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HAROLD 8. LEE L[3Rarv
PfiOVO, UTAH
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IheEements
(jnest Mreson.•pk
Price $ 1.25 nel.
Copyrighted 1907 by Ernest Hutcheson.
English Copyright Secured.
G.Fred. Kranz Music C?,
303 N. Charles Street,
BALTIMORE, MD.
"W& Jtusic Jtoan"
i
"7
The Elements
BanoTechniqueO
Gne* Meson.Price $ 1.25 net
Copyrighted 1907 by Ernest Hutcheson.
English Copyright Secured.
G.Fred. Kranz Music C?,
303 N. Charles Street,
BALTIMORE, MD.
\
\
HAROLD B. LEE LIBRARYBRIGHAM YOUNG UMIVERSITY
PROVO, UTAH
3
PREFACE
Many of the exercises contained in this little work
are purely preparatory in nature. Others are for occasion-
al or special use. Only about twenty are permanently
essential. All are necessary at some stages of study or
to some pupils, but the teacher should not hesitate to
omit 'as many as can be spared in each individual case.
Preparatory exercises, for instance, such as Exs. 1,2, 11,
16, 20 - 26, etc., may be discarded (except to correct re-
lapses) when once they have thoroughly served their
purpose.
Tt has been my aim to reduce the exercises to the
greatest possible simplicity and to give the most ex-
act directions for practising them properly. The form
of an exercise, however, may often be modified with ad-
vantage to suit peculiar needs.
'Advanced'' technique is altogether excluded, because
I disbelieve in the necessity or expediency of spending
time on it. To the pupil who has really mastered the
elements of technique, the studies of Czerny and other
composers supply all that remains lacking in mechan-
ical equipment.
The "Notes to the Teacher"' perhaps require some
apology. I have given them for the sake of the many
teachers who, not claiming to be accomplished perform-
ers, gladly recognise the value of occasional hints from
a practical pianist. These notes, it is hoped, will also
be of benefit to advanced students.
It is not for a moment pretended that this short treat-
ise is in any respect startlingly original. No particu-
lar "method" is advanced or defended. I have merely en
deavored to bring the best ideas contained in a larg-e
number of modern works into a small compass, discarding
everything unessential and repetitive. Some of thebooks
which have been consulted are: _Zwintschcr, Technical Exercises.
Kullak, School of Octaves, Book /.
Maria von Unschuld, Die Hand des Piantsten
Malwine Bree, The Groundwork of the Lcschetizky
Method.
Moszkowski, Ecolc des Doubles Notes.
Schmidt, Das Pedal des Pianoforte's.
Busoni,.Afrfe.? on Bach's "Well -Tempered Clavichord!'
G FK 1
GENERAL DIRECTIONS FOR PRACTICE.
1. Sit before the middle of the keyboard, About so high
that the elbows are on a level with the keys, and /kn
ward in your chair. The chair must not be too near
the keyboard.
2. Do not stoop. The upper part of the body, indeed,
may lean slightly forward but the shoulders should
not be rounded. Do not mtke faces.
3. Watch your fingers as you practise.
4. Listen to every note you play, and judge whether it
sounds well or not.
5. Try to improve whatever you are studying, not
merely to repeat it mechanically.
6. Nearly all the exercises in this book are written out
for the right hand only. The left hand is to be played
an octave or two octaves lower, as the teacher directs.
7. Nearly all the exercises are meant to be transposed
into different keys, keeping the same fingering. Those
not intended for transposition are marked C. It is a
good plan to choose a new key every week, or every
three days if preferred.
8. Practise slowly, and usually with only one hand at a
time, at least until you know the exercise thoroughly.
SECTION I.
Hand- position, Finger- action, and Touch Exercises.
Exercise 1.
Place the fingers on the notes:
-
s4
* «fc
1*345
v«t i
Directions: —
1. Curve the fingers so that they touch the noteswith
the tips. Hold the nail- joint of the fingers firm,
and in vertical position.
2. Keep the wrist low and slightly outward fromthe
body.
3. Keep the knuckles rather high and firm, so that
the hand will be slightly arched.
4. Do not let the hand slope downward toward the
little finger.
5. Hold wrist and arm loose, and let the weight of
the arm rest on the finger-tips, keeping the notes
steadily down.
ft. Separate the fingers from each other. Hold the
thumb well away from the hand, turning only the
tip inward.
This may be called the Normal Hand-position.
Exercise 2.
Directions: —
1. Lower the wrist at n, raise it at V: (these signs
will be used in the same sense throughout the
volume). Exaggerate the wrist -movements at first:
afterwards moderate them.
2. Keep the weight of the arm on the keys, holding
them down steadily with the fingers.
3. Hand-position as before.
This exercise is meant to combine looseness of wrist
with correct hand -position.
Exercise 3.
Directions: —
1. Lift and drop the fingers with the greatest pre-
cision (see end of Note 4), counting "1 and 2 and
3 and 4 and". Keep the fingers well curved.
2. Hand- position as before. Read again the direc-
tions for Ex. 1.
3. Avoid stiffness. The wrist may occasionally be
raised or lowered to ensure relaxation, but not
with regularity as in Ex. 2.
A correct performance of Exs. 3 and 4 is often so
difficult to beginners, especially to children, that it
may be necessary to use the following preparatory
exercise: —
Exercise 3. A.
$~°l?°f r r r^ J J J4
oJ J J^•^J J J g[a ,J < J ^pxy
£
i :£*g^irr r r r 3=gg
Exercise 3. B
^^^TTT^gg m i m ;xJ J J J
6 F. K 1
6
These exercises should be discarded as soon as Ex.
3. can be played without stiffness.
Otber good methods of avoiding excessive difficul-
ty at the outset are.—
1. Omitting the thumb in Exs. 1 and 2.
2. Practising Exs. 1-4 very lightly at first gradu-
ally increasing the weight of the touch
Exercise 4
i krfrrtrrrrtrrffi£
fcrrriyrrfrrrrre^')
§ rrrrrrirfrrrr^-wWf
Id) m w=w 3ft
Directions: —
1. Hold dftwn all the fingers except the one about
to play. Keep them Curved, and watch them.
2. Play legato. Practise slowly. Begin softly, lat-
er, increase the tone, always avoiding stiffness.
3. Lift the fingers with precision. The fourth' and
fifth fingers may be lifted more than the others,
but the thumb should be raised very little.
Exercise 5. (Portamento.)
_1 z 3 4 5^mmtntr\-m&w J*Ij*IjMjI/
Directions: —1. Drop the whole arm (not merely the fore-arm)
on each note: raise it at the rests. Be sure to
let the elbow rise and fall.
2. The wrist must be very loose and yielding. Thefingers should move very little, always staying
quite near the keys.
3. There must be a great deal of weight in the
touch. The tone should be strong but sweet: lis-
ten to it carefully.
Exercise 6.
Directions: —
1. The same as for Ex.5, but take care that all three
(or four) notes of each chord are equally strong.
Play vigorously.
2. Hand -position as usual.
3. Practise first with each hand separately. Observe
the fingering. which is the same for ail keys.
Exercise 7.
a>
b)
13 2 3122 33445m *=3
3=Z*¥HP
Q 1 Z
i '
t i
gpffppiDirections: —
Drop the arm on the first note of each bar5
lift it
after the second note, but do not shorten the second
note more than necessary.
Exercise ? is a combination of portamento and legato,
and is particularly instructive (though far from dif-
ficult), because it contains the germ of proper phrasing.
Exercise 8. 'Legato.)
a fk i
m5 4
3 ? S p g P i S *tfc.
3 4 68 3 412 3
fl1 2 3
» frjjJJ
3 4 52 3 412 8
# d > d ' d •
m5 4 34 3?3 2 Lg » g> P_ g £ F_F F J gfr.
2 3 4 512 3 4
fl12 3 4
JJJ JjjJJJjJ I JjiWjJJJ^JJ-r^
jLt^rrrr r r r r* F« *?&*.
12 3 4 6 12846
ppi-frmg
^jg c£tf !B§ cjir.r ic^ aJJl .
Directions-.—
1. The binding must be perfect. Observe the differ-
ent fingerings and use them all in turn.
2. Attend carefully to hand - position and finger -
action. Watch the fingers to see that they lift and
curve properly. When the curve is sufficient, the
player cannot see his finger - nails.
3. The tone should be pure and singing. Gradually
increase the strength, always avoiding stiffness.
4. Practise slowly. Only d) should ever be played fast.
This is a. most important exercise, and it should be
practised daily with, the greatest care.
Exercise 9. (Hand- staccato.;
2 9
a)miii ik:.dtm p m m ^ffi
pttt\tit} \ iirntril\tiiri\<\
*pg3 4§1 2
MmNmtittigte^3454iiii
{ t \1
riJU __
Directions: -
1. Use the whole hand, letting it fall sharply and
rebound rapidly. Make the notes as short as pos-
sible. Practise lightly, without weight.
2. Hold the wrist and elbow a trifle higher than
usual. They must be perfectly loose.
