.

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HAROLD 8. LEE L[3Rarv

PfiOVO, UTAH
 Digitized by the Internet Archive
in 2012 with funding from
Brigham Young University

http://archive.org/details/elementsofpianotOOhutc
 V-

~v :nr~v~

IheEements

(jnest Mreson.
•pk

Price $ 1.25 nel.

Copyrighted 1907 by Ernest Hutcheson.

English Copyright Secured.

G.Fred. Kranz Music C?,

303 Charles Street,
N.
BALTIMORE, MD.
"W& Jtusic Jtoan"
 "7
i

The Elements

Ban oTechnique
O

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 LIBRARY

BRIGHAM YOUNG UMIVERSITY
PROVO, UTAH
 3

PREFACE

Many of the exercises contained in this little work The "Notes to the Teacher"' perhaps require some
are purely preparatory in nature. Others are for occasion- apology. I have given them for the sake of the many
al or special use. Only about twenty are permanently teachers who, not claiming to be accomplished perform-
essential. All are necessary at some stages of study or ers, gladly recognise the value of occasional hints from

to some pupils, but the teacher should not hesitate to a practical pianist. These notes, it is hoped, will also
omit 'as many as can be spared in each individual case. be of benefit to advanced students.
Preparatory exercises, for instance, such as Exs. 1,2, 11, It is not for a moment pretended that this short treat-
16, 20 - 26, etc., may be discarded (except to correct re- ise is in any respect startlingly original. No particu-
lapses) when once they have thoroughly served their lar "method" is advanced or defended. I have merely en
purpose. deavored to bring the best ideas contained in a larg-e
Tt has been my aim to reduce the exercises to the number of modern works into a small compass, discarding
greatest possible simplicity and to give the most ex- everything unessential and repetitive. Some of thebooks
act directions for practising them properly. The form which have been consulted are: _
of an exercise, however, may often be modified with ad- Zwintschcr, Technical Exercises.
vantage to suit peculiar needs. Kullak, School of Octaves, Book /.

'Advanced'' technique is altogether excluded, because Maria von Unschuld, Die Hand des Piantsten
I disbelieve in the necessity or expediency of spending Malwine Bree, The Groundwork of the Lcschetizky
time on it. To the pupil who has really mastered the Method.
elements of technique, the studies of Czerny and other Moszkowski, Ecolc des Doubles Notes.
composers supply all that remains lacking in mechan- Schmidt, Das Pedal des Pianoforte's.
ical equipment. 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 merely to repeat it mechanically.
that the elbows are on a level with the keys, and /kn 6. Nearly all the exercises in this book are written out
ward in your chair. The chair must not be too near for the righthand only. The left hand is to be played
the keyboard. an octave or two octaves lower, as the teacher directs.

2. Do not stoop. The upper part of the body, indeed, 7. Nearly all the exercises are meant to be transposed
may lean slightly forward but the shoulders should into different keys, keeping the same fingering. Those
not be rounded. Do not mtke faces. not intended for transposition are marked C. It is a
3. Watch your fingers as you practise. good plan to choose a new key every week, or every
4. Listen to every note you play, and judge whether it three days if preferred.
sounds well or not. 8. Practise slowly, and usually with only one hand at a
5. Try to improve whatever you are studying, not time, at least until you know the exercise thoroughly.
 -

SECTION I.

Hand- position, Finger- action, and Touch Exercises.

Exercise 3.
Exercise 1.

Place the fingers on the notes:

s 1
4 *
3
4
5

«fc v«t
*
Directions: —
i

1. Curve the fingers so that they touch the noteswith

the tips. Hold the nail- joint of the fingers firm, Directions: —

and in vertical position. 1. Lift and drop the fingers with the greatest pre-
2. Keep the wrist low and slightly outward fromthe cision (see end of Note 4), counting "1 and 2 and
body. 3 and 4 and". Keep the fingers well curved.
3. Keep the knuckles rather high and firm, so that 2. Hand- position as before. Read again the direc-
the hand will be slightly arched. tions for Ex. 1.

4. Do not let the hand slope downward toward the 3. Avoid stiffness. The wrist may occasionally be
little finger.
raised or lowered to ensure relaxation, but not
5. Hold wrist and arm loose, and let the weight of
with regularity as in Ex. 2.
the arm rest on the finger-tips, keeping the notes
A correct performance of Exs. 3 and 4 is often so
steadily down.
difficult to beginners, especially to children, that it
ft. Separate the fingers from each other. Hold the
may be necessary to use the following preparatory
thumb well away from the hand, turning only the
tip inward.
exercise: —
This may be called the Normal Hand-position.
Exercise 3. A.

Exercise 2.

$~°l?°f r r r^ J J J
4
oJ J J
^
^J J J g[
a ,J < J ^pxy £
•
i :£*
g^irr r r r 3=gg
Directions: —
1. Lower the wrist at n, raise it at V: (these signs
will be used in the same sense throughout the Exercise 3. B
Exaggerate the wrist -movements at
volume). first:

2.
afterwards moderate them.
Keep the weight of the arm on the keys, holding
them down steadily with the fingers.
^^
3. Hand-position as before.
This exercise
with correct hand -position.
is meant to combine looseness of wrist
^TTT^gg m i m ;x J J J J

6 F. K 1
6

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.
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 krfrrtrrrrtrr ffi£

fcrrriyrrfrrrrre ^ Directions: —
1. The same as for Ex.5, but take care
(or four) notes of
that all three

each chord are equally strong.

')
Play vigorously.

§ rrrrrrirfrrrr^-wWf
2. Hand -position as usual.
3. Practise first with each hand separately. Observe
the fingering. which is the same for ail keys.

I
d)

m w=w 3ft Exercise 7.

13 2 33445
122 3

Directions:
1. Hold dftwn
—
all the fingers except the one about
a>
m *=3
3=Z
*¥ HP
to play. Keep them Curved, and watch them.
1 Z t i
2.

3.
Play legato.
er,
Practise slowly. Begin softly,
increase the tone, always avoiding stiffness.
Lift the fingers with precision. The fourth'
lat-

and
b)
Q
i '
gpffppi
fifth fingers may be lifted more than the others,
but the thumb should be raised very little. Directions: —
Drop the arm on the first note of each bar lift it
5

after the second note, but do not shorten the second

Exercise 5. (Portamento.) note more than necessary.
Exercise ? is a combination of portamento and

^mmtntr\-m& 1 z 3 4 5 legato,
_

and
w J*Ij*I jMjI isparticularly instructive (though far from dif-
ficult), because it contains the germ of proper phrasing.

/
Directions: —
Exercise 8. 'Legato.)
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. The
fingers should move very little, always staying
quite near the keys.

a fk i
 5 4 Practise slowly. Only d) should ever be played fast.
4.

m
3

3
?

4 6
S p g P i

3 4 5
S *tfc.
This is a. most important exercise, and it should be
practised daily with, the greatest care.

