( w hich s h ou l d s ti l l b e gi v e n in the e a r tr a i n i n g) w i l l n e c e ss a ri l y r e m a i n q u i t e s i mp l e a n d s h ort a s t h e mu s ic th e y s h ou l d b e p l a y i n g b y this tim e a n d f r o m w hic h t h e mel od i e s s h ou l d b e s e l e ct e d i s of s i m pl e ch a r a ct e r — a o e e n o o m m r c pl ic ted w rk for O l d e r p u p il s ma y b e gi v ex ampl e : .
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for
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J J J fi D J fi E n JJ JJJ J l J fi g lg n ” g ; ‘
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Aft e r th e e in m e l od i e :
s
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b e h e a rd
on o n e
t on e i n tr od u c e th e m ,
L e s c h e t i z k y Ma z u r k a ,
v ry v l bl a id in d v l pi n g c n centr ti n i s t h e h a ri ng of s ch p ss g s P pil s s lly th f l l w in g l f m o h I n t ite c f s d tr i h r th fir s t x n m t o i n n p y g q i n s t n c the f ct th t t h s q n c D E F s h r p i s r p a t d f ou r ti m s in t h fir s t m s r i s r rel y h r d b y t h p p i l t fir s t s ld m r l iz s th t th s e thr t n s c omb in d w ith A nd h f r m the n tire me s re The t ch r s h o l d pl y the s x mpl es in s l w er t m p th n i s c ll ed fo in th e ori gi n l A n oth e r
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A ND
F I N G E RS
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(THE C LO S E T O U CH) U p t o thi s p oi nt t h e t e ch n ic a l w ork h a s b e e n d on e e n tirel y w ith t h e hi gh fi nger a cti on in or d e r t o e st a b l i s h th e c orr e ct con d iti on of th e h a n d a n d a r m B y the ti me p re p a r at ory w ork fo r t h e sc a l e h a s b e en d on e the c on diti on of r e l a x a ti on s h ou l d h a v e b e c om e s o n a t u ra l th a t th e fi nger w ork ca n b e d on e c l os e t o th e k ey s a n d n ot a ff e ct t h i s c on d iti on Thi s c l o s e w ork s h ou l d n ot b e d one u n ti l the fi nger F or if it i s d on e a t fi r s t i t c au s e s t h e a ct i on i s we l l es t a b l i s hed t on e t o c ome t oo m u ch f r om th e a r m h a s a t en d e n cy t o ma ke the “ t on e h a rd a n d t o ti e u p t h e pl a y i n g appa r a t u s s o th a t f ree d om i s i mp a ir e d Th e fi n ge r e x e rci s e s a s o ut l i n e d in L e s s on 3 a r e a dher e d t o Pl a ce th e h a n d in p os iti on r e s ti n g on t h e d ep re ss e d k ey s a s a t fir s t Th e fi n ge r w hich i s t o pl a y c ome s u p a s fa r a s th e k ey it s el f c om e s ( in oth e r w or d s i t d oe s n ot l ea v e t h e s u r fa ce of the T h en w ith a q u ick d o wn w a r d s tr ok e of th e fi n ge r th e t o n e k ey i s p r od u c e d It mu s t b e ob s e r v ed th a t the t on e i s p r od u c e d b y fi n ge r a cti on a l th ou gh th e fi n ge r h a s n ot l e f t the s u rfa ce of the k ey Gr ea t ca r e mu s t b e ta k en tha t thi s TE CHNIC A L
W
ORK ,
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fr om the a r m Th e q u a l ity of t on e de p e n d s u p on the l i ght n ess w ri s t a n d a rm oi t h e a n d t h e q u ick n e s s oi th e s h ort fi ng e r str ok e T he t on e s a r e p r od u ce d b y a p u nch
”
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.
Cu t V
.
EA R S
50
,
B RA I N A N D
FI N G E R S
h e a r 8 th s a n d tri p l e t s in c om b i n a ti o n t in u e m e l od y w ork II I D o tech n ic a l work c l o s e t o t h e k e y s II
.
Lea rn t o
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! II
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Th e h e a ri ng of i n t e r v a l s w a s b e gu n one a n o
t her
The
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d e fi n it e
h e a ri n
w i t h s i gl t n s f ol l w i n g ld g f t w v ic s t n c s h w l l t i n t rod c t h s p cific ls ( M j r n d mi n r 3 d n
o
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t a k e n u p I t w ou l d b e e o u e e e s iz e of i nt e r va l s a t th i s p oi nt a o a o a o r s p e r f e ct 4 th s e t c ) I t i s n e c e ss a ry for chi l d r e n t o h e a r t w o v oic e s a t on c e b e c a u s e s o m a n y of t h e e a s i e r c omp os iti on s a r e w ritt e n in t w o v o ic e s Fo r t h e chi l d r e n a s w e l l a s t h e ol d e r pu pi l s t hi s tra i n i n g s h ou l d p r e c e d e t h e p l a y i n g of p ol y p h on ic w ork s w hich a r e s o v a l u a b l e for t h e i n t e l l e ct u a l a s w e l l a s t h e t e ch n ic a l d e v e l op m e n t V e ry s i mpl e a n d s h ort p a ss a ge s s h ou l d b e gi v en a t fir s t p a r t icu l a r l y t o chi l d r e n — th a t t h e p r ogr e ss i on of e a ch v oic e m a y b e c l e a rl y h e a r d F or e x a mpl e : n ow
be
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S c r l at t i a
51
EA R S
52
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B RA I N
A ND
FI N G ER S
he n t h ese can b e e a s i l y hea rd a n d w r i tt e n t h e t wo c l e f s ma y b e i n tr od u c e d T h e s op ran o a n d b a s s v oi ce s of t h e c o mpl ete c a den ce may a l s o b e gi v en h ere a s a p rep a r a ti on for t h e h e a ri n g of t h e c a d e n ce ( See C h a p t e r X I V ) W
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0
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.
so i n o h r y s t e
ke
WORK (SCALE S) rci s e s f th e s c l e h a v e
TE CHNI CAL
or Th e fi r s t p re pa r a t ory ex e b e en for t h e a de v e l op men t of th e r a p i d ity o f th e th umb in p a ss in g u nder the ha nd T h e n ext ste p i s th e j oi n in g of t h e t wo gr o u p s and th e p a ss i ng of th e h an d over the thu mb To i ll u s tr a te thi s h ol d 0 w ith t h e th u mb ( h a n d ob lique ) t h e n — l a B ou n n w ith th e f rt h fi e r a D w i t h the sec d b e in g c a re d n o p y g fu l th a t the h an d a n d a r m r e t a i n th e s a me ob l i q u e p os i ti on a s th e y p a ss fr om B to D T hey sh ou l d mov e s l owl y a nd ste a di l y w it ho u t a q u ick j e rk a ll ow i n g on e c ou n t for th e s i l ent t h umb in — a nn th i s m er (the h an d pa ss es d u ri n g th e q u a rter rest ) .
.
,
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T h u m b held Th e s e t w o me a s u r e s f or m a n u c l e u s f r om w hich the s c a l e ma y b e b u i l t u p b y a ddin g a t on e a t the t op a n d b ott om e a ch ti m e u n ti l t w o o ct a v e s h a v e b e e n p l a y e d T his gi v e s v a ri e ty t o the .
.
EA R S p r a ctice
and al
.
B RA I N
FI N G E R S
53
so b ri n gs a b ou t m a ny r e pe titi on s
c on s ci ou sl y F r om thi s poi n t the f ou r fu rth e r p r e l i m i n a ry w ork un
A ND
of
the
e
x e rc i s e
.
o
ct a v e s c a l e ma y
b e d on e wi th ou t
.
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.
p la yi n g t her e
Kn owl e d ge
.
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.
O b l i qu e po
Loos e
of
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wri s t
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on of
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ale
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.
.
m f rom the kn u ckl e s
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.
cti on ( Hi g h fin ger a cti on a n d c l o s e fin ger a cti on ) C u r v e d fi n ge r s 5 th 6 th !u ick n es s of th e u p a cti on O f t h e fingers Pa ss i n g of t h e th u mb u n d e r q u ick l y 7 th Se n s e O f rh y th m 8th Ha n d s l i ght l y ti p pe d t owa rd th e 5 t h fi n ge r a s t h e 9th m ov eme n t i s in th a t dire cti on —ti pp e d t owa rd th e th u m b a s t h e m ov e men t i s in th a t d ir e cti on l oth D e pre ss i on of wri s t a t t u rn in g p oi n t s 1 1 th St e a d y p a!s i n g of t h e a rm 1 2t h E v en n e ss of t on e q u a l ity de v e l op ed b y ke e nn e s s of h ea ri n g Chr oma ti c s c a l e s a r e pl a y e d in a s i mi l a r ma nne r t o d i a t on ic s c a l e s T h e wri s t may b e h el d s omewh a t hi gh e r on a cc ou n t of th e f re q u en ce occ u rr e n ce O f b l a ck key s Th e th u mb s h ou l d b e n e a r e n ou gh t o th e e d g e of the b l a ck k e ys s o th a t th e y h a v e t h e s a me rel a ti on t o th e h a n d a s the w hit e key s a n d th a t the a rm may p a s s al on g in a s tr a i ght l i n e f r om ri ght t o l e f t w ith ou t g oin g z ig z a g b a ck a n d f o rth Th e p r a ctice o f chroma tic s c a l e s i s of pa rtic u l a r a d v a nt a ge in d e v e l op i n g fl u e n c y in th a t th ey r eq u ir e a l i ght th u mb a n d t h e f r e q u e n t r e c u rr en ce of th e th u m b g i v e s thi s unr u l y m em b e r O f t h e h a n d s p e ci a l tr a i n i n g 4th
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r e c ogn iz e t h e sp e cific s iz e O f i nt e rv a ls b y L e a rn t o h e a r t w o v oic e s b y s ou n d Lea rn to
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so
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EA R S
54 III o
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x e rci s e
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DO t h e p rep a r a t ory
r t h e th u m b in s c a l e s I V B e gi n t h e p r a c t ic e
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the a b i l it y t o he a r t h e T on ic Domi na nt a nd Su b Domi n an t tri a d s w he n p l a y e d s i n gl y s h ou l d n ow b e a c u ir ed the a b i l ity q to h ea r them in c omb in a ti on i s t h e n ext s t ep Thi s w i l l not p r e s e nt a n y s p e ci a l di ffic u l ty i f t h e s i ngl e ch o rd s w e re w e l l l e a rn e d B e g i n a s f ol l ows : ,
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T ra n sp o
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m ajor 55
EA R S
56
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th e s e ch or d s for t h e e a r tr a i n i n g work it i s w e l l t o T h en if it p l a y th e m fir s t w ith a l l thre e v o ic e s e q u a ll y s tr on g i s d i ffic u l t t o h e a r th e m th ey s h ou l d b e pl a y e d a ga i n fir s t e m p h a s iz in g t h e u p p e r v o ic e th e n in t u r n t h e mi dd l e v o ic e a n d t h e In th i s w a y t h e f a ct th a t t h e ch or d s a r e f or me d l ow e r v o ice b y t h e c omi n g t oge th e r of thr e e v o ic e s e a ch 0 1 w hich h a s it s ow n mov e me n t ( v o ic e l e a d in g) w i l l b e b e tt e r r ea l iz e d Th e pl a y in g of t h e T on ic ch or d a t t h e b e g in n i n g of t h e com Th e Su b D om i n p l e t e c a d e n c e ( s e e A )g i v e s t h e p u p i l t h e k ey a n t f a l l i n g on t h e s tr on gl y a cc e n t e d fir s t b ea t of the n e xt m ea s u re W hi l e gi v e s h im t h e s e n s e of it s l ea d i n g t ow a r d t h e D omi n a n t t h e fi n a l T on ic ch or d f oll ow i n g a ft e r t h e D om in a n t g i v e s h im th e r ea l iz a t i on O f fi n i s h or c ompl e ti on T hi s p r ep a r e s h im for t h e h e a ri n g of t h e c a d e n ce in the fo u r v oiced h a r mony w h ic h c om e s l a ter If th e p u p i l h a s d iffi c u l ty in rec ogn i z in g t h e k e y w h e n t he s e ch or d s a n d c a d e n c e s a r e p l a y e d in oth e r key s t h a n C m a j or he ma y b e gu id e d in d e t e r mi n i n g t h e k ey n ot e b y c o mpa rin g it w it h mi d d l e C F or i n s t a n ce i f t h e ch or d s a r e t o b e gi v e n in G m a j o r In p l a y i ng