3. The fingers should hardly move.
4. Practise a) in octaves also. In b) and c) the two
notes must be exactly together and equal in tone
Exercise 10. (Finger-staccato.)
i».i..J^ JW JW JS h JVrrgT
: p j 1 j g j p- v.jt^e ~»*^
Directions: —
Keep the hand quiet. Use the same finger-action as
in Ex. 3, but short and sharp. Lift the fingers more
than usual.
SECTION II.
Exercises for the Use of the Wrist in Legato Playing
Exercise 11. Metronome 6-. 100.
q r V pi V nj n 1 " V n V 'n V n V
\
rrm ^LU Ijjlj^§d*#/Vn Vn Vn Vn Vn y n V n .. \ n
fri^mm Ttt &&&^[? ' OS
c)$n V n V r V n V n V
f g) f* Szzi IP Sat
^JTjJJGFK 1
Directions: —
Lower the wrist at the sign n, raise it at V. Do not
make the movements jerkily. Preserve the legato care-
fully, and try to produce a full, round, singing tone.
The fingers need not be lifted very high.
Exercise 11 has two objects, looseness of wrist and
production of singing tone. All legato melodies are
played with more or less of this up-and-down wrist
motion, which maybe exaggerated for purposes of study.
The tone should be produced by the weight of the arm,
the finger-tips resting firmly on the keys.
Exercise 12.
Directions: —
Continue as in Ex.11, but with less up-and-down mo-
tion, and add a slight outward movement of the
wrisi*'at the points marked 3. The combination of the
two motions imparts what may be called a "rolling"
action to the wrist. Do not exaggerate this.
Exercise 13.
j'']j7j,i jjijw^ '*Jit
* 2 * 4 4 a
etc. to\ 5S 1 O5 4 3 2
Exercise 13 should also be practised with different
accents, thus: —
b)
c)
$m • j '— * m
* *=3=+. * 3
T II I
4 * J m m~=-=^ 1
etc.
etc.
JJJJJ JJJ IJ ' = etc.
It may also be used in the following variations:—
•;J * i im^ Sd M * etc.
In all cases, observe the different fingerings, and
do not forget transposition into other keys.
Exercise 14.
aT * ? 1
.1 I M * •
* 8 I 4 3 2
Exercise 15.
4jy^to4^J ^iJ'fjEtffc to
3 5 5
flcircfri,,
ik?ffrifargEr '*
The following variations of Exercise 15 (and others,
if desired) may be used: —
fl ^JjJJjJJjlj 4||j d J « J«t etc.
In practising Exercises 12-15, do not forget what
has already been learned. Keep a good hand- position;
use proper finger-action, attending particularly to the
curve and lift of the fingers; hold the arm and wrist
loose; and listen to the tone. Gradually develop strength
and speed.
l
> That is to 9ay, turn it a little farther out from the body than usual.
G.F.K.l
9
We come now to a form of action which is often
a great difficulty to beginners, viz., the Tremolo.The following preparatory exercise is useful.
Exercise 16.
4 & "T" TiY
tTTrTrTf vTrTrf-
»$j\ V J I V Jn, & . Ji¥ j>» J)» J^^g
1
Directions:—At a), raise the thumb as high as possible after
each note by turning the hand and wrist bod-
Up, holding the little finger down as a pivot. At b),
raise the little finger in a similar manner, holding
the thumb down as a pivot.
Exercise 17.
«; ^Jjpjrpjipjrpu^
4JTJ7Paji-*iW^ etc.
Directions: —In Ex. 17, when playing slowly, combine the motions
of Ex. 16. a) and b). The whole arm will turn slight-
ly to and fro on its own axis: it must be perfect-
ly loose. Increase the speed and diminish the move-
ments until the fingers hardly leave the keys and
the exercise is performed entirely by a slight but
rapid shaking of the arm. The fingers need not be
so much curved as usual
Exercise 18.
$Mh)flfi Jp Jjp jj/
Directions:—
Practise until great velocity and complete ease are
attained. Small hands may substitute the following:-
Exercise 19.162 8 12 4 18 4 18 4
_l • 5 •— -J If -a•—
-
rrp
This very "stupid" exercise is included because it
shows a form of Tremolo -action very common in Mo-
zart's and Beethoven's works and often troublesome to
inexperienced hands.
SECTION III.
SCALES.
The peculiar difficulty of scale -playing is the put-
ting of the thumb under the hand and of the hand
over the thumb. This difficulty may best be attacked
by means of the preparatory exercises Nos. 20 - 26.
Exercise 20. C.*>4
38
*) Exercises marked C are not to be transposed
0.FK.I
10
234 a=y
r^) >t<^f\fe^ff,^
Directions.—
i. The wrist must be held well outward from the
body, and must preserve this position in all the
scale -exercises and in playing scales. The hand
must not move during this exercise, but it must
not be in the least. d*»ar«A stiff.
2. Count four. In Ex. 20 a), play C at the first beat;
place the thumb on F, touching the note, at the
second beat; play P at the third beat; and let the thumb
return to C, touching the note, at the fourth beat.
Treat Ex. 20 b\ c), and d) similarly.
3. Do not lift the thumb from the keys; let it glide from
note to note. The motion must be very rapid and pre-
cise.
4 Keep the fingers properly curved
5 The small crosses indicate the moment at wnich
the thumb must move; they will always be used in
this sense in future exercises.
6. Play each repeat many times.
Exercise "21. C.
^m43
j| hifEeg't 2 * 2 1 l
Directions: —The same as for Ex. 20. The thumb must always
prepare its next note at the sign x.
Exercise 22. C.
1 2 3 13 2ft 12 3 13 2 1 123 4 t 4 3 2
r irr JJ -11 • I
i1 2 3 4
-M l=rrr
r
4 3 2^Directions: —
As above. Be sure to retain the outward position
of the wrist throughout. Curve the fingers and hold
them in position exactly over their proper notes.
Preserve looseness and good, even tone.
Exercise 23. C.
Count 4a) i
c) ^ aW • s JmZll a)i
o o
23
234
234
23
Directions: —
4. In this exercise the thumb is immovable.
2. In Ex. 23 a), play g at the first beat; move the
j>
hand to its second poeition (the fingers over A
)
B Gat the second beat; play A at the third beat; and
Greturn the hand to its first position (fingers over
g) at the fourth beat. Treat 23 b\ c), and d)
similarly.
3. The movement of the hand must not be made by
twisting it to and fro, but the wrist must be held
as far outward in the second position of the hand
as in the first. Observe this point most carefully,
for the correct movement is not easy. The thumb
must yield readily as the hand passes over it.
4. The moment at which the hand should move to
its next position is shown in this and the suc-
ceeding exercises by a small circle (o).
Exercise 24. C.
9)
mvm 3E -O- j r r r r 11
-»-
C) 8
m 0- p8 a
HI J J ;| 1=1
Directions:—
In each section of the exercise, keep the thumb im-
movable over its note. Avoid twisting the hand, and
move it promptly at the sign o. Let all the fingers
keep proper positions over the notes next to be
played.
G F K 1
II
Exercise 25. C.
2 3 1 2 3 4^13
* 1 £2 3 4 i g 3 2 14 3
£ rr^frori
^12 3 4 3 « 1 3 2 « 8
'
4 1 * 3 2 1 '
4 3 22 3
Directions:—
As above. Keep the fingers curved and the wrist
loose, always well outward. Play with good, even
tone./Do not raise the thumb.
The next exercise combines the hand and thumb
movements. No new directions are required,but all those
given for Exercises 20-25 must be remembered.
Exercise 26. C.
1231 2341 2 14 3 2132
Mfg FFP?o x
3 1 & § 4 1 2 3 J, 3 2 1 4 3 2 iQ 3 1 3 3, 4 1 2
ftrj J J j Irr^X) ~ O X ^ o x £i -»-
£ o x
W=¥W
18 3 1 2 3 4
ox ° x
'a 1 M5 p i rrf4 3 2 13 2
*=Fr~ir*'*' i j J • ^
-*>-
3123 ^12 3 18 21 4 3 2 1 J
The complete scale may now be attempted. By this
time it should present little or no difficulty.
Exercise 27. C.
A 12 31 2*41 2 3 l£J#fA Ig l j 2 1 4 8. *132
f -#• o x o x o oi TC or* *5T^^ x o
O X O x o
3 4c 4 3*
Below is shown, by means of small notes, the exact
position of every finger of the right hand through-
out the scale. v
Exercise 27 a).*"'
#i4 1
3 4
B
A
5 s »
4 4 aa 2 21 1 1
t_*i
***?t 'ct^£ fr$»aS
—•*—-••—-*
—
*• #J3 2; 1^ £JTJ
3. 2 1
I
The student should now proceed to practise major,
melodic minor, and harmonic minor scales in all keys,
at first slowly, in two octaves only, and with each hand
separately.
The fingering of the thirty- six different scales is
usually a source of much distress to the bejriiMi<;r. And
yet it should not be very difficult, providod tiiut scale-
formation is understood. To begin with, do not think
about the thumbs or where they come in the scalt;.