8 3 4 2
12 3 4 Exercise 9. (Hand- staccato.;
fl
12
1 2 3 8

»
frjjJJ # d
5
4
3
4
3?
2
3

L
> d ' d •
a)
m iii ik:.dt
2

m 9
p m m
^ffi

m g » g > P_ g
£ F_F F J gfr.
pttt\tit} iirntril\tiiri\<\ \

2 3 4 5
12 3 4
3
1
4§
2

*pg MmNmtittigte^
fl

^
JJJ JjjJJJjJ JjiWjJJJ^JJ-r I

3454
t
iiii
1
iJU __
jLt^rrrr r r r r * F« *?&*.
{ \
r

12 3 4 6 12846
Directions: -
1. Use the whole hand, letting it fall sharply and
rebound rapidly. Make the notes as short as pos-

ppi-frmg 2.
sible. Practise lightly,
Hold the wrist and elbow a
without weight.
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

^g j c£tf !
B§ cjir.r i c^ a
JJl^ .

Exercise

i».i..J^ JW JW JS
10. (Finger- staccato.)

h JVrrgT
Directions-.—
1. The binding must be perfect. Observe the differ-
~»*^

2.
ent fingerings and use them all in turn.
Attend carefully to hand - position and finger -
:
p j 1 j g j p
-
v.jt^ e
action. Watch the fingers to see that they lift and —
Directions:
curve properly. When the curve is sufficient, the
Keep the hand quiet. Use the same finger-action as
player cannot see his finger - nails.
in Ex. 3, but short and sharp. Lift the fingers more
3. The tone should be pure and singing. Gradually
than usual.
increase the strength, always avoiding stiffness.

SECTION II.

Exercises for the Use of the Wrist in Legato Playing

Exercise 11. Metronome 6-. 100. \

r V V nj n 1 " V n V 'n V n V n V n V r V n V n V
q pi

rrm ^LU I jjlj^ §d c)

$f g ) f* Szzi
IP Sat

*#/
Vn Vn Vn Vn Vn y n V n .. \ n

fri^mm Ttt && &^[? '

OS ^JTjJJ
GFK 1
 Directions: — JJJJJ JJJ I
J ' = etc.
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. It may also be used in the following variations:—

^
The fingers need not be lifted very high.
and

S
Exercise 11 has two objects, looseness of wrist
production of singing tone. All legato melodies are
played with more or less of this
motion, which
up-and-down wrist
maybe exaggerated for purposes of study.
•;
J * m^
i i d M * etc.

The tone should be produced by the weight of the arm,

the finger-tips resting firmly on the keys.

Exercise 12.
In all cases, observe the different fingerings, and
do not forget transposition into other keys.

Exercise 14.

T
Directions: —
Continue as in Ex.11, but with less up-and-down mo-
a
.1 I
*
M
? 1

* •

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"
* 8 I 4 3 2
action to the wrist. Do not exaggerate this.

Exercise 15.
Exercise 13.

j'']j7j,
i

jji jw^ Jit 4jy^to4^ '*

J ^iJ' fjEtffc to

* 2 *
4 4 a 3 5 5
,, '*
c fri
flcir ik?ffrifargEr
etc. to\
5S 1
O
5 4 3 2

The following variations of Exercise 15 (and others,

if desired) may be used: —
Exercise 13 should also be practised with different
accents, thus: —
fl ^JjJJjJJjlj 4||j dJ«
J«
t etc.

b)
$m • j '
— * m etc.
In practising Exercises 12-15, do not forget
has already been learned. Keep a good hand- position;
use proper finger-action, attending particularly to the
what

curve and lift of the fingers; hold the arm and wrist
c)
* *=3=
+. * 4 3
* J m
T I

m~=-=^
I

1 etc.
loose; and listen to the tone. Gradually develop strength
and speed.

a little farther out from the body than usual.

l

>
That is to 9ay, turn it

G.F.K.l
 -

We come now to a form of action which is often ments until the fingers hardly leave the keys and
a great difficulty to beginners, viz., the Tremolo. the exercise is performed entirely by a slight but
The following preparatory exercise is useful. rapid shaking of the arm. The fingers need not be
so much curved as usual
Exercise 16.

TiY
4 & "T" T Exercise 18.

t T T T vT Tr
r r f r
f-

j\ V JV Jn, & . Ji ¥ j>» J)» J^^g

$
I

» 1

Directions: —
At a), thumb as high as possible after
raise the
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

Exercise
the thumb down as a pivot.

17.
h)
$M
flfi Jp Jjp jj/

Directions:—

«; ^Jjpjrpjipjrpu^ Practise until great velocity and complete ease are

attained. Small hands may substitute the following:-

4JTJ7Paj i-*iW^ etc.

Exercise 19.
162 8 12 4 18 4 18 4

_l • 5 • — -J If -a
•— rrp
Directions: —
In Ex. when playing slowly, combine the motions
17, This very "stupid" exercise is included because it

of Ex. 16. a) and b). The whole arm will turn slight- shows a form of Tremolo -action very common in Mo-
ly to and fro on its own axis: it must be perfect- zart's and Beethoven's works and often troublesome to

ly loose. Increase the speed and diminish the move- inexperienced hands.

SECTION III.

SCALES.

Exercise 20. C.*>

The peculiar difficulty of scale -playing is the put- 4
8
3
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.

*) Exercises marked C are not to be transposed

0.FK.I
 )

10

2
3 them

r^)
4

>t<^f\fe^ff
a=y ,
^ in position exactly over their
Preserve looseness and good, even tone.
proper notes.

Directions.— Exercise 23. C.

i. The wrist must be held well outward from the Count 4

body, and must preserve this position in all the a) i

scale -exercises and in playing scales. The hand

must not move during this exercise, but it must

2.
not be in the
Count four.
place the thumb on
least. d*»ar«A

In Ex. 20 a), play C at the first beat;

F,
stiff.

touching the note, at the

W
c) •
^JmZll
s

2 2
a
a)

2
i
o o

2
3 3 3 3
second beat; play P at the third beat; and let the thumb 4 4
return to C, touching the note, at the fourth beat.
Treat Ex. 20 b\ c), and d) similarly. Directions: —
3. Do not lift the thumb from the keys; let it glide from 4. In this exercise the thumb is immovable.
note to note. The motion must be very rapid and pre-
2. In Ex. 23 a), play g at the first beat; move the
cise.
j>
4 Keep the fingers properly curved hand to its second poeition (the fingers over A
5 The small crosses indicate the moment at wnich B G
the thumb must move; they will always be used in at the second beat; play A at the third beat; and
G
this sense in future exercises.
return the hand to its first position (fingers over
6. Play each repeat many times.
g) at the fourth beat. Treat 23 b\ c), and d)

Exercise "21. C. similarly.

4
The movement of the hand must not be made by

^m 3 3.

j| hifEeg twisting it to and fro, but the wrist must be held

1 l
as far outward in the second position of the hand
't 2 * 2
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-

Directions: — ceeding exercises by a small circle (o).

The same as for Ex. 20. The thumb must always

prepare its next note at the sign x.
Exercise 24. C.

9)
v
Exercise 22. C.

ft 12
1 2 3 13 2 1 123 4 t 4 3 2 mm 3E -O- j
r r r r 11
-»-

irr JJ •
-
11 I
r
C) 8
m 0- p
8
a
HI J 1=1

^
J ;|

1 2 3 4 4 3 2
i -
M l=rrr Directions:—
r
In each section of the exercise, keep the thumb im-
movable over its note. Avoid twisting the hand, and
Directions: — move it promptly at the sign o. Let all the fingers
As above. Be sure to retain the outward position keep proper positions over the notes next to be
of the wrist throughout. Curve the fingers and hold played.

