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NY PUBLIC IBRARY THE BRANCH LIBRARIES

3 3333 02200 0794

BREE» MALWINE*

THE GROUNDWORK OF THE

LESCHETIZKY METHOD*

75.00
NNBR 760109174^y

MUS

The New York
Public Library

Astor. Lenox and Tilden Foundations

The Branch Libraries

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AT LINCOLN CENTER

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New York, N.Y. 10023

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Adult books lOtf Juvenile books 54

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Form #0567

THE

GROUNDWORK

OF THE

LESCHETIZKY METHOD

ISSUED WITH HIS APPROVAL
BY

HIS ASSISTANT

MALWINE BREE

WITH FORTY-SEVEN ILLUSTRATIVE CUTS
OF LFSCHETIZKY'S HAND

TRANSLATED FROM THE GERMAN BY

DR. TH. BAKER

HASKELL HOUSE PUBLISHERS LTD.
Publisher] of Scarce Scholarly Booki

NEW YORK. N. Y. 1OOI2

1969

First Published 1902

HASKELL HOUSE PUBLISHERS LTD.
Publishers of Scarce Scholarly Books

28O LAFAYETTE STREET
NEW YORK. N. Y. 10O12

Library of Congress Catalog Card Number: 68-25284

Standard Book Number 8383-0290-4

Printed in the United States of Ameiica

TO MY HONORED MASTER

PROFESSOR THKODOR LKSCHKTIZKY

Twenty years ago I became your pupil, and tor more than ten
years you have considered me worthy to hold the office of your assistant.
Let this he my justification for publishing, in this book, what you have
taught me throughout this long period, and what I in turn have tested
on hundreds of pupils.

I am well aware that a finished pianist can no more be formed
by a theoretical method alone than a painter or sculptor can be trained
by books on painting or sculpture ; nevertheless, my book may claim a
certain right to exist, it" only as a welcome reminder to many former
disciples of the Leschetizky School of their early instruction, and, for the
later pupils, as affording a correct idea of the basis of that School.

Following the spirit of the latter, I have been at pains to avoid
pedantry. My work does not aim at a slavish observance of rule, but is
meant to be a guide to tine and correct piano-playing. I am rendered
the more desirous ot attaining this end by reason of the honorable
distinction conferred upon my work by the illustrations of your own hand.

I thank you most sincerely for this distinction, and beg you to
accept the dedication of this book. Thus it only returns to the fountain-
head whence we all draw.

VIENNA, February, 1902.

MALWINE BREE.

(TRANSLATION)

VIENNA, Feb. 24, 1902.
MME. MAI, WINK BREK.

HONORED MADAM: Mv best chunks for the dedication of your
hook, which I of course accept most gladly. As you know, I am from
principle no friend of theoretical Piano-Methods; hut your excellent
work, which I have carefully examined, is such a brilliant exposition of
my personal views, that I subscribe, word for word, to everything you
advance therein. Your " Groundwork of the Leschetixky Method" leads
with a practised hand along the same path on which, tor many years,
you have won such striking success as my assistant by teaching in accord
with my intention. Moreover, the tone of your work is not monoto-
nously didactic, but enlivened by clever conceits and humor.

Approving the illustrations ot my hand as genuine and lifelike, I
declare your book to be the sole authorized publication explanatory of
my method, and wish it all success and popularity.

With sincerest regard,
(Signed) TMKODOR LKSC'H KTI'/KY.

TAHLF. OF CONTENTS

SKllTloN PAGE

I Attitude at the I'iailo ....... I

1 I The 1 land and Its Posture .... 2

III. \Vrisl exercise ...... 4

I\ . Some General Kuli - . .... 4

V . Finder exercises :

1. One-linger Kxi-ivisrs ...... 5

2. Two linger Fxcrcises . -. 9

3. Three-l' ugcr Kxcrcise ...... 9

.). Foni linger KxcrciM' 10

P. Five linger Kxercise . 10

(t. Finger-exercise \villi Oiu- Tone Held . . 10

7. Free Finger exercise without Held Tones . n

VI. 1'rcparatorv Studies for the Diatonic Scales . II

VII. Tin- Same, One Tone Wider . I?

VIII. Diatonic Scales . '7

IX. Preparation I'm- the Chromatic Scale . 2o

X. Preparatory Studies for lirokcn Chords (Triads) . 21

XI. ISrokcn Chords (Triads) . 25

XII Preparatory Studies for Kroken Seventh-chords . 26

XIII. Alternating Fingers on the Same Kev 27

XIV. Stvles of Touch . . . . .-K
XV. On Octaves . . 3'

XVI. Chords . . . .U

XVII. Arpeggios . 4s

XVIII. Paired Notes; Scales in Thirds ami Sixths . 4(1

XIX. The- Highest Part in Chord plav ing . $fi

XX The (ilissando . 57

XXI. F.mhcllishinents

XXII. Dvnamics . . *>°

XXIII. On tin- Pedal ... 6"
X XIV. Rules for Performance:

1. Melodv plaviug . . *>$

2. Tempo . . . (*)

3. RhMhm . 70

XXV. Fingering . /3

XXVI. Practice and Slndv . 7?

X X V 1 1 Movements of the Hand and Arm 7*

X.XViii. '.'.'!:•> Should Devote Himself to the Piano?. Ho

ADDKNDA ... ....

Ai'i'KNiux : ... H5

j . Scale of Scales . x"

2. Scale of Arpeggios 94

V Suite of Arpeggio*- y7

CONCLUSION

Attitude at the Piano

one remark by Leschetizky : " Sit at the piano unconstrained and
erect, like a good horseman on his horse, and yield to the movements of
the arms as far as necessary, as the rider yields to the movements of his
horse." Sit at such a distance from the keyboard that when the arms are easily
bent the finger-tips may rest on the keys without effort, and the feet reach the
pedals comfortably. The elbows should be held neither too close to the sides nor
too far away ; moreover, they should either be on a level with the keys, or be held
but very little higher. Too low a seat, in particular, necessitates r\n accord with
the laws of leverage) greater exertion on the player's part, so that he is compelled,
when playing forcible chords, to raise his shoulders, which has no very graceful look.

Many — even eminent — pianists lay too little stress on a graceful attitude
while playing. They seem to think: " If only the ear be satisfied." That is not
enough. The listener's ear should first be seduced through the eye, and thus be
rendered more impressionable.

Neither does " posing" meet with our approval. The usual pose is to lean
backward with a splenetic air and to play with slow negative movements of the
head, the eyes rolled heavenward. Then there is the nonchalant pose with the
disdainful expression of countenance ; or the player bends over till his head almost
touches the keys, and after every passage turns his face to the audience in smiling
interrogation.

All this produces a more or less comical impression, and is apt to injure the
effect of the finest playing. True feeling is not expressed by means of the pose,
neither does a pianist's art find expression through his mien, but through his fingers ;
and true feeling manifests itself spontaneously, if the player really has it.

The Hand and Its Posture

SHE pianist must renounce the so-called aristocratic hand, slender and
gracefully formed, with well-kept nails. A thoroughly trained " piano-
hand " becomes broader, supple in the wrist, and muscular, with broad
finger-tips. The nails, too, must be kept short, for the springy pad of the finger-tip
yields a mellower tone than the inelastic nail.

Too large hands are not always advantageous at the piano ; but too small
hands are often a disadvantage, even though such can generally bear fatigue better
than large ones, and also more readily acquire the " pearly " touch. Large hands,
again, show superiority in widespread chords, which small hands have to make
good by means of dexterity and suitable arrangement. For the rest, there have
been, and are, pianists of the highest rank with large hands and with small hands.
The method of holding them is the same for both.

FIG. I. How TO HOLD THE RIGHT HAND

[3]

FIG. 2. How TO HOLD THE LEFT HAND

The hand should assume a decidedly vaulted form (see Figs, i and 2) ;
for, apart from the unpleasing, amateurish impression made by playing with flat
hands and fingers, the only way to get strength into the fingers is to hold the hand
rounded upward. The wrist must be held somewhat lower than the knuckles, and the
fingers so curved that the tip-joints fall vertically on the keys, which are touched
by the tips of the fingers only. The thumb forms the sole exception, as it strikes
the key not with the tip, but the edge ; it is held away from the hand, with the
tip-joint bent.

Now set the finger-tips in an easy posture on five consecutive white keys,
and press them down together. Do this near the front edge of the keys, because
the touch is lightest there, buc do not hold them at the very edge, as they might
slip off. The fingers being unequal in length, their vertical tips cannot, of course,
stand in a straight line side by side, but form a line curving outward from the
thumb to the jd finger, and then inward to the £th finger.

[4]
III

Wrist-Exercise

FIG. 3

]S soon as the posture of the hand is quite under control, press rather firmly
on the five white keys and lower and raise the wrist slowly and repeatedly,
taking care (i) that the hand remains rounded upward, (2) that the fingers
retain their position, (3) that on raising the wrist it does not rise higher than its
original position, and (4) that the upper arm does not follow the wrist-motion.

Repeat this exercise for only a few days, and with the hands in alternation.

IV
Some General Rules

IRE following fundamental rules are very important even for the finger-
exercises ; they should, therefore, be learned at the very beginning,
(i) It is best to play all finger-exercises at first only with a light touch;
after two or three days one may try to get more tone, always endeavoring to play

[5 J

evenly (with equal strength of tone) with all the fingers. This is accomplished by
an unequal exertion of pressure on the keys in conformity with the unequal length
and muscular strength of the fingers. Strongest of all is the thumb ; then comes
the 3d finger, followed in order of strength by the fth, id, and finally, as. the
weakest, the 4th. But in this case we do not observe the ordinary educational
rule, and treat the weakling with indulgence ; we must, on the contrary, exert the
strongest pressure on it, to remedy its inequality. The dynamometer for the
exertion of force at any given time is the ear. One must hear whether the tones
finally sound equal in force. After some practice the fingers will accustom them-
selves to the necessary degree of pressure.

(2) It is not well at the outset to repeat the finger-exercises until fatigued.
Avoid this by frequent alternation of the hands. Let us say, once for all, that the
finger-exercises are never to be played with both hands together. After a time each
hand may practise longer; but even then be careful not to overtire yourself.
Should the hand begin to feel heavy, let it rest. Should one continue practice, one
soon feels a trembling, or even pain, in the muscles, and this may injure the hand.