If you only remember where the fourth finger falls
you know the whole scale, for the fourth finger is
used but once in each octave.
The easiest rules for Scale -fingerings are, curi-
ously enough, little known among teachers and stud-
ents. In fact, I have never seen them given in print
except in Carl Faeltehs "Rhythmical Scales." They are
as follows:
Right Hand.
1. In scales beginning on a white key (except the
scales of F) take the fourth finger on the seventh de-
gree of the scale.
2. In scales beginning on a black key (and the scales
of F) take" the fourth finger on Bb (or J# ).When
there is no Bl> (or A#) in the scale, take the fourth
finger on the second degree.
Left Hand.
1. In scales beginning on a white key (except the scales
of B) take the fourth finger on the second degree
of the scale.
2. In scales beginning on a black„key (and the scales
of B) take the fourth finger on F% (or G\>).When
there is no F# (or QtV) in the scale, take the fourth
finger on the fourth degree.
These rules are compressed by Mr. Faelten into a
clear and simple formula, of which I give a slight
variation :—
•) Quofed (with a slight alteration) from Miss von Unschulds book. "Die Hand des Pianisten."
G. F K 1
12
R. H. 4th Finger.
White notes' (except P)
Black notes (and F)_
L. H. 4?* Finger.
White notes (except B)
Black notes (and B) —
VII
(B!> (AH)III
. II
av
There are only two partial exceptions to the above
rules, both occurring among the melodic minor scales.
They are :—
R. H. F# minor (ascending).
L. H. Bi? minor (ascending).
These are fingered as follows.—
w ggigigiiii3 2
f*$ rn
L.H.
zmSAAS^lJ^m P$2 i 3<2 3 41^-
It will be observed that both these scales follow
the rule in descending.
It is quite unnecessary to have the scales written
out and fingered for study. After a little prelimin-
ary explanation, all that the pupil needs is a slip of
paper with a copy of the formula. For the sake, how-
ever, of teachers who prefer to keep to old methods,
I give the scales in full at the end of the book.
The irregularities of fingering in beginning and
ending scales are so convenient to all players that
they are never a source of trouble. I mention them
for the sake of completeness.
1 In all scales following the white key rule, the
fifth finger is used for the final note in the
right hand and the first note in the left hand.
This avoids unnecessary putting under of the
thumb.
2. In all scales beginning on black note* the first
note in the right hand and last note in the left
hand are taken by the second finger. This avoids
using more fingers than necessary. For exam-
ple:—
i it" l a 3 i
\t , 7T~12 3 43=*<t*=£ etc. Not etc.
b)
;ui^ •-0 ,1j.L<<> > 12 ,» 1
I ?!, 4 L i
:i * * *
± etc.
All the scales should at first be practised with
each hand separately, then with both hands together;
at first slowly, then faster; at first with medium
strength, then louder. When they can be played fair-
ly easily with both hands together, they should be
practised with varying accent and speed, say thus:—
Exercise 28.
Iw SS§l£#•
>): jgJ^jLftfggWfff£
<—
*
3ES*^ta .—
,
,
—
m + _
cr
m 5:i3^
•uniP.i i , r urnW&^j^^mj«&£e*
^ rp _ _«r^.n^S£?^itr
^^jgga
G. FK 1
13
m^*-d5B£Cgrf
They should also be practised piano and forte, crescen-
do and diminuendo (usually crescendo upward and dimin-
uendo downward). Staccato, both of hand and finger,may
occasionally be used. Finally, they must be practised in
contrary motion.
The diatonic scales must be practised daily. Their im-
portance in technique cannot be over- estimated, and ev-
ery pupil should have them literally "at his finger's ends'.
THE CHROMATIC SCALE.
Three fingerings are in common use: —
1284 12 31 2 s,
* 1 2 » 1,2
lp3f»I*
6 4 ' '
aft?
s %+**
5iH e r«
3 2 13 2 1 4 3 2 T
2 3 ±3 1*
1
Iicai
w*tfjWrtfWfPtifm
miFfiFg1*4 3
3g ^tf* f1 g 3 * 2 3 4 1
i
2 1 3
3|21,3 214 3,
* 1 3 2 1432
#
Wgg
USt£3ckkzs: 5S
312 3 1~ 3 4123 1234£XE
II
#1 3 13 1*31^^S P?=fe-1 3
m3 1 3 1^^| r 1
1
1 3 2 13 1 3 13 2
i2 1 3 \
' »W
fcj: | g "fV-*
fiF^i13 2
fefcgdl
12 3 1 3 1 31
18 13
wSr^pg g g g 3cn
2 3 18
III
1212 1231 1 2
gp J P
7 J j r I
*
Bi g b r
i
I r *r r1 * j 3 a 1 2 1 * 1 3 2
21*1*132 121 gE££^3 # ]>• j
Pp 1/p a
• ^ « J \r+
B a j1231 2121
g i*r g pp :
-»
XE* 3 1 2
Of these fingerings, No. I, in which the thumb is
placed on every other white note, is far the best.
No.ILis useful in a moderate tempo when great strength
is needed.
SECTION IV.
CHORDS AND ARPEGGIOS.
Exercise 29.
a nnnn r
a)*&nnnn ete.
531
ill581
PV V V V <tfc.
ftv v v v Up
G.PK.l
14
*)
. ,n n n n He. & & ^
£ s *
V V V V«/c. <» $ «.
*i i luj i j i L1X14J
Exercise 31
Exercise 32.
fc
54*1
rSE
5
54z1
54ft
1>
I
i
245
1a85
5*
31s45
*
t1
46
Exercise 33. *>
Exercise 34.*)
Directions for the above Exercises:
1. Let the fingers remain on the keys throughout.
Use the wrist as indicated by the signs n, and V
in Exercise 29, most frequently as at a), occasion-
ally as at b).
2. The chords are to be held as long as possible,not
to be played staccato.
3. Practise the chords forte and fortissimo. In the
fortissimo, use the arm as well as the wrist.
4. The tone must be good, and equal for all notes
of each chord. Sometimes, however, the chords
may be practised with the highest note of the
right hand stronger than the others.
5. Avoid stiffness.
6. Transpose into all keys.
7. The fingers can be held perfectly curved in Exer-
cises 29 - 31. In Ex. 32, they cannot be kept
quite so curved as before, and in Exercises 33
and 34 the pupil must grasp the chords as best
he can.
Exercise 35.
Directions.—
1. This is a preliminary exercise for broken chord9
It is to be studied similarly to Exercise 3 (see
Section I), except that the fingers cannot be
held quite so curved except by large hands.
2. Use corresponding exercises in the inversions of
the chord: —IS
42
% ft « Hi
3. Various positions of seventh- chords may be stud-
ied in the same manner.
*> Ex*rci»e6 33 and 34 mast be omitted by young pupils with small hands.
9. r. K.i
15
Exercise 36.
3
JIl*j3
3ttr
*ECrCff4fEW|
5 3 2 7 2 4 7*<J U<T4 5 4 2 .235322 3 5 :i 2 J 2 44 2 1
Directions:-
The same as for ordinary legato exercises. Turn
the wrist slightly outward in approaching the notes
marked 3.
Exercise 37.
*)1
3"" "
*J 9* 3 5 7 3 4 B HTl * * 7*J 4
0&.
Directions: —1. Drop the wrist slightly at the first note of each
group or figure. Turn the wrist outward when
the fifth finger is used.
2. Exercise 37 should be practised with varied ac-
cents, thus: —
iP ^=^ <s)
#=
—
0-JTD rr^rirrE«HJ3 U'.M
[|_ffe?/c.
& £S I e&.
3. The following variations are also useful: —
¥&Mv tffc. *fe
tffpSpu.
Exercises 36 and 37 may easily be adapted to chords
of the seventh, either dominant or diminished.
The following exercises, preparatory to extended
arpeggios, are analogous to Nos. 20 - 26 in the last
section.
Exercise 38. C.
3Z
$ t^ff3=^^^i S*•
ii
2 xx4
Exercise 39. C.
a)$ 2 3 13jplp
j2 3 1 2 i 3 ^
Ir°^L « - °
I
#t
3*2 32
12 3 12
¥3 3 3 18 2
o x «*•
43spy &j§£o o
jcrlji 522
i« 4 i*« 1 a'4 i ?i 4 2 41* V? 1 4
«r;
< a ' * •A "• A
1 2 A *2 f jf* 2'
""'1
4 2*
6 *
^1
Exercise 40. C.
R - H- 28
* v « X *v
i«
x oOX ox «•
L. H.j 2
fl „ W^-f?^ 1^4 S42148 14 2 1
•x ri^..' *- ^P /-x ^ oO X O
P.FK.l
16
Directions: -
1. Exercise 38 may be omitted by pupils with small
hands, but not without a trial, for it is far less
difficult than at first appears.