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(OCTAVE S) Th e w ri s t w or k ou t l i n ed in Ch a p t e r I! i s r e a l l y p r e p a r a t ory for o ct a v e s Th e a b i l ity t o dr op th e h a n d f r om t h e w ri s t a n d t o r e t a i n thi s r e l a x e d c on d iti on in r ap i d it y h a s g r ea t v a l u e in o ct a v e pl a y in g It is n e c e ss a ry t o h a v e s u fficien t str e n gt h in the fi f th fi n ger sid e of the h a n d t o b e a b l e t o drop t h e h a n d on t o t h e th u mb a n d fi fth fi nge r s a n d sti l l h a v e th e w e a k e r s i d e of t h e h a nd a bl e t o r e c e i v e th e w e i ght p u t u p on i t Th e r e a r e s p eci a l e xerci s e s for t h e d e v e l op me n t of thi s p o i n t b u t a s th ey s h ou l d b e sh ow n b y a t e a ch e r in order t o b e s u cc e ss f u l ly d on e th e y ca n n ot b e g i v e n h e re T h i s prin ci pl e O f t h e d ropp i ng of t h e h a n d is a pp l i e d t o s t a cc a t o F or e x a mp l e t h e op e n i n g me a s u r e s o f pa ss a ge s in s i n gl e n ot e s M os zk ows ki s J u ggler ess t h e D e b u ss y A r a b es qu e N o 2 or the B r a h m s C a p ri cci o i n B mi n or In di a t on ic or c h r om a tic o ct a v e p a ss a ge s or a c omb ina ti on of th e t wo a s om e w h a t d i ffe r ent tr e a tm ent is n e c e ss a ry Th e w ri s t i s h e l d c on s i d e r a b l y h i gh e r w ith the t h u m b c l os e t o t h e e d ge of t h e b l a c k k ey s In fa ct th e t h u mb s h ou l d mov e a w a y f r om t h e b l a ck k e y s a s l itt l e a s p oss i b l e Th e f ou rth fi n ge r s h ou l d b e u s e d on t h e b l a ck k ey s i f this fi n ge r is c on v e n i ent for th e h and If t h e h a n d i s s ma l l or s o s h a p ed th a t it i s v e ry a w k wa r d t o u s e t h e fou rth fi n ger t h e fi ft h may b e u s ed i n st e a d Th e t on e i s p r od u c e d b y th e fi nge r s in c omb i n a ti on w ith a s l i ght v i b ra ti on of the h a n d a t th e w ri s t As a p r el i min a ry exe rci s e for thi s ki n d O f o c t a v e s t h e pl a y i n g of t h e chr oma tic sc a l e b oth l e ga t o a n d s t a cc a t o w ith t h e f ou rt h a n d fi fth fi n ge r s a l on e is a d vi s e d : TECHNI C AL
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i gh t l in e Th e s a me ma y b e d one w i th t h e th u mb a l on e T h en p r oce e d with th e k e e p in g it c l os e t o the bl a ck k ey s o ct a v e s T h e re i s a l s o a n e l e v a ti on a n d d ep ressi on of the wri s t wh en pl ay in g this k ind of oct a v e s a cc ord i n g t o the wa y the pa ss a ge i s w r i tte n T h e a d va n t a ge in pl a y i n g mel odic pa ss a ge s w ritte n in o ct a v e s in thi s wa y i s t h a t th e y ga i n a mo re c onn e cted a n d mel odic c h a r a cter in st e a d O f b e i n g mer el y a s u cc e ss i on of o ct a v es a n d th ere i s th e g r e a te s t pos si b l e ec on omy of mot i on Th e mor e t on e dema n ded in a n o ct a v e p a s s a ge t h e more the F or exa mpl e t h e M en d e l ss oh n a r m f orce i s c a ll ed i n t o p l a y S cherz o ( e n d of th e p a s sa g e in o ct a v e s ): a
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EA R S h e a vy
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ct a v e p a ssa ges w here fo rt i ss imo o ct a v e s a r e d ema n de d for s e v er a l m ea s u re s it i s im port an t t h a t the s l ow p r a ctic e b e d on e in the ma nn er w hic h w i ll gi v e the mos t t on e a n d s p e e d in v e l o city In s u ch a c a s e th e r e s h ou l d b e v ery l itt l e i f a n y m ov emen t of t h e h a n d f r om t h e w ri s t O n t h e c ontr a ry t h e h i n ge i s a t the e l b ow Th e h a n d s rem a i n c l os e t o t h e k e y s b u t t h e m ov e me n t f r om on e o ct a v e t o th e n ext S h ou l d b e m a d e a s q u ick l y a s p oss i b l e T he wri s t i s a ga i n h i gh t o ga i n t h e s tr en gth of th e th u mb Su ch oct a v es a r e fa ti gu i ng a n d s h oul d b e p r a cticed on l y a f e w ti m es in s u cces s i on In a p a ss a ge l ike t h e foll ow in g f r om Le s chetizky s I nter me zz o i n Octa ves it i s b e s t t o thi n k of p l ay i n g t h e e n t ir e p a ss a ge f r o m on e impu l se of the a rm In
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th e ti me w h e n t h e c omp l ete c a d e n c e ca n b e w e ll h e a rd th e p u p i l i s th or ou g h l y p r e p a r e d for a s p e ci a l Ha rm ony t e a cher a n d sh ou l d w ith ou t q u e s ti on m a k e the ory w ork a p a rt of his m usic st u dy F r om thi s ti me on t h e d e v el opment O f t h a t b r a n c h of e ar tr a i n i n g i s c on ti n u ed b y th e s s te ma tic st u dy O f Ha r mony y a l on g th e s e l i n es In ord e r t o m a ke t h e a b il it y t o h e a r th e c a den ce of sti l l m ore p r a ctic a l v a l u e ex a mp l e s sh ou l d b e g i v e n f r o m c omp o siti on s in w h i ch the s e ch or d s c on stit u te the u n derl y i ng h a rm ony T he te a ch e r s h ou l d p l a y t h e exa mp l e gi v en a n d t h e p u p i l sh ou l d t e ll th e ch ords on w h i ch i t i s w ritt e n fr om h ea ri ng it If thi s i s t oo d i ffic u l t a t fi r s t t h e t e a ch e r may p l a y the pl a y e d sim e h a rm on ies for h im t o he a r a n d then r ep e a t th e p a ssa ge th a t h e m a y l e a rn t o rec ogniz e th e s a me hh or d s in th e form in w h i c h they a pp e a r in th e ex a mp l e At
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T h e f ol l ow i n g p a ss a ges w rit t e n in t w o v oi ces a re t o b e u s e d a s a c ontin u a ti on o f th e exerci s e s for c on c e n tra t i o n g i v e n in Ch a p ter X I ( Her e a s in C h a pter VI th e l ength o f th e p a ss age g i v e n m u s t b e d eter m i n ed b y th e r e t en ti v en e s s o f t h e p u p il ) B ee t h o e n .
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don e , he ha s ga i n ed l i tt l e or n ot hi ng whi ch wil l hel p hi m to p eda l O th e r e x a mp l e s of thi p oi nt a r e : a n ot her comp osi t i on we l l Cha n s on Tri s t e , b y T ch a ik o ky , a n d P relu des , Nos 1 , 7 , 1 5 a n d so
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Ch op i n A n ot h e r ex a mp l e of t h e c onn ecti on of the f u n d a H er e i s m e n t a l t on e i s i l l u s tr a ted in th e f oll ow i ng me a s u r e s p r e s e n t e d t h e p r ob l e m of t h e f u n d a me n t a l a s a p a rt of a n a r p e g g ia t e d ch or d w h ich i s o f t oo g r e a t a s tr e tch for t h e or d i n a ry h a n d t o r e a ch In s u ch c a s e s th e f un d a m e n t a l t on e i s re a lly f a n m e a tely a d m ed th e l a s t th e r e c e d i n m e s u re i s i di l a o t a p g p y c a u ght b y th e pe d a l w hi l e t h e t op O f the a rp eggi a ted ch ord c om e s in w it h th e r i ght h a n d F or ex a mpl e : He l l r P l d 0 p 81 N91 17 by
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m os t s i mp l e b u t e ff e cti v e m e a n s i s t o g i v e t he im nu en d o b y t h e u s e O f t h e p ed a l r ss i cr s c i i n m a d d n e e d o f e o n o p Th e p a ss a g e i s r e a ll y pl a y e d cr e s c e n d o w i t h a s u d d e n p i a n i ss i m o f oll o wi n g i t Th e p e d a l b e i n g h e l d r e t a i n s t h e t on e of t h e cr e s F or c e n d o a n d gi v e s t h e e fl e ct of st e a d i l y d im i n i s hi n g t on e s e x a mpl e : On e
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T h e D omi n a n t a rpe ggi o c omp l e t e l y v e i l s th e b y t on e s in t h e s e c ond me a su r e ma ki n g th e D omi n a n t ch a ra ct e r O f th e p a ss a ge cl e a r t o t h e l i s t en e r Pl a y thi s wi thou t p eda l a n d a l so wi th other Se e a l s o H e ll e r P rel u d e peda lin gs t o d i s ti n gu i s h th e d iff e r e n c e 0 p 8 1 No 3 (m e a su re s 6 1 S ch u b e rt L i s zt F r uhli ngs gla u be -
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b ri l l i a n t sca le p a s s a ges t h e p e d a l m a y b e u s e d pr ov i d e d t h e foo t i s r e m ov e d f r om th e p e d a l i mmedi a te l y a t the e nd o f t h e p a ss Su ch p a ss a ge s s h o u l d b e i l l u s t ra t e d fir s t wi t h ou t p eda l ; a ge s e cond wi t h the p eda l h e l d ove r t i me ; t hi r d wi t h i t cha n ged on ce or t wi ce d u ri ng the p as s age ; a nd fou r th h eld t hr ough ju s t to the end a s In
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H I S T O R Y M U S I C A PP R E C I A T I O N A ND D E F I NI T I O N S Ka r l W G e h r k e n s A M Es s e n t i a l s i n C o n d u c t i n g O n p e r s o n a l r e q u ir e m e n t s t e c h n i c o f t h e b a t o n i n t e r p r e t a ti o n r e h e a r s in g p r o g r a m m a ki n g e t c 1 O u t l i n e s o f M u s i c H i s t o r y C l a r e n c e G H a m il t o n A M A co m p a c t c l e a r c u t w o r k for c l a s s u s e a n d t h e F u l l y i ll u s t r a t e d 1 ge n era l r e a d e r M u s i c A p p r e c i a t i o n C l a r e n ce G Ha mi l to n A M B a s e d o n m e th o d s o f l it e r a r y c ri ti ci s m thi s u n i qu e t e x t bo o k i s fo r th o s e w h o w is h t o l is t e n t o m u s i c w i th q u i c k e n e d h e a ri n g a n d r e a l u nd e r s ta nd i n g Wi th 24 p o r t r a i t s 28 d ia gr a m s a n d o v e r 200 C O ND U C T I N G
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c u ts M s i c C l b P r g r m s fr m Al l N t i n s Ar th u r El so n Ou tl in e s t h e v a ri o u s s c h oo l s fro m a ll n a tio n s wi th a ri c h s e rie s of p ro g r a m s a n d o v e r o n e h u nd r e d po r t r a it s Ma c i ti n s i c l D fin So m E n ti l in M C o nn e ll A m a n u a l of d e fin i t e i nfo r m a ti o n co n ce r n in g t h e po i n t s e v e r y m u s i c s t u d e n t s h o ul d b e mu si c u
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AHM S J O HANNES F orty Song s H igh V o i ce L o i FRAN Z ROB ERT F i fty Songs H i gh V o i ce L w GRIEG E D V ARD Fifty So n g s H igh V o i ce L w V o i ce HAND EL GEO RGE F RIDERIC V l I Song s and Ai for High Voi ce V l II Song s and Air s f o r L w V oi ce J EN S EN AD OLF Fo rty Song s H igh V o i ce Lo w V o i ce LIS Z T FRAN Z Th irty Song s H igh V o i ce Lo w V o i ce SCHUB ERT FRAN Z Fifty Song s H igh V o i ce Lo w V o i ce S CHU MANN R OB ERT Fift y Song s H igh V o i ce L w V o i ce STRAU SS RIC HARD Forty Son g s H igh V o i ce Lo w V o i ce TC HAIKOV SKY P I F orty Song s H igh V o i ce Lo w V o i ce BR
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AGNER RICHARD Ly ri f T n W AGNER RI C HAR D L yri c s f Ba itone an d A mb W O LF HU GO F ifty Song s H ig h V o i ce Lo w V o i c e N FIFT Y MASTERSONGS H i gh V o i ce Lo w V o i ce He n r y T FIFTY SHAKES PEARE SO NGS H i gh V o i c e L w V o i ce V i n ce n t M M ODERN F REN C H S O NGS V l I B e mb e rg to Franck h i li p P H gh V Lo w V V l II Ge o rg e s to W d o r ! ONE HUN D RE D F O LKSO NG S O F ALL NAT I O N S Me di u m V o i ce G ra n vi ll e B ONE HU ND RE D S O NGS O F ENGLAN D H igh V o i ce L w V o i ce G ra nvi l l e B SEVENTY S C O TT I SH S ONG S H ig h V o i ce L w V o i ce He l e n H p S I! TY F OLKSO NGS 0 F FRAN C E Me d i u m V o i ce J u l ien T S I! TY PAT RI O T I C S O NG S O F ALL NATI O N S Me d i u m B S O NGS B Y THIR TY AM ERI C ANS H i gh V o i ce Lo w V o i c e H S O NGS FRO M THE O PERA S F OR S O NGS F RO M THE O PERA S FO R ME Z Z O E K S O NGS FRO M THE O PERA S F O R ALT O S O NGS FRO M THE OPERA S FOR T ENO R S O NG S FR O M THE O PERA S F OR BARITO NE AND B A SS E K i es Eac h volum e in h eavy p p er cl o th b a k in fu ll cl oth gilt O th er volum e s in pr ep ra tion B ook l et s g ivin g f ull particul s th po rtrai ts Ed i t o rs of volum es pub li sh ed FREE o n reque st T h ese w o r k s wi l l b se n t w i t h r e t u r n p ri vi l e g e t o t h o se w i t h a cc o u n t s i n g oo d s t a n d i n g NO TE ip t f pf t o t h o se w i t h n o a cc o u n t p w hi c h ll b r e t urn d l ess p o s a ge i f n o t s a t sfa c t o r y \V i t f f o u r E a s y Pa y m e n t Pl a n p a r t i c u l ar s W
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A TE! T B O O K F O R
PIA N O TEA CH ER S A N D PU PIL S .