(3) Without interrupting practice, lower and raise the hand frequently while
playing, as described in Section III. By so doing one prevents the hand from
growing stiff.

(4) When the finger is raised from the key, it must not change its form,
but remain curved (see Figs. 4 to 8). Bending the raised finger inward, or stretching
it out stiff and straight, does not look well, and is a waste of strength at the expense
of tone and velocity.

(5) Always keep a watchful eye on the finger-tip, and strike the key exactly
with the tip ; for that is the only way to bring out a full, strong tone.

(6) Let us remark, in advance, that in playing a melody forte, or for strong
accents, the black keys are struck, not with rounded, but with outstretched fingers.
The fingers thus touch a wider key-surface and are less apt to slide off.

Finger-Exercises

i. ONE-FINGER EXERCISES

T the start the simplest finger-exercises are the best, so that attention
can be concentrated on the posture of the fingers and wrist.

R.H.

L.H

—jf' "'O^ * — •

1 1 n*2 222

m m .11 H°p p p p

[6]

4 6
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i

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213333 324 444 43
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-J- Hj — 1-

— i 1 U — 8—- 1 1 i \

gyr -C-C-i " r r r r -n r r-r r ^

While four fingers hold the whole notes, one finger plays the quarter-notes.
Repeat each of the above and following measures ad libitum.

Holding the hand as in Figs, i and 2, press down the five keys together,
and then raise the thumb just high enough to let the key rise to its level, keeping
the thumb in touch with it. (Fig. 4.)

FIG. 4

Now the thumb presses the key down again, holds it a moment, and then
rises again. Repeat this procedure several times, and then continue in the same

17]

FIG. 5

manner with the 2d finger, raising it about one-third of an inch and striking the
key repeatedly while the other fingers hold their keys. (Fig. 5.)

FIG. 6

Proceed similarly with the jd finger, keeping the others down. (Fig. 6.1

[8]

FIG. 7

FIG. 8

Now continue with the 4th (Fig. 7) and £th fingers ( Fig. 8). These two
must, however, he raised as high as possible, so that the hampered 4th finger may
acquire more independence and the 5th more strength. During this exercise of
the five fingers, often repeat the wrist-movement described under " General Rules,'''
to make sure that the wrist is loose.

After practising these exercises for some time legate, try them also staccato
(compare Section XIV). For this each finger, after striking its key a short, swift
blow, flies back, high in its rounded form. Tins renders the fingers more elastic.

2. TWO-RNGER KxERUSES

This is the application of Kxercise i to two tones.

R.H.

T 2 1, 2

...

3434

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4645

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'^r^^m^Ffii ^wVi-r^ ^r^

'l 3 I 3 2424 3636 l 4 1 4 2 6 2 5 t 5 '| 6

-3-4-

I'ress do\\'ii the five keys, tnen play with two fingers according to the above
examples. When one finger strikes its key, the other must go up a tempo. I he
active fingers should play legato, the other three holding their keys.

•. THREE-FINGER KXERCISE

.46

ii 5 y*- — • — (» — • — n^-:

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Two fingers hold down the whole notes, three play ; but each finger holds
down its key after striking, while the next in turn to play is raised a tempo.

4. Koi'R-RWOER KXERCISE

R.H.

5 4

23*32

:»£

L. H.

4 5 4 3

One finger holds down, four play, as above.

5. KIVE-KINGER EXERCISE

R.H.

R.H.;

23-* 54 32

r r r r

Press down all five keys. Then one finger after the other plays, and holds
its key (as above) ; etc.

6. FINGER-EXERCISE WITH ONE TONE HELD
a , *

+_2__

-WP-P-P-P-

Hold the first note of the measure and play with the next finger. Inactive
fingers are to be held high in their rounded form, excepting the thumb, which is
held bent and loose under the 2d finger i .e Fig. 12).

[II]

Be careful not to hold the inactive fingers up spasmodically, for this would
take too much strength from the active ones. And do not worry if the 4th
finger jerks a little when the 3d finger plays, or if the 5th does likewise when
the 4th plays. There is an anatomical reason for this, in the presence of a
common tendon ; so it does no harm. The breaking-up of this habit is a wearisome
task, whose sole result would be, perhaps, a certain stiffness of the wrist.

7. FREE FINGER-EXERCISE WITHOUT HELD TONES

12 23.

4 5

t 23323*3346

• ~ —• wm » — 9 — K — n — K — i • — "-

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324 3

L.H..

Here, too, the finger must instantly fly up in rounded form when the next
finger strikes. The thumb, after playing (that is, in all exercises where the right
hand begins on C and the left on G), does not go under the palm, but stays close
to its key, as if ready to press it down. (See ADDENDA, p. 83.)

VI
Preparatory Studies for the Diatonic Scales

|HEN man was made, the Creator surely had no idea that he would even-
tually " perfect " himself as a pianist ; for otherwise, in view of the scales and
broken chords, he would have provided him with at least seven fingers on
each hand, and furthermore, with seven fingers of equal length. For the

" piano-man " this would have obviated the unpleasant necessity of turning under his
thumb once, at least. But with our insufficient number of ringers, turning-under
requires special preparatory exercises.

FIG. 9

R.H.:

sa'

a2i

Two fingers hold their notes, one plays. The id and 3d fingers must
form an arch, under which the thumb moves.

[13]

FIG. 10

LTT '.
. n..

a 3 * a

* 8 ? » *3

One finger holds, two play.

R.H.^g

a a t 3

3 i 3

[ 14 1

All three fingers play, and hold their notes after striking. Both in these
exercises and the following ones, the fingers coming just before and after the thumb
should strike rather stronger than the others, going either upward or downward, so
that the turning-under and turning-over may not be noticeable. The notes requiring
stronger accent are marked by dashes.

R.H.

1^ • ^^ •

~4'V^ T & ^ ij

.H.^ 3

Two fingers hold their notes, while the right thumb, passing under them,
leaps from C to F; the left thumb from C to G. Keep the thumb bent, and do
not allow it to rise in too high a curve, but let it glide over the intermediate keys.

Take care in all these exercises to keep the hand quiet, and the wrist loose
but unmoved ; neither must the elbow rise when the thumb passes under.

32 3»2i 28**1«

123

R.H.

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L.H. *J:I I

.11

* 3 , 7

t 2 *

!«*? :«.«!. i .. -f-^ . i «

rrr^iirrrrrr

In the above free exercise without held notes, the thumb, in the measures
beginning on C, passes instantly under the palm, in a bent posture, when the
id finger has struck. From the second measure of this exercise on, the arms
must fol-low up or down when the thumb turns under or a finger turns over.

[IS]

VII

The Former Preparatory Exercise, One Tone Wider

FIG. 1 1 .

r. r ; r. i "gt [

* 4 4 4 4

2222

2 « » * ?3 3 3 3

o I I I 9 3 J a a i> 4 4 4 4 a o I I 1 1

L. H. 'H.'.?!"1^ Jj| '|JJJJl.fflJ J J J |.flj JJJ fl

1 '« i a II I " 4 "

One finger plays, three hold.

R.H.

2 3 2 3 34

*3«3 34 41

Two fingers play, two hold.

3 1

[16]

R.H.

*= ~m~. . -II s - P "> -II

r r r r |l °r r r r ••

2343 3*14

g 343 23 4 I

One finger holds, while three play and remain down after striking.

^ 3 4 I 4 3

All fingers play, and remain down after striking.

I 1

I m H

The 2d, jd and 4th fingers hold the whole notes, the thumb leaping
as in the former similar exercise, without describing too high a curve. The wrist
may now turn a trifle in the direction in which the hand is moving, when the
thumb strikes its key.

T , 2

T - -3 I 8 3 T - T3>

frrrrrrrirr^^

L.H.;

Free exercise without held notes. The remarks on the similar exercise on
p. 14 apply here.

I I? J
VIII

Diatonic Scales

FIG. I 2

FIG. 13

THE HEW YORK

I 18 ]

Fio. 14

||N scale-playing take care, above all things, that when the thumb turns
under the arm is not thrust forward with a jerk, but follows the movement
of the hand evenly and horizontally, gliding along much like a car on rails.
Furthermore, hold the wrist loosely, without moving it up or down. The fingers
should always retain their curve, even on the black keys. As remarked before, the
thumb passes under the palm as soon as the 2d finger strikes ; only at the end of
a scale (playing up with the right hand and down with the left), the thumb should
remain beside the hand, bent and ready to strike.

FIG. 1 5

R.H.

R.H

Practise the scales at first slowly and with a strong, even touch, without
counting. Not until later should one gradually increase the speed, at the same
time counting rhythmical groups of three (triplets) or four notes, hut wholly with-
out accentuation.

The left hand two octaves lower.

In rapid tempo "detach" the fingers, that is, lift them quickly after each
stroke as in staccato — which renders the scale "pearly."

Practise at first with each hand alone, then with both together in contrary
motion, and finally parallel through all the keys. When the slow scale with
strong, even touch is thoroughly drilled into the fingers, practise it with the various
dynamic shadings; at first forte, then pianissimo, and finally crescendo and diminuendo;
the last two shadings in the variations shown in the following examples. In these
also, to begin with, play slowly.

dim

cresc. dim.

\ he left hand two octaves lower. Concerning crescendo and diminuendo,
refer to the chapter on Dynamics.

[20]

IX
Preparation for the Chromatic Scale

FIG. 1 6

8 z a

R.H.

-*>

|gg

L. H.

HE thumb holds D near the black key ; the 2<d finger strikes C3, presses it
down quickly, and then passes rapidly over to Djt. Also reverse. (Fig. 16.)

FIG. 17

R.H.

2 1 ^ 2 , t

2 I 2 I

1 2.3.2 I

Free exercise. At the two neighboring white keys bend the nd finger a
little more, that the fingers may keep in line. (Fig. 17.)

In both the exercises the wrist remains quiet and loose; but hold it a little
higher than for the diatonic scale, so that the thumb strikes the ke\ more with the
tip. He careful to strike the black keys very near the front edge.