G F K 1
 —

II

B 5 s »
4 4 a
Exercise 25. C. Exercise 27 a).*"' a 2 2

S
A
i 1 1 1
4
2 3 1 2 3 4^13 2 3 4 i g 3 2 14 3 3
1
4 £ fr$»a
t_*i
*1 £ £ rr^frori
# ***?t 'ct^

^ 2 3 12 3 4 3 « 1 3 2 « 8 4 '

1 * 3 2 1 '

4 3 2
—•*— -••— -* *• #J
^3 2; 1

£JTJ
3. 2 1

The student should now proceed to practise major,

Directions: —
melodic minor, and harmonic minor scales in all keys,
As above. Keep the fingers curved and the wrist
at first slowly, in two octaves only, and with each hand
loose, always well outward. Play with good, even
separately.
tone./Do not raise the thumb.
The next exercise combines the hand and thumb The fingering of the thirty- six different scales is

movements. No new directions are required, but all those usually a source of much distress to the bejriiMi<;r. And
given for Exercises 20-25 must be remembered. 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;.
Exercise 26. C.
Ifyou only remember where the fourth finger falls
1231 2341 2 14 3 2132 you know the whole scale, for the fourth finger is

Mfg FFP? o x
used but once in each octave.
The easiest rules for Scale -fingerings are,
ously enough, little known among teachers and
curi-
stud-
Q 3 1 &
3 §
3 , 4 1 2 3 J, 3 2 1 4 3 2 i
ents. In fact, have never seen them given in print
£i
I
ft rj J J j ^Irr^ -»- except in Carl Faeltehs "Rhythmical Scales." They are
X) ~ O X o x

as follows:
o x
£
M5
W=¥W Right Hand.
p i rrf 1. In scales beginning on a white key (except the
18 3 1 2 3 4
'a 1 4 3 2 13 2
scales of F) take the fourth finger on the seventh de-
ox ° x
-*>- gree of the scale.
*=F
J • ^ 2. In scales beginning on a black key (and the scales
3123r~ir*'*'3 ^12
i
j18 21 4 3 2 1 J
of F) take" the fourth finger on Bb (or J# ).When
there is no Bl> (or A#) in the scale, take the fourth

The complete scale may now be attempted. By this finger on the second degree.
time it should present little or no difficulty.

Left Hand.
1. In scales beginning on a white key (except the scales
Exercise 27. C.
of B) take the fourth finger on the second degree
A 12 31 2*41 2 3 l£J#fA Ig l
j 2 1 48 . *132 of the scale.
2. In scales beginning on a black „key (and the scales
f -#• o x o x o oix
^ TC
o or* *5T^
of B) take the fourth finger on F% (or G\>).When
O X O x o 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
3 4c 4 3*
clear and simple formula, of which I give a slight
variation :
—
Below shown, by means of small notes, the exact
is

position of every finger of the right hand through-

out the scale. v

•) Quofed (with a slight alteration) from Miss von Unschulds book. "Die Hand des Pianisten."
G. F K 1
 , * —

12

R. H. 4 th Finger.
i
it" l a 3 i 2 3 4
White notes' (except P) VII \t , 7T~1 3=*
<t*=£ etc. Not etc.
(B!> (AH)
Black notes (and F)_
III

-0 ,1j.L
< <> 12 ,»
>
1
I ?!, 4 L i
;ui^
* *
:i
* •

L. H. 4?* Finger. b) ± etc.

White notes (except B) . II

Black notes (and B) —

av All the scales should at first be practised with
each hand separately, then with both hands together;
There are only two partial exceptions to the above at first slowly, then faster; at first with medium
rules, both occurring among the melodic minor scales.
strength, then louder. When they can be played fair-
They are :
—
ly easily with both hands together, they should be
practised with varying accent and speed, say thus: —
R. H. F# minor (ascending).

L. H. Bi? minor (ascending).

Exercise 28.
These are fingered as follows.—
— 3ES
Iw SS§l£
#•
<

*^
w ggigigiiii 3 2

L.H.
SAAS^lJ
f*$ rn
>):

WjgJ^jLftfgg
fff£
ta .— , m+ _

cr

zm^m
It
P$2 i 2 3 41^-
3<

will be observed that both these scales follow

m 5 i3^:

•uniP.i i urn
the rule in descending.

out
It is quite unnecessary to have the scales written
and fingered for study. After a
ary explanation, all that the pupil needs
little

is
prelimin-
a slip of
W&^ , r

paper with a copy of the formula. For the sake, how-

ever,
I
of teachers who prefer to keep to old methods,
give the scales in full at the end of the book.
j^^mj
«& £e*
The irregularities of fingering in beginning and
ending scales are so convenient to all players that
^ rp _ _«r ^.n^
they are never a source of trouble.
for the sake of completeness.
I mention them
S£?^ itr
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 ^^jgga
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:—

G. FK 1
 1

13

They should also be practised piano and forte, crescen-

m^
do and diminuendo (usually crescendo upward and dimin-
uendo downward). Staccato, both of hand and f inger,may
occasionally be used. Finally, they must be practised in
contrary motion.
The diatonic scales must be practised daily. Their im-
*-d
5B£ portance in technique cannot be over- estimated, and ev-
ery pupil should have them literally "at his finger's ends'.
Cgrf

THE CHROMATIC SCALE.

Three fingerings are in common use: —

1284 12 31 2 s * 2 » 1,2 2 3 13 2 18 13
aft?
,

5
e
1

I
icai
i '
1

»W
\

fiF^i
w
«
iH
lp3f
»I* r

+** V-* fefcgdl

% fc
j: | g Sr^p
g gg
6 4 '

3
'

2
s
1
3 2 1 4 3 2 T 1 w* 12
"f
3 1 3 1 31
g
2 3 18
3cn

±3 1*
2 3
1212 1231 1 2

tfjWrtfWfPtifm gp J P * i g bi r

m iFfiFg
1*4 3
g 3^tf* f
2 1 3 1 g 3 * 2 3 4 1
III

7Jj 1 *
r I
j 3 a 1
B 2 1
I
*
r *r r
1 3 2

i
3|21,3

W
214 3 ,
*

US
1 3 2 1432
21*1*132
E^
££ 3 # •
121 g

^
]>
j • ^« J r
\ + -»

# gg
1~
kzs:
t£3ck
5S£ XE Pp 1/p a B
312 3 3 4123 1234 g i*r a j
g pp :

XE
1231 2121 * 3 1 2

1*31
#
1

^^
3 13
^^ 3 1 3 1
Of these fingerings, No.
placed on every other white note,
I, in which the thumb is

S
is far the best.
II

1
P?=fe-
3 1 3 2 13 m 1
|
3
r
1
13 2
No.ILis useful in a moderate tempo
is needed.
when great strength

SECTION IV.

CHORDS AND ARPEGGIOS.

Exercise 29.

nnnn nnnn ete.

)*&
a
a

5
3
r

ill
5
8
P ft
V
v V
v V
v V
v <tfc.

Up
1 1

G.PK.l
 14
Exercise 34.*)
. ,
n n n n He. & & ^
*)

£ s *

V V V V«/c. <» $ «.
*i i
luj i
j i L1X14J
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
Exercise 31 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.