BY
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B O S T ON O
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D I T S O N C O M PA N Y CHI CA G
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Copy right, 111 CM ! I V B Y O LI VE R D ITSON I n ter n a tion a l Copy right Secu red
PREF A CE l
T he w r it er w i sh e s to make g ra t e f u l ac kn o wl e d gme n t to Pro f T heodore L es che t izky f or man y o f t he idea s .
exerci s e u s ed in t hi s b o k He ma k e s n o claim f eeli ng a he doe th at i t is a L e che t iz ky M e t hod “ t ha t t h e so called Les che t izky M e t hod ca nn o t b e emb odied in a ny b o k b eca e it i L e che t izky him elf Thi v ol me w il l erv e it p rpo e if i t help t he t eacher n d p u pi l t o realize t ha t in m ica l de v elop me nt it i ear n e tne o f p rpo e u n i t ed i t h co n een t t e d i n t elli ge n t li ten i n g w hich make s e v ery eff or t co n t W i t ho t the t rain ed mind n d t he fi n ely c lti v ated m ica l hear ing t he fi n ger n b ecome merely a t o mata i n capable o f co nv eyi ng either t ho ght or f e li n g H O W ARD WE LL S a nd
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CO NTENTS PA G E I
CHAPTER I I NTR ODU CT O R Y II How To GIV E AN D
III IV V
VI
TAKE A PIAN O LESS ON THE F IRS T P I AN O L ESS O N HEAR IN G S IN G L E TO NES ; TIME ; ROCKIN G WRI S T E! ER CI SE AND HEARIN G TIME ; B E G INNIN G MEMORIZ IN G ; Fm G E R A C T I O N HEARIN G ME L ODIES ; EI GHTH N O TES ; ! CK F m G S TR OKE ; F ING ER WO R K IN C L O SE P O S I TI O N HEARIN G ME L O DIES W I TH UPB EA T ; RE S T S ; Em c R WO RK IN FREE P O S ITI O N HEARIN G D O TT ED N O TES ; B ASS C LE F ; Fm GER WORK IN FREE P O S I TI O N W I TH INC EASED S PEED HEARIN G TIME ; H EAR IN G TONI C Dom m r AND — SU D OMINAN T TR I ADS ; WRI S T WOR K HEARI N G TR IP LE T S S I! TEEN TH S AND THIR TY—S E CO NDS ; PR PA A T OR Y WOR K F OR S CALES HEARIN G IN V ERS I ON S O TO NI C D OMIN AN T AND SU B D OMIN AN T TR IAD S ; E! ER CI SES F O C ONCE NTRA TI ON ; THE C L O SE TO U CH H EAR IN G Two VO I C ES ; S CALE S HEAR IN G TO NI C D OMIN ANT AND SU B D OMINAN T TRIADS IN C OM B INATI O N ; ARPE GGI O S HE ARIN G C OMPLE TE CADE NC ES ; OC TAV ES HEARIN G CADENC ES m C OMP O S I TI ON S ; P O LYPH ONI C WORK ; VE LOC I TY H EAR IN G CADE NCES (C ontin d); CH ORD P LAYIN G HEARIN G 0 F PHR AS IN G DYNAMI C S AND P EDALIN G ; ME MO RI IN G S OME U SE F U L HIN T S
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fact t ha t u methods o f traini ng lack the y s t em which we hav e in other b ra n che s of ed u catio n ! C n w n t t race the di ffic l t y t o the almo s t u ni v ers al lack of S YS TEM A TI0 tr i n in g f th e t the fa i l re t d vel p th e p ower s of con centrati on a nd to the n egl ct tab l i h the t chni c l w rk p n the co rect b a si ! T he be t to trai ni ng is that which make s t he p upi l c apab le of s elf d v l p m nt I f the p pi l h bee n t a gh t t o l i s t e n t o m us ic int l li w ithi n him elf a co n ta n t s o r c e of i n t r u c t io n a n d g e nt ly he h impro vem e n t w hich en able him to l earn from li t eni ng t o others n d w h i c h g i v e s him the abili t y t o hear him s el f Thi s ability to hear o ne el f cann ot be attain ed su dd n ly On t he c o nt rary i t i to be ac h ie v ed o n ly by y t ematic t ra i ni n g F r om t h e V ery F i r s t L e s son t hi s s ho l d b e t h e m ai n poi nt in the mi n d of bo t h teacher a n d p pi l Ev en t ho e p upil s wh are f ort un ate en o gh t o have a good ear naturally re q ire s pecial trai n i ng in ord r t o kno w h ow t o u se t heir en s e of heari n g a n d to de v elop t he co n ce n t ra t io n of m i n d w h i ch i n ece s ary t o ma k e it v al able t o t hem L ck f p r ogres a n d l ack f i nt r est n t he p art of a p u pi l in to a n eglec t o f t hi s i m por t an t part h i m s ical s t dy is ofte n d o f t he work The p u pil canno t be expec t ed t o impro v e rapidly w he n he is i n capa b le o f hear i ng wha t h e is d oi ng or w ha t he is o
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t b e s cces sful l y ta ught b y th u f the y s a nd fi ng rs l one G ood t eacher s are ea li in g t hi a n d are de v o ti n g more a tt e n ti o n t o ear t rai ni n g b t n f or t una t ely it i oft en b ro u gh t in too l a t e t o b e of p rac ti cal b e n efi t The trai ni ng of the r s h ld b gi n with the l a rni n g of th note s n n d i n e c h d y s p r cti ce nd b e conti n ed i n e ch l Some t eacher s t ry t o c l t i v a t e t heir p u pil s m ica l h ear i ng b y p l ayi ng for t hem in t he l e o n b ut t he le ss o n t ime is too l i m ited a nd t he av erage p pil h a s n t s u fficien t keenne ss f heari ng t o g t a ny t hi n g defi n i t e from it W he n t he t eacher d es p lay for h is p u p i l he ho u ld b e ab ol t e l y s re t ha t t hey kno w exa c t ly wha t he is i ll s tra t i n g a n d t ha t t he i r a tt e n ti o n i ri v eted on it He ca n t e s t t heir atte n ti v e n e s s b y playi ng a p a ss age in s e v era l ways a n d ha v i n g t he p u pi l s make compar i o n Ma ny p pil s t hi n k t hey are pay i n g s ffic i e n t atte nti o n to t he c u l t i v atio n of t heir h ear i ng b y t ryi ng to hear a f w chor d w he n t hey s t dy Harmon y b t thi e ff or t come s t oo l a t e t o b e made t he i nt gra l par t of t heir m s ica l e q u i p m en t w h i ch i t s ho ul d h a v e b ee n Some p pil s achie v e a fin e s e n s e Of hea ri n g a n d t he p o wer of c o n ce n tra tio n b y l o n g co n ti nu e d s t dy a nd prac t ice n d b y goi n g to co n cer ts b t it t ake s t oo m u ch t ime to learn to li s t e n in t hi s wa y e s pec i al l y i f t he p p i l s l i v e where c o n cert are not f e i a n e t The n t oo i t s t t h e b e i nn i h n i r st d y that p u pi ls t g g f q i ng The grea t maj ority Of p u pil s h ow ne d the u e f th i r h e ver n e ver ac qu ire t hi s a b il it y t o li s t en b u t ei t her remai n ho p e le s ly medi ocre or drop o t of m u si cal w ork Why is it t ha t t hi s c o ndi ti on is n ot recognized ! B eca e most l i tene r Y et p r n s a e b l t l y ati fied with thei r p wer i f one t e s t s t he heari n g of e v en ad v an ce d s t de nt s he is gen erally a t o ni s h e d t o fin d o t t ha t t hey h av e hear d almo s t n o t h in g of v al u e O n e rea o n wh y t ra i ni n g of t he ear i s o i mpera ti v e i t ha t t he i nt erpre t a t io n f a c ompo siti o n ca nn o t s t a n d b efore on e like a p i c ture a ny other w ork of ar t which may b e e njoyed a t I t m s t be s t died w h i le it is p a ss i n g wit h l i ght ni ng l ei re do
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rapidit y He n ce the mi n d of the li t en ers m us t b e p re p ared t o gra p the impre io n q ickly The act o f l i teni n g t o m i c is in i t s elf more con d ci v e t o mi n d w an deri n g t han to co n centrated atten tio n a s m ic s o o ften crea t e a mood w hich di tract s t h attent io n tra in ing w rk i s made a p ar t f st d nt r tin i t If d v l p c n c ntr ati n nd th facu lty f lf criti i m s w l l as m thi ng d fi nit fr m th h a i g f g od m i c bil ity t ga in th T O m ch ca nn o t b e s aid a b o t t he va l ue of con centr ati n Who doe n t kn o w the type of p pil p ci ll y i n m i c l w r k fiv ho r s daily h i tho ght take n w h S it at the p ia n o fo r thi n g n d with n othin g more d fi nit in hi mi nd p w ith v ario tha n the g n r l i m to l arn to play ! t bli h the In the t c h ni c l w rk i t i f gr t i mp rt n t r ight m c l r c diti n t th v y t rt w hen the p pil i at a n ch w ork i mo t a ily do n e Th lack o f el f n g wh n f the g reate t ad v a n ta ge to him i n in a yo n g p pil i H creat n diffic ltie f or hi m el f b y h i me tal attit de a n d h i ha n d i in the n at ral tate it a n be ea ily f orm d to m ee t the r q i r em e nt f the pian o A chi ld c n acco m pli h in a f w m ch a a n Older p pil w o ld in the ame l n gth m i n t t wice o f ti m e ( R f er ce i mad f co to tech n ical w ork withi n a child gra p ) Arpeggio octave etc m st be le ft ntil h i han d h grown t o t h m chi ld ch l w rk h i n t p r mitt d t mi l arn nd In w r ngly p r cti th fi r t p ri n i p l f gra mm r nd rith m ti c with th id i n th f d ing th m r r ctl y l t r y t thi i t o ft n d m i c l t r i n i ng W hy h l d h n t b r q i r d t d th i mp l t chni c l w rk f pi n p l aying acc r t ly nd i n thi w y v tim f hi m lf l t r n ! The co mm o n rror o f th in kin g tha t c racy in m ic i fatal t o m ical expre io n ho ld be di co raged That ch a n idea i pre vale n t t all is lar g ly d e t o t he ov r a c rat p d a nti c “ an d i c l p l y ing f th e wh g t th e xtr m f m th d nm We hav e i n ta n ce f pe r f ormer w ho se playin g ff er fro m t hi S ch p layer are n t m u ical by n at re n d hav e acco m pli hed t he ir re lt by the harde t w ork Th y hav e in gen eral s
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4
BRA IN A ND F ING E RS
,
more th o ugh t for t he t chn ic f th t t han for th e a t its lf Wh e n a t den t i n der y tema t ic t ra in in g t here comes a time when he i t o co n cio of the process by w hich he express e s him el f nd i di t rbed by i t Thi i only tag i n hi d velop U nf ort n a t ely many per s o n s m nt thr ugh whi ch he m t p a s t a ge p l ay in p blic a n d in crea e t he wh o ha v e arri v ed a t t hi fal e im p re ion t ha t ys temat ic t ra in in g make t he p lay in g mechan ical When t he p ian i t h s go tt en b eyo n d t hi poin t howe v er he i n d de v elop on olid gro n d w here he i able t o t h in k for hi m el f t o the exte n t o f h i men tal n d m ical capacity m ch to b id gai n t th other extr m f a l l w Th r i q ite m ch fr d m whi ch t bli he h bit f m i ca l nd i ng t nd whi ch l t chni ca l l ov nli n d t l ck f arti ti c b a la nce P lay ing t he p ian o i n ot a n t ra l proce N o on e n cla im t ha t t he han d w orig in ally b i lt f that p rpo e St de n t are o f te n mi led by the t atem n t t ha t i t i n ot n e c e ary f or them t o go t hro gh a t horo gh co r e f t ech n ical w n relatio n t ra in in g They do n ot al way realize tha t t hei S hip t o m ical w ork i on n e n t irely di ff ere n t plan e t han t ha t If n b r v s th car r s f gr t arti t of t he ma t re ar t i t t ome ti m thr d fi nit n th t th y h a ve g n i t wi ll b gh n es of i t THE Y li ng nd th n g tt n w y fr m th con ci s ch ft n f rg t th t thi ch li ng w n c ary to gi v b l nce even nd arti ti c j d gm nt t th i r l t r d v l p m nt I t i n t expec t ed tha t t he t ch n ical w ork o t lin ed in t hi b ook S ho ld b e g iv e n t o t he excl io n o f all mus i cal w ork A f w S imple exerci e ch given here are n ec sary f or the e t ab l i h m nt O f t he p ri n ci p l f r l x ti on n d the d v l p me nt f the They S ho ld be giv en n t il t he pr in ciples ca n ha n d pi a ni ti ca l l y be cce f lly applied t o play in g compo i t ion W he n t he e eleme n tary pri n ciples are o n ce e tabli hed the dev elopment of t he co ndit ion o ght f or i a q e t ion o f Gr wth The dev otion of o n e e n ergie nd Ti m I t c nn t b f rced excl s iv ely t o t ech n ical w ork fo ny grea t len gth of tim e S ho ld n d i n ot ad vi ed n ot be n ece ary I t req ire patien ce n til t he ri gh t co n ditio n are e t abli hed F rom f o r to ei ght le o n s s u
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E A RS S ho u ld
BRA IN
,
F ING E RS
A ND
to bri ng fin ger action a nd t he t on e place m ent The con ti n a t io n o f the techn ical practice from t hi ti m e is i m ply t o cli n ch the e p oi n t s n til t hey hav e become econ d n a t re su
ffice
5
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NOTE —Te a c h ers wi ll fin d t h a t t h e a mo un t o f m at e ri a l g i ve n i n e a ch o f t h e se ch ap te rs is mu c h mo re t h an c a n b e t ake n u p i n one l e sso n B u t i t is f o u n d s i mple r t o arra n ge t h e b oo k i n t h i s wa y So me o f t h e work , p a rt i cul a rly t h e e a r t rai n .