Observing the directions for both the chromatic and diatonic preparatory
scale-exercises, begin now to practise the chromatic scale in groups ot three and
four notes, without accentuation.

.. . 21

I g I g 1 g 3 I « lf£m 2

1321X3181X1231

Preparatory Studies tor Broken Chords (Triads)

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iOLI) down iht- whole notes as long as the quarter-notes are played, keeping
the hand arched and the fingers curved. Often move the wrist up and
down without interrupting the playing.

R.H.

Let each ringer lie, after striking, until its turn to pliy comes again. Other-
wise, observe the directions for the preceding exercise.

[23]

1 3,

R.H.

J J J J i ;

FIG. I 8
1

fesfe

r r - • j. •

J 4

* f- 1 f

-II "

Hold the whole notes, play the quarters. Here, too, the 3d and 4th
fingers must form an arch under which the thumb passes.

J i J 9 1 J ^ J

2 3

a, _ i a a,

R.H.^a

2 4

I..H.:

Free exercise. From the second measure on, hand and arm move in the
direction of the next tone to be struck. The thumb in turning under, and the
fingers in turning over, should not describe too high a curve.

[24]

FIG. 19

R.H.

I 4
it *

4 !

4 I

1 4

'•14

Triad-exercise in the first inversion.

..» 'J"3JJ

•— — •

«L

*^^

Same exercise in the second inversion. For both inversions, observe the
same rules as for the fundamental position.

Players having sufficient stretch to extend this exercise by a tone without
forcibly contorting the hand, may take up the following exercises.

R.H.

.tt <vp — • 0-a~ 0 0-3*— — W= — i^

, *

Observe the same- directions as for the exercises with two fingers.

R.H.

} lere the fi niters stay down after striking.

Broken Chords (Triads)

FUNDAMENTAL fcy

POSITION

R.H. ,

a »

FIRST Kv HRSION

SFCONH I \\ i KSION

RST practise the hiiulaiiieiital position, and also the inversions, in C major;
then in all other keys. The given fingering applies to all major and minor
ke\s. I'Accptcd tVom this rule are the following triads:

G mino

b** 1 — ~

C minor, i J

F minor

Bt» minor. 1

te ^=^

El» minor.

--J—fl

-^-

- i-*-^-

tLj£_ __,_.

^ 3

^ JJ

-i-^— II
3

and for the left hand the fundamental position of

D major.

. 3 *

A major.

I JllllUJVSI. I

E major.

F|| major.

Another rule for the fingering is, that all broken triads starting on a black
key must be begun with the id finger. However, it is very useful- though
solely as an exercise — also to begin the triads with any finger which falls on the
tonic in the course of playing. In DJ major, for example, when playing broken
triads the 4th finger falls on the tonic D-> ; and in the first inversion of G minor,
the 3d finger falls on #> Therefore, instead of commencing to practise the
Dl> major triad with the normal id finger, begin with the 4th; and in G minor
begin with the jd instead of the id, etc.

etc.

XII

Preparatory Studies for Broken Seventh-chords

-eP-i

'.Q_

R.H

i-° r r r r:i

L.H.

t;a r r r r :"^ p Ff

I 27 J

R.H.

L.I

-°— *
* *

o r r r r :|

-1 ,. *| a. *, , - , ^

R.H.

4 5

5 *

. •' «

Practise these preparatory studies in all inversions and combinations (as
in Section X).

XIII
Alternating Fingers on the Same Key

fingers alternate on the same key, they are moved only at the
knuckles; they are held somewhat less curved than usual, and their tips
make a "wiping" motion on the key. The wrist is held loosely and

rather higher, allowing the hand to follow the movement of the fingers by turning

slightly outward.

I 2S

At first practise the alternation ot fingers on only one key :

Hglgg^

Then practise the diatonic scale, the broken triad, the dominant seventh-chord,
and the chromatic seale according to the following examples :

ers

Also play these exercises with three ringers : f 4— f and four ring

4321

~r f* f* f* ' with each hand alone ; the left hand correspondingly lo\ver.

The alternation ot fingers on the same key in slow tempo is obsolete and
superfluous ; one can shade a succession of tones of like pitch better with one finger.

XIV
Styles of Touch

HK devotee of the piano \\lio treats the "dry" finger-exercises disdainfully
does himself the greatest injury ; tor such exercises are the same, tor the
" piamstic member," the hand, as voice-development tor the singer's vocal
organs. The pupils ot I .escheti/ky, who particularly excel In their touch and their
tuli, warm tone, owe this to the proper sf" of the finger-exercises. " C'est le ton,
qui fait la musique " (It is toi - music); this the pianist should no'

[ 29 ]

forget; and even if he he not able to rival the effect of a voice or a violin, he must
still endeavor to approach them as far as possible.

This may be done, in the first place, by means of a well-developed legato.
The execution of the legato is as follows: The linger is lifted — in the normal
style — only when the next finger has struck its key. To obtain a legatissimo, let
the finger lie a trifle longer, after the next tone is struck, like this :

When a strong, full tone is to be brought out legato in a cantilena, the
strength of the fingers does not suffice, but must be reinforced by wrist-pressure in
the following way: '['ouch the key hgntly and force the finger to press it down
deep (without losing contact with it) by means of a swift upward movement of the
wrist; at this instant, wrist and finger-joints must be firm. '['he same effect may
also be obtained by a rapid down-stroke of the wrist. Immediately after striking
the tone, the wrist must return to its normal position, while the finger holds the
key lightly. Practise this singing tone on five tones.

For the staccato the keys are not pressed down, but struck down from
above. A distinction is made between finger-staccato and wrist-staccato, according
as the striking lever hinges at the knuckles or the wrist.

The finger- staccato is played by throwing the fingers upward. Practise
slowly on five tones.

Holding the wrist loosely and unmoved, raise the bent finger high, strike
the key swiftly, and let the finger fly back instantly as at first. In rapid tempo the
staccato becomes a non legato, because the finger has not time to draw back fully
before the next strikes, the two movements nearly coinciding.

Practise the finger-staccato at first on four tones, then through the scale in
all keys. Begin slowly, increasing gradually. The thumb is carried under the
palm as for the legato scales.

In the wrist-staccato the bent finger is thrown upon the key without further
ceremony, striking it smartly, and being instantly withdrawn by the wrist. Practise
it slowly in accordance with the following examples :

I I ere finders ;iiul h.iml must " retain their position." This means, that the
fingers, as in lunger-exercise No. 6, musr cover their respective keys, and the wrist
must \ield neither to right nor left.

I'lay ad libitum through all keys.

Practise the last two exercises in broken chords through one octave at first,
in all inversions, then through several octaves. Also ad libitum through all keys.

Retain the position as far as possible, but follow the sideways movement
of the fingers yieldingly with the wrist.

The rapping sound of the finger-tips in staccato cannot be avoided. Hut it
does no harm, ami in the burlesque style, e.g., Mendelssohn's Scher/o, op. i ft,
even has a good effect.

In the \\T\xt-s/iU'((i/rj the wrist mo\ement of course becomes shorter, the
faster one plays. In very rapid tempo the fingers have to stay close to the keys,
ami the hand-movement resembles a quivering. Kor illustration, the following
passage from Beethoven's Sonata op. 10, No. i :

Prestissimo.

Another short kind of touch is the "lifted" tone. l''or this, the wrist is loose,
while the finger joints are firm in a state of tension. I he bent linger touches
the key lightly and noiselessK , presses it down with a swift, short stroke, and is
instantly lifted from the key bv the flying back of the hand from the wrist. In
continuous playing, the next finger falls on its key without hesitation. When two

13. |

notes or full chords arc struck, the same rules apply to all the fingers employed
together. It will suffice to practise the lifted tone at first on single keys, and
thereafter on five notes.

In the examples below, the lifted notes are marked \\itli an asterisk (:':).

, cantan
Liszt, Elude.

In the next example the marked note is treated as a lifted tone hy reason ot
the finer tone-efleet and more elegant phrasing, although ;t is legato. Also take
the pedal.

SCHUMANN " I'APII I.ONS : '

Finally, in the Portamento, the finger presses down the key slowly, holds it
firmh tor a moment, and is then lifted by slouly raising the hand and forearm.

On Octaves

( ) begin \\ith, practise the following preparatory studies \\ith each hand

alone :

5 5

R.H.

L.H.

r 32 ]

holding the whole note with the tip of the little finger, while the thumb, easily
curved, but firm in the joint, plays the quarter-notes staccato. Lift the thumb, at
most, a handbreadth, and strike the key by means of a twisting motion of the wrist,
which is held somewhat higher. After this, let the thumb hold its key while the
outstretched and stiffened 5th finger plays. This exercise strengthens both fingers
greatly, but ought not to be practised too long, as it is fatiguing.

After the preparatory exercises proceed to the practice of staccato octaves.
Play them in the style of the v/rist-staccato, taking care that the width of the stretch
between the i stand 5th fingers does not change when the hand is lifted, so that
the octave may he struck squarely and clean.

n.n.y

jf m

_j ..

L.H. 1

•lU

•0

=3E]

•

—

-\-

•9

. 9

3Ej

••

•

-«

•

-;-

•

j — 1

I-

;

•

j—

•

0--

p—

•-

0 1

»- _

0—

mir

•

•-

• — i

•

* —

p--

•

• -

€_

•

—

•-

»-

IP—

•-

P~!

- -

•^

Play this and the following octave-exercises slowly and forcibly at first, not
trying a more rapid tempo until later. In this latter, as for the \\r\st-sfaccato, the
fingers are held near the keys and the hand-movement resembles a fluttering.

Broken chords in octaves are particularly hard to play clean on the white
keys, on account of their dissimilar intervals. To learn to play them confidently,
despite this difficulty, sol-fa the names of the notes mentally as you strike their
while practising: c-e, f-e, e-g, e-g, etc., or tbhik the interval (third, third, fourth,
etc.). In quite a short time the fingers will gain confidence, just as if they them-
selves had learned to recogni/e the intervals.

Way forte and fortissimo octaves with a firm wrist held h'gh, as it is absolutely
impossible to bring them out with a loose wrist.

r 33]

Octaves arc played legato with an unmoved, hut not stiff, wrist and with
finders gliding close over the ke\s. This gliding hinds the tones almost more than
the fingers do. In ascending, the right thumh should he held as tor the (ilissando;
in descending, hold the left thumh similarly.