2. If the instructions for scale - preparation be re-
membered (see Exs. 20-26), it is. only requisite
to consider the modifications made necessary
by the greater stretch in Exs. 38 - 40. The
wrist must be held very far out from the body,
and even the elbow must be held further out than
usual. Some little twisting of the hand will be al-
most unavoidable. The fingers cannot be curved
quite so much as in the normal hand -position, but
the curve should be the best possible.
3. Exercises exactly similar to Nos. 38-40 should
be used for the other positions of the chord:-
*
54al
6421
s* Eft-o-
The arpeggio may now be practised with varying ac -
cents and speed, thus: —
Exercise 41.
^1ffIP?ismrw mw
( jj Pill I
J
' fijf l'Wwetc.
|pg£§
etc.
Exercise 41 is to be transposed into all keys, subject
to the following _
Rule of Fingering.
Always put the thumb on the first white note
of the chord in the right hand and on the last
white note of the chord in the left hand (ascend-
ing). In the chords of G flat major and E flat min-
or there is no white note, in these cases keep the
fingering of Ex.41.
In studying arpeggios, proceed as usual, from one
hand alone to both together, from slow to fast, from
soft to loud. Contrary motion need not be used. Cresc-
endo upward and diminuendo downward may be freely
practised.
The following exereise is so useful, and contains a
technical passage so frequently found in piano music,
that it cannot be omitted:-
Exercise 42 a).
TjJgfliM 'irifflgThe above fingering is to be used whenever the notes
are all white or all black, that is, in C, F, G, and F
sharp major, and in D, E, A, and E flat minor. Finger,
ings for the other keys are as follows :-
Right Hand:-
4«J »825BS^a*514l32& &28i416a"*iy 5 2 3
*^1
l 4* **4i
(For D, A, B, and B major and C, F, and G minor.)
(For Db, AK Bb major and B, Fjf, C#, G$ minor.
6.FK.1
* (iL2i) # £ 8
m'i '¥ # (5231)
(For Bb, major and minor, only.)
fib£41g„«^14l 141*
x^4 ?TTi * j
(For D, A, B major, and G, C, F, Bb minor.)
17
3 413 1 *3i4 3
(For Db, Ab, El>, Bk major and Ff, Cfl, G# minor.)
(For B, major and minor, only.)
SECTION V.
A. THIRDS AND SIXTHS
Exercise 43.
42
ir^:
-u
43
f f • f f=«* i j i
i P f I f^JjBp ji p p-'11—^:
Directions: -
Practise as in Ex. 3, taking care to play the two
notes exactly together.
Exercise 44.
3 4 5 43 *
f-ri %fg 1 1^ ii iPp
M * ft E jjp E * n* ^ 9 ^p ^ "II* ff ^» ^p E it » » 3> *II
^
5 * 8 4
Directions:
-
Take care that the two notes are played together
and with perfectly equal tone.
Exercise 45.
121 2 i
a
3 4 3 | 3 4
Directions:-
1. Hold the wrist slightly in toward the body in the
first measure, particularly at the point marked c.
This makes the very difficult legato easier. In
the second measure, a perfect legato is impossible
unless the fourth finger can be put under the
third. This is so difficult that it is probably better
to put the fourth finger over the third, holding
the wrist outward and concealing the slight gap
in the binding as skilfully as possible.
2. Some of the transpositions of this and the next
exercise, and of Nos.49 and 50, are very fur from
easy. But they should at least be attempted.
Exercise 46.
f | § 1 21 jj| 3 3 45 3 |35 4
Directions:
-
Conceal the breaks in the binding as well as pos -
sible. Use the wrist in any way that is helpful, but
avoid exaggeration.
Proceed similarly in the following exercises:-
Exercise 47.
3 4
J j i \ J jiinni
i
i' Llj * j j
^~r
^ ^r^i-"
G F. K. 1
18
Exercise 48.
f t f f it it ? t it
jiim qi tjjed i jjcjiya
Exercise 49.
i^ &g4 »
*+5| 3^i
i^'
* g 4 5 4 3 *i * 1 * i
* i * 6 4 ft4 5
14
Exercise 50.
-£*
4 61* »t It'3 2
1 to45 3 4
XT
2 . 1 26 U5
1
4
Young pupils with small hands may defer the prao^
tice of exercises in legato sixths until the stretches
become practicable.
Exercise 51.
•ifLU 34 «
s2
4 3 52 4
r
31
•. •-•fhK
c/cd LItL^- irt'c.
2! *?i 8
l^X
f 43|43
F« 0&VP*— WL.. .—
gjj»=*=?
| J 2 1 i 23 4 5 8 4 6
?ji3*fc
In connection with the above, the following "bind-
ing" exercises may be studied. They will be found
helpful later on in legato octave -playing :—
Exercise 52. C.
a)it li li ii ii iia l i ii ii li ii ii ,tl
v-LL-.
^4i ?
WJ* |JJ-J ^J* ' ^HJj*
Aj^iiii a;\
\ . y \ . \ \ t \ \
Directions: —Here the thumb must slide from note to note,which
is easy from a black note to a white, fairly easy
between two notes both black or white, but diffi-
cult when the first note is white and the second
black.
Exercise 53.
4 3 4 3 4 3, 4 3 4 3 4 3
, 4 8 4 3
>)¥
i)$5 4 5 4 6 4 5 4545*54545»H*
5 3 6 3 6 » 68535
H irrpJujj^^_0 5 3 5 8 5
4iJJ4 IJ^ p6 3 5 9
Directions: —Here the long fingers must be put over the short
fingers, and the short under the long (3 over 4, 4
over 5, 3 over 5, 4 under 3, 5 under 4, 5 under 3).
The wrist must be held intoard, and maybe moved
slightly up and down, — always up for the longer
finger.
It is very useful to practise Exercises 47 and 51
in broken thirds and sixths in all keys, as below:-*
Exercise 54.
Exercise 55.
Xf J.*J.* » * *a.Z 421421421424.35325 » 2532 53
vj' # j,#wd* * "a 8 14814814314*.'426425425 42 6
0.FK.1
19Exercise 60.
Exercise 56.
8 4 i s 8 4 1 5
£.2 4 3 *24 -
*T**tetc.
±+*;"• -i«*
m etc.
4 8 14*5 1 8 1 4* 5
Exercise 57.
15 1 *£J
'%5 1**1 , I. 6 5 _
ss4 14*14 i.i 4 5 4 s A .
4fJJg[ffi*- EdTcJ ltTLcp*-
In the next group of exercises, Nob. 59 and 60 must
be omitted by young pupils with small hands.
Exercise 58.45 5 S 2IS 4 o
Li % rrn v*~^
lb* JTH -i^-j-^ffiF
gwg -
1>~^ >—>
! I 3g « e/fc.
2 15 4
2 15 4
2 15 8 • i
3^ i%^|pjp ijgg?»EEEr*bEcF **
Exeroise 59.
ft. 8 2£ 2
foEEjEHtiiHEitt'EElHF 1
dy*"!* ..topeV
• , 5 4 8 4 6 4
f | 8 2 f J 8 2
fejgj i!
iifl?3 jj533 i|j5?jjhip
i JjjffiBsb^
For chromatic work in double notes the following fin-
gerings are an excellent preparation:—
Exercise 61. C.
2 1 2^^2 1 2 1 * *. 2^2 i
a)
P i f i ' «' ri
2"~2 12 * a, 1, 2^*
Vx
2 12 1
I m pp iju jj * rip
4)
8 4 8 4.58484345fl
» 4 a 4
p J g g frfc=pi
4 6 4 8 4, 8, 4 8
L4 6 *- »
, I I \ 4 8 4 mo)\ *uJ
r»r r i fr r«r ir'r rr
s '^rVi rVr'T i rr'Tr ^° a
\_Jt 1 2 1 2 1 Z^JJt 'l 5
*^w cfc^Ei * £
1 \ "i 1 % S 4 8 "4 8 B 4"
1 4 5 8 4 8 4 8rr if r'rr
:|| ^ u
'4 a 1 £ T^ a4 5 8 4
These would be combined, say in chromatic minorthirds, thus:—
Exeroise 62. G.
R'H. 8 4 5 3-^4 3 4 8 4 5 8^412 1 2^ v2 1 2 1 , *, l g^8P *l *, '
I I *l 111 I = .
»* «
4 8 i3 4 51 .*
3 4
».n ^a 4 * a^--i ? S » i i* » a* a
=
2 ? 4—
»
L* 1 ,2 f % ? 4^^81 f
&=hki
^8 4 8 6|2 1 . 2 1
*w*i ? t^l 48 5 4
' ' ' 1,
2 1 2fe*4':>:k h^. «!* >#
inp i j I
»K.l
20
!fcSppi»ip»»rir^i'Vr|>rfi
L L 'i
—
ij-^i—'si—*sj^» t—a 1®
7"—'o a a 5 4 3 4 8 4 8 5X J*4— 3 4 3
Fi 1 I i * » * 8 « * * *
1
fltrw^'j 'g^5 M 5 l~f 3
4 i KA ' I 1 1 'a'
'i 'o L \ ' 2 "
4 5 3^ 8 4 3 4 5 H £ *
B. OCTAVES.
Octaves occur so often in piano literature that they
demand more notice than we have given to other forms
of double notes. They should first be practised stac -
cato, as in Ex. 63.