.
o t i d o f t he r gul ar l so n t ra i n i n g r ci o t l i ned h r a re j t s u se f l f r v o i ce a n d Th v i ol i n st den t s for p i an i t s c h wo rk i v n m n In so m r pe ct y f o r t h m a t h p rod c t io n f t he i r t o n e bot h a s t o pi t ch a n d q al i ty d p n d di ct ly u po n t h i r ca ing ,
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C H A PTER I I How
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To
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AND
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A PIAN O
LE SS O N
Th e v ar i o u s b oo k s t ha t h av e b ee n wr itt en t o help t eacher s a n d p u pil s dea l wit h t he b e s t w ay s of gi vi ng l e ss o n s a n d ofi e r u s ef u l hi n t s re gardi n g p rac t i s i n g b u t n o n e gi v e a ny ad v ice to the p u pi l a s t o t he way he s ho u l d ta k e a l e ss o n ,
,
.
r q i ite a t a l on i nd ou bt dly con centrated tt nti n The ab e nt mi n ded dreamy p pi l wh o o nl y half hears wha t t he t eacher is s ayi n g a n d le t t he hi nt a n d correc t ion s g in at n ear a n d t a t t he o t her i w ell kn o wn in e v ery s t dio I f the t eacher q u e t io n s ch a p u p i l re gardi ng h i n der s tan d ing f s o m e explan a t io n t ha t he h s b ee n ma ki n g t o h im he fi n d either t ha t no i mpre sion h a s bee n made n t he p pil mi n d or tha t t he i dea conv eyed wa s SO v agu e a n d c onfu s ed t ha t i t i w orthle M nt l a l rtn s n d the d si re b th to u n der t n d nd r et i n n xp l n ti n m tb tr ng i n the p pi l a th d t rmin tion n th p r t f the t cher t m k hi xp l n ti n d q te The p pil s ho u ld b e cer t ai n at t he e n d f each le on t hat he h a defi n ite i dea of t he weak p oi n t a n d mi t ake tha t w ere me n t io ned to him w ell n u n der s tan di n g f t he b e s t wa y t o correct t hem He s ho ld hav e the determi n atio n to arran ge hi daily prac ti ce pro gram in ch a wa y t ha t a cer t ai n amo nt f t ime i dev ot ed e v ery day t o t he correcti n g f t he e mi stake a n d t he b uildi n g u p o f h i w eak poi n t In thi s w a y t he t eacher will n ot b e obli g ed to make the s me cr iti ci m i n sever l l n Th r va guen nd r t n di n g n b n i n th p la n f wor k lt if th r i t b e a n ythi ng d fi nite i n th r c hi v d The p pil w h how a det erm i n ation t o co n ce nt ra t e his mi n d e ntirely on t he l e s on w hi le he is t a ki ng i t is in t he mi norit y On e
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6
E A RS
BRA IN A ND F ING E RS
,
I
The in tro duct i on of o u ts i d e ma t te rs f or di c s si on a nd conversa tio n i by n o mean un us al a nd w hen a p pil c han ges t eacher i t i ge nerally the cas e tha t he de vote s m u ch o f t he t i m e of h is fir t le sso ns wi th the n w t eacher t o narrat ing h ow his former t eacher wa nted t hi or t ha t do n e O n the other ha n d s ome p u p il are so fearf ul of t he l ess o n ti me bei ng w a ted tha t t hey l oo k u pon a n exp l na tion as an i nterr p “ tion Their idea of a less o n is t o keep t he p ian o going all t he time The na tural res l t of t hi s attit u d e on t he p a rt of t h e p u p il is that the t ea c her feel he m us t l i mit hi ms elf to o nl y w ha t a ctual ly m t be aid and wha t he has to offer t he p u p i l ca nn o t b e gi ven fr l y a n d sp onta n ou s l y O f eq u al i mpor ta n ce wi th t he co n ce nt ra t ed a tt e nti on a t t he l e ss o n i the teach b le spi rit f the pu pi l A t eachab l e p irit i n t eas y t o defin e I t might be s aid t o b e a wi lli ngness on the p art of the pu pil to ept wh t th teacher has s
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t ea c her wis hes to ha v e a p u p i l foll o w him b lindl y, witho u t u sin g his own in te l li ge n ce No b r oad mi nded tea cher de s ires to i mpr ess a p u pil wi th the i d ea t ha t hi s is the onl y me t h od b u t w he n the men tality of t he p u pi l is b e in g u sed to ar gu e with t he teacher the n m u ch of t he l esson t im e m u st b e de v o t ed to co nvi n cing an d pers u a din g t he p u pil ins tead Of gi ving h im t he good
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ich he is pp os d t b e k i ng S ch p u p i l are g e ne all y un con s c i o u s of this sp i rit as i t is an i n here nt cha rac teri s t ic b u t n at rally t here ca n b e no c ope r ti on bet w ee n t he tea cher a n d p u p il in su ch a cas e “ T here is a cla s s of so cal l ed ad v an ce d p u p il s who lik e to go “ from teacher to tea cher gett i ng ideas as t hey expre ss i t “ T hey al mo s t in v ariably s p ea k of t he i r t dying as coa chin g an d ge n erally des ire to p la n thei r own w r k Le o n in s ch i n sta n ces are a l w ay s a f r ce N tea che r ca n do nythi ng wo th whil for a pu pi l f thi typ e Th high r the idea ls of the teach r the more difficu lt do s h find i t t sy mpathize with th vi ew poi nt of such a pu pi l In di re c t co n tr ast is t he p u p i l wh o is over zea lous in hi d es i re to f l l w his t ea cher and so di strus tf l of hims e l f t ha t he wi l l n ot u ction
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E A RS
8
B RA IN A ND F IN G E RS
.
anythin g wi tho t t he minut t directi on This v r doi n g Of docility hamper s b o t h p u pi l a n d t eacher S ch a “ p u pil will al way s play l ike a c arefu l s t u de n t a n d n o ma tter “ w ha t his a ge may be will b e s po k e n of a s a yo u n g p ia ni t “ The n t here i t he di s co raged on w h o m u s t al way b e “ b raced u p Hi mo tt o i I ca n n e v er l earn t o do t ha t Wi t h a p p il of thi s temperamen t t he t eacher h a s t o pen d a grea t deal on t ime in the cheeri ng p p roce ss Thi s p pil is a of the le heav y b ur de n e v e n for the mo t hope f l t eacher to c arry “ E ach s t u di o h a s a e n iti ve p la nt a p p i l wh o m u t be “ cri tic i zed v ery caref l ly He o ft en a nn o un ces Y ou are t he “ Y u n eed n ot b e afra i d t o t ell me x t eacher I am the p u pil a ct l y w ha t y u t hi n k tha t i w ha t I come t o yo u r s t u di o for B u t ala s for t he t eacher w h o t ake him a t h i w ord ! Thi p p il is t he v ery on e w h o is not wi l l i n g t o s t a n d a n yt hi n g b u t t he mo s t g r d d critici s m “ The silent p p il is an o t her t yp e His a ttitu de a cts a a damper n a teach er zeal When the t eacher eek s for s ome i n dicatio n of b ei n g u n der tood by a p u pil of th i s character he is me t b y t he mo t di co ra gin g nre po ns iv e ne ss J t a p pi l m st b e en cou r g d i n ord r t k eep p hi s i nt r s t s mu t t acher m t wi th s ome en cou ra gement i n order to b e a bl e to pu t for th hi s bes t l
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The arti s t before a n a u dien ce i n ot more e ns i ti v e to t heir a tti t u de t o ward him elf tha n t he t eacher w ith h is p pil s I t i on l y “ wh n h fe l that they nd with hi m nd r t ndi ng ym pa thizing wi th his efforts tha t he ca n give them hi s ver y b es t wor k s
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E A RS
10
BRA IN A ND FIN GE RS
.
fix the length o f the q art er n ote mid dl e 0 for hi m a follo w u
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He s ho ld b e a b l t o t el l exac t ly w ha t is t he l engt h Of t he n ote s s o n de d e pecially t hey w ere pre e n t ed t o him in t he imple t po ible wa y ( witho t a ny v ri ti on of p it ch to di tra ct his att nti n) The n s ho w him h ow t o writ t he n o t e a nd h ow t o i ndi ca te t he In t hi w y he is t a gh t t o re c ognize t he rea l len gth of t he m Object t ha t i t he l n gth of t he n ote b efore he is s ho wn t he ( La t er on whe n the s e n e of rhy t hm h s pi ct re of i t on p aper b ee n more de v el o p ed t he p i t ch of t he n ote s may b e v ari ed in t he rhythm exerci e s b t a t fi t it i b e tt er t o hav e t he m i n d c o n ce ntra t e d on t he one t on e ) A p u pi l wh o h a s b ee n ta gh t t he l e ngt h of n o t e s in t h i s way “ wi l l fin d keepi n g t ime m ch ea s ier (See foo t n o t e ) I f t he p u pil doe n ot kn o w t he n o t e he s ho u l d be t a u gh t t hem firs t on t he keyboar d an d t hen on p aper Ha v e him ma k e t he s t aff hi ms lf t he n s t ar t h i m ou t to trace t he l oca t io n of t he n o t e s on t he fi v e l i n e s a nd fo u r s pa c es gi vi n g him O nl y E ( on t he firs t l i n e)t o fi g re from Th i s wi l l t a k e l o nger t ha n to gi v e t hem in t he u su al wa y b t a c hil d is l w y s mor e i n t res ted in s omething whi ch he has fou nd for hi mself an d rememb ers u
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I f he ca n figur e ou t on t he s tafi t he l o ca ti o n of mi d dl e 0 ( whi c h h e h as c ommen c e d t o l earn b y s o u n d ) he s ho u l d b e e n co u r age d t o d o so P u pil s O fte n percei v e t ha t t here is no p lace on t he s t aff for a ny n o t e l o w er t ha n D a n d s u gg e s t t he n ec e ss it y of a dd ing an e xtr a l i n e for it I f fo u n d in t hi s way t he n ame of t he n o t e on t he a d de d l in e wil l n e v er be for g ot t e n ,
,
.
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,
.
.
NOTE —It
is impossi bl e
to m ap ou t t he e xa ct amoun t of work i n ea r t raining whi ch can b e gi ve n i n one le sso n F or a be gi nner t he amou nt i n di cate d will b e q u i t e e n ough b u t i t mi g h t n ot b e e n o u gh f o r t h e more ad v a n c e d p u p i l wh o s h o ul d go o n wi th th e work gi ve n i n s u bse q ue n t l e ss o n s ‘
.
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,
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E A RS F or p rac ti ce in n o t es l ike t h i s :
B RA IN A ND F ING E RS
,
I]
readi ng n o t e the teacher ho ld make a lin e of u
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tell i ng hi m it i a M i c l Roll C all a n d t hat he m t prac ti se it at home until he c n call all the n am e ea ily a nd q i ckly He n ly the s e v i n s ho d ha e a li e f or each day practice gi o n v g l s b u t in a di ff ere n t order n ote “ To gi v e the roll call he S ho ld go thro gh it in the followi ng “F r t — n w ered n — s n E the he o d the ote if it a n n i l i w ay “ to it n ame S c nd p ac A the n s o n d the n o te etc Hi mention i ng the locatio n o f t he n o t e on the staff fi st make him b rv it more ca r f ll y us
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TE CHNI C AL WORK (THE HANDP O S ITI ON) T he p u pil s ho l d be s ea t ed far e n o u gh fro m t he pian o t o gi v e The hei gh t O f the eat s ho ld be hi arm f reedom of motio n determi ned by the lengt h Of the u pper arm Th elbo w s ho ld be on a lev el with the keyboard The wri t a little below t h e lev el Se C t I The detail regardin g t he han d po itio n ho ld be caref ll y explain ed n til n der tood by the p pil The wri t i held S li gh t l y lo w er than the ha d in the elemen tary work the kn ckle S ligh tly rai ed part ic larly tho e o f the fin ger which w eaker n early in S ho ld be p a lin e with the other s the forma t ion Of t h ha n d al lows In thi w y the f o rt h n d fi fth fi nger hav e n eq ual c han ce o f action fro m t he kn ckle with the tro n ger fi n ger .
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E A RS
12
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BRA IN A ND FING E RS
,
fi nger wi th t he excep t io n O f the th m b r t on it c us hio n Thi is the po it i o n t ake n for t he tech nical dev elop m e n t of the ha n d ( Th str n gth f th fi ng r ti p n b d v l p d Later on t he han d po itio n i on l y wh n th fi n ger i s h l d cu v d adapted t o t he n eed o f t he pa a ge t o b e p layed ) The arch be t w ee n t he t h m b a n d ha n d is i n i t ed po n to gi v e t he t h mb room e n o gh t o pa s n der t he ha n d f reely i n d arpe ggio s n ece s ary in s cale The teacher ho ld ill trate t hi s care f l e pla n atio n wi th h i ho ld S ho w w he t her he co m preh n d own ha n d a n d t he p pil i t by t yi ng t o p t h is ha n d in the s ame po itio n I t i better f or him t o re t h i arm n the table whe n he fir t t ake t h po itio n R mar k on h n d p i ti n The kn ckl are li ghtly elevat d n order to gi v e olidity a n d firm n e s t o t he ha n d a n d to e nable the fi nger to mo v e m ore f re ly f rom t he k n ckle th prepari n g the w a y for t he fi n ger actio n w hich come lat er The t h mb i held o t a n d c rv ed to gi v e it more freedo m o f mo v ement on t he o t ide of t he han d The fi n ger are c rv ed in order to c n centrat the fi n ger action n i t iven a t t he kn ckle to dev elop fi rmn d in t h fi n ger t ip a n d r ty a n d c l r n in t he fi n ger w ork T h is h a n d p os i t ion i s for t h e p u rpo s e of d ev e l o p in g t h e u
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y n b taken ea ily n d q ickly t he arm After thi po itio n ho ld be t aken a w ay f ro m the tabl n d the po itio n take n w ith t he fi n ger re ti n g on t he ed g e O f the table a n d t he a m loo e a n d relaxed from t he ho ld er The wri t ho ld be a li t tle bel o w t he lev el of t he han d a s t hi wil l e n sur e b e tt er fi n ger actio n from t he k n c k le Swi n g t he arm at t he S ide n otici n g the e n atio n of a loo e that t he co n ditio n may be retai ned w he n the ha n d i a m placed on t he edge of the table The a mi n g Of a ny n w p iti n h a s a te n den cy t o c u tiffn s C on e q en tly it i n ec ary to relax t he a r m ma ny t ime n d to take t h han d po itio n n til n f eel at home in it .