The fingering tor hoth staccato and legato octaves is, the 51)1 finger on white
keys, the 4th on black. When playing on either white or hlack keys alone, and
legato, the 5th and 4th fingers alternate as follows:

5 5

Small hands, which find the execution with 1-4 too difficult, or cannot
develop strength enough, should always employ the 5th finger.

An effect employed in youth by Leschetizky, and now in general vogue, is
that of after-striking octaves. They are substituted for passages written in simple
octaves, like that in the third movement of Chopin's A'-minor Concerto:

Here the thumb notes are more forcibly playeil in both hands, thus making
the entire passage sound stronger. (See ADDENDA, p. 83.)

XVI
Chords

nH I', principle of playing chords is to press, not to strike them. The tones
of a chord struck trom on high sound hard, and do not carry well.
Therefore, press the chords down in the following manner: The hand is
arched as far as the stretch permits ; the fingers are curved ; the finger-tips and wrist
remain firm during the stroke, which, as described in detail in Section X 1 V (legato
in a cantilena}, is effected by a wrist-movement upward or downward. In a slow suc-
cession of chords, either wrist-movement may be utili/ed; in a rapid succession, only
the upward movement. For playing chords forte or fortissimo the wrist-movement
must be greater and more vehement, for piano chords less extended and slower.

I 34]

In order that chord-playing may not tire one too soon, it is indispensable
not to hold the chords with a stiff" wrist after striking them. Relax the wrist
instantly after the stroke; then it will be unnecessary to expend more strength than
is requisite simply to hold the keys down. Thus the hand rests, and can better
resist fatiyue.

To make sure of striking a chord clean, it must be prepared before taken.
I o prepare, place the fingers on their respective keys, as it to take the measure of
the chord ; now, try to take its measure away from the keys, in the air, and keep
on until the correct stretch is learned. By dint of practice, the hand finally learns to
prepare the chord rightly at sight of the notes — to recognize its physiognomy, as it
were. This is of peculiar value in taking the chord-leaps in modern virtuoso-pieces.

&SW.

Practise each of these exercises with two kinds of touch ; at first with the
upward wrist-movement, the chord being lifted short oft", as in this 1'relude by
Rachmaninoff:

R.H.

L.H.

fff PC*,

*&E

$L - jttti

PCS.

When performing a piece in which there is a slow succession of chords,
this upward movement may be more broadly executed, so that not only the hand,
but also the arm, is raised. This is more especially the case, when/ir/c or fortissimo
closing chords are to be cut off short ; for instance :

Also practise the foregoing exercises A and B with a thrown stroke, as for
the Vfrist-staccato. True, the chords are now struck; but the good effect of this
exercise sanctions the exceptions. Indeed, there are cases m which chords must be
struck, when their rapid succession makes preparation of the hand impossible;
e.g., in the Tenth Rhapsodie by 1 .is/t :

For the exercises on p. ^4, note also the following: Where a chord is
repeated (as in Kx. A), the uplifted hand must retain the shape of the chord.
Where a leap from one chord to another is to he executed (as in F.x. 15), press the
first one down short, and cam the hand over to the second with a s\\itt s\\ing.
Where different chords follow in succession, the hand must already catch the shape
of each new chord in the air.

For the prevention of fatigue during performance-, also take to heart the
following advice : When chords follow each other slowly, hold the fingers of the
uplifted hand easilv , after striking, in the shape of a fist, so that the muscles may
rest. Such was Rubinstein's habit, anil Lescheti/kv does the same.

The fingering tor flat chords, and its exceptions, are the same as tor broken
chords (see Section XI ).

Below are pictured the various positions ot the hand tor all the different
chords on (.', as a study on the shape of the hand. Proceed, for the practice of
these positions, as directed on p. ^4, lines (•>- \\ . First play the chord-tones
together, ami then broken.

After practising the chords on (.' for some time, proceed to the chords on
/)">, which are to be treated similarly; and so on chromatically through all tones ot
the octave.

This studv is of high value, both from a technical ami theoretical viewpoint.

[36]

FIG. 20

First practise these, as well as all following chords, within an octave as an
arpeggio; later as a suite of arpeggios (see APPENDIX). While practising, observe
the same rules concerning the wrist and the thumb as for the Staccato (page 30).

FIG. 21

[37]

FIG. 22

Fw. 23

[38]

FIG.

FIG. 25

[39]

Fie;. 26

FIG. 27

[40]

FIG. 28

FIG. 29

[41]

FIG. 30

FIG. 31

FIG. 32

FIG. 33

[43]

FIG. 34

FIG. 35

[44]

FIG. 36

FIG. 37

145 J

FIG. 38

FIG. 39

[46]

FIG. 40

FIG. 41

[47]

FIG. 42

FIG. 43

FIG. 44

Played

XVII
Arpeggios

Played.

the first three fingers of the chord ready over their keys, with the 5th
finger extended. Now, while the first three fingers are pressing their
keys, give the hand a quick turn towards the 5th finger, so that the latter

strikes its key. This turn of the hand somewhat resembles the twist of unlocking

with a key. The 5th finger must lift the note short, as this makes it sound fuller.

Then the hand swiftly returns to the normal position, so as to prepare the next

arpeggio (as described above).

For arpeggios in both hands, do not begin with both hands together, but

with the 5th finger of the left hand, the thumb of the right following just after the

left thumb. The execution would be thus:

[49]

Played

R.H.

L.H.
XVIII

Paired Notes

PREPARATORY EXERCISES

5 .,4
o •>!

J.3* «8*»

F^S :ll °" 1

§4

5 4

5
•> 4 *

3 * '

fp:||"vFFFp:|l"g^

43 a*

1 32

2 1
4 3

N these exercises hold the hand as in the Finger-exercises, Section V.
The wrist remains loose. Hold the whole notes and play the quarter-
notes.

. 3 4 * 5

^ t 2

R.H.

g 3 II ~ | 8 • ... =B

45 5 3 4

Hold the whole note, play the Thirds.
..46

-ft«

H.H. r r

I 2 3
3 4 5

The Third which leads off is to be held until its turn to be played comes again.

[So]

FIG. 45

FIG. 4.6

[ 5' ]

R.H.

4 6
2 3

Free exercise without held tones. (Figs. 45 and 46.)

K.H.

A. , t . , B.

4343

3 i 3 i
6_3 63

Turning over in Third-playing. In this exercise proceed as follows: In
Kx. A press down the keys with the id and 4th finders, in Kx. B with the jd and
5th, and take the next-following Third, for the i st and jd fingers, with wrist
high and a swift swing sideways. Now make this swinging movement ot the hand
backwards, so as to turn over the id and 4th, or ist and jd fingers respectively in
order to take the initial Third. As a point ot support for this swinging movement,
use the 4th or 5th finger going up, and the thumb going down (in the left hand
the reverse).

It being impossible in playing paired notes to bind both tones when turning
over, merely bind the finger which acts as a point of support with the next tone:
let go of the other tone just as the swinging movement is to be made.

I 52 1

Scales in Thirds
DIATONIC. MAJOR.

a 4 •'•

r 53 i

DIATONIC. MINOR.

CH ROM ATIC

Minor Thirds.
R.H. 343 '* •» i*

n < «_> « :L— i

Major Thirds.

r° I l"-y_

^W;-?wS&rS

g^-fa^rqj

Scales in Si \tiis

• I )i \ i O\K . M \joit

4 5 ',

r, 5

, 1 _ 1 _ , 54

Cll ROM ATIC

4 5

--tt-tentfr-frj

pJ^E^tt-^^

XIX

The Highest Part in Chord-playing

|N chords, the theme usually lies in the highest part. In order to bring it
out when the chord is not to be arpeggiated, make the finger which bears
the theme longer than the others. This is clone by stretching this finger
out on the key, touching white keys with the tip and lying flat on black keys, the
other fingers remaining easily rounded. The "longest" finger presses its key down
deepest, obtaining a fuller tone. When playing on white keys the wrist should be
high and firm; but on striking the chore], it must instantly relax again and return
to its normal position. Besides, the \\nst should support the finger bearing the
theme by not exercising equal pressure on all the fingers, but rather bearing do\\ n
on the one in question.

It one can take the pedal with the chord, lift all the finders but that bearing
the theme instantly after striking the chord; e.g.,

Played: .

~F3~

^m
i

This example is from Rachmaninoff, Prelude:

"if i ^~r —-

: etc.

- etc.

Hind the highest part as tar as possible, and let go of the middle parts
directly after striking, with a gentle lift of the wrist.

The sth finger general!} bears the theme; but the above directions apply
equally \\here some other finger lias the theme, or \\here the latter lies in the
middle of the chords (in alto or tenor); as in Brahms, op. 117:

p dolce

[ 57]

The Glissando

n]HE Glissando is the ideal of a diatonic scale, as it sounds very swift and
"pearling" when well done. In this case, however, the false pearls are
preferable to the genuine, because the former are far rounder and all
precisely alike. This implies, further, that a Glissando must sound smooth and
even. It must not be played jerkily, with uneven "spurts," neither should the
finger-nail scratch the keys audibly when gliding over them. To close cleanly and
decidedly on the final tone, let the finger slide down over the front edge of the key
in question. This also gives the tone the requisite accent.

The 3d finger is to be employed, whether for playing up or down. To be
sure, it is easier and more usual to play down with the thumb ; but the tone is less
velvety than with the 3d finger. Still, any one who is able to bring out a smooth
Glissando with the thumb, is quite at liberty to play it so.

The Octave-glissando can be executed only by large and powerful hands.
The tip-joint of the fth finger is curled under, so that the nail glides over the
higher keys, while the thumb depresses the lower keys with its inner edge. Going
down, the attitude of the fingers is reversed.

The Glissando may be executed in all dynamic shadings, according to the
force of the pressure exerted on the keys.