Exercise 32. 5
5
5
4 4
* 4 ft
1 z 1
1 >
5 5
fc * *
rSE
I 3
i
1
a
8
1
s
t
1
Directions.—
1. This is a preliminary exercise for broken chord9
2 4
4 5
5 4 It is to be studied similarly to Exercise 3 (see
5 6
Section I), except that the fingers cannot be
held quite so curved except by large hands.
2. Use corresponding exercises in the inversions of

Exercise 33. *> the chord: —

IS

4
2

% 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

The following exercises, preparatory to extended

Exercise 36.
arpeggios, are analogous to Nos. 20 - 26 in the last
3
section.
J 3
2
Il*j3
3 5 3 7 2 4
2 tt
7*<Jr
*
E C
U<T4
rCff4fEW|
.23532
5 4 2
:i
J 4 2 1
Exercise 38. C.

$ t^ff3=^^^
3
Z

i
i S *•

Directions:-
i
The same as for ordinary legato exercises.
the wrist slightly outward in approaching the notes
Turn
2
4
xx
marked 3.

Exercise 39. C.
Exercise 37.
3"

*)
1 " "

0&.
a)
$ 13
jplp
*J 9 * 3 5 7 3 4 B HTl * * 7*J 4 2 3 j2 3 1 2 i 3 ^

— °^L « - °
Directions:
1. Drop the wrist slightly at the first note of each
Ir 3*2 I
32
group or figure. Turn the wrist outward when

2.
the fifth finger is used.
Exercise 37 should be practised with varied ac-
cents, thus: —
12 3 12 3 3 3 18 2
#
t¥ o x «*•

^=^
iP
<s)

#= 0-
JTD
E«HJ3 U'.M rr^rirr e?/c.
spy
o o
[|_ff
43 jcrlji
&j§£ 522

& £S I e&.

«r;
i« 4 i*« 1 a'4 i ?i 4 2 41* V?

^1
1
4

3. The following variations are also useful: — <

1
a
2 A
'

*2• f*A
*
jf*
"• A 2
'
""'1
4 2
*6

¥&M v
Exercise 40. C.

tffc. *fe R H -
-
28
i«
*
tffpSp u
v
x « X
o *v OX ox «•
.

L. H. 2

Exercises 36 and 37 may easily be adapted to chords

fl „ W^-f?^
j
1
^ 4 S42148 14 2 1

of the seventh, either dominant or diminished. ^P

•x ri^..' *-
O ^
X
/-x o
O

P.FK.l
 J

16

Directions: -
1. Exercise 38 may be omitted by pupils with small Exercise 41 is to be transposed into all keys, subject

hands, but not without a trial, for it is far less to the following _
difficult than at first appears.
Rule of Fingering.
2. If the instructions for scale - preparation be re-
only requisite
Always put the thumb on the first white note
membered (see Exs. 20-26), it is.
of the chord in the right hand and on the last
to consider the modifications made necessary
white note of the chord in the left hand (ascend-
by the greater stretch in Exs. 38 - 40. The
ing). In the chords of G flat major and E flat min-
wrist must be held very far out from the body,
or there no white note, in these cases keep the
is
and even the elbow must be held further out than
fingering of Ex.41.
usual. Some little twisting of the hand will be al-

most unavoidable. The fingers cannot be curved In studying arpeggios, proceed as usual, from one
quite so much as in the normal hand -position, but hand alone to both together, from slow to fast, from
the curve should be the best possible. soft to loud.
Contrary motion need not be used. Cresc-
3. Exercises exactly similar to Nos. 38-40 should endo upward and diminuendo downward may be freely
be used for the other positions of the chord:- practised.
6 The following exereise
5 4 is so useful, and contains a
4 2
a 1 technical passage so frequently found in piano music,

s
*
l
that cannot be omitted:-
* Eft
-o-
it

The arpeggio may now be practised with varying ac -

Exercise 42 a).

cents and speed, thus: —

Exercise 41.

T gfliM g
m mw
'ir
jJ iffl
^1IP?
is
rw
ff The 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 4*
l **4i

(For D, A, B, and B major and C, F, and G minor.)

( jj Pill I

etc.
|pg etc.

'
fijf
w l

'W £§
(For Db, AK Bb major and B, Fjf, C#, G$ minor.

6.FK.1
 - a -

17

* (iL2i
)
# £8 m'i '¥ # (5231)

3 413 1 *3i4 3

(For Db, Ab, El>, Bk major and Ff, Cfl, G# minor.)

(For Bb, major and minor, only.)

41g„«^14l 141*
fib£
x^ 4 ?TTi j *

(For D, A, B major, and G, C, F, Bb minor.)

(For B, major and minor, only.)

SECTION V.

A. THIRDS AND SIXTHS

Exercise 43.
Directions:-
4 4
2 3 1. Hold the wrist slightly in toward the body in the
:
measure, particularly at the point marked
ir^ -u «* i j i
first c.

f f f •
f= 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
iP f I f^JjBp ji
p p-' —^:
11 third. This is so difficult that

to put the fourth finger

it is probably better
over the third, holding
the wrist outward and concealing the slight gap
Directions: - in the binding as skilfully as possible.
Practise as in Ex. 3, taking care to play the two 2. Some of the transpositions of this and the next
notes exactly together. exercise, and of Nos.49 and 50, are very fur from
easy. But they should at least be attempted.

Exercise 44. Exercise 46.

3 4 5 4
3 *

f-ri %fg 1 1^ ii iPp | § 1 21 jj| 3 3 45 3 |35 4

f

Directions:
M* ft E jjp E * n* ^ 9 ^p ^ "II* ff ^» ^p E it » » 3> *
II
^

Conceal the breaks in the binding as well as pos -

5 * 8 4 sible. Use the wrist in any way that is helpful, but

avoid exaggeration.

Directions: Proceed similarly in the following exercises:-

Take care that the two notes are played together
and with perfectly equal tone.
Exercise 47.
3 4

Exercise 45.
J j i \ J j
iinni i

121 ^~ r
3 4 3
2
|
i
3 4
i' Llj * j j ^ ^r^i-"

G F. K. 1
18

Exercise 48.
f t f f it it ? t it
^iiii Aj
a
;
\
\ . y \ .
\ \ t \ \

jiim qi
tjjed i jjcjiy a
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 49.
i^' Exercise 53.

i &g
^
4* »g 4 5
*+
4 3
5|
*
3 ^i 1
4 3 4 3 4 3 , 4 3 4 3 4 3 , 4 8 4 3

i * 1 * i
* i * 6 4 ft
4 5 4 >)
¥
Exercise 50.

-£*
to XT
i)
$5
5 4 5 4

»H*
6 4 5 4545*5454
H irrpJujj ^ ^
4 6
1 2 . 1 2 1

1* »t It'3 2 45 3 4 6
U5 4
_0 5 3 6
5 3
8 6
5 » 68535 6 3 5 9

Young pupils with small hands may defer the prao^

4iJJ4 IJ ^ p
tice of exercises in legato sixths until the stretches
Directions: —
become practicable.
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).
Exercise 51. The wrist must be held intoard, and maybe moved
s 4
3 5 4 3
LU 34
•if « 2 2
1
slightly up and down, — always up for the longer
•. •- • K finger.
r
c/cd LItfhL^- irt'c.

It is very useful to practise Exercises 47 and 51

in broken thirds and sixths in all keys, as below:-*

l^X P* gjj»
F« 0&V — WL.. . — =*=? ?ji3 *fc
Exercise 54.
f
*?i 8
2!43|43 | J 2
3 4 5 8 4 6
1 i 2

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 55.
Exercise 52. C.

a)
a iti
l ii
li li
ii ii
li ii ii ,tl -LL-. v

Xf J.*J.* »* * a.Z 42142142142

4. 35325 » 2532 53

^4i WJ* |JJ-J ^J* ^HJj* ?