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E A RS
BRA IN A ND FING E RS
,
13
t b n ce f fi t a n d thi po itio n m t beco m e o n at r l that there i n me a n d re t ai n it Ev ry fi t to a t ach r t ll hi p pi l th t the wri t h ld b e l b t h w ca n th l e wri t wh n h h n id h w a p d d t h v p pi l b w ri t f l wh n th h a n d i i n p l y ing p iti n ! A nd d e n t l Rela xa i on i s th e
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TE CHNI C AL E R CI SE F OR THE PI ANO The p pil ho l d p t h i han d in po ition then s win g h i arm at h i s ide a n d p t t he han d u p in po ition again Thi wil l take away ny cram ped feeling of t he ha n d a n d a m a n d gi v e t he relaxa t io n nec ss ary b e fore a n oth er di ffic lty is pre e n ted NO bea ty f to n e or f r eedom o f xec tio n c n be bro g h t abo t The ti me t b gin r l i n g th m i s wi th the arm a n d wri t s ti ff iti n Th t i th wh n th h n d e fi r t p l c d i n p l y i ng p ti m wh n th t n i n b gins Thi ex rci e ho ld be p racti ed n ti l the han d a s m e t he po itio n witho t eff ort An Older p pil a n g n imm diately with the wri t exerci e o f the n xt le o n To m ake the poi n t o f a le o n a defi n ite po ibl a yn op i like the followi ng ho ld be in t he mi n d o f both t eacher a n d p pil : FI R S T
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O BJ E
CT
OF
THE
LESS O N
Learn middle C Learn to reco gn ize t he l en gt h of w hole hal f a n d q ar t er by o n d a n d al o t o writ e them ( Thi m t b e practi ed n ot ei t her w ith the t acher o w it h s ome on a t home ) I I I Learn wha t t he correc t p o itio n of the han d a n d arm i n d be able t o explai n the rea o n for t hi s p o itio n I V Learn to t ake the han d p o i t io n ea ily wi t h each han d V Lea r n the lin e f n ote w rit t e n o t I II
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C H AP T E R I V
I f midd l e C can n o t ye t be reco gnized there is di ffic u lty in recognizi n g middl e
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o rk n it as before I f 0 impre s C n t he m i n d by compari ng i t with t he o n d of B a n d D on ei t her s ide f i t Someti m e s e veral le ss o n ha v e t o be gi v e n t o t hi s I f C ca n be reco gn ized e v eral t imes in cce io n lear n D in t he s ame w a y After D h a s bee n lear n ed E may al o be gi v e n ( pro vided 0 a n d D ca n be q ickly reco gnized ) U su ally i t take In lear ni n g D a n d E be able t o hear s e v era l l e ss o n s t o do t hi t ha t D is a s eco n d a b o v e C n d E is a t hird abo v e V oice p pil S ho ul d s i ng t he t o n e a n d violi n p pil p rod u ce t hem on the violi n In fac t a l l p pil s ho ld p racti e i n gi n g t hem if po s ible In t he rhythmi c l traini ng wor k the n ext tep i to learn to hear ti me : w
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beca u s e the s e c ( I t is b e tt er to begi n wit h t hi s tha n w i t h t ime is di ffic ul t t o hear ) The p u pil hear s on d a ry acce n t Of ei gh t q u ar t er n ote s s o un de d on t he pia n o w ith s tro ng accent s on the fi rst third fifth a nd s eventh He is t old t ha t t he s e accent s di v ide t he ei gh t q u art er n o t e s i nt o fo u r meas u re s of two q u arter n o t e s each I f t he p u pi l is a begi nn er he s ho ul d b e s ho wn on m u s ic p aper h ow t he meas u re s w hich he hea rd ca us e d by t he ac c e n t s are in di p la ce d a t t he b egi nn i n g ca t e d b y the b ar li n e s a n d t ha t t he in dica t e s t hat each me as ur e co nt ai ns two q uar te r n o te s or t heir eq u i v ale nt He is then a s ked t o write s ome meas ure s made u p of b oth q u ar t er a nd half n o t e s in order t ha t he m ay un der s ta n d t hat a half n o te is t he e q ui v al e n t of two q u ar ter s In t h i s way .
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14
E A RS
B RA IN A ND FING E RS
,
15
he l earns to h ear acc nts nd the p l e of rhythm f rom the fir t The mere CO UN TING the time w hich i SO o ften relied po n t he beat is h rd a n d f lt The co n ti n g is is of n va lue unl e n le ss t hi is do n e n e ve n In the R ll C ll w ork t he t o ne may n w be s o n ded by t he p pil w i t ho t h i n ami ng t he po itio n Of them S m e n w n otes n the t reble cl f m y be added The han d po itio n exerci se with the wi ngi n g arm ho u ld b e revie wed I f the p pil n take the han d po ition ea ily n d keep t h e arm relaxed the n ext tep may be taken Ri ght h re it mi gh t be s tated that ha lf th diffi c lti e th t th b gi nn r i h i r t c m fr m the ddi ng f n w t chni ca l r eq i r m t r d on w m nt b f r th p r i “ The n xt exerci e w S hall cal l t he r ck ing w i t Hav e the ha n d in t he po i tion j s t learned the fi nger tip s re ti ng n t he ed g of t he t able then mov e the wri s t s lo wly do wnward a n d p w ard t aki ng care t o keep t he kn ckle s f rom n d t hat t he ha n d r s i n ki n g do w n w he n the wri t is lo wered mai n in t he same relati v e po sitio n a s b e f ore S Cut I I The fo rth nd fi ft h kn ckle ho ld be on a le l w ith other ev en i f the fi l th fi n ger h to b e held traigh t a t fir st been After the wri t h lo w ered i t Sho ld com e b ack t o it ori gi n al po i tion no higher Ther e h ld b e no t n i n The han d ho ld re t ligh t ly on the t able ( t h a t mea n s C 11 that t here S ho ld be no di ggi ng in wi t h the fi n ger t ip ) The arm s ho u l d ha n g loo ely from the ho l der In order to keep the ar m relaxed s wi n g i t frequ ently a t t he s ide Thi s is n othi ng more tha n a nat ra l in t e nn i s or c o ndi ti on T he p ri n ciple i nv ol ved is t he s a m e a
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E A RS
16
B RA IN A ND F IN GE RS
,
ol f for examp l e I f on O b er ve a goo d p l ayer o f ei t her of t he e game s he n o t i c e t ha t hi kill depe n d lar ge l y on t he freedom of mov eme n t O f t he arm in t he s ho lder An d w he n ' play t he game s him s elf he realize s i t more t ha e er n s n v o Thi exerci s e w he n well do n e s epara t e t he han d from t he arm n t o peak by mea o f t he ab s ol t ely li gh t wri st I t i very s so ) ( the s cc di n g x rci ses d p nd p n i t I t ho ld i mp rt nt b e prac t i ed o nly a f w mi nu te s a t a t ime a n d s ho ld be do n e al ter na tely wi t h t he le ft a n d ri gh t han d in order t ha t t hey may n t b ecome t ired a n d cramped A a r le t hi s exerci e i more di ffic l t t o do correctly t ha n b eca e i t h a t w o c o n flic t i n g p rpo e O n e i to a ny other mai ntai n t he n a t ral relaxatio n of the wri t nd arm w hile t he o t her is t o ha ve the ha n d a s me t he nn at ral po i t io n made ary by t he pia n o U nt il t he pos i t io n h become nat r l n ece t he exerci e s ho ld be a par t o f t he d i l y prac tice A t he fi nger t ip s recei v e t he greater par t Of t he w e i g h t O f the arm they ac q i re a firm feeli ng w hich mi gh t be de cribed a f eeli ng of s ctio n w here t hey come in co nt ac t wi t h t he key Thi s p oi n t O f firm fi nger is n w hich is n t al ways n der t ood The fi n ger ho l d n ot b e HEL D FI RM no s h ld there b ny t n i n i n the h nd On t he co ntrary the ha n d re t on t he keys Thi firm nes of t he fi nger c nnot b a n d t he fi n ger s A RE fi m f rced b t m s t b e grad al ly bro ght abo t by t he m s c u lar de v e l opm n t w hich is t he re s l t of the daily t ech n ical practice Thi p oi n t i impor t ant t ha t p ar ti c ul ar s t re s s is l ai d u p o n i t a t th e v ery b egi nni ng g
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e v i ew hearin g middle C a nd p o ib ly learn on o r t wo more t o n e s I I L earn b y s o un d nd by s i gh t wha t 2/ 4 t ime i “ I I I B e gi n t o p rac t i e the rockin g w ri t exerci e on a t a b le a n d at t he pia n o 1
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E A RS
18
BRA IN A ND FING E RS
,
igna t re s n d n ote v al e I t i better in thi le o n to keep t h e rhythmical exerci e on one t o n e N w p lay u
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the p pil i a begi n ner a n d h a s n ot heard an yt hi n g abo t a dotted n ote t he idea is t o le t him p ercei ve t he n ece ity of i n g t he do t in order t o g i v e a n ote t hree co n t s The p pi l hear three q arter n ote s a n d t he n n n ote w hich is e q i vale n t to t he t hree q ar t er Thi is the ti m e t o tell him tha t there i n o n o t e which repre ent s t hree q arter co n t s We hav e to a hal f n o t e with a do t a fter i t I f t he p pil i a chil d the fir s t t ep in m emorizi n g ho ld n w b e gi n M ical me m ory i made p p artly of a relia n ce on the vi l l fac ltie the m s i c l th n d the i nt ll ct The la t l me n t io n ed are the o ne s tha t a n al way s be relied n nd s ho ld be c lti v a t d fr m the v ry b ginni n g I t is w el l e n o gh ordi n arily t o rely po n the fi n ger the ear or t he i m pre io n of the look f t he pri nt ed page (a many player s do ) b t n n f the s e m a ns n lwa y be depe n ded u po n t o tan d t he t e t of n erv o n ess or tage fri ght Go n e ltiv t i nt ll ct a l ng p p i l b gi n t n r th q e n t ly th y mem r i i n g th b tt r f hi m W he n s tarted at thi ea r ly ta ge it become a v ery ea y i m ple ma tt er A child ho ld t ake a n example O f t hi ki n d If
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He s ho l d l oo k a t t he fir t t wo mea re t hen clo e the book an d s e if he i able to t ell F or n w ha t t o n e t he me l ody begi n — n n s i ta ce to t ell in the fir t exa m ple ( a )t ha t it b egi n on E pro g esses a 2n d t o F t he n a 2n d t o G the n do w nw ard a 3 d t o E u
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BRA IN
,
FING E RS
A ND
19
ote on w hich it tarted H e ho ld wri te thi s o t Then he c n be s aid to k n o w thi s thoro ghly t ha t i f he were p ti ing i t he co ld g i ve h is atte n tio n more comple t ely t o h i to n e w w ality or w hate v er he a s pecially orki ng for q Tw o mea re w o ld b e e n o g h t o m e m orize in on e le ss o n b u t i n the n e xt le o n he co ld take the re t O f i t A f t r a child h s memorized a S i m ple f o r m ea s re phra e in h alf a n d w hole n ot s he s ho ld be gi v e n a more co mplicated phra e b t on which contai n di ffere nt n ote v al ue s F or e xample : n
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Thi gi ve him t he ta k f re m e m be r i n g t he e chang in addi This is n ot t o b e do n e b y b t is t o b e t io n t o t he i nter v al H e s ho ld be able t o s tate v r b l l y h w the d o n e b y th mi nd melody pro gre e s pecify t he len gt h of the n ote s etc a n d b e able t o write it t Thi s al o i m pro ve h is ability to r d La ter he ho ld be gi v e n melodie i n trod ci ng dotted n ote a n d e t Thi s or t o f memori i ng ho ld b e applied t o t he littl nt n ti l he is ad v a n ced nd i iece hich he t die f ficie a w p e n o gh t o kn o w a bo t chord ( S C hapter ! V ) s
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TE CHNICAL WO RK ( FIN GER ACTI ON) “ The Roc ki ng W ri t exerci se ho u ld be co n ti n ed in the d ily m n i n ractice for o m e t i e to come The rea o f or thi i m ply t s p b i lity to d i t co r ctl y a n d ea ily b t t o ac q ire the t o g ai n t h c ndi ti n w hi ch t hi exerci s e de v elop The n ex t tep in f n dame ntal t ech n ic i t he pl ci ng f the t ne “ Thi s i do n e by e tabli hi n g p re fi nger actio n B y the term “p re fi i mea n t t he mo v em n t of t he fi n ger at t he n ger actio n kn u ckl j oi n t witho t the s li ght t f li ng Of t n i n in the h nd m d ri n g t he li f ti ng a n d droppi ng of t he fin ger wri t o h i fi ng r Every n w h play the p ian o i u p po sed to u s
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B RA IN A ND FING E RS