FIG. 47

[ 58]

XXI

Embellishments

|O render the "embellishments" such in the true sense of the term, they
must be sharp in outline and clearly and elegantly executed. Chief
among them are the Appoggiarura, the Mordent, the Turn, and the Trill.
Touching the Appoggiatura we will merely remark, that it is to be played,
in connection with paired notes or chords, by taking it together with the notes
below it, the melodic principal note following instantly. The accompanying tone
or chord in the bass must be taken simultaneously with the Appoggiatura.

Written :

Played :

f\ •* £

• •* «,

r?H Z '

1 / /

'.): » » f » ,

Execution may be facilitated, in the case of a chord, by a swift arpeggio,
taking the first tone ot the arpeggio together with the fundamental. By using the
pedal, the arpeggio'd notes can be released.

Written :

Played

U"i 0 :

"^ >

In the Mordent, the accent usually falls on the principal tone ; it is, therefore,
best played with the jd and 4th fingers, the principal tone then having the strong
finger. When one cannot avoid using other fingers, so that some weaker finger takes
the principal tone, the difference in strength must be equalized by stronger pressure.

Mordent:

Played

lii rapid tempo the mordent is played like a triplet ; e.g., in Leschetizky's
Araheske, op. 45 :

these triplets being nothing more than mordents written out.

For the Turn, the follow ing fingering is the most advantageous;

Played. ^ 3 I& 1

Frequently the position of the notes following the turn requires one to
emplo\ the fingering 3-2-1-2.

The Trill is the most important of all embellishments. First of ah, even-
ness of finger-pressure is essential ; tor an even slow trill sounds more brilliant than
an uneven rapid one. True, the best trill is both even and rapid. The difference
in the strength of the fillers must again be equalized by difference in pressure.

For the riyht hand the best trill-fingers are i and 3 ; 3 and 5 are also good,
and many do well with 2 and 4. 2 and 3 are not as favorable as is generally
supposed. For the left hand, i and :, and after them 2 and 3, are best at trilling.

It is a good plan to practise the trill in triplets, beginning slowly and
accenting the first note of each triplet ; later gradually faster and without accent.
Also practise \\ith all the given combinations of fingers.

A trick for the execution of a forte trill is, to begin by striking both tones
of the trill together sforzando \ then quickly raise the finger from the principal
note, strike the latter again instantly with another finger, and continue the trill
rapidly.

For long trills, change from one fingering to another to prevent fatigue;
for instance, alternate 1-3 and 2-3. (See AIMJENDA, p. 83.)

f <«> I

The fingering for trills in thirds is as follows:

Any one finding . more convenient, may use these fingers; hut only
for trills in thirds without afterheat.

XXII
Dynamics

I'SICAl dynamics is the art ot employing the various shadings brought
out by changing force ot tone.

Music possesses only three1 prune colors: piano, forle, and the accent.
Out ot these the rich color-scheme ot the musical picture must be built up. This
is achieved by a frequent alternation ot the prune colors, and by transition from
one to the other.

b'orlc and fortissimo cannot be brought out by the unaided strength ot the
fingers; the \\rist must be brought into pla\ . The finger-tips must be firm, and
the wrist should not be loose. In point ot tact, the fortissimo in rapid passages is
not the product ot individual finger-power, but the total effect ot all factors of
reinforcement which one commands, such as the pedal and the wrist-pressure.

Where the tones follo\\ each other slowly, equal strength is put forth in
piano and forte, only that in the former the keys are not pressed down quickly, but
slowly, which brings out the soft, singing tone. In pinno passages the wrist should
beheld loose; but the finger-tips must be held firm, for yielding finger-tips can
bring out only \\piann lacking in time, and here and there a tone may fail to sound.
In quick tempo the fingers are thrown with a loose wrist. "Fluttering" passages
are \\ghtpianissimo passages on black keys, to be played with outstretched ("flat"),
but firm, fingers; like tins from Chopin's Berceuse:

Accent u the marking ot ind'
melodic, harmonic, or rhvthnr- rp;i

tones by stronger pressure, for either
accent mav be more or less strong ui

weak, and is obtained \\itli firm fingers and firm wrist. When the tone is to be
prolonged, the ringer holds the key down and the wrist is relaxed; or the tone is
held with the pedal, and the hand withdrawn. This makes the tone more brilliant.
Kor a short accent the hand is withdrawn, without raking the pedal.

I* or making a crescendo, begin with a loose wrist, gradually increasing the
wrist-tension. Kor a diminuendo the action is reversed, the tense wrist gradually
relaxing. I I ere this "gradually " is a chief factor ; tor the increase and diminution
in intensity must not be accomplished " by spurts." Whoever needs to do so,
may assist his fingers by his imagination, fancying, tor example, the increasing roar
or" an approaching railway train, or the decreasing sound of one receding.

The tone to be most strongly marked is the dynamic climax or dynamic
principal note, indicated here by an :;: ( Lescheti/.ky, Op. 40, No. i):

Also observe whether a cresceHilo leads from pianissimo to putno or mezzo
forte, or from forte to fortissimo (and for the djminueinln in reverse order), and
calculate accordingly the tone-power of the dynamic beginning and end in each case.

V\III

On the Pedal

HE pedal, for most good people and bad players, is an instrumentality for
trampling on good taste. Not to dwell on the horrible pedalistic abuses
of dilettantism, there are likewise two species of serious musicians who are
more or less in the wrong as regards the pedal. Firstly, they are such as use the
pedal rightly in general, yet with pedantic scrupulosity, so as not tor heaven's sake
to infringe the letter of harmonic law. These will do no mischief, but carefully
avoid all interesting effects. Secondly, there are the pianists whose good ear
generally guides them aright in pedalling, but who rely too much on instinct, and
treat the pedal as a mere accessory. Thus it happens that their pedalling lacks
uniformity in their various interpretations of one and the same piece. 1 hey forget
that the pedal is quite as important as any other factor in piano-playing, and

requires a no less careful study. Its purpose is not alone to reinforce the tone and
to bind separated tones ; it is also intended to produce special effects.

It would give the composer too much trouble to indicate between the notes
all the fine, brief' details of' pedalling ; these arc left to the pianist himself.

The regulator for correct pedalling is the ear. Not Theory, but Kuphony,
is the final authority here. Consequently, the pla\cr should, above 'all, make up
his mind which tones he wants to bind, and then verity by ear their actual presence
and that they form no discord.* Then let him ti\ the pedalling, and practise it
together with the music.

The pedal ma\ be taken either simultaneously \\ith the tone, or after the
tone is struck. This latter may be termed a "following" or "syncopated" pedal.

The simultaneous pedal undertakes to hold the tone where the finger must
be withdrawn and the tone should continue sounding; e.g.,

where the bass must sound through the last beat, although the 5th finger cannot
hold it.

The syncopated pedal can be employed only \shere the tone or lones which
should continue to sound can be held down by the fingers over the change of pedal.

(The small nules merelv si;.>\v where Ihe pedal is to be taken.)

Practise the syncopated pedal according to this example, striking the funda-
mental tone and holding it only until the pedal has taken the tone. Now strike
the chord, and hold the pedal until you have struck the next bass tone; repeat this
with each succeeding chord.

A fine exercise for s\ ncopated pedal is Mendelssohn's Song without Words
No. i, because the harmony often changes.
* See ADDENDA, p. 84.

[63

cantahile

%fc

I I ere the tones are convenient to hold, t he re to re the pedal need he taken
only on the second halt ot each heat, so that the foregoing harmony has lime to die
away without producing a dissonant effect, which would he unavoidahle it the pedal
were taken directly with the hass tone.

In the ahove example, besides, smaller hands must change the pedal quicker
in the fourth heat of the first measure, us they cannot hold the hass tone with the
fingers.

In all cases, observe the following general rules:

(i) In chords the bass tone must sound with its chord. When the bass
cannot be held with the fingers in wide-spread arpcggio'd chords, it must be held
with the pedal, which should then be taken simultaneously with the bass tone; e.g.,

(2) The pedal may be more freely employed in high positions than when
playing low or in the middle of the keyboard; because the shorter soundwaves of
the treble produce a shorter resonance. In the treble, therefore, tones may be
bound by the pedal which in themselves would form dissonances, yet are not felt
as such by the ear. h'or example, play the chromatic scale upward and downward in
the thrice-accented octave with pedal, to convince yourself that the above is correct.

(j) In connection with the pedal, the low bass tones are dangerous to the
higher ones, because of their prolonged resonance; consequently, low bass tones
must be sooner released by the pedal in ascending passages.

I 04 I

(4) I'or the ear, however, pedal-dissonances in.i\ be overpowered by a r/v-
scendo, the weaker tone being always covered In the succeeding louder one. \ ent\
this by playing rapidly an ascending diatonic scale with both hands and lifting the
pedal it tempo with the d\namic principal tone, the highest and loudest. This will
produce no dissonance, but rather a stylistic cnYct, for instance at the c ose ot the
Chopin K tilde op. .5, No. i i, in which the heav\ tundaniental chord likewise
supports puntv ot tone :

crescendo

With the Organ-point, too, a pure pedal-effect is obtained, even when
dissonant chords sound together ; e. g.,

«•
IT

%5r

•»•

The soft pedal was not added merely tor the sake of symmetry, but is valuable
as a counterpart ot the loud pedal, by veiling the tone. It max be used in />/> ami
frequently at the end <>t a diminuendo, to taper it down more delicately. Mere it
assists the fingers, tor the reason that they must not strike too sottU in a />/>, as
that yields a '' husky " tone.

To bind melody-tones well, while holding the tundaniental, one must often
employ a "false" pedal, though not tor prolonged tones; as in Chopin's Kantaisie:

I "5 J

F^I

liiu-s slum i hi' jiliu-i's win ii tin- ].i,l;il i-, \:tki-t\ ••}

X X I \7
Rules tor Performance

MKI.

OIJV-l'I.A^'INd

II is probably tnif, in a general \\a\, thar the )KTtonnancr of a nv.-lody is a
matte;- ot teeliny and taste. But as, on the one hand, these fine qualities
are not common property, and, on the other, the best taste and most
delieate feeling are, like all things spiritual, hound to the material world, the
Rules for Performance given here will hardly prove superfluous. Do not consider
them as fetters tor the imagination, but as its helpers.

(i) Where notes of unequal time-value follow one another, the longer note
must be played louder than the shorter one, because it is to sound longer; e.g.,

Beethoven, Sonata, op. 10, No. 2.