Exercise 63.
*4M v Jt==m
FFF 3E*3|1 ~rr
b)m fa J> »
#——
«
£f^f
j^iy
ihhvt *
I^-Jv
==»;/
s^c;i
h=Jh=*&=nL±k=2^*nf
31j >i
i* e? fiH
^ *—
P
* ff*f F^^-teP *f - r ..!r . - r—pplpgpplil i5SE3E
ifeg * b.
F §^h-uh• |M*fc
^H^* m*
i- l" 1
h J> J>-A_ ^—,3
—
- 1 . „ l « ,_^ec/fe.
$F*fr*F*fvihf4*p £/c.
/^ j
h.
f
f. Ji . J> > f ,
:
; g
F3 ywy
1
a
i TvH^ftipP iil
Directions:—1. Bend the tip of the thumb inward when playing
on a white key, so that it cannot strike two
notes. The little finger must also be curved, for
the same reason. The middle fingers should be
held well above the keys, so as not to touch them by
accident; they should be at least somewhat curved.
2. The fifth finger may be used throughout No. 63.
If preferred, the fourth finger may be used on
black notes in c) and d).
3. In alternations of black and white notes, play the
white notes farther up the keys than usual, so
that the hand will not have to shift its position
greatly when moving to or from a black note.
4. Take care that the elbow is loose: it is very apt
to stiffen in octave playing.
Exercise 64. C.
n V " V
w fzn&
4
2=
fc<? t> «g
n V*l
4*
=R^
O.F.K.l
21
Exercise 65. C.
t-i
ips dzz
Exercise 66. C.
im m j i *4JiJ
$v
is-ts
K-.
*P I
v » uv; j* 4jg g < (»
:==£=5i=£E£!Z=s=:kE:
|*E==g^
SE^Ijla izc
is«H*S*
n V
<S-»<5
£ E==|
3 I3¥= •
3
3p *#*
n ,V n
3S
*&—*?V
St-~&
5 ?
V n
*¥
*V n .V n
** I9-
5c -s*
OS i3=5 *
tEC €->«
• T&W STSZ
Exercise 67. C.
_ V n V
mm2 v6 4
i
sv n V* jb * 5 A n » n
6^Directions —
Exercises 64-67 are to be played legato. After what
has been said in regard to Exercises 52 and 53 they
should require no further explanation. In No. 65, the
slide will be helped by drawing the hand sidewise.
Diatonic scales in octaves may be practised with the
up-and-down wrist -movement, up for black and down
for white as a general principle. No fixed rule of fin-
gering can be given, but the following examples mayserve as illustrations.
iMN51 *| 5 *
4 * * i-il*
%f
i* 64£P —o
—
P#«r£ #£
tK
*(8)
>—ff
SW^These fingerings are for legato, of course. In
staccato use the fifth finger throughout or the fourth
on all black notes.
The concluding exercises, Nos. 68 to 71, are of
general usefulness. Take the fifth finger with every
octave, and practise staccato.
Exercise 68.
Exercise 69V n V.
Exercise 70
i rr if ffrr I rj
|^ g 1 1 i
siN
iz=B
Exercise 71.
1»F
* Large hands may sometimes use the third finger in legato octaves.
G.T.K.1
22
SECTION VI.
SPECIAL EXERCISES.
For weak knuckles.
Exercise 72.
portamento
ipp 2222: f- \f I
Directions —1. Hold the finger perfectly straight and stiff.Keep
the knuckle as high as possible and force it still
higher 0) by pressing upward from the finger
Never mind if everything is stiff; but remember
that you allow this only temporarily, to work out
a gymnastic, not a musical problem.
2 Practise with the fourth finger also; with the
others only if necessary, and in no ease with
the thumb.
For Double -jointed Thumbs.
Exercise 73.
6
3. If necessary, help at first by holding the thumb
in position with the other hand.
Exercise 74 may be practised in octaves as well as
in sixths.
Exercise 74.sll
Jfcaoi»-+-»
f
jjjj j'o' I
many timesr —i—
n
i i i i51
i xx="C
—
33=
' trr r r r r 'Cf f r r r
f
15^
3JC
£?H
^H
"im = M 33C
fffrfff'
*grr r rr r "
'r-yl" |m__
I'-1 S
Directions:—
1. Practise as in Ex. 16.
2. Hold both joints of the thumb well away from
the hand, bending only the tip inward. But keep
the wrist well outward from the body. Thesetwo points are difficult in combination.
Directions:—
i
As in Ex. 73, but practise portamento.
It is also very helpful to watch the thumb closely
in practising chords.
For 8tretch.
Exercise 75.
Fingerings:- 1,3.4-
m^mP ietc.
^r^jnTQ^P etc.
Easy
Less Easy
4 5— «,8.4 6
2. 3) 4-
%aft *r$=g=s mm etc.
U.P.K.1
28
« ijj}iiJiiJ'Tij kEasy Fingering: — %Less Kssy:-^5
?f
a3t ars4 I Fs4f [Lif pj. 0/fc.
4i j~i;JJ3S
6/A
Easy Fingerings: — f f t
Less Easy:— j j
$ S:
fiL
«/fc.
*>IW y=a«fc3*
e/c.
Fingerings:- f,*
9a* *"*
^fesi a<s ap gp
£/&
Direction*:—
1. Swing the whole arm freely, so that the elbow is
high and far from the body at the sign /, low and
near the body at \ . This is for the right hand; re-
verse the signs for the left hand. Of course the
hand cannot remain horizontal, but will slope liberal-
ly m the direction of the lines / and \ alternately.
2. Choose from the various fingerings to suit the in-
dividual hand, not avoiding difficulty, but guarding
against too great a strain.
3. The stretch at e) may be increased by one note- for
large hands.
Stretching power may also be developed by holding the
hand in difficult positions until rather tired. A series of
positions from normal to very extended, say
—
n\ f> f> ^ £ O .'a'
may readily be devised to suit the particular hand.
In ail stretching exercises, beware of over- strain-
ing the hand, for some little stiffness is inevitable at
best, and the muscles may easily be injured by too
much work of this kind.
For Variety of Tone.
Exercise 76.
Directions:—
1. The number of notes played is immaterial, but
the more the better. Make the crescendo and
diminuendo as gradual as possible. Take care not
to stiffen at the ff.
2. Use all other fingers in turn, as in Bx. 3.
This excellent exercise gives great power of control
over the tone. It is not easy, and requires patience and
a considerable exertion of will.
Exercise 77.
^jJJJUJJJ'lJ'jJJJUJJJlJpp.
rr^JJ jj'i I
^jjj^rrH^Jj'' ^*
jjCjJJJJ rrr JjJJj'
»jrrtfrmrrrrrr*
JrrTr^rrrrr i
G.F.ILi
24
q—=====Z. f — p sempre
*)•• j^frf^rrrf^ltj^rrrrrrr^p sempre
^rrrrrrrffV f = £ i
—cr
For Velocity.
Exercise 79
Each bar at feast four ttmei
fei-jflgJjl^P^p^l
Presto. ^V- T 3T
Similar exercises should be used to acquire velo
city in scales and arpeggios (see Note iJ3N
>
For Polyphonic Playing.
The following exercises will be found invaluable
as a preparation for polyphonic playing in general
and the Fugues and Three-part Inventions of Bachin particular.
Exercise 80.
Jfr-^-^21 *f* 21 21 12 .12 if 12
,12 n a a
12 12 12 12 ft 12 « j£ ^ g 21 21 jfi ft fi12 12 12 12 12 12 y ^ ^. y si 21 21 fi fl ft
Exercise 81.
!j[%etc
e/c.
21 2l «/<•
1234 34
etC
41* z * m |/• m m' i F '- P—
X
1
4* 43
etc.
54 54 .,,.
21 21 *
45 AK12 45
, e/e.
4 3 3 Fetc. fe£
$ etc.
12 12 efr45 45
"
SS^^V * *
54 54 «,,,.
e/c. =
21 2~1
t* 54
=* e/C.
^N e/fc. <?/p.
JS l>'"
w 4=*
1
54 54 '"'
P m _dp fp/f - .. m p ' P"i
I
-£/V?.
Exercise 82. ^^ ^3 4^3 4^3 Q Q, £* 4. 8 4, 3
1 f TT
*l O a' 4| a. 4 ;, 4, 3 4 3 4 3^~4
o r.K.i
25
3S3 ' 2
' il^Jj^r-Ojj£ Hg
3 4 3 43~4 5 5 8 4~S 4 8 4 3
1
'Him ITi
i V i
*? *J *.3 * 3 4 3 4 3 4 3
5 4 8, 4
A)
5 4*,* °. *!