the r e are c om pa ra tively few wh o u se t hem witho t havi ng t ri ki n g with arm force ra t her t han s ome t e n io n in t he ha n d wi th t he fin ger man y p u pi l s come t o a s t a nd ti ll t chni O n e rea o n wh y cally is t ha t they are n con cio u ly si ng t he wr ng m u cle s The dev elo p ment of t he i ndivid a lity of t he fin ger cann o t b e b ee n e t abli s hed d o n e u n le ss t he ri g h t co n di t io n h ( In more ad v a n ced w ork t he arm force i s ed repea tedly a nd the w ei gh t of t he arm p lays a n impor t a nt role —ev e n in fin ger w ork In f ac t it i a n i m por t a n t fac t or in moder n pia n o playi n g B t t he fi r t w ork m s t b e do n e with t he fi ng r n l y ) To n e q a lity in pia n o playi ng doe s n t b y a ny mea n depe n d e n t irely po n t he i n tr ment I t i s i m por t ant for a pia ni s t to ha ve “ i t is for a s i nger to hav e his v oice h i to n e correc t ly p laced “ placed “ The p roce O f maki n g the to n e free i Si mpl tha t it is s tra n g e that there i n t more a t te n t io n paid to it There are i nger w ho e t o n e i n at rally fr wh are s pare d m ch of t he dr d gery w hich other fin d n ece s ary There are al o pia ni t wh are S e q ipped by n at re B t p i a n o p laying is so m u ch l e a n t ra l proce ss t han S i n gi n g hat almo t al w ay s a co r s e f trai n i n g i n ece ary to de velop a g ood to n e t o y I t is di appoi nti ng n othi n g of t he di ff ere n t q alitie s O f t on e to hear a p ia ni t witho t a good to n e Si t i t o hear a i nger with a di agreeable v oi ce When a i n ger to n e i onc S h is v oice i in a co n ditio n t o de v elop to it f ll po ibilitie i t is with a p iani t ( I f the correc t t ech nical co nd tio n are o n ce e tabli hed his p o wer s limite d o nl y by h is m nt l a n d m A with a v oice to gai n q a l ity there mu t be a relaxatio n in t he ri g ht place a n d te n s io n in t he right place The to n e m t h a V both fre dom n d firm n e A w ord of ca tio n is n ece sary here I t w il l be fo n d better to e tabli h the c o n ditio n of r l x ti n thor ghly be f ore layi ng m ch s tre s u po n t he tho ght of fi r mn The p ri n ciple of fi ng r actio n can n o t b e s cl early explai ned in a book in p ers on al i n tr ctio n e pecially a the mean of ge t b ut
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21
ti n g at i t vary in the m all detail s O f te n a p pil han d hape a nd co nditio n In gen eral ho wever proceed v ary in follo w at fir t w he n taki n g the Allo w t he arm to re t n the t able ha n d po ition Then place the han d in the po ition gi v n in C t I Li f t the fin ger s lo wly wi t h as l i gh t a feelin g po ible Th fin ger m t retai n it c ur ved po itio n mo v i ng on ly in the other joi n ts a if it had n k n ckle A f ter thi s ex rci e h a bee n practi ed n the table e v ral ti m e take the am e po ition a t the keyboard whi ch w ed in the “ At fi r t drop the fi n ger n to the R ocki n g Wri t ex rci e r f ac f the key witho t depre i n g the key Af ter a f w tap like thi on the key allo w it to depre the key v ry li ghtly with a t fir t t a ny aid f rom the ha n d or arm e v e n i f n o to n e com Wh n the fi nger depre the key t here S ho ld be n p hi n g Th y r m ai n hi g h n d q iet The th m b p o f t h k n ckle play fro m it s ide a n d ho ld b e held well t from the han d The th m b m otio n co me s from the w r i t joi nt o n ly I t ee m at fi t i f n co ld n t m ake n y to n e in thi w y n d n ho ld try to m ake o n ly a v ery li gh t to n e or n o n e at all at fir t The fi nger a r e n t e n o g h n d r con t r ol t o do m ore t han t h i lo w fin ger w ork ho ld be do e f or a ti m e O nl y thi li g ht Any att m p t to m o v e the fi ng r rapidly or to m ak a la r ge to n e ca e t en io n in the w ro g place I f t h holdi ng do wn f the fi fth e v n the f o rth fin g r in the ha n d relea e the m from the key ca t ifin In playi n g w ith the fi f th fin ger there i a tro n ger te n d n cy to p ll fro m the ha n d than with the other fi ng r on acco n t f it w ea k n e C o n e q e n tly n ho ld take e pecial pai n n t to f r c the t n e with thi fi n ger Te t the co n ditio n f t h w ri t n d m O fte n in ord r t o keep the m loo Le t the arm w i ng at t he ide man y t i m e a n d prac ti e t he xerci e alte r n ately w ith t he le ft n d ri ght han d F or i n tan c take the eco n d fi n g er f t he le ft t he n the eco n d f the ri g h t etc The mo t i m portant poin t are to k p th n d NOT t l i ght f eli n g a t the kn c k l e s t o ha ve th ha nd q i t w rk f b ig to n e as
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BRA IN A ND F IN GE RS
v o i c e t eac h er a t fir s t has a p u p i l s i ng v ery l i gh t l y or e v e n h um in order t ha t he may g ai n t he s e n s a t io n of freedom in t he t o n e s o t he p ia n o t ea c her S ho u ld gi v e the ri gh t co n dit i o n s b y in I t s ho u ld b e u n der s i s t i n g on l ight t o n e s a t fir s t a t t he pia n o s tood h owe v e r t ha t t h i s ext reme of l i gh t ne ss is onl y t he fir s t s t ep As a ,
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the p p i l ha b y thi ti m e learn ed e veral to e by al o di fferen t rhythm n on to e he i n w ready to tak co mbi n atio n o f di fferent t o n e a n d rhyth m F or xampl A child ho ld be gi v e n a v ery i m ple m elody AS
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T E CHNI CA L WOR K (! I CK FIN G ER S TR OKE) The s i ngle fi n g r wo r k ho ld b co n ti n d with the li ght to ne e ve n occa io n ally i m ply tappi g t h top f the key a te t o f t he co n ditio n f the ha n d U p t o t hi ti m e the fi n g er t r ok h b n tak n lo w ly to n The t roke may n ow be a t the k n ckle s re the li g ht n e t ake n more q ickly t ho g h the tempo f the exerc i s e i n ot t o be i n crea ed I t ho ld be n d r tood t hat w he n the idea o f in cr a i ng the rapidity f t he fi n ger come in a n eff o r t o f wil l i ary in order to g i ve the q ick st r oke C are s ho ld be n ece taken that the troke i cr a in pe d the rel a ati on o f the ha n d i r tai d U
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fi ng r fall n the key the w ei ght f t h m re t n the fi ng r tip b ca e the a r m i in a relaxed co n ditio n The i n crea ed peed f the fi g r troke gi v a m or e ri gi n g ton e The p pil m t l i t n car f lly to the t o e b t n t try to make i t lar ge I f the to n e i corr ctly m ade it will oo gai n more dyn a mic po w er witho t y e ff ort I t i i m po r ta n t that the q ick fi n g r t r oke be do n e rhythmi cally y in thi w y —C o n t 4 f or each to e the fi ng r g oi ng down q ickly n co t 1 re ti g n t h k y f or co n t 2 then n m o oi ick l y n co n t b th r t be ab ol tely 3 t g p q g ten io n or j rki n g f the ha d The f ollo wi n g ex rci e ho ld n w b g i v As t h e
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28
BRA IN A ND F ING E RS
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addi tio n to t he abo v e exerci e for two fi n ger the follo wi n g n d fiv e fi n ger s ho l d b e ed e xerci e s f or t h ee fo r s t he t w o fin g r exerc i se ) nn a They are played t he ame ma er s i n ( In
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i n ter v al s I I Learn t o reco gnize ei g h t h n o t e s by s o u n d I I I Lear n to hear a m elody w hich i ntrod u ce s I V D O t he q u ick fi n ger s troke V D O t he fi n ger exerci s e s o v e r lappi n g .
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C H APT ER V I I T he
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heari ng Of t he t on e o f on oc t av e of t he C major s cal e s ho ul d be a par t of each l e ss o n un t il t hey are ll ea s ily reco g ni zed b y s o n d The s impl e mel o die s m u st nece ssari l y be con t i nned Up t o t hi s po in t t he melodie s ha v e b e g n on t he do wn b eat The u p bea t m t n ow be i n t r od u ced fir s t in t h h y th mi c al wor k on on to n e M e t ron o m e at 5 0 e
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heari ng of re t s Sho ul d b e b ro ght abo t in t hi s mann r : s
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E A RS
30
,
B RA IN A ND FIN G E RS
P lay t he abo v e melody t w o o r three t i m e s for the p u pil ; he m u st the n play it P robably he wil l lea ve the re s t ou t The t eacher t he n play s j u s t what the p u pil p layed a n d t he n w ha t he him s el f played u n til the p u pil n otices t ha t t here is a s pace b e t wee n s o m e of the n ote s The t eacher s ho u ld S how him h ow to i n dicate t he lengt h of t hi s s pace He s ho u ld b e a s ked t o hear t he n l ater t he hal f w hole a n d a n d w rite q u arter re s t s fir s t ei ghth re s ts .
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TE CHNI CA L WOR K (THE FREE P O S ITI O N) The fi nger exerci e s o f the p recedi ng l e s o n were really a p repar “ at io n for t he s a m e exerci to be do n e in t he follo wi n g free p o i t io n t ha t i with the ha n d a n d arm p oi e d n on fi nger o n ly while t he oth r s are held in t he air Thi i t he p o itio n commo n ly u ed in p layi ng P lace t he t h m b n d eco n d fi n ger so t ha t t hey make a circle w hile t he oth r are held in t he air witho t s ti ffe n i n g the ha n d T he ( The fo r t h a n d fi f th fi n g r s ha v e a t e n de n cy t o ti ff e n holdi ng of t he fi f th in too c rv ed a po itio n is likely t o cramp t he han d ) Se e C t I II After n o t ici n g tha t t he p o s ition i a l l right r lea e t he t h mb re tin g n t he s eco n d fi n ger o n ly B s re t ha t the t h mb n d fi f th fi n g er are a h ol t l y f re The re laxation f t he e tw fin g er s i a v ery i mporta n t p oi n t in tha t i t deter mi n e the co nditio n o f t he e n tire han d d al o C t III h it e ff ec t n the wri t St il l re s ti n g on t he s eco n d fi nger p lay t he t h m b ma y t i m e s li fti n g i t o nly a l i tt le abo v e t he key ( a hi gh motio n o f t he t h m b make the han d n t eady) N ext r t on t he t h m b p lay t he s eco n d fi n g er allo w i g it to drop f ro m a po itio n a little abo v e s
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E A RS
BRA IN A ND FING E RS
,
31
the key D O n t p h i n to t he k ey wi th a m f orce b ut d op the fi n ger n to the key wi t h the fing r s troke o nly C o n t in e with the remai ning fin ger in the sa m e m ann er : Hold nd ( lea i ng the t h mb ) play thi rd e veral ti m e Hold thi rd H old f rth ( relea i g t hird ) ( relea i g eco n d ) play f rth play fifth H old fifth ( relea i n g fo rth ) play f rth H old f rth ( relea i ng fi fth ) play thi rd Hold thi rd ( relea i ng fo rth ) play c nd Hold c nd ( relea i n g third) play th mb The n n playi n g fi nge r s are held loos ely in po itio n abo v e the k y I t wi ll be fo n d i n di pe n able to practi e the t w thre f o r “ fi n ger ex rci e in the free po itio n al o with the o ver n d fiv lappi ng fi nger a in the previo chapter The q iet han d f all t he o v er a n d the fi n ger actio n are the n e n s red a n d mo t lappi n g o f the fi nger in thi s po itio n gi v e th idea of re ti ng t he arm n the fi g r tip better t han a n ythi n g el e “ The pri n ciple i n vol v d in o verlappi ng the t o ne in t hi fr e po itio n may be co m pared t o a per o n ta n di ng q arely n both feet n d the n rai ing fir t on e foot then the other H e doe n t p r d wn i nto the fl oor t he w ei ght Of t he body r t n n f oot a i t i tra f rred from t he other n S in the exe r ci e the weight O f the a m S ho ld r t on each fi n g r tip it i le ft alo n e t o b ar t h w ei gh t a fter t h q ick do wn t r oke o f the fi nger The f orm Of the ex r ci e i like tha t f the clo e po itio n d e v e nn e f the fi n ger L i t e n f or t he q ality f to n e r
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C T O F THE LESS ON til each n ote f t h R e vie w the heari n g o f i n g le to n learn ed C o n ti n e the h ari n g f S i m ple m lodi Lea rn to h ar t h p b at in Si gl to d m lodi Lear n to r co g i e r t by o n d D o the fi n g r w o r k in the f r ee p o itio n O BJ E
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EA RS
34
BRA IN
,
FING E RS
A ND
The p pil s ho ld w rite the t w cle f clo e to gether s be f ore then S ho ld w rite E n t he lo w e t li n e f the tr ble the n e r a the li e f thi cl f with t he exceptio n of the li n e on w hich E i u
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The idea i to gi ve him t he realizatio n t ha t the o nly li n e b t w ee n t he t w cl f i f or middle C Any other li n e added to t h e ba clef abo v e middl C is t aken from the t rebl cle f Any li n e added t o t he t reble cle f belo w middle 0 i t ak n from the ba clef The yo ng p pil i ally n co n cio s O f t hi beca e t he t w o cle f are n t pri n ted clo ely t o gethe r The ba cle f w n t gi v e n t t he ti m e the t reble cle f w learn ed for tw rea o n —the m aterial w ritten f or a child fir t playin g i e n tirely f or the tr ble n d there i q ite e no gh f or him to learn at fir t witho t addi n g a nythi ng ntil the time come s for him to make of i t F or a more ad v a n c d p pil the ba cle f may n w be d for w ri t i ng melodie by ear F or i ta n ce s
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TE CHNI CAL WOR K ( IN CREASED S PEED) After ma teri ng the free fi n ger w ork o tli n d in the pre v io le o n the am e exerci ho ld be do ne w itho t the o v e r lap pi g idea There ho ld b e a q ick pli ft of the fi nger at t he a m e ti m e that the n x t fi n ger d rop t o make t he to n e b t the han d ho ld be kept q i e t a s po ible Thi q ick pli ft f the fi nger gi ve cl arn e to t he playi n g Thi fi n ger actio n may n w be applied to et d n d piece s n d arpe ggio Select a n et de t ha t is s impl a n d witho t s cale pa a ge The follo wi ng li t gi v e a f w co m po itio n which are wel l adap t ed t o the fir t applicatio n of fi nger actio n : G l itt The F i r ; K l l k N i ghti nga l ; H eller Pr l d Op u
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E A RS No
81,
D aqu in Pa s tor a l e 3;
.