(2) I'lay a melody upwards crescendo, downwards dimnnietid" ; e. y., in
Schumann's " Des Abends : "

LOG j

But where the melody rises or falls by a wide interval, the crescendo or diminuendo
is executed with greater intensity.

(3) The beats are unequal in accentuation, some being louder and others
softer. Notes coinciding with strong beats are played louder, those on weak beats
weaker. In 4-4 time play the first tone loudest, the third tone a trifle less loud,
the second weaker, and the fourth weakest, somewhat as shown below:

f mp »(f p

rfi — 1

-H — •

In 3-4 time the first beat is strong and the other two weaker, thus:

f »'P P

In 6-8 time the first beat is again the strongest, the fourth next in strength,
the second and third weak, and the fifth and sixth still weaker:

f mp p»if p pp

(4) The directions given by leading composers are to he regarded as
binding. Beethoven, in particular, indicated the shadings distinctly.

(5) Should it occur, that the first three rules come in collision on one and
the same note, the majority decides what is to be done. I'or example, in a descend-
ing melody a long note falls on a strony beat. Rule i sa\ s : As a long note it
must he played loud; but Rule 2 requires it to be played \\eak, as a lower tone;
now Rule 3 decides that the tone, as falling on a strong beat, must be played loud;
and this decision holds, Rules i and 3 forming a majority. I'., g., in Leschetixky's
"Canzone toscana," the tone c, marked :::, is to to be played loud:

[67 1
KXCEPTIONS 'I'D THH ABOVE KlM.ES

(1 ) When a short notf on ;i weak heat is tied to the following note, forming
?. syncopation, it is considered as a long note, and is played loud

(2) When the highest note, in playing upwards, falls on a weak beat, it is
played louder than the one preceding it; e.g.,

Chopin, ,-/i-major Impromptu: :wP^

legato

(3) \Vhen a long note, in playing downwards, falls on a weak heat, it
should he played louder than the one preceding it ; for example, the notes below
marked ::: in Beethoven, C-minor Variations:

(4) A short note which is lifted after a longer one, should he played piano
either ascending or descending; e.g., in Mo/art's Fantasie :

The above remarks on the performance of melodies also apply to passages
(especially important for Chopin) and accompaniment-figures. And not merely
melodic passages, in which the melodic motive is to he brought out, are meant
here, as for instance in the A'-minor concerto by Chopin :

(Tlic- tliri'i- inrliiclic nutus * arc lo be

' out.J

but also non-melodic passages, consisting of scales and broken chords, should be
shaded; e.g., from (irieg's Concerto:

Do not be afraid to "shade" even Hach. Why should this great master
enjoy the invidious distinction ot a colorless, dry , rectangular interpretation ? I one-
coloring is not an invariable sign ot sentimentality. The latter resides rather in
the tempo, e.g., in a ri/emi/o either too marked or wroiigl) placed, such as many
Chopin-players cultivate.

In the melody one ought not, strictly speaking, to play several successive
tones with equal dynamic power; tor this causes a hardness ot tone \\lucli one might
be inclined to attribute to the great volume ot tone. One max plax excnlx in piano,
and yet not tenderly; m forte, on the other hand, one max obtain a tender effect in
a figure by an opportune toning-down ot dynamic energy.

Contrast in shading that is, the repetition ot the same phrase with vanmsj
dynamic expression is also ot tine effect in melody-playing. I'or instance, play
a phrase, which occurs twice in succession, torciblx the first time, and repeat it like
an echo piano (with the soft pedal) ; or plax it piano at first, and then forte, as it to
lend it special emphasis on repetition. The stx le ot contrast in shading to be chosen
in any given case depends partly on the meaning ot the phrase, and partly on the
player's taste; the following example is from I'.duard Schuft, op. ^5 :

An observance of these fundamental rules does not in the least interfere with
the play of original fancy or subjective emotion. One may rely implicitly upon
the guidance ot these delightful attributes — when one possesses them.

[&>]

2. TEMPO

If we may apply the term "color" to musical dynamics, the tempo would
be the life and movement of piano-playing. But not the treadmill life of every-
day monotonous routine, — not a metronomic movement.* As variety is the spice
of life, charm of style, in like manner, flows from continual changes in the tempo,
from contrasts in the movement.

There is no composition which is played in a uniform tempo from beginning
to end. Even in exercises this is allowed only in those practised solely for finger-
dexterity. In the performance of other etudes, taste in style is by no means
excluded, although in them its expression devolves chiefly on dynamic changes.

The changes in tempo must be so delicately graded that the hearer notices
neither their beginning nor their end ; otherwise the performance would sound
" choppy." Thus, in a ritardando, calculate the gradual diminution of speed exactly,
so that the end may not drag ; and conversely in an accelerando, that one may not
get going altogether too fast. In a ritenuto, moreover, many play the final tone a
trifle faster, which abbreviates the ritenuto and gives the hearer a feeling of dis-
appointment. Where an a tempo follows, it should quite often not be taken literally
at the very outset, but the former tempo should be led up to gradually; — beginning
the reprise of the theme like an improvisation, for instance. Thus, in the course
of one or two measures, one would regain the original tempo; e.g.,

Paderewski, Legende.

However, where the character of the composition requires it, begin the
a tempo immediately at the original pace, as in this Prelude by E. Schutt :

- - - - - - Tempo I.

* See ADDENDA, p. 84.

[ 7" I

]. KHYTHM

Rhythm docs not depend on ;i strut observance ot the measure, init permits,
on the contrary, ot a freer disposal over rhc heats, hut onl\ between the boundaries
ot the liars. Thus individual hears may he abbreviated to the profit of others, or
lengthened at their expense, but not whole measures in proportion toother measures;
e.g., in Schumann's "Grillen:"

At the sign ::; the quarter- note is prolonged a little at the expense ot the
following eighth-note.

This is, however, not in the least intended as an absolution tor the blunder
made by many pianists, of hurrying over the end ot one measure and so beginning
the next too soon. Kor such a " tever ot rh\ thin " the best remedy is the counting
ot beats or halt-beats, like eighth-notes or sixteenth-notes, in slow tempo. It is tar
more allowable slightly to retard the commencement ot" the next measure in case it
is emphasized or anv special rhythmical effect is desired; e.g., in Schumann's
" Grillen " :

The octave marked '"" is arpeggio'd, and so played that the lower bass tone
exactly coincides with the first beat, while the upper bass tone is struck together
with the right-hand chord, producing an extremely slight retardation.

An abbreviation of" the first beat after striking it is permitted in waltx-
rhythm, for instance, by accenting the bass tone in the accompaniment and rapidly
carrying it over to the second beat; the resulting however slight — abbreviation

[ 7> 1

of the first beat may here In- made good by throwing the wrist upward; then strike
the third heat somewhat more lightly, stuccato, ami in exact time. By the wrist-
movement one gives the accompaniment "ssvmg;" hut guard against overdoing it,
otherwise the rhythmic effect hecomes trivial.

\VK|-.[-\IO\ KAIKNT

In the 5-4 time ot the Ma/urka, the accent tails now on the first, aow on
the second, and again on the third heat; e.g.,

Chopin, op. 7.

cresc.

trfu

Lescheti/ky, Ma/urka.

In a Polonaise-accompaniment, on the other hand, the hass tone must be
accented and then followed by a minute retardation, the loss ot time being made
good in the next two sixteenth-notes. The second and third beats are played i
normal time ; e. g.,

RETARDATION

4. A Ki'K(,(,io-ri. \vi\r:

One must not ahvays arpeggiate only such chords as are too wide-spread to
play "flat." An arpeggio is also in order \\here a tender or delicate effect is
desired. In such cases the right hand plays arpeggio, while the left strikes its
chord flat ; e. g.,

I'adcrewski, I .egende.

Conversely, the chord sounds energetic, and yet not hard, when the right
hand strikes its tones simultaneously and the lett arpeggiates ; Init this must he
,i very swift arpeggio ; e. g.,

etc.

An arpeggio may also he employed where the polyphony is to he brought
out more distinctly ; but only at important points, for instance where one part ends
and the other begins at the same time ; as in Schumann's Romanze :

Similarly m a canon :

Paderewski, Theme varie.
Lento.

Neither should hass tciu1 and melody-note always he taken precisely
together, hut the melody-note may he struck an instant after the hass, which gives
it more relict ami a softer etlcct. I low-ever, this can he done only at the hetiinning
of a phrase, and usuallv onl\ on important notes and strong heats. (It is hetter
for the hands to coincide preeiseU on \\eak heats.) 1'he melody-note must follow
so s\\iftl\ as to make the pause hardly noticeable tor the uninitiated: e.g., in
Chopin's Nocturne:

XXV
Fingering

I1' I N(i I'. \\ 1 N( i is gooil \\hen eas\ ; provided that the effect is the same.
()nl\ the easy player can also play confidently and finely. In many cases,
therefore, it is not teasihle to fix the fingering in advance, because it must
,he accommodated to the si/e and stretching capacity of different hands.

To the rules for the fingering given in preceding chapters, only one more
can he added, namely, that loud tones should he played, wherever possible, with
strong fingers.

I 74 1

Contrary to all rules, one may sometimes let the fingers run out to the 5th,
so as to save turning under. By so doing, a switt tempo can better he carried out ;
as in Weher's " Concertstiick " :

; dr.

Moreover, the thumh may turn under on a black key, when the tone is
accented and the following one made easier to reach thereby. This turn should
not, however, be made in the regular way, as in the scales, but with a swing of the
wrist. The examples are from Leschetizky, " Cascade,"

and Rubinstein, Fourth Concerto:

~ 1-r*

In general, every one who has sufficient courage and the needful amount of
confidence may go as far in the irregularities of fingering as he will, provided only
that the passage is well played. Still, disregard of rule must not proceed trom
mere wantonness, but to facilitate the execution ot difficult passages, or to make
them sound better. First, try the fingering given in your piece, and retain it it it
appears good; otherwise, seek another fingering adapted to your hand and
individuality.

The pedal is of great assistance to the fingering. It binds intervals which
the hand cannot stretch, and permits the hand to leave one chord in order to
prepare the next. In the melody, too, a tone once taken may be held with the
pedal when the finger is required elsewhere, and another cannot take its place.