'
vj' # j,# w d* * "
a 8
*.'
14814814314
426425425 42 6
0.FK.1
 »

19
Exercise 60.
• , 5 4 8 4 6 4
f | 8 2 f J 8 2

fejgj i iifl?3 jj533 i|j5?j jhip

i Jjjffi
Bsb^
For chromatic work in double notes the following fin-
gerings are an excellent preparation: —
Exercise 56.
8 4 i s 4 1 5 Exercise 61. C.
8
2 1 2^^2 1 2 1 * *. 2^2 i

a)
P i f i' «' i
r
£.2 4 3 *24 - 2"~2 12 a 2^* 2
Vx
12
m
* , 1, 1

±+*
etc.
I pp iju jj * rip
*T**t
;"• -i«*
8
» 4 a
8 4.58484345
4

g gi frfc=p
fl

m etc.
4)
p J

Exercise
8 14*5

155 11**1
*£J
57.
1 8 1 4* 5

, I. 6 5 _
L
4 6 4
*
-
8
» ,
4 ,

I
8,
I
4
\ 8 4 8 4

m
'% rr
ss o)\ *uJ r
»
r r i
fr r«r ir'r

4 14*14 i.i 4 5 4 s A .
s '^rV rVr'T rr'Tr ^° a

4fJ g
i i

J \_Jt 1 2 1 2 1 Z^JJt 'l 5

*- EdTcJ ltTLcp*-
[ffi
^w
In the next group of exercises, Nob. 59 and 60 must
be omitted by young pupils with small hands.

Exercise 58.

i %
45
IS
rrn L
5
4 o
v*~^
gwg
S 2
1>~^ >—>
*

^1

1 4
\

These would be combined, say

—
5
"i

8
c
1

4
%

8
fc^Ei

4
S

rr 8
a
4

if
1
4
8

in
£
5
"4

r'rr
8 4 T^
chromatic minor
*
8

:
B

||
^
£
4"

u
a
'

lb* J T H ^ -j- ^ffi F

-
i
-
! I
3g « e/fc.
thirds, thus:

Exeroise 62. G.
R'H. 8 3-^4 ^4
2 1
2 1
• i 12 4 5
2^ v
2
3 4
2
8 4 5 8
g^8

i%
2 1 5 8 1 1 1 , *, l
5 4 »*
5 4 P ' 111 = «
3^
*l *, I I *l I .

i jgg?»EEEr*bEcF **
^|pjp
a 4 * 4
a^--i 8
? i
S »
3
1
i
4
.*
i*
5
».n
»a* a
3 4

^
Exeroise 59. =
8
ft.
2£ 2
L* 1 ,2 f %
2 ?
? —
4 ^^8

foEEjEHtiiHEi tt'EElHF 1

&=hk
1 f

i
dy*"!* . .topeV
^8 4
|2 1 2
8 6
i ? t^l 482 5 4

*w*
1 1 2

np
.
1
fe*4'

>#
' '
,

':>:k h^. «!*

i i
j I

»K.l
 P— « —
20

L L ij-^i—'si—
!fcSppi»ip»»rir^i'Vr
X4 —
7"
—J*'o
3
—rfi®
'i
a
4 a
3 5 4 3
*sj^»
4 8
t
4
|>

a
8
1
5
fltrw^'j
M 5
'
g^
5 l~f 3

1
Fi 1 I i * » * 8 « * * *
4
4
i
5
KA
3^
'
I
8
1 1
4 3
'a
4
'
'i
5 H
'o L \
£
'
2
*
"

B. OCTAVES.

Octaves occur so often in piano literature that they

demand more notice than we have given to other forms
-A_h ^
— ,3
J> -
J>1 . „ l « ,_^e
c/fe.

of double notes. They should first be practised stac -

cato, as in Ex. 63.

Exercise 63. $F*fr*F*fvihf4*p £/c.

4M
* v
J FFF
t==m
3E*3|1 ~rr

f.
^ J > f g
a
:

/
j
h.

f F
Ji

3 . >

ywy
, ;

b)
m #——
fa J> »

f^f
£ j^iy
i TvH^ftip P iil

ihhvt * ==»
;/
I^-Jv
s ^ 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
h=Jh=*&=nL±k=2^
c;
i*nf 31
j > i
i* e? fiH 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).

^ *— *
f
ff* F^ 3. In alternations of black
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.
and white notes, play the

P ^-te
r ..!r r — 4. Take care that the elbow is loose: it is very apt

pplpgpplil
*f - . -
5SE3E
i
to stiffen in octave playing.

^
Exercise 64. C.
n V " V n V
4
feg * b. h-uh ^H^ 2=
*l

i F §^ • |M*
fc * m*
i- l "1
w zn&
f
<? fc
t>«
g
4*
=R

O.F.K.l
 —

21

Exercise 65. C.

ips
t-i

mm dzz i
j i * 4JiJ
The concluding exercises, Nos. 68 to 71, are of
general usefulness. Take the fifth finger with every
octave, and practise staccato.

Exercise 68.
Exercise 66. C.

v v » uv; j*K-.4
jg g < (»
s-ts
i * |*E==g^
$ P I

n V
Exercise 69
V n V.
zc
^Ijla
SE:==£=5i=£E£!Z=s=:kE:
i «H*S*
is
<S-»<5

£ E==|

V n .V n

3 3¥= • 3S * *
I ~& ** I
9-

3p *#* St-
5 ?
¥ Exercise 70

n ,V n V n

3 V OS
i tEC €->« TSZ
*&—*? 5c -s* 3=5 *• T&W S
Exercise 67. C.

^
v
n * 2
6 4 v n
_ V V jb * s
5 A V»
n

mm i
6

i rr if ffrr I rj siN

|^ g 1 1 i
Directions —
Exercises 64-67 are to be played legato. After what
iz=B
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 be practised with the may Exercise 71.
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 may
serve as illustrations.

51 *| 5 *
4 * * i-il* i* 64
£
iMN %f P —o 1»F
r£ #£ *(8)
P#«
These fingerings are for legato, of course. In
tK >— ff S W^
staccato use the fifth finger throughout or the fourth
on all black notes.

* Large hands may sometimes use the third finger in legato octaves.

G.T.K.1
 — f n i

22

SECTION VI.

SPECIAL EXERCISES.

For weak knuckles. 3. If necessary, help at first by holding the thumb

in position with the other hand.
Exercise 72. Exercise 74 may be practised in octaves as well as

portamento in sixths.

ipp 22
22:
f- \
f I Exercise 74.
s
ll
f
Jfcaoi
Directions — »-+-» jjjj j'o' I
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
r ——
many times i

that you allow this only temporarily, to work out

a gymnastic, not a musical problem. 5

M
i i i i 1
2 Practise with the fourth finger also; with the
others only if necessary, and in no ease with

=
the thumb.

For Double -jointed Thumbs.

"im 33C

Directions:—
As in Ex. 73, but practise portamento.
Exercise 73. It is also very helpful to watch the thumb closely
6 in practising chords.
"C
xx= 33=
i '
trr r r r r 'Cf f r r r
For 8tretch.

5^
3JC H Exercise 75.
1£? ' ^H
fffrfff *grr r rr r "

Fingerings:- 1,3.4-

m^mP i
etc.