Ta u s ig,
No
2
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B RAIN
,
Le
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Cou cou ;
35
Ku h l a u S onati n a ;
ad va n ced f orm
In
.
FING E RS
A ND
,
C hopi n
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S
Et u d e
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carlatti Op 25 , .
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The fir t w o r k on t he e m t n ece arily b e m ade mo r e t hn i l tha n m i c l a the tho g h t m t be co n ce n t rated n the applicatio n o f t h prin ciple that hav e be n ill trated by the exerci e I f t h i n gle fi n ger w ork h b ee n prac t i ed ca r f lly e very day the fi n g r i n d pen den ce S ho ld hav e been de velopi ng teadily tha t by thi t i m mor q ic k ne f mo ve m en t m y be re q i r ed o f the fi n ger by the i ntrod ctio n f ei ghth triplet n d i altho gh the t m po rem ai n the am e t n th n d in the rhyth m In the practic o f the e ele m e n ta r y exe r ci e ical trai i ng w ork the met r o n o m e i i n val abl b t t m h c nn t b id g in t th f it i n oth p r cti i ng The n it ho ld be d o n ly to t e t t he tem po the acc racy o f the rhythm in a di ffic lt pa age n d ixt e n th n w In t h fi ger exerci e ei ghth triplet introd c d : a
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child s ho ld n t do t h tripl t a n d ixtee nt h u nt i l l at er beca they hav e n t yet appeared in the ear t r ai i n g w ork d hi fi ge r are n t able to do th m w ell The diffi c lty that n Ol d er p pil w ill ha v e in doi n g them depe n d u po n the i n di T S i m ply be able to play the n ote f a t i n t by a ny v id al The fi n ger m t m o ve m ea n the id a in thi i n crea ed s peed f rom the k n ckle with the a m e f l i n g o f l ightn the a m l ati n f w r i t n d m; am e t din d th n d q i tn O f h nd that p r e vailed in th lo w rhythm I f the p pil fi n d t ha t e v n w ith ca r e f l practice he cann ot acco m pli h thi he S ho ld be co n t n t to play the S lo w er val e ntil the fi nger ha v e gai n ed m ore i depe n de n ce Tw v ery i mporta n t poi n t are to be Ob er v ed in the i n crea i n g peed n am ely the to n e ho ld re m ain f the ame q lity a n d nd i n d ixte n th that it had in the q arter in the triplet A
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E A RS
36
BRA IN A ND FING E RS
pee d Of fi g r mo v e m e n t i i n crea ed the fi ger m t p lay more l l y to the k ey The two fi nger xerci e in t he i n crea ed peed dev elop t he trill The three fo r a nd fiv fi n ger exerci e may al o be do n e in thi way In t he fo ll o wi n g t w o fi n ger exerci e the holdi n g f the fi n g er w hich co m e s b e tw ee n t he to n e s f the brok n 3 d s ti m lates t he i n depe n d e n ce Of t he fi n g r a n d q iet n e Of the ha n d
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C T O F THE L ESS ON Learn t o recognize dotted n ote by o nd Learn to hear melodie i n t r od ci ng dotted n ote s B e gi n heari ng f t he ba cle f D the free fi nger exerci e w itho t o v erlappi n g to n e I n crea e s peed in fi nger exerci e O BJ E
I II III IV V
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Hav e the primary a n d s co n dar y acce t clearl y d efin ed heard P lay al s o ‘ ‘ ‘ m n J J J M J J J 3 M [ l g lg i i u n til they ca n b e reco gni z d by s o n d Then melodi es wr itt en in t i m e s ho ld b g i v e n n s
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37
.
mann
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E A RS
38
BRA IN
,
A ND
FING E RS
The heari ng Of Harmo n y i f more i m portance to t he m sicia n t ha n the mere ability t o w rite a melody by ear The me n tal di cipli n e gai n ed b y writi n g melodie a nd di ffic lt rhythm f rom hearing t hem played prepare t he w ay for the heari n g f H ar mo n y w hich i a more di ffic lt matter The heari ng Of t he i n ter val Of the C m ajor cale S ho ld by thi t i m e g i v e n di ffic lty The fir t s tep in t he hearin g f chord i to recogn ize the To n ic t riad w hich the p pil s ho ld n d r ta n d i f o r med on t he k ey s o
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P lay t he three t o n e s of t he chord in s u cce s s ion
.
acc nti n g the m tro ngly s
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.
eldom di ffi c lt to hear proceed in t h ame wa y wit h G B D the D o m i n a n t chord of G maj or a n d F A G t h S b D o m i n ant The p pil s ho ld t el l t he t o ne s of the chord by ear nd ho ld realize that t he t o n e O f t he To n ic D o m i n an t a n d S b D o m i na n t “ chord s are all in the family of C major The e thr e chord r pre ent three cla se s i n to w hich all chord may be di vided C on e q e n tly the more thoro ghly t h y are learn ed the better it will be f or the w ork later n The p pil ho ld be able t o b o t h p l ay a nd write the e chord aft er hearing t hem played As
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P roceed
the ame way w ith t he To nic f C mi n or re that t h p pil a n ea ily reco gni e the di fferen ce bet w ee n B maj or n d mi nor by ear D o the am e w i t h the S b D omi n a nt f C mi n or in
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compari ng thi with t he S b D o m in an t of G major t hat t he p pil The D o m i an t i m y realize the di ff ere n ce bet w ee n t he t wo the s ame in bo t h keys F ollo w thi am plan thro gho t all the maj or nd minor cales I t will t ake s ome ti m e to do t h i s well The p pil ho ld be able t o b o t h play and wr it e t he s e chord a fter heari ng th m play d u
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E A RS
BRA IN
,
A ND
FING E RS
39
TE CHNI CAL WO K (WRI S T A CT I ON) In addi tio n to the de v elop m e n t f t he co n cio n e o f a li ght “ w r i t w hich w b r o ght abo t by the Rockin g Wri t exerci e the pri n ciple f the m o v e m en t o f t he ha n d from the wr i t “ wr i t w r k comm o n ly kno wn ho ld b taken p Thi s i al o b t do n e at the table at fir t The ability t o let the ha d drop f it wn w ei g ht from t he w r i t witho t a ny e ff ort at triki ng do w n i the fir t t p With the w ri t held lightly hi gh r than th l vel allo w the han d to ri e lo w ly n d li ghtly d d r op do wn n to the tabl In the fir t wo r k f or fing r actio n it will be r m e m bered that t he fi nger w S lo w ly rai ed n d allo w d to f all li g htly In thi ex rci e for the wri t thi n k o f the ha d a fi ng r the w ri t havi ng t h ame relation to the han d that t h kn ckle had to the fi n ger The han d ho ld n t be p lled back w ith f orce or tensio n b t rai ed ea ily a n d li ghtly At the k yboard allo w the ha n d to d r op li ghtly n to the third finger that i the lo n ge t th n n the th m b n d thi r d fi ger then n t w n d f o r ; t he n th r ee d fiv ; the n n d fiv n the i nt r v al f a 6 th After the idea o f li gh tn e h b en gai n d t h ha d ho ld mo v e more q ickly b t keep t h am e co n ditio n Th x rci e may be practi ed with i n crea i n g peed R
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B RA IN A ND FING E RS
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Su b D omi n a n t -
T h e s e ch ord s ma y b e i n tr od u c e d in oth e r k e y s a l s o T a ke t h e k e y s of G m a j or a n d F m a j or fir s t Th e p u p i l s h ou l d u n d e r s t a n d th a t in th e k e y o f G ma j or t h e ch ord G B D w hich h e p re v i ou sl y l e a rn e d a s D om i n a n t o f C i s th e T on i c of t h e n e w k ey a n d th a t t h e ch ord C E G i s n ow t h e Su b D omi n a n t i n t h e In F m a j or th a t F A C is n o l on ger Su b D omi n a n t n e w key b u t T on ic a n d C E G i s D omi n a n t in t h e k e y of F F or chi ld re n t h e m e l od i e s ( w hich s h ou l d s ti l l b e gi v e n in the e a r tr a i n i n g) w i l l n e c e ss a ri l y r e m a i n q u i t e s i mp l e a n d s h ort a s t h e mu s ic th e y s h ou l d b e p l a y i n g b y this tim e a n d f r o m w hic h t h e mel od i e s s h ou l d b e s e l e ct e d i s of s i m pl e ch a r a ct e r — a o e e n o o m m r c pl ic ted w rk for O l d e r p u p il s ma y b e gi v ex ampl e : .
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Aft e r th e e in m e l od i e :
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t on e i n tr od u c e th e m ,
L e s c h e t i z k y Ma z u r k a ,
v ry v l bl a id in d v l pi n g c n centr ti n i s t h e h a ri ng of s ch p ss g s P pil s s lly th f l l w in g l f m o h I n t ite c f s d tr i h r th fir s t x n m t o i n n p y g q i n s t n c the f ct th t t h s q n c D E F s h r p i s r p a t d f ou r ti m s in t h fir s t m s r i s r rel y h r d b y t h p p i l t fir s t s ld m r l iz s th t th s e thr t n s c omb in d w ith A nd h f r m the n tire me s re The t ch r s h o l d pl y the s x mpl es in s l w er t m p th n i s c ll ed fo in th e ori gi n l A n oth e r
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(THE C LO S E T O U CH) U p t o thi s p oi nt t h e t e ch n ic a l w ork h a s b e e n d on e e n tirel y w ith t h e hi gh fi nger a cti on in or d e r t o e st a b l i s h th e c orr e ct con d iti on of th e h a n d a n d a r m B y the ti me p re p a r at ory w ork fo r t h e sc a l e h a s b e en d on e the c on diti on of r e l a x a ti on s h ou l d h a v e b e c om e s o n a t u ra l th a t th e fi nger w ork ca n b e d on e c l os e t o th e k ey s a n d n ot a ff e ct t h i s c on d iti on Thi s c l o s e w ork s h ou l d n ot b e d one u n ti l the fi nger F or if it i s d on e a t fi r s t i t c au s e s t h e a ct i on i s we l l es t a b l i s hed t on e t o c ome t oo m u ch f r om th e a r m h a s a t en d e n cy t o ma ke the “ t on e h a rd a n d t o ti e u p t h e pl a y i n g appa r a t u s s o th a t f ree d om i s i mp a ir e d Th e fi n ge r e x e rci s e s a s o ut l i n e d in L e s s on 3 a r e a dher e d t o Pl a ce th e h a n d in p os iti on r e s ti n g on t h e d ep re ss e d k ey s a s a t fir s t Th e fi n ge r w hich i s t o pl a y c ome s u p a s fa r a s th e k ey it s el f c om e s ( in oth e r w or d s i t d oe s n ot l ea v e t h e s u r fa ce of the T h en w ith a q u ick d o wn w a r d s tr ok e of th e fi n ge r th e t o n e k ey i s p r od u c e d It mu s t b e ob s e r v ed th a t the t on e i s p r od u c e d b y fi n ge r a cti on a l th ou gh th e fi n ge r h a s n ot l e f t the s u rfa ce of the k ey Gr ea t ca r e mu s t b e ta k en tha t thi s TE CHNIC A L
W
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EA R S
50
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B RA I N A N D
FI N G E R S
h e a r 8 th s a n d tri p l e t s in c om b i n a ti o n t in u e m e l od y w ork II I D o tech n ic a l work c l o s e t o t h e k e y s II
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d e fi n it e
h e a ri n
w i t h s i gl t n s f ol l w i n g ld g f t w v ic s t n c s h w l l t i n t rod c t h s p cific ls ( M j r n d mi n r 3 d n
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t a k e n u p I t w ou l d b e e o u e e e s iz e of i nt e r va l s a t th i s p oi nt a o a o a o r s p e r f e ct 4 th s e t c ) I t i s n e c e ss a ry for chi l d r e n t o h e a r t w o v oic e s a t on c e b e c a u s e s o m a n y of t h e e a s i e r c omp os iti on s a r e w ritt e n in t w o v o ic e s Fo r t h e chi l d r e n a s w e l l a s t h e ol d e r pu pi l s t hi s tra i n i n g s h ou l d p r e c e d e t h e p l a y i n g of p ol y p h on ic w ork s w hich a r e s o v a l u a b l e for t h e i n t e l l e ct u a l a s w e l l a s t h e t e ch n ic a l d e v e l op m e n t V e ry s i mpl e a n d s h ort p a ss a ge s s h ou l d b e gi v en a t fir s t p a r t icu l a r l y t o chi l d r e n — th a t t h e p r ogr e ss i on of e a ch v oic e m a y b e c l e a rl y h e a r d F or e x a mpl e : n ow
be
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51
EA R S
52
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B RA I N
A ND
FI N G ER S
he n t h ese can b e e a s i l y hea rd a n d w r i tt e n t h e t wo c l e f s ma y b e i n tr od u c e d T h e s op ran o a n d b a s s v oi ce s of t h e c o mpl ete c a den ce may a l s o b e gi v en h ere a s a p rep a r a ti on for t h e h e a ri n g of t h e c a d e n ce ( See C h a p t e r X I V ) W
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so i n o h r y s t e
ke
WORK (SCALE S) rci s e s f th e s c l e h a v e
TE CHNI CAL
or Th e fi r s t p re pa r a t ory ex e b e en for t h e a de v e l op men t of th e r a p i d ity o f th e th umb in p a ss in g u nder the ha nd T h e n ext ste p i s th e j oi n in g of t h e t wo gr o u p s and th e p a ss i ng of th e h an d over the thu mb To i ll u s tr a te thi s h ol d 0 w ith t h e th u mb ( h a n d ob lique ) t h e n — l a B ou n n w ith th e f rt h fi e r a D w i t h the sec d b e in g c a re d n o p y g fu l th a t the h an d a n d a r m r e t a i n th e s a me ob l i q u e p os i ti on a s th e y p a ss fr om B to D T hey sh ou l d mov e s l owl y a nd ste a di l y w it ho u t a q u ick j e rk a ll ow i n g on e c ou n t for th e s i l ent t h umb in — a nn th i s m er (the h an d pa ss es d u ri n g th e q u a rter rest ) .