[75 J

XXVI

Practice and Study

|RT is the most unique possession of man. It is not obtained by birth or
heredity, but must lie acquired by the individual. Were it otherwise, the
artist's crown would be easily won, but of slight desert. When any one
says he learns everything without effort, he either tells an untruth, or what he
learns is valueless. Thought alone springs effortless from the brain ; the technics
of every art must be acquired step by step. I low many strokes of mallet on chisel
were needed, pray, to fashion a Venus of Milo from the rough block of marble?
How many strokes of the brush did Rafael make, to create his Sixtine Madonna?
and before he knew how to guide the brush aright, what pains did he have to take ?
Practice makes perfect; and through practice no talent is degraded — not even a
pianistic talent.

Practice at the piano should not he an unreflective rattling-off of exercises by
the hour or by the number of repetitions. To bear fruit, it must be the simultaneous
training of head and hand. I he simplest finger-exercise demands, for untrained
ringers, the undivided attention of the student. lie must see whether the hand is
held right and the fingers move correctly ; he must listen to each tone he strikes,
and exercise thought in all. After the fingers have been controlled by thought,
rightly applied, tor only a few weeks, you will be convinced that they are at
last growing independent ami trustworthy. Then, for the study of pieces, most
attention may be directed to the mental side.

Thinking is rendered easier by practising at first very slowly, not playing
faster until you are sure of your ground. If progress is not rapid at the beginning,
do not fancy that you can improve matters by sitting at the piano from morning till
evening; that is harmful to health, and it is impossible, besides, to pay close and
careful attention for so long. Four hours of sensible practice are quite enough.
When one has to keep up an extensive repertory, one or two hours more may be
devoted to the repetition of pieces.

As soon as one has thoroughly mastered the finger-exercises, scales, and
arpeggios, they may be applied in the study of the etudes. Begin with Czerny's
"School of Velocity," and then take up rather short, easy pieces. Play these
latter at first, like the exercises, slowly with each hand alone, and while practising
slowly play louder than you afterwards do when playing them faster. A point for
etude-playing, in particular, is to play them — after they go well and quickly -
several times in succession without stopping, as long as you can keep it up ; this
promotes endurance.

1 76 1

Thought is most essential ;n the stud) of pieces ; for the way by which they
are learned, or rather memorized, goes trom brain to fingers, and never in the other
direction, from fingers to brain. I lay stress on memorizing, because it is the best
way to possess one's self permanently of a new piece. Go about it as follows:

To acquaint yourself with the piece in hand, read (play) it through only
once, so as not to grow accustomed to a faulty fingering; then — according to the
difficulty of the composition or the mental grasp of the student — take up one
measure, two measures, or at most a phrase, at a time, analyze it harmonically,
and determine the fingering and pedalling. Observe, however, that rapid passages
must be tried rapidly, because fingering and pedalling might be suitable in slow
tempo and not in fast. Determine them, therefore, in the given tempo, only then
returning to the slow stud) of the piece.

Kxcept to play the leading parts louder and the secondary parts softer,
abstain for the present trom fine shading and emotion, until Matter is conquered ;
else it may happen that you waste your finest feelings on wrong notes.

Now read your practice-measure or measures through carefully and repeatedly
with the eye, until the notes stand ovit clearly before your mental vision, and name
the notes a few times either aloud or mentalh ; and then — not before pi''!)' the
measure or phrase trom memory, but no taster than memory can dictate the notes.

If you forget a note, do not try to find it by groping with the fingers on the
keys, or play on by ear, but try to recover the forgotten note in the mind. Should
you fail, then glance at the music.

When you can play the phrase taultlessl) and without hesitation by heart,
proceed further exactly in the manner prescribed. Take up each time the portion
just learned before, and also tr\ to play the whole by heart from the beginning.
This is " memorizing in the form of addition."

Next day, should you have apparently forgotten what you learned, do not
feel discouraged, but practise it over again as before. You will rememorize it
rapidly, and after a tew such da\s of practice you will have made it yours tor ever.

Now proceed to filing and shading; impart animation to the phrases, and
distribute light and shade. Proceed dynamically and technicall) (as when memo-
rizing), only step by step, suitably dividing long passages, tor instance, and practising
each division separate!).

One never forgets a piece learned by this method, even when it is not often
repeated; and neither memory nor fingers are so apt to tail one at critical moments
as in the case of players accustomed to practise unreflectingly with the fingers.
This latter class, to be ?urc, will find brain-study hard at first, and must be satisfied
to learn two or three lines daily — and that not at one sitting, but with long

I 77 I

intervals. More advanced students, too, should interrupt study frequently, to
prevent overtiring the brain. During such pauses they may liusy themselves with
technical exercises already well in hand, or leave the piano altogether. One finally
arrives at the point of being able to think through a piece much faster than the
fingers can follow.

T.escheti/.ky says: :t Learning by this method is only apparently slow.
Kven if one learn but a few lines daily at the outset, and later at most a whole page-
in one day, and assuming that study must be suspended for one-third of the year,
the finished year nevertheless shows an outcome of over 200 pages learned, to
which one may add some 100 pages of repetitions, such as occur in almost all
pieces. In the very first year, therefore, a considerable number of pieces will have
been learned, which the growing routine ot following years will double or treble
annually."

To students whose talent permits of their playing a piece from memory
after glancing through it, I also recommend the above method of study. They
will find it easy, aid it will insure correctness when playing in public. In his
domestic privacy, and on the concert-platform, the artist has two distinct individual-
ities. When he appears in public, he leaves part ot his security at home. It
follows, that he can never have enough of it. The intending concert-player must,
therefore, make it a point from the very start to play a piece faultlessly from
beginning to end l be first time. It is ot no avail, to play it right only un repetition.
Should you break down, or make a mistake, stop playing, and begin again after a
considerable pause, making it, as it were, another " first time." Also observe this
method \shile learning etudes and pieces, or their several phrases and divisions,
and finally, when practising compositions already mcmori/ed. The best way to
avoid mistakes, is to think. While at the piano, think of nothing but what you
are playing, however sure you may be of it. Thought is like reins for the fingers,
to keep them in the r.ght road.

There is still another stage in correct piano-playing — self-criticism. Who-
ever has got so far as to critici/e himself as sharply as his neighbor, is tar advanced ;
for even the recognition of one's faults means much, although there is yet a long
step to their amendment.

Those piano-players, too, who have no mind to give concerts, but play only
" for their own pleasure," really ought to prefer to do it well ami correctly. Or
might this diminish " their own pleasure " ? Let them try it, anyhow, if only from
humane motives ; for everybody likes to show off. What should we not have been
forced to endure, had not a merciful Providence invented " stage-fright " ? True,
the genuine artist finds it a. stumbling-block which can be done away with only by

dint of studs in the way described above, anil by much playing in public, whereby
he gains a feeling of confidence. Let him do like the hero in Schiller's "Fight
with the Dragon," who accustomed his horse to a painted dragon before introducing
hin1 to the real one, and take the edge off his dread of the public by much playing
to others. Let him knock at every door and request a kindly Rearing. And,
having reached this stage, let him play before his fellow-artists. It he can meet
their criticism, he is proof against the dragon himself.

XXVII
Movements of the Hand and Arm

|?^|[ANISTS of fiery temperament often execute acrobatic marvels with their
uplifted hands, as if to show the audience that they have risen superior
to all earthly trammels, and make a mere play of difficulties. These are
fancy tricks not wholly devoid of piquancy, and may be viewed with indulgence
when accompanying virtuoso performance. In contrast to these are the necessary
movements of the wrist, winch serve to facilitate the execution of phrases, to support
the rhythm, or to rest the 'hand after the tension of fnrte playing by relaxation of
the joint; there are, besides, the motions of the arms, which are thrown upward by
an involuntary reflex movement after striking vigorously. None of these move-
ments should be destitute of freedom and grace.

The necessary movements of hand and arm vary according to the character
of the piece played. I do not mean that in a Scher/o the fingers may execute
merry gambols on the keys or in the air, or creep along sleepily in a Berceuse.
What I mean is, the influence on the tone, which in energetic passages, where the
hands are lifted abruptly from the keys, differs from that in playing softly, or in
melancholy strains, where they are raised slowly and the arm rises as much, or, still
better, as little, as the wrist-movement demands.

The upward, downward, and twisting movements of the wrist have already
been treated at length in a former Section. Here I will mention only the sideways
movement, whose aim it is to bring the hand into a convenient posture tor taking
the next notes. In the Chopin Etude op. 25, No. i, tor instance,

r ?.) i

one can take the melody-tone E? more easily, and render ir more expressive, by
turning the right hand (not too tar) sideways; the left hand also turns in following
the accompaniment-figure.

Talented students will find instinctively the proper employment ot the
wrist, and how to accommodate it to the varying position ot the hand ; others must
acquire it by practice, whence arises a sort ot "preparatory technics" tor the
promotion ot an easy and sonorous execution.

The pedal is again very helptul. By holding and prolonging the tones, it
leaves the hand tree to assume the next-following position ; as at all the chords
marked * in Chopin's Kantaisie:

We may also add to the section on preparatory technics a device which
makes it easier to play clean basses. These are not such a matter ot course as one
might imagine, as the appellation "pseudo-basses," invented by I .is/,t, proves.
The usual reason is, that difficult passages or leaps in the right hand divert the
eyes from the left. The device tor getting the bass clean consists in touching the
higher octave of the bass tone with the lett thumb, without depressing the key ;
the 5th finger can then readily strike the bass tone, for every pianist has the stretch
of the octave in his fingers. Also practise this trick without looking at the left
hand, or in the dark.

Another device which may he mentioned in this connection, concerns wide
leaps — a fertile source of incertitude. Through practice alone one cannot learn to
take such leaps with certainty ; one requires presence ot mind, and likewise a certain
knack which ought to be taken advantage of when practising leaps; namely :

For a leap on white keys, the hand should not describe a curve, but glide
swiftly over the edges of the keys, striking the tone which is the objective point of
the leap with the outer edge of the little finger, not with its tip. At the same time,
the wrist must drop. This procedure has the further advantage, that the hand
does not hide the key to be taken from sight, one being able to fix the eye upon
it, which is necessary. It aids accuracy greatly to name the tone mentally before
striking.