'r-y l
" |m__ I
'- 1
S
^
^r^jnTQ^P etc.

Directions:— 4 5
Easy — «,8.
Practise as in Ex. 16. 4 6
1. Less Easy 2. 3) 4-
2. Hold both joints of the
the hand, bending only
the wrist well outward
two points are difficult
thumb well away from
the tip inward. But keep
from the body. These
in combination.
% a ft *r$
=g=s
mm etc.

U.P.K.1
 —

28

ijj}iiJiiJ'Tij k
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
Easy Fingering: — % much work of this kind.
Less Kssy:-^5 ?
f

a ars
4 I Fs4f [Lif pj.
3t
0/fc.
For Variety of Tone.

Exercise 76.

4i
3S
6/A
j~i;JJ
Easy Fingerings: — f t f

Less Easy:— j j

fiL

$ S: «/fc.

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

*>

W
I
y=a
Fingerings:- f,*
«fc3*
e/c.
2.
to stiffen at the ff.
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.

a
^fesi
9
* *"*
a
<s

p
a
gp
£/&
Exercise 77.

^jJJJUJJJ'lJ'jJJJUJJJlJp
p.
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 rr^JJ jj'i I

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

3.
against too great a strain.
The stretch at e) may be increased by one note- for
^jjj^rrH^Jj' ^* '

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'

jjCjJJ JJ rrr Jj JJj'

»j J
rr tfrmrrrrrr* rrTr^rrrrr i
may readily be devised to suit the particular hand.

G.F.ILi
 X

24

q
—=====Z. f — p sempre
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 Bach
*)••
j^frf^rrrf^ltj^rrrrrrr^ in particular.
p sempre

Exercise 80.
J
fr-^-^21 *f
* 21 21 12 . 12 if 12 ,
12 na a

^rrrrrrrff —cr 12 12 12 12 ft 12
12 « ^ ^
y j£ ^. g
y si
21 21 21 fi ft
ft fl

V f = £ i jfi fi

For Velocity.
Exercise 81.
!j[
%etc
Exercise 79
e/c.
Each bar at feast four ttmei

21 2l «/<•
4* 43
12 etC
34 34
41*
/• z *
m m
m |
' i F ' etc.
- P— 1

45 AK
45
54 54 12 , e/e.
*.,,.
21 21

4 3 3 F
etc. fe£
$
etc.

21 2~1
12
45 45
"
12 efr
t* 54

fei-jflgJjl^P^ p^ l
SS^^
V * *
e/c. = =* e/C.

^N 54

JS
54

l>
«,,,.

'"
e/fc.

1
54 54
P
'"'

mp
<?/p.

w 4=* p/f - ..
m p '
P "i-
I
_d
f
£/V?.

Presto. ^V- T 3T
Exercise 82. ^^ ^
3 4^3 4^3 Q Q, £* 4. 8 4, 3

f TT
Similar exercises should be used to acquire velo
*l O a' 4| a. 4 ;,
4, 3 4 3 4 3^~4
N
city in scales and arpeggios (see Note iJ3 >

o r.K.i
 — 1 1

25

Directions:—
il^Jj^r-Ojj
3 ' 2 ,

Hg
'

Play the large notes as strong as possible, the

3S 4
£
3 4
3~ 4 5 5 8 4~S 4 8 4 3
1
1.

small notes very soft.

3 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-

'Him *? *J *.3 * 3
IT 4 3
i

4 3
i

4
V
3
i
duce the difference of tone simply by throwing
weight on the strong note.

Exercise 84.
4*,* 4 5 4 ? *,» fn A 5
2
5 5 4 8, * ^
m f* 'f "
°. !
II

1, rJ-^ 4'i
A)
Iff?Tg^
1 4
T e/e.S
i? *^
§ 2 i
p
*i 2 i
«& « '\
f
I
!
"
'•
j

21
O 2 1 21 21

^^M¥A
3
fa i
r* *j
a

6'/C.=F
£
JSL
™ J
^
C/fe
*>
j=j- !

k TE EEIEJ
B g
^
"TrrFfCr?
\J
'5
54 5 4 5 4 5

Directions
1.
—
Change the fingers silently after playing, as indic-
C)
^u* u i p 1 i i i *m
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,
Exercise 85.
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-
fe,jNJiJnrnrnH ^i^j i

ic playing. Any finger may be used in sliding from

(With different fingerings, and in sixths also, like Ex.88.)
a black key to a white.

For Melody.
Many beginners have great difficulty in "bringing Exercise 86.
out" a melody when notes of the accompaniment are
to be played in the same hand. I have found the follow- i jg g 3d
ing exercises extraordinarily useful. I P I
(Accent the other notes in turn, as in Ex.84 )

Exercise 83.
Exercise 87, remarkable for its difficulty and inge-
—
a)
PPI 1 1 pm 4 iipp 8 1
nuity, is attributed to Carl Tausig:

Exercise 87.
(With l y% and I )
W ~& —&&
i
>) ^=pE ^m^ i i tif^ i

For Pedalling.
4- % tr
*
»

c>
f^i4=4^=H^^-^ Exercise 88.
Count.
(With \ andf)
¥ mt - \r<*
i
-

d)
m— & &- "F ^FpF^mm Pedal.
ffl!
1

^
I - g I
gl I g , p>|, p| ,
, I
^, ||

G. P.K.I
 — —

26

Count.
For Polyrhythmic Passages.
b)
iW^ * * * ff *

*+-r
Peaal
*T *-r i-f- Exercise 90.

(^13^ 37 cj I M §p
fife^s P $ P * m*
Pedal *r +r ^~T +T < i j JT J
^ I
Lr gff^
5
2
1,
5
2
t
^jXUJ^IgfJl.J^i'
*;
i;
) 1 1 f
i r f f
Directions: —
Avoid playing: —
Pedal.
7
p
v
f
7
p
y
r 7
p
v
i
?
7
P
v
p

3 J 1 ffl |
jg J" j
jy j I K
Exercise 89.
Exercise 91.
«j
i je^ 331 .2 2 222 222 2

Pedall
<£ 1©
•—
xr
&
-o-

&"
<*)<
i
£
Count
^^
1 2 and 3
£
e/e.

(in $ time also, like No.88t».)

S3
^r i £ I
^ many times
i IE xr 1 2 3
"*

r " r f r r ^ ^
=
Pedal. A> Count

g 4 r 1
5

Q
*;
Xh =S= xF ^8r J
s j j jfi
r-^r i j
—«-— i

Pedal

Remarks: —
™ fjh-
I©
|S>-

c;.
Count

F
3 i
1. Simple as these exercises are,, they contain the
whole principle of "syncopated" pedalling. They
should be followed up by a systematic applica - «u ^
i J ,J
p r
3
tion of the principle to some simple piece or part ,

of a piece. i i
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.
f r^ »
* „Das Pedal des Pianoforte.'
O.F.K.l
 ^ o ^ I

27

On the principle of Ex. 92, this would be shown as

follows: —

,?
*< count 1 ahd 3
2 ajid etc.

|p£
9E^
F^^ ^^£
m m
up^^ etc.
2 2 2

i
2

ma?iy times
2

1
2

WiU 4j U
«; Count
t 3" ^ The Least Common Multiple" method of combating
polyrhythmic troubles is very mechanical, and should
3 BE FIT
3 be used as a last resort only But it is very certain.
Taking the example already quoted, the manner of
practice would be.—

3^± tojjJJjJJ ^^ -." t\

¥m
n Count 1 2 3 4 5 6 12 3 4 5* 123456 123456 etc.

m
/* Count

iSE
£
S 9-1 fefei 1
FTT
,i For Trills.
i J jj
i
* rJ 1 Exercise 93.
•—
s ^£ ^
r
Directions: —
Count throughout. Do not let the ugly sound of
No. 91 c) and /) frighten you.