1, 1 4 rJ-^5 4
Ife/e.S
? *,» fn A
f?Tg^T i
^
§ p«&
? *^2 i *i 2 i
3fa O ir* *j
a2 1 21
"TrrFfCr?6'/C.=F
JSL
£
21 21
'5 \J54 5 4 5
™ J
4 5^
C/fe
Directions —1. Change the fingers silently after playing, as indic-
ated. This can be done in a much quicker tempo
than one would at first believe.
2. Ex. 80 is to be played with other fingers also: 32,
43, and 54.
Sliding fingerings (as shown for the thumb in Ex.52)
and the putting of long fingers over short and short
under long (Ex.53) are constantly needed in polyphon-
ic playing. Any finger may be used in sliding from
a black key to a white.
For Melody.Many beginners have great difficulty in "bringing
out" a melody when notes of the accompaniment are
to be played in the same hand. I have found the follow-
ing exercises extraordinarily useful.
Exercise 83.
a)PPI 1 1 pm 4 iipp 8 1
(With ly% and I )
>)^=pE m^ i itif^i
c>f^i4=4^=H^^-^(With \ andf)
d) m&—&- "F^FpF^mm
Directions:—,
1. Play the large notes as strong as possible, the
small notes very soft.
2. At first it will be a help to lift the finger about
to play a strong note and to let the other finger
rest on the key. Afterwards, however, try to pro-
duce the difference of tone simply by throwing
weight on the strong note.
Exercise 84.52II
«4'i '\ m f*f'f " I
!
"
'• j
*>^^Mj=j- !¥A k TEEEIEJB g
^
C)^u*u i p 1
1
i i i *m
Exercise 85.
fe,jNJiJnrnrnH i^i^j(With different fingerings,and in sixths also, like Ex.88.)
Exercise 86.
Ii jg g
P3dI
(Accent the other notes in turn, as in Ex.84 )
Exercise 87, remarkable for its difficulty and inge-nuity, is attributed to Carl Tausig: —
Exercise 87.
iW
4- %
—
tr
~&*—&
& »
For Pedalling.
Exercise 88.
Count.
¥ m t- \r<* -
1
i
Pedal.
ffl!1
^I - g I gl I g, I , p>|, p| , ^, | |
G. P.K.I
26
b) i
Count.
W^ *
*+-r
*
Peaal*T
*
*-r
ff *
i-f-
fife^s
Pedal*rP $
+rP *
^~T
m*+T
5 52 21, t
*;
i;) 1 1 f
i r f f
Pedal.
Exercise 89.
7p
vf
7p
y r 7p
vi?
7P
vp
«j ije^ xr
Pedal
<£
—
1©•—
—
&l
-o- 331
&"
(in $ time also, like No.88t».)
i IE xr^
Pedal. r " r f r r
*;
Q
Pedal
™fjh-
Xh =S=
r-^rxF ^8r
I©—«-—|S>-
Remarks:—1. Simple as these exercises are,, they contain the
whole principle of "syncopated" pedalling. Theyshould be followed up by a systematic applica -
tion of the principle to some simple piece or part
of a piece.
2. I have adopted the excellent system of notation
proposed by Schmidt-* for marking the use of
the pedal. It is the only really exact notation.
* „Das Pedal des Pianoforte.'
For Polyrhythmic Passages.
Exercise 90.
(^13^ 37 I cj M §p< i j JTJ ^ I Lr gff^
^jXUJ^IgfJl.J^i'Directions:—
Avoid playing:—
3 J 1 ffl| jg J" j jyj IK
Exercise 91.
.2 2 222 222 2
i<*)<
£^^Count 1 2 and 3
S3^r i £ I£
e/e.
A>
many times
1 2 3"*
Count ^g 4 r 1
=5
^
ic;. Count
F
3s j j j jfi J
i
i
i«u ^
3i
iJ ,J p , r
f r^ »O.F.K.l
27
*< count 1 2 ahd 3ajid
9E^ F^^ ^^£etc.
2 2 2 2 2 2
ma?iy timesi 1
«;
tCount
3"
3FITBE
^3
/*¥ mCountmn
FTTiSE £
3^±
*i
rJ
s•—
^
J ,i jj
1
r ^£
i
^Directions:—
Count throughout. Do not let the ugly sound of
No. 91 c) and /) frighten you.
Exercise 92.
R.H. many times
Count b)\ Count
R.H.
.
o
a rpj rTn B
- . I
Count j
L.H.
Exercise 92 can be applied to many passages like
the well-known one from Beethoven s Rondo in C, which
in the original is:—
Ik
j
mm *—*=-
*=*:
m etc.
On the principle of Ex. 92, this would be shown as
follows:—
|p£,?
m m
WiU 4j
up^^U
etc.
The Least Common Multiple" method of combating
polyrhythmic troubles is very mechanical, and should
be used as a last resort only But it is very certain.
Taking the example already quoted, the manner of
practice would be.—
tojjJJjJJ^^Count 1 2 3 4 5 6 12 3 4 5*
S 9-1 fefei
-." t\
123456 123456
1etc.
For Trills.
Exercise 93.
I £#fc= tps
m<m^——-f
^
— i m^I ^^1 ,
r) J rJ 1 JjLr) J a~1—p—
I
I
^IjjjIto#3^ ^c
Directions:—
1. Use all fingerings in turn, first;—
rfJ4 5c>3 4A; 2 31«; 1 2
^JJJJ 1and then:~S^
J 3 56) 2 4
ff-J^hf¥
G.F. K.l
28
2 Let the arm shake slightly as in the Tremolo ac-
tion (see Exercise 17).
Some of the best fingerings for trills are subjoined:
13 281323a)* £ Hgn "
ii
^m 2 8 ^m
^tfP **^ *; 4k
jjf £J*'"
k°I
-Mpft&m*$j^gm*>ffitif jpiiii *>^jp ^jt^i
1 2For trills in thirds, the best fingering is usually
3 4. but the following are often useful:
a}f4<n-\ H t^PM tn»
*>f ip § : «
For Repetition.
Exercise 94.
212*2121 *_* «*£.
a)
q 2 1 a 4 2 1 a 1 *
IPP2
1
1 * 1 2 1 * 4
etc.
Q821881 821 821 etc.
vWm 172 I J, IJ- J-;-;- h
fl^ 4 3 214821 e/c. ^etc
Directions:—
1. Draw the hand directly outward from the key-board at the first note of each group.
2. Use the finger-staccatoriwt in these exercises the
fingers may be allowed to slide off the outer edgeof the keys after playing, instead of being raised
in the ordinary manner. They will thus curl up.
so to speak, under the palm of the hand
Exercise 95.
V V Vi L v '>
>m jj if J fr ft f
fif & if «f¥
jcs*—4
<st-i ^mi>MmU^—rra
/ «f if
a:
*-+-& IV
if iffF^T im
m U Jjlri
Directions:—
Begin with the wrist low. and raise it a little,
rather sharply, at the last note.
Exercise 96.
-' iH JTj jjJ w, i"
*:c :e :e jl 4 n
HPn<i # 4*
•— »e/c.
«—
•
*—
p
V etc
ftfft?.
n v «*«
Ifilf riL
f:r=f
etc
Exercise 96 should explain itself
Observe that repeated chords are played in th<
same manner as repeated octaves.
6.F.K.1
29
NOTES TO THE TEACHER.
SECTION I
Note 1. Hand -position.
Common faults of hand -position are: —1 Straight fingers.
2. Bad position of the thumbs, sometimes due to
double - jo intedness
.
3. Weakness of the knuckles.
4. Want of firmness in the nail-joint of the fin-
gers.
5. Bad position of the wrist, often due to the el-
bow being held too near the body.
6. Hand sloping down toward the little finger.
7. Stiffness of wrist and arm.
The curving of the fingers is very important. It
should be constantly insisted on in five-finger exer-
cises, scales, and studies, even at the risk of'^nagging.
Special exercises for the remedy of double -joint-
ed thumbs and weak knuckles will be found in the
last section.
The nail -joint should always be held in vertical
position. It must be quite firm, never yielding or
breaking" inward. This is another point requiring
great insistence on the teacher's part.
The outward position of the wrist throws the weight
of the hand behind the weak fingers, thus supporting
them. It is therefore of distinct use even in five-fin-
ger exercises, while in scales and arpeggios it is
absolutely indispensable
.
Note 2. Relaxation.
Nearly all pupils are stiff at first. Many suffer
merely from the mechanical difficulty of new and
unfamiliar muscle -actions. Some, however, have not
even a proper conception of relaxation, and cannot
tell whether a joint is stiff or loose at a given mo-
ment. The teacher should in such cases be tireless
in demonstration. It is easy to make stiffness sens-
ible to the pupil, for only if a joint is relaxed can
it be moved easily. The wrist, for instance, is be -
yond doubt rigid if it does* not yield readily to a
slow push upward or downward.
Relaxation in itself is not difficult to acquire.
The beginners trouble lies in the necessary combin-
ation of loose wrist and firm finger (the finger-
tip supporting the weight of the arm) When there
is sufficient weight in the touch and sufficient loose-
ness of wrist and arm, the wrist and elbow may be
moved in any direction without causing the fin-
gers to leave the keys. This is a most useful test
of good touch, especially as the pupil (practising
with one hand at a time) can himself apply it in
home work.