I So 1

For ;i leap on Muck keys, the hand is also held close to the keyboard ; hut
the linger (preferably the jd) docs not strike with its edge, but flat \\ith the tip.
For such a leap on black keys, the \vrist cannot be dropped, but it must not be
raised too high.

Do not be discouraged by so many rules tor the training ot fingers ami
hand. Through them the fingers finally acquire exquisite sensibility, and the wrist
also soon learns to follow the movements ot the fingers. The arm, to be sure,
remains a clumsy k-llow, always having to be guided lesl he throw fingers and wrist
oft the track by faulty movements. Consequently, in the first scale- and chord-
exercises one should look to it that the arm does not press forward too rapidly
when playing up, and drag backward when playing down.

XXVIII
Who Should Devote Himself to the Piano ?

DKLICA IT. question, indeed! I tear me, an echo from the World will
reply, short and sharp: " No one!" But this were wrong, it only in
consideration ot the opulent, glorious literature ot" the piano, which
deserves that an unbroken line of interpreters should arise interpreters with a
mission, ot course. And here we have the reply to our question: Those with a
mission tor it should devote themselves to the piano.

But what qualities justih this claim: Were I to say: "Only a talent of
the highest order," one might just as well assert that onK millionaires have a right
to live. In music, too, there must be a middle class.

Qualifications which one must have to become a thorough pianist are a good
ear, a good hand, artistic temperament, fine sensibility, intelligence, and persevering
industry.

I he musical ear naturally varies in quality. Finest of all is the ear which
recognixes absolute pitch, and can instantly tell the name of any tone, whether
produced by a musical instrument or the ringing of a glass. Next comes the
recognition of comparative pitch, which can tell any tone from its relationship to
another key-tone previously struck on the piano. This kind of ear is only second-
class, hut is capable ot further development; musicians possessing this ear have
frequently a refined sense for shading.

The lowest grade of ear for a music-student should be that which enables
him to sing correctly any tone he hears.

[Si J

Aii inferior ear can he developed, raised to a higher grade, by a sort ot
singing-exercise; not actual vocal studies, tor the singing voice is nor taken into
account. Merely sing some tone, \vhich is so natural and easy to sing that you can
rind it again at any time, and find its name on the piano. Hold fast to this tone,
as one from svhich to derive others. \o\\ try the following exercise: Strike a
tone on the piano, and sing to this tone the minor second, then the major second,
and the other intervals in regular order, hrst upward, then downward; and keep at
one interval until you can sing it correctly.

Also try, without looking at the keys, to name separate tones, then harmonic
intervals, and last of all chords, played In some other person at the piano. If a
quarter of an hour, at most, he devoted to these exercises daily, the ear will soon
show progress.

Touching the hand and its qualifications, some observations were made in
Section II ; here I will only add, that even an imperfectly adapted hand may be
moulded, bv industrious and well-directed practice, into a " piano-hand " -it will
accommodate itselt to pianistic requirements.

On the contrary, it is difficult to change the temperament. A phlegmatic
pupil, even should he possess all the other good qualities, can drive a teacher to
distraction, anil his playing will never nun e his hearers. Better an overplus of
temperament. It is an easier task to restrain it. A player without temperament is
also emotionally dull when playing. And emotionality cannot be created, but only
somewhat refined, or awakened in case it only sleeps.

Musicians themselves, however, should inveigh against the belief that music
needs only emotion, feeling, and not intelligence as well. This last is needed, it
only to make up for, or at least to hide, a possible detect in talent.

However great the talent may be, one can sooner attain eminence with
industry and less talent than with much talent without industry. Unremitting
industry will help over many a hard place, and enable its possessor to attain at least
a respectable eminence in music ; but talent without industry runs to seed. In fact,
the arduous summit of Parnassus can be conquered only behind the double-team,
Industry and Talent.

I S3]

A (1 tl c n tl a

To page II. There are hands whose finger-joints are too yielding. This
anomaly manifests itself most frequently in the middle (second) joint ot the thumb;
this knuckle-joint either projecting too tar outwards, or bending inwards unnaturally
so as to form an angle, which hinders a forcible downstroke, promptness in passing
under, and the firm, confident striking of a chord or octave. This weakness of the
principal thumb-joint can be cured only by patience and careful attention. Practise
the following exercise piano, with each hand alone.

H. H.

L. H. _

Take care to hold the thumb in its normal position (Fig. i). If you
should not succeed, support the joint for a time with the tip of the left-hand fore-
finger, which should touch the inner side of the joint without pressing it outwards.

Another anomaly, stiffness in the knuckle-joint ot the £th finger, may be
overcome by the following exercise: Hold down any note, E for instance, with the
31! finger, and with the other hand lift the 5th finger by the tip as high as possible;
then, with the 4th finger, strike F repeatedly and as forcibly as you can with a loose
wrist. This treatment may also be applied for loosening the knuckle-joint of the
4th finger, which is by nature comparatively stubborn; only in this case the 4th
finger is lifted, while the 5th repeatedly strikes G.

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To page 33. When the octaves go smoothly and easily, practise them on
one tone, or in scales, without interruption until fatigue sets in. It is an important
point to breathe quietly while practising, for the opposite habit is un healthful.

To page 59. When the trill is learned, practise it rapidly, without inter-
ruption or changing fingers, until you are tired; do this with each pair of fingers.
Rven when you can trill but a minute with the strongest fingers, your technique
will have made a decided gain.

To page 62. One can hear them more readily at a distance, than near hy -
the audience better than the player. But the latter can hear the dissonance yet
moie distinctly it, without playing on, he holds down the pedal tor a time and
listens attentively to the resonant waves.

To page 69. At this point we may venture a word concerning the Me-
tronome. Strictly speaking, 'tis a wooden Capellmeister, without an atom of subjec-
tivity, though useful when not employed too often. It is not merely a timekeeper,
but likewise a good instrument for training a defective sense ot rhythm. Conse-
quently, every player should make trial ot it once in a while, and play scales, etudes
or pieces with metronome-accompaniment. Then he will discover precisely where
he may lose time in difficult passages, or gain in easy ones.

Those who are weak in time, are advised to practise the following metronome-
exercise, either at the keyboard, or (simply by feeling) away from it :

.*. • * _*__:* ._..•

Quintuplets ami Soxtuplets
</'/ lihjtum.

Do not set the metronome on too high a number, and let it mark quarter-
notes, during which the exercise is repeated, at first in regular succession, and then
skipping.

One ought also to play his pieces through once with the metronome for
another reason, namely, to learn how to carry on equally two themes of different
temperament but like tempo in one and the same piece. For this the controlling
influence ot the metronome is certainly valuable.

1 85 j

Appendix

I. Sl'AI.K OK Sc.Al.HS, Sl'AI.K OK ARPEGGIOS, AND SviTK. OF ARPEGGIOS

ni IK following Scale of Scales, Scale of Arpeggios, and Suite of Arpeggios,
should not he taken up till the player can execute swiftly and evenly the
ordinary scales and broken chords. Kach section is intended to be played
through without a break, for which purpose the connecting fingering is given. 1 he
Scale of Scales, in particular, requires great endurance.

Let no one, however, overdo these exercise?, but stop when too tired, and
rest before continuing The requisite endurance will be acquired little by little.

Play these exercises through once every day ; this not merely keeps up the
technique, hut increases it.

1. Scale of Scales.

C major

C minor. (harm.

C minor. (?nelod.)

D'cmajor.

C# minor, (harm.

minor, (melod.)

D minor, (harm.)

D minor, (melod.)

El> major.

E\> minor, (harm.)

El> minor, (melod.)

E major.

E minor, (harm.)

8ft

E minor, (melod.)

8Q-

F major

F minor, (harm.)

F minor, (melod.)

F# major

81-

F? minor, (harm.)

G major.

G minor. (harm.)

G minor, (melod.)

I63N4

At major.

Gjt minor, (melod.)

A major

A minor. Charm

A minor, (melod.)

B\> major.

B\> minor, (harm.)

Bt> minor, (melod.)

B major.

B minor, (harm.)

B minor, (melod.)

Chromatic.

2. Scale of Arpeg-g-ios.

Practise with both the given fingerings. Take the keynote, wherever it stands, only with the regular
fingering (that next the heads of the notes).

C major.

C minor.

D\> major.

minor.

D major.

D minor.

IS3K*

E major.

E minor.

F major,

F minor.

gva

F|t major.

G major.

G minor.

8V" -

183S4

At- major.

G# minor.

A major.

A minor.

Bl> major.

Bl> minor.

3. Suite of Arpeg-g-ios.
Triads and Seventh -chords.

1 «J.

4 1

Ih.iS't

80".

fjVU.

Transpose the Suite of Arpeggios into all keys, employing only the regular fingering, as in the fol-
lowing examples:

L7H.

Conclusion

INK Groundwork of the Lescheti/.ky Method is chiefly intended for piano-
players who may he assumed to possess more than a rudimentary pianistic
training. This does not, however, preclude the instruction of beginners,
or even children, according to the Method. Such must first, ot course, he taught
the theoretical elements in one way or another. But from the moment that they
set their hands on the keys, keep strictly to the rules ot this book. Only do not
let children play exercises as long as adult beginners, and of course do not allow
them to attempt any requiring the stretch of a full-grown hand.

Pianists re-forming their method according to Leschetizky, will arrive at the
goal only through entire abstention from playing in their former style while form-
ing their new one. They must even give up sight-reading. Regard this change
of method as a " treatment," so to speak, during which the prescribed diet must be
strictly observed, for a lapse in the regimen would throw the ringers out, and
consequently lose time. Kven when the exercises and scales are thoroughly
mastered in accordance with the Method, play nothing from your earlier repertory
tor some time, but take up etudes and pieces which you have never studied*
playing none of the old pieces until you are sure not to lapse into the former
manner of playing.

Do not fear to lose your old-time dexterity of finger during this enforced
vacation ; on the contrary, it will reappear afterward more potent and perfect
than ever.

For such a change of method, patience, and still more patience, is needful;
but one is repaid by the result. That has converted many an unbeliever.

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