Exercise 92.
R.H.
R.H. many times
rp m<m^——- f— i m^I ^^1 ,

rT n
.

a
I J a~ —p—
- . I
j B
£#fc= tps r) J rJ J 1 jL r) 1
I

Count b)\ Count j

^ ^c
Exercise 92 can be applied to
L.H.

many passages like

IjjjIto#3^
the well-known one from Beethoven s Rondo in C, which
in the original is: — Directions:—

j 1. Use all fingerings in turn, first; —

k
*=*:
I rfJ4 5

mm *—*=-
m etc.
c>3
A; 2
1«; 1

^JJJJ
4
3
2

1
and then: ~
6)

S^
J

ff-J^hf
3
2

¥
5
4

G.F. K.l
 1 p
•

28

Q821881
arm shake

Wm
2 Let the slightly as in the Tremolo ac- 821 821 etc.

tion (see Exercise 17).

v
172 I J, I
J- J-;-;- h
Some of the best fingerings for trills are subjoined:

fl^ 4 3 214821 e/c.

^
13 281323
Hgn
etc
a)
*£ " ii

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 edge
of the keys after playing, instead of being raised

^m 2 8

^m in the ordinary manner. They will thus curl up.

so to speak, under the palm of the hand

Exercise 95.
'>

P **^ 4 j £ L v
V V Vi
k°
^tf *; k
jf J*
'" I
>
m fif
jj
&
if J
if
fr
«f
ft f¥
jcs*—4
<st-i ^m
Mpft &m *$j^gm
Mm
V
-
i>

/
U^—rra
«f if
*-+-&
if
a:
I fF^T i
if
m
*>
ffitif j

For
piiii *> ^ jp ^jt^i
trills in thirds, the best fingering is usually
mU
Directions:—
Jjlri

1 2
3 4. but the following are often useful: Begin with the wrist low. and raise it a little,

rather sharply, at the last note.

a}
f4<n-\ H t^PM tn
»
Exercise 96.

*>
f ip § « :
-'
i H JTj jjJ
n
w, i"
n
:c :e :e jl 4 #
*
<i 4*

For Repetition.
HP •— » e/c.

V etc
Exercise 94.
q 212*2121
2 1 a 4 2 1 a 1 *_*
* «*£. «— tfft?.

a)
IPP *—
f
n v «*«
2 1 * 1 2 1 * 4
f
I
f
il riL r: =f
f etc

Exercise 96 should explain itself

etc.
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: — of good touch, especially as the pupil (practising
1 Straight fingers. with one hand at a time) can himself apply it in
2. Bad position of the thumbs, sometimes due to home work.
double - jo i ntedness There are, however, many other methods of show-
3. Weakness of the knuckles. ing a pupil the difference between supple and rigid con-
4. Want of firmness in the nail-joint of the fin- ditions of the joints Every teacher has his own fav-
gers. orite devices. Very often the idea of relaxat'on
5. Bad position of the wrist, often due to the el- must be presented in various garbs or forms until
bow being held too near the body. one particular method of presentation happily reaches
6. Hand sloping down toward the little finger. the pupil's apprehension.Some teachers, for instance,
7. Stiffness of wrist and arm. achieve success by making the student consciously
The curving of the fingers is very important. It stiffen the whole arm for some time and then, in re-
should be constantly insisted on in five-finger exer- laxing, feel by sharp contrast the blessedness of
and studies, even at the risk of'^nagging.
cises, scales, suppleness. The Virgil methods may also be cited as
Special exercises for the remedy of double -joint- meritorious.
ed thumbs and weak knuckles will be found in the In short, nothing should be left untried to cure
last section. stiffness, for it is a deadly foe. It cramps all mo-
The nail -joint should always be held in vertical tion* quickly causes fatigue, and ruins beauty of tone.
position. It must be quite firm, never yielding or Nor should the teacher be content with looseness
breaking" inward. This is another point requiring of wrist alone. The entire arm,— wrist, elbow and
great insistence on the teacher's part. shoulder, must be perfectly free.
The outward position of the wrist throws the weight
Note 3. Finger -action.
of the hand behind the weak fingers, thus supporting
them. It is therefore of distinct use even in five-fin-
Common faults are: —
1. Yielding or "breaking" of the nail -joint.
ger exercises, while in scales and arpeggios it is
2. Straightening the fingers when lifted.
absolutely indispensable
3. Curling up the fingers under the palm of the
Note Relaxation.
2. hand when lifted.
Nearly all pupils are stiff at first. Many suffer 4. Dragging the unoccupied fingers on the keys.
merely from the mechanical difficulty of new and 5. Jerking the wrist or arm at eveTy note.
unfamiliar muscle -actions. Some, however, have not The teacher must carefully guard against all these
even a proper conception of relaxation, and cannot errors. Correct finger- action is a perfectly simple
tell whether a joint is stiff or loose at a given mo- liftand drop of the knuckle-joint; all other move-
ment. The teacher should in such cases be tireless ments of the fingers are unnecessary and disturbing.
in demonstration. easy to make stiffness sens-
It is It should especially be seen that the vertical posi-
ible to the pupil, for only if a joint is relaxed can tion of the nail- joint is maintained when the fin-
it be moved easily. The wrist, for instance, is be - ger is raised.
yond doubt rigid if it does* not yield readily to a Special attention should be paid to the weak
slow push upward or downward. fingers.
Relaxation in itself is not difficult to acquire.
The beginners trouble lies in the necessary combin-
Note 4. Two Legato
Touches.
Exercises 3 and 4, and almost all legato exer-
ation of loose wrist and firm finger (the finger-
cises, may be practised with two different kinds of legato:
tip supporting the weight of the arm) When there
A. Witn lifted fingers.
is sufficient weight in the touch and sufficient loose-
B. With close touch. In this, the fingers are
ness of wrist and arm, the wrist and elbow may be
never raised enough to leave the keys, but al-
moved in any direction without causing the fin-
ways remain in actual contact with them.
gers to leave the keys. This is a most useful test

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 common
among beginners.
The close touch is best suited to melodic playing,
**&&*±* etc

where the most perfect legato possible is desired. No

other touch ever gives such sensibility to the finger, This way of writing, however, is obviously very com-
such a feeling of really molding a melody as one plays plicated and would puzzle pupils needlessly. Ex. 3 A
it. While the teacher, therefore, may insist on raised and B must of course be performed similarly.
fingers in technical practise, he should see that the close
touch is used, even in the first pieces studied, for all
Note 5. Tone production.
cantabile passages. Beauty of tone, especially in legato-playing, is the
great aesthetic difficulty of the piano. All pupils should
The advocates of the close touch claim for it —
1. That it produces the purest "singing'" tone possible therefore be made to cultivate it from the beginning.