There are, however, many other methods of show-
ing a pupil the difference between supple and rigid con-
ditions of the joints Every teacher has his own fav-
orite devices. Very often the idea of relaxat'on
must be presented in various garbs or forms until
one particular method of presentation happily reaches
the pupil's apprehension. Some teachers, for instance,
achieve success by making the student consciously
stiffen the whole arm for some time and then, in re-
laxing, feel by sharp contrast the blessedness of
suppleness. The Virgil methods may also be cited as
meritorious.
In short, nothing should be left untried to cure
stiffness, for it is a deadly foe. It cramps all mo-
tion* quickly causes fatigue, and ruins beauty of tone.
Nor should the teacher be content with looseness
of wrist alone. The entire arm,— wrist, elbow and
shoulder, must be perfectly free.
Note 3. Finger-action.
Common faults are: —1. Yielding or "breaking" of the nail -joint.
2. Straightening the fingers when lifted.
3. Curling up the fingers under the palm of the
hand when lifted.
4. Dragging the unoccupied fingers on the keys.
5. Jerking the wrist or arm at eveTy note.
The teacher must carefully guard against all these
errors. Correct finger- action is a perfectly simple
lift and drop of the knuckle-joint; all other move-
ments of the fingers are unnecessary and disturbing.
It should especially be seen that the vertical posi-
tion of the nail-joint is maintained when the fin-
ger is raised.
Special attention should be paid to the weakfingers.
Note 4. Two Legato Touches.
Exercises 3 and 4, and almost all legato exer-
cises, may be practised with two different kinds of legato:
A. Witn lifted fingers.
B. With close touch. In this, the fingers are
never raised enough to leave the keys, but al-
ways remain in actual contact with them.
G.F.K.l
80
Raised fingers give clear articulation in rapid play-
ing. Most teachers will probably prefer to teach this
touch first, dragging" of the fingers being so commonamong beginners.
The close touch is best suited to melodic playing,
where the most perfect legato possible is desired. Noother touch ever gives such sensibility to the finger,
such a feeling of really molding a melody as one plays
it. While the teacher, therefore, may insist on raised
fingers in technical practise, he should see that the close
touch is used, even in the first pieces studied, for all
cantabile passages.
The advocates of the close touch claim for it —1. That it produces the purest "singing'" tone possible
on the piano, because the sound of the finger fall-
ing on the key is eliminated.
2. That the placing of the finger on the key in pre-
paration of the note about to be played is the best
means of acquiring unfailing accuracy
These points can scarcely be disputed. On the other
hand, it is justly urged that smudginess often results
from over-indulgence in the close touch. Why. then,
should we not recognise two distinct forms of Legato,
one suited to melodic playing, in which the greatest
intimacy of binding is essential, and another preferable
for rapid passage work, where clearness is most needed?
I may remark that in my experience it is easy to
acquire the close touch at a late period of study, but
difficult to train fingers to lift well unless one begins
early.
The dangers of the close touch are best avoided by
taking care while practising scales and arpeggios to
lift the fingers from the keys after playing.
Cases of excessive raising of the fingers are some-
what rare. The second finger is usually the chief of -
fender. The teacher may always safely discourage a high
lift of the thumb (see Note 12 A).
The actual performance of Exs. 3 and 4 will be as
follows.—
Ex. 3.
B.H. etc.
R.H.
**&&*±*etc
This way of writing, however, is obviously very com-
plicated and would puzzle pupils needlessly. Ex. 3 Aand B must of course be performed similarly.
Note 5. Tone production.
Beauty of tone, especially in legato-playing, is the
great aesthetic difficulty of the piano. All pupils should
therefore be made to cultivate it from the beginning.
It may easily be shown that striking the keys pro-
duces hard, unsympathetic tone, and that pressure of
wrist or arm produces heavy tone. Finger-pressure
produces good tone, but not in sufficient volume for
all purposes, partly because the strength of the dif-
ferent fingers varies so greatly.
The author strongly insists on the necessity of us-
ing the weight of the arm in the production of sing-
ing tone. This weight must be concentrated on the
finger-tips, but entirely without effort— exactly as the
weight of the body rests on the feet in standing or
walking. The following points are deserving of the
teachers attention: —1. The use of weight is the most economical means
of tone-production, for no effort whatever is
required.
2 The weight of the arm can be used in any quan-
tity desired to gain varied volume of tone In
light accompaniments and very delicate pass-
ages it can easily be held back altogether
3. If one depends on weight for tone, the differ-
ences of strength among the fingers need not trou-
ble the player.
4. Weight resting on the keys gives the nearest
possible approach to the flow of uninterrupted
sound produced by the violinist's bow or th sing-
er's breath. It is. moreover, easily distributed
in any desired degree to any part of the hand
(see Ex. 83-87).
With the most correct method, however, no pupil
will ever produce a really beautiful singing tone un-
less he listens to every note. The ear is the sole
judge between good and bad in tone, and its critical
power must be carefully trained.
Note 6. Exercise 8, etc.
A true legato is a continuity of tone, not a suc-
cession of tones. Merely "binding"' notes together oft-
en results in a series of soft blows or impacts in-
stead of an unbroken stream of sound. The legato
of a good singer or violinist may be taken as a
standard for the pianists effort.
G.F.K.l
31
It is. indeed, theoretically impossible to obtain an
absolute legato, (except in diminuendo) on the piano.
But piano -playing is an art, not a science; a legato
appeals to the ear. not to the mathematical sense
:
hence good players succeed in spite of theory.
The legato is the most difficult and the most beauti-
ful of all touches. Accordingly, it needs and deserves
constant study.
In playing slow melodies the tones may be allowed
to overlap very slightly— never enough to cause "blur-
ring" The fingers need not be curved quite as much
as usual.
Note 7.
The elements of Technique— hand-position, finger-
action, and relaxation— are so far-reaching that their
importance can hardly be exaggerated. They should
be revised periodically to guard against relapses, and
it should be seen that they are put to practical applic-
ation in studies and pieces. The first studies andpieces givfcn should contain nothing more involved than
five-finger passages and simple chords. Scale-work
should come next, then arpeggio figures and mixedpassages, just as in the Technique itself. Easy studies
well played are preferable to difficult ones in which
the pupil violates all principles of good action.
SECTION II.
Note 8.
Helpful as Are the movements treated of in this
section, it is necessary to warn against exaggera-
tion, lest they supplant instead of merely assisting
good finger-action. Observe the metronome marking
in Ex. 11, and note that the wrist can be moved only
once for every "/our notes in rapid tempo.
Note 9.
In transposing exercises into other keys, the pupil
should be allowed and if necessary instructed always
to strike white keys on their broad part, not on the
narrow part between the black keys. This involves
frequent movement of the hand nearer to or farther
from the keyboard, but fortunately there is no dif-
ficulty whatever in the motion. In chords and arpeg-
gio figures, of course, one must often play white
notes on the narrow part.
Note 10. Exercise 17.
If the explanation of Tremolo-action is not easily
understood, make the pupil stretch out his arm with
the palm of the hand upward, then reverse the posi-
tion, turning the palm down. By repeating this pro-
cess rapidly a few times he will soon gain the right
idea.
Note 11.
The special exercises for Variety of Tone and Vel-
ocity may be given to pupils before they attack scales
Others of the special exercises may be used at any
time, those for pedalling, polyrhythmic passages,
bringing out melodies, and polyphonic playing, will
doubtless be suggested by difficulties arising in the
pieces studied.
SECTION III.
Note 12. Scales.
A. The close touch may very profitably be used in
the preparatory exercises. The thumb should never
be raised from the keys in scales.
B. In ascending, the right hand may slope slightly
downward to the little finger: in descending it
should be tilted the other way. The slopes are the
reverse, of course, for the left hand. Do not let
the pupil exaggerate this point: often there is no
necessity to mention it at all.
C. The hand may perhaps be arched a little more than
usual, so that the thumb may pass under more freely.
D. If the pupil has trouble in subduing the thumb
sufficiently, the following method of practice will
give quick results:—P>>P>> P p^^^p^^^. p
** S 1 I {"•"
1 2 3 \ 1 % 3 2 1
E. A very slight up-and-down movement of the wrist
is permissible and even advisable in scales. When-ever the thumb plays the wrist should be low
Note 13. System o/ /ingering Scales.
Without wishing to force the method given in ihe
text on those who may prefer other systems. I strong-
ly advise against teaching scale -fingerings by the
thumb -positions, of which there must be two in every
octave as against one of the fourth finger.
Note 14. Alternative Scale -/ingerings.
Many writers give the following fingerings of cer-
tain melodic minor Scales:—
G. K K. 1
32
bm:
Fsharp minor. . 1 * 8 li #*•£•!}*:
f*»IMI i »L«*m 8 ft 1, 8 8
r pJ j i — a
sharp minor.