.
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T h u m b held Th e s e t w o me a s u r e s f or m a n u c l e u s f r om w hich the s c a l e ma y b e b u i l t u p b y a ddin g a t on e a t the t op a n d b ott om e a ch ti m e u n ti l t w o o ct a v e s h a v e b e e n p l a y e d T his gi v e s v a ri e ty t o the .
.
EA R S p r a ctice
and al
.
B RA I N
FI N G E R S
53
so b ri n gs a b ou t m a ny r e pe titi on s
c on s ci ou sl y F r om thi s poi n t the f ou r fu rth e r p r e l i m i n a ry w ork un
A ND
of
the
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B RA I N A N D
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th e s e ch or d s for t h e e a r tr a i n i n g work it i s w e l l t o T h en if it p l a y th e m fir s t w ith a l l thre e v o ic e s e q u a ll y s tr on g i s d i ffic u l t t o h e a r th e m th ey s h ou l d b e pl a y e d a ga i n fir s t e m p h a s iz in g t h e u p p e r v o ic e th e n in t u r n t h e mi dd l e v o ic e a n d t h e In th i s w a y t h e f a ct th a t t h e ch or d s a r e f or me d l ow e r v o ice b y t h e c omi n g t oge th e r of thr e e v o ic e s e a ch 0 1 w hich h a s it s ow n mov e me n t ( v o ic e l e a d in g) w i l l b e b e tt e r r ea l iz e d Th e pl a y in g of t h e T on ic ch or d a t t h e b e g in n i n g of t h e com Th e Su b D om i n p l e t e c a d e n c e ( s e e A )g i v e s t h e p u p i l t h e k ey a n t f a l l i n g on t h e s tr on gl y a cc e n t e d fir s t b ea t of the n e xt m ea s u re W hi l e gi v e s h im t h e s e n s e of it s l ea d i n g t ow a r d t h e D omi n a n t t h e fi n a l T on ic ch or d f oll ow i n g a ft e r t h e D om in a n t g i v e s h im th e r ea l iz a t i on O f fi n i s h or c ompl e ti on T hi s p r ep a r e s h im for t h e h e a ri n g of t h e c a d e n ce in the fo u r v oiced h a r mony w h ic h c om e s l a ter If th e p u p i l h a s d iffi c u l ty in rec ogn i z in g t h e k e y w h e n t he s e ch or d s a n d c a d e n c e s a r e p l a y e d in oth e r key s t h a n C m a j or he ma y b e gu id e d in d e t e r mi n i n g t h e k ey n ot e b y c o mpa rin g it w it h mi d d l e C F or i n s t a n ce i f t h e ch or d s a r e t o b e gi v e n in G m a j o r In p l a y i ng
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Th e p repa r a t or y wo rk for a rp e ggi o p l a y i n g IS f ou n d e d on t h e s a me p l a n a s th a t u s e d for s c a l e s Th e fir s t pos iti on i s t o pl a ce .
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58
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the o r d e r O f the s c a l e p r e p a ra t ory e x e rci s e s the T he p ri n p a ss in g of t h e h a n d ov e r t h e th u mb i s t h e n e xt s t e p cip l e O f t h e p a ss i n g O f t h e h a n d a n d a r m in th i s ex e rci s e a s a i l pp e d t o a r p e gg i os i s t h e s a m e a s wa s r e q u ired in the sc al e w ork F oll o
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ct a v e a rp e ggi o m a y n ow b e p r a cti s ed Th e p oints t o b e O b s e r v e d a r e i d e n tic a l ly t h e s a me a s th os e for the s c a l e Th e p os iti on of t h e h a n d for t h e C m i n o r a rp e ggi o i s p l a y in g t h e s am e a s for C m a j o r with t h e excep ti on of th e s ec on d fi n ge r w h ich i s h eld s tra i ghter on t h e E fl a t T h e f ol l o win g order of ch or d s i s u s e f u l in p ra ctis in g a rp eggi os : Th e f ou r
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h e n t h e fin ge r w ork i s p r a cti s e d in t he D om in a nt 7 t h a n d D im in is h e d 7 th ch or d p os i t i on s it w i l l b e f ou n d th a t t h e h a n d i s b o t h s tren gt h en e d a n d s tr e tch e d C a r e s h ou l d b e t a k en n ot t o " Th e a r m a n d b a n d p ra cti s e th e s e p os iti ons t oo l on g a t a ti m e s h oul d b e r el a xed O fte n a n d the ex e rcis e s d on e wi t h ea c h hand a l on e as i s t h e c a se w ith a ll the fi n ger w ork W
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ch or d s r e p r e s e n t thr e e c l a ss e s i n t o w h ich a l l s di v i d e d Th e d e v e l opm en t of th e a b i l ity t o he a r t h e c ompl e te c a d e n c e w ith f ou r v oice s i s c on s e q u e nt l y a m os t i m p ort a n t s t ep in the e a r tra i n i n g a s it i ll u s tr a t e s t h e f u n d a m e n t a l u s e of the s e ch or d s a n d i s a f ou n d a ti on for he a ri n g a gre a t The mi ss i on O f t h e Su b D omin a n t ch ord s n u mb er O f ch or d s i s p rima ril y t o l e a d t o t h e D omi na n t ; w h i l e th a t of the D om i n a nt is t o l e a d t o th e T on ic a s wa s s h ow n in t h e p r e v i ou s l e ss on Th e f oll ow i ng o r d e r i s b est a d a p ted for h e a r i n g t h i s re l a t i on s h i p Su b D om i n a n t ch ord may b e -
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W a ppens ch mitt ) Th e r e a d e r i r e c omm e n d e d t o e xa m i n e this wo rk for a th orou gh t u d y O f Ha rmony a l ong th e e l in e .
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(OCTAVE S) Th e w ri s t w or k ou t l i n ed in Ch a p t e r I! i s r e a l l y p r e p a r a t ory for o ct a v e s Th e a b i l ity t o dr op th e h a n d f r om t h e w ri s t a n d t o r e t a i n thi s r e l a x e d c on d iti on in r ap i d it y h a s g r ea t v a l u e in o ct a v e pl a y in g It is n e c e ss a ry t o h a v e s u fficien t str e n gt h in the fi f th fi n ger sid e of the h a n d t o b e a b l e t o drop t h e h a n d on t o t h e th u mb a n d fi fth fi nge r s a n d sti l l h a v e th e w e a k e r s i d e of t h e h a nd a bl e t o r e c e i v e th e w e i ght p u t u p on i t Th e r e a r e s p eci a l e xerci s e s for t h e d e v e l op me n t of thi s p o i n t b u t a s th ey s h ou l d b e sh ow n b y a t e a ch e r in order t o b e s u cc e ss f u l ly d on e th e y ca n n ot b e g i v e n h e re T h i s prin ci pl e O f t h e d ropp i ng of t h e h a n d is a pp l i e d t o s t a cc a t o F or e x a mp l e t h e op e n i n g me a s u r e s o f pa ss a ge s in s i n gl e n ot e s M os zk ows ki s J u ggler ess t h e D e b u ss y A r a b es qu e N o 2 or the B r a h m s C a p ri cci o i n B mi n or In di a t on ic or c h r om a tic o ct a v e p a ss a ge s or a c omb ina ti on of th e t wo a s om e w h a t d i ffe r ent tr e a tm ent is n e c e ss a ry Th e w ri s t i s h e l d c on s i d e r a b l y h i gh e r w ith the t h u m b c l os e t o t h e e d ge of t h e b l a c k k ey s In fa ct th e t h u mb s h ou l d mov e a w a y f r om t h e b l a ck k e y s a s l itt l e a s p oss i b l e Th e f ou rth fi n ge r s h ou l d b e u s e d on t h e b l a ck k ey s i f this fi n ge r is c on v e n i ent for th e h and If t h e h a n d i s s ma l l or s o s h a p ed th a t it i s v e ry a w k wa r d t o u s e t h e fou rth fi n ger t h e fi ft h may b e u s ed i n st e a d Th e t on e i s p r od u c e d b y th e fi nge r s in c omb i n a ti on w ith a s l i ght v i b ra ti on of the h a n d a t th e w ri s t As a p r el i min a ry exe rci s e for thi s ki n d O f o c t a v e s t h e pl a y i n g of t h e chr oma tic sc a l e b oth l e ga t o a n d s t a cc a t o w ith t h e f ou rt h a n d fi fth fi n ge r s a l on e is a d vi s e d : TECHNI C AL
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EA R S
62
FI N G E R S
B RA I N A ND
i gh t l in e Th e s a me ma y b e d one w i th t h e th u mb a l on e T h en p r oce e d with th e k e e p in g it c l os e t o the bl a ck k ey s o ct a v e s T h e re i s a l s o a n e l e v a ti on a n d d ep ressi on of the wri s t wh en pl ay in g this k ind of oct a v e s a cc ord i n g t o the wa y the pa ss a ge i s w r i tte n T h e a d va n t a ge in pl a y i n g mel odic pa ss a ge s w ritte n in o ct a v e s in thi s wa y i s t h a t th e y ga i n a mo re c onn e cted a n d mel odic c h a r a cter in st e a d O f b e i n g mer el y a s u cc e ss i on of o ct a v es a n d th ere i s th e g r e a te s t pos si b l e ec on omy of mot i on Th e mor e t on e dema n ded in a n o ct a v e p a s s a ge t h e more the F or exa mpl e t h e M en d e l ss oh n a r m f orce i s c a ll ed i n t o p l a y S cherz o ( e n d of th e p a s sa g e in o ct a v e s ): a
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EA R S h e a vy
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ct a v e p a ssa ges w here fo rt i ss imo o ct a v e s a r e d ema n de d for s e v er a l m ea s u re s it i s im port an t t h a t the s l ow p r a ctic e b e d on e in the ma nn er w hic h w i ll gi v e the mos t t on e a n d s p e e d in v e l o city In s u ch a c a s e th e r e s h ou l d b e v ery l itt l e i f a n y m ov emen t of t h e h a n d f r om t h e w ri s t O n t h e c ontr a ry t h e h i n ge i s a t the e l b ow Th e h a n d s rem a i n c l os e t o t h e k e y s b u t t h e m ov e me n t f r om on e o ct a v e t o th e n ext S h ou l d b e m a d e a s q u ick l y a s p oss i b l e T he wri s t i s a ga i n h i gh t o ga i n t h e s tr en gth of th e th u mb Su ch oct a v es a r e fa ti gu i ng a n d s h oul d b e p r a cticed on l y a f e w ti m es in s u cces s i on In a p a ss a ge l ike t h e foll ow in g f r om Le s chetizky s I nter me zz o i n Octa ves it i s b e s t t o thi n k of p l ay i n g t h e e n t ir e p a ss a ge f r o m on e impu l se of the a rm In
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h e a r t h e c omp l et e c a d en c e w ith fou r v oic e s in a l l ma j or a n d min or k ey s 11 L e a rn t o h e a r ch or d s a s t h ey a p p e a r in e x a m p l e s f r om c ompos iti on s II I B e gi n o ct a v e w ork I
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C HAPT E R
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th e r i t i s c orr e cte d or not th e n e xt a tim e E v e n w it h a n a d va n c e d p u p i l it w i l l O f t e n b e f ou n d q u ite as n e c e ss a ry for h im t o b e tra i n e d t o l i s t e n c a r e f u ll y Not on l y s h ou l d th e te a ch e r pl a y for for c l e a r n e ss of p e d a l i n g h im t o l i s t e n t o t h e pe d a l i n g b u t t h e p u p i l s h ou l d b e m a d e t o s t op aft er e a ch cha ngi n g of the p eda l l i s t e n to wha t he h a s p l a y ed a nd be a b l e to te l l whet her the p eda l i ng wa s r i ght Th e f oll ow i n g c om pos iti on s a r e w e l l a d a p te d t o t h e s t u d y of t h e p e d a l M a cD o we l l s W ild Rose ; S ch u ma n n s Roma nz e i n F s ha r p ; R u b in s t e i n s B a r ca r ol l e i n G mi nor ; Li s zt s Tra ns cri pti ons of to
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Ch op i n A n ot h e r ex a mp l e of t h e c onn ecti on of the f u n d a H er e i s m e n t a l t on e i s i l l u s tr a ted in th e f oll ow i ng me a s u r e s p r e s e n t e d t h e p r ob l e m of t h e f u n d a me n t a l a s a p a rt of a n a r p e g g ia t e d ch or d w h ich i s o f t oo g r e a t a s tr e tch for t h e or d i n a ry h a n d t o r e a ch In s u ch c a s e s th e f un d a m e n t a l t on e i s re a lly f a n m e a tely a d m ed th e l a s t th e r e c e d i n m e s u re i s i di l a o t a p g p y c a u ght b y th e pe d a l w hi l e t h e t op O f the a rp eggi a ted ch ord c om e s in w it h th e r i ght h a n d F or ex a mpl e : He l l r P l d 0 p 81 N91 17 by
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b ri l l i a n t sca le p a s s a ges t h e p e d a l m a y b e u s e d pr ov i d e d t h e foo t i s r e m ov e d f r om th e p e d a l i mmedi a te l y a t the e nd o f t h e p a ss Su ch p a ss a ge s s h o u l d b e i l l u s t ra t e d fir s t wi t h ou t p eda l ; a ge s e cond wi t h the p eda l h e l d ove r t i me ; t hi r d wi t h i t cha n ged on ce or t wi ce d u ri ng the p as s age ; a nd fou r th h eld t hr ough ju s t to the end a s In
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