on the piano, because the sound of the finger fall-

It may easily be shown that striking the keys pro-
duces hard, unsympathetic tone, and that pressure of
ing on the key is eliminated.
That the placing of the finger on the key wrist or arm produces heavy tone. Finger-pressure
2. in pre-
paration of the note about to be played
produces good tone, but not in sufficient volume for
is the best
all purposes, partly because the strength of the dif-
means of acquiring unfailing accuracy
These points can scarcely be disputed. On the other ferent fingers varies so greatly.

hand, it is justly urged that smudginess often results The author strongly insists on the necessity of us-
from over-indulgence in the close touch. Why. then, ing the weight of the arm in the production of sing-

should we not recognise two distinct forms of ing tone. This weight must be concentrated on the
Legato,
finger-tips, but entirely without effort— exactly as the
one suited to melodic playing, which the greatest
in

intimacy of binding is essential, and another preferable weight of the body rests on the feet in standing or
for rapid passage work, where clearness is most needed?
walking. The following points are deserving of the
teachers attention: —
I may remark that in my experience it is easy to
acquire the close touch at a late period of study, but
1. The use of weight is the most economical means
difficult to train fingers to lift well unless one begins
of tone-production, for no effort whatever is
required.
early.
The dangers of the close touch are best avoided by 2 The weight of the arm can be used in any quan-

taking care while practising scales and arpeggios to

tity desired to gain varied volume of tone In

lift the fingers from the keys after playing.

light accompaniments and very delicate pass-
some- ages it can easily be held back altogether
Cases of excessive raising of the fingers are
3. If one depends on weight for tone, the differ-
what rare.The second finger is usually the chief of -
fender. The teacher may always safely discourage a high ences of strength among the fingers need not trou-
ble the player.
lift of the thumb (see Note 12 A).
4. Weight resting on the keys gives the nearest
The actual performance of Exs. 3 and 4 will be as
possible approach to the flow of uninterrupted
follows.—
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
Ex. 3.
(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
B.H. etc.
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
R.H. of a good singer or violinist may be taken as a
standard for the pianists effort.

G.F.K.l
 :

31

Note 7.

It is. indeed, theoretically impossible to obtain an The elements of Technique— hand-position, finger-
absolute legato, (except in diminuendo) on the piano. action, and relaxation— are so far-reaching that their
But piano -playing is an art, not a science; a legato importance can hardly be exaggerated. They should
appeals to the ear. not to the mathematical sense be revised periodically to guard against relapses, and
hence good players succeed in spite of theory. it should be seen that they are put to practical applic-
The legato is the most difficult and the most beauti- ation in studies and pieces. The first studies and
ful of all touches. Accordingly, it needs and deserves pieces givfcn should contain nothing more involved than
constant study. five-finger passages and simple chords. Scale-work
In playing slow melodies the tones may be allowed should come next, then arpeggio figures and mixed
to overlap very slightly— never enough to cause "blur- passages, just as in the Technique itself. Easy studies
ring" The fingers need not be curved quite as much well played are preferable to difficult ones in which
as usual. the pupil violates all principles of good action.

SECTION II.

Note 8. Note 10. Exercise 17.

Helpful as Are the movements treated of in this If the explanation of Tremolo-action is not easily
section, it is necessary to warn against exaggera- understood, make the pupil stretch out his arm with
tion, lest they supplant instead of merely assisting the palm of the hand upward, then reverse the posi-
good finger-action. Observe the metronome marking tion,turning the palm down. By repeating this pro-
in Ex. 11, and note that the wrist can be moved only cess rapidly a few times he will soon gain the right
once for every "/our notes in rapid tempo. idea.

Note 9. Note 11.

In transposing exercises into other keys, the pupil The special exercises for Variety of Tone and Vel-

should be allowed and if necessary instructed always ocity may be given to pupils before they attack scales
to strike white keys on their broad part, not on the Others of the special exercises may be used any
at
narrow part between the black keys. This involves time, those for pedalling, polyrhythmic passages,
frequent movement of the hand nearer to or farther bringing out melodies, and polyphonic playing, will
from the keyboard, but fortunately there is no dif- doubtless be suggested by difficulties arising in the
ficulty whatever in the motion. In chords and arpeg- pieces studied.
gio figures, of course, one must often play white
notes on the narrow part.

SECTION III.

Note 12. Scales.

A. The close touch may very profitably be used in E. A very slight up-and-down movement of the wrist
the preparatory exercises. The thumb should never is permissible and even advisable in scales. When-
be raised from the keys in scales. ever the thumb plays the wrist should be low
B. In ascending, the right hand may slope slightly
Note 13. System o/ /ingering Scales.
downward to the little finger: in descending it
Without wishing to force the method given in ihe
should be tilted the other way. The slopes are the
text on those who may prefer other systems. I strong-
reverse, of course, for the left hand. Do not let
ly advise against teaching scale -fingerings by the
the pupil exaggerate this point: often there is no
thumb -positions, which there must be two
of in every
necessity to mention it at all.
octave as against one of the fourth finger.
C. The hand may perhaps be arched a little more than
usual, so that the thumb may pass under more freely. Note 14. Alternative Scale -/ingerings.
D. If the pupil has trouble in subduing the thumb Many writers give the following fingerings of cer-
sufficiently, the following method of practice will tain melodic minor Scales: —
give quick results: —
P>>P>> P p^^^p^^^. p

** S 1 I {
"•" 1 2 3 \ 1 % 3 2 1

G. K K. 1
32
Fsharp minor. . 1 * 8 li #*•£•!}*: F major.
bm:
:*¥»
SI Mz* iU i Mj£j=
8 1 4 8 '2
m
1
a 8 14 TTTT 8

f IMI *»
i
m
»L«* 8

r p
ft 1,

J j
8

i
8

— a
?#££ 55 8 4 1 8 o
8 a
1
>_
a
S—
8 4 1
a
3
i
sharp minor. A major
2

iiV'jjriiiiXfiriif
ami a 1 «
7nrj7J
T^
8 4 i
8 c
C
| rrrrirrfr^
14a
'« —— c 881881
a ft I
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ft 4
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8*8

ri^fiiiiiOiilijili #
III:
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* * *
y
f
m | 1

*
I

*
¥=+
1

*
rzjf 1 d J
4 'l
8 3 4
n:
(The fourth finger might fall on Ff in the scale of D al-
so, perhaps even in G.)
G sharp minor. F minor.

*
J * 1
i 8
* 2
'
!» 1
'i 4 8
a *
rrrfrrft
1 8 4 1 8 8 8
mg^ 3
^te
2 1 >8 2
^pt
14 8
*i iHi
8 1 3 2 1 "2"

n"J[[rirr»r'i
f^ ri a i a s 4 \
i

\r
Jjji
a i I
„
Y
i
IS ££
k

"8 I 2" 1 2 3
*
F*1*84
'
4
S 5
(Similarly in C minor, G minor, D minor.)
Bflat minor. Many a beginner would be gratified by these changes!

P 8^C -#•
"••?• «% 4i Note 15. Scale -practise.
c
* 1 I. '*
2 1 4 8 8 4 8 8

^
* '8 i 'a
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-
¥ £F^I
fcfe

$ * i A
a „
3
1884 1 2 's
4 8
cession, and sometimes alternating major with relative
or tonic minor.
necessary to worry pupils with scales in sixths
Is it

The modern fingering of these scales is less re- and tenths? I, for one, think not. The conscientious teach-
gular but easier. er who differs from me most change the fingering