2 a 1 «
iiV'jjriiiiXfiriifami
ri^fiiiiiOiilijili
G sharp minor.
* J * i * !» 1 4 a
rrrfrrft1 8 '2 'i 4 8 * 1 8 4 1 8 8 8
n"J[[rirr»r'ir i
rJjji „ i^ i f a i a s 4 \ \ a i I Y
Bflat minor.
P c 1 I. '* 1 4 8 8 C "••? « 4 4 8 'a 8* * '8 2 i 4 8 8^ -#• • % i
$fcfe
* i A „
^a 3
1884 1 2 's4 8¥£F^I
The modern fingering of these scales is less re-
gular but easier.
Many of the scales might depart from the accepted
fingerings to good advantage. As a matter of inter-
est , and without recommending innovations, I subjoin
a few examples of possible left-hand fingerings: —
F major.
:*¥»
SI Mz* iU m a
8 1 4 8 '2 1
iMj£j=8 14 8 TTTT
?#££o a >_
S55 8 4 1 8 8 1 a 8 4 1
A major
—a3
i
7nrj7Jc
| rrrrirrfr^ | J jjT^ i C '« a a ft I—S—ft 4 c ' " „ »8 4 8 14 881881 4 8*8
#III:I m ¥=+
n:^d==y | 1I 1
rzjf 1 d J* * * f * * * 4 'l 8 3 4
(The fourth finger might fall on Ff in the scale of D al-
so, perhaps even in G.)
F minor.mg^ ^te ^pt *iiHi3 2 1 >8 2 14 8 8 1 3 2 1 "2"
k
IS££"8 I 2"
*F*S 5
1 2 3 '4 1*84(Similarly in C minor, G minor, D minor.)
Many a beginner would be gratified by these changes!
Note 15. Scale -practise.
Do not let the pupil practise scales always in the
same order. They should be played sometimes in the or-
der of fifths (C,G, D, etc.), sometimes in chromatic suc-
cession, and sometimes alternating major with relative
or tonic minor.
Is it necessary to worry pupils with scales in sixths
and tenths? I, for one, think not. The conscientious teach-
er who differs from me most change the fingering
of certain scales when beginning on the third degree:
this is very little trouble.
In fast practise the scales should be played with
lighter tone, in order to avoid stiffness.
SECTION IV.
Note 16. Exercises 29-34.
Of course the marking:—n n n n
U44&really implies:
nVnVnVnV
PffHExercises 29-34 may also be practised without re-
peating the chords, thus:—
iliflU *
in order to gain facility in moving from one position
to another.
Note 17. Exercises 31 and 32.
The teacher must see to it that the pupil does not
shirk the fourth finger in chord-positions, whether fnil
or broken. Nevertheless, the third finger may be sub-
stituted for the fourth in the following chords:—
G.F.K.l
33
RH.
L.H.
and perhaps also in these:—
Both hands, fcj ,l»a ggljggi
Note 18. Exercise 34.
The following fingerings will help small hands;
and
Note 19.
The teacher must bear in mind that the curving of
the fingers to the degree required in scale -playing is
unnecessary and often impossible in extended chord -
positions and arpeggios. The chief advantage of curved
fingers is clearness of articulation, and in scales this
is vital; but in arpeggios the effect is actually improved
if the tones run together. Hence one uses pedal in
arpeggios and avoids it in scales
.
It is always well, however, to insist on the best curve
possible.
Note 20. Arpeggio Fingerings.
The rule given in the text holds good for arpeggios
formed from dominant and diminished sevenths.
As the first position of arpeggios formed from triads
is the most difficult in many keys, it is wise to sub-
stitute (in free playing) the fingering of another posi-
tion when there is room for choice.
SECTION V.
Note 21. Exercises 45 et seq.
The effective disguise of the slight breaks in legato
necessary in most double-note passages is an import-
ant point. A light use of the wrist in any direction
helpful at the moment (always avoiding undue exagger-
ation) is the great requisite.
Scales in thirds and sixths are excluded from this
section, not being elementary technique. Ambitious pu-
pils may be referred to Moszkowskfs work on Double
Notes, and, for octaves, to Kullaks well-known treatise.
Practical fingerings of scales in thirds and sixths are
to be found also in Zwintscher's "Technical Exercises",
fiusoni has made interesting suggestions as to double
-
notes and octaves in his scholarly edition of Bach's
"Well -Tempered Clavichord".
SECTION VI.
Note 22. Stretch.
The idea of swinging the arm in practising stretches
is due, I believe, to Mr. Virgil.
The teacher should be very cautious in attempting to
enlarge a pupils grasp. Much harm may be done by in-
judicious forcing. In the case of children, it is almost
always best to wait for the natural growth of the hand.
Note 23. Velocity Exercises.
Miss von Unschuld, in her exposition of Leschetizkys
principles of teaching, very reasonably advises the ex-
clusion of the thumb for final notes in exercises for
Scale -velocity. The series would thus be: —
ft .8 „1«, _vlg°i .a3l a-2*
etc.
Similarly, of course, in arpeggios.
Note 24. Pedalling.
Observe that in Ex. 88 the pedalling connects tones
between which there would otherwise be gaps, while in
Ex. 89 it prevents "blurring" of dissonances. Only "syn-
copated" pedalling fulfils both these conditions.
Note 25. Polyrhythms.Do not despise Ex. 90: it is often a hard nut to crack.
When pupils have once learned to play three notes
against two, other polyrhythms usually lose most of
their terror. Never attempt to use the "Least-Common-
Multiple" method for three notes against four: the rem-
edy is worse than the disease. The ear is here the on-
ly guide, though it is useful to practise each hand sep-
arately in the full tempo as a preparation.
G. F.K.I
34
MAJOR SCALES.
i-wtiffi3
„ 34 S 4ft
-1 2 Vr-T-I 8.2 1 8i«nw
5 4 3 *j 3 2 1
p- jjflcflr
3fT! 321*
^si
^84 6^4 6 4
l2 3 *£i 3 *i
5 43| 18* 1
(S 8,!^ 821
yfiH
» -ta^'tij*
l|p§
psaa»8
^a-e^
3P*1»84^
i^iilfcjjjjalii
^p gra »*»' '
»b
^21 4a «m
KlAgtor-
1
?trr
8AiJi82l8 ?l41 28 lg IjU,
gj jJPcccfF1 EBBS
4 jrJ?
i" a'.*rtl1
y!«!.'"' J ''iiLi^i
^Hft^
i^crmcccf
4 8giX» te
**
-F^#
482"tar
f33C
iagf
G. F.K.I
35
MELODIC MINOR SCALES.
j jip ^»JJ
ff^UpHIri» ^^i
—
^]>Ig« i» : 'i*i.— Tl—i—
** ^ as
!3^44 3_2 ,
pmm64 3^Sagfe 1^84 6
'i Wi.fflPP»iiA*»l»im Wi
sw34 12.34*a
Si
*JLAjtmLLZAAW&
*"tftf&
13 21»^5te**
^Pg* 12 «..*u'*1l*. 1
fWfff g Si
^jgaagi
li^iiy^ffm'^fai
3 21*fl 2 18 ¥»73'2
s^w^# ^^
*» 8
*n 14
„ iniiit! "liiiu.
wmm S^
^ffiff3
• «ji ..rtiaitoiga| 'to ,,,,ggmTfiff g
feta Uni^'ii'ifM1884
J3Sas "..fMr4 3Z
S^lfe8*
*1 » * 4 » ,a««TTs
i4a g
*t
jfrjffijfo3''titttti
s 548 2 1l!
5g *2i
ggB^ iff1232 8
i£
Mi*i
=HIsm*^i
8_4_6_4 8)ei
Iwpg
. 432* 3 al * 8 128 4i..4.8u*I *3 «._
M'SitftgPg gi sUpO.F.K.1
36
HARMONIC MINOR SCALES.
12 8JU£ 32
$ JJJJJ 3 'j3J
r
W
^IPB *JL5 1 S.2 1 4«
§
13 212 EOF**4i
i28
2 l8B.4 a
121 2a. _m8_J*JLi 8 2l]
, ,..^a7j ,
]tfgg,^jjg ,j^'
,
( ^Mwiuffr 1,1
. . 2l *• * 1 28 -. .jlj It...l»2l •
fe frjfCTJJ SP8 * B i 8 2
i&* i^j^i^Si?^
188*
SP
i m' . VffitfkpisH
g if?gg
kSfe%iLms^ffiffi
cfg#ias
p ?
1 2 3 2
SgiS^
o 1 4 o
SH5ff284!
&12
§**
8 * 12 8,
^'JUS 182
i:
1
-'. affiw2 1 21
8 *12 3
**±fc^1
1 282
P^HiS§
- « 2 843 a jMP*8 212
g£B4 »*
1
4i5i
^St'ftcc
. ^g^mmm$
fcL
" j3J-
"!:&#as iffrflT^^g
D3fT2T2
*L2J-L
8 123
8 *
, o 3 484 s .
G.F.K.l
DATE DUB
°£MCO 38-297
3 1 197 00345 1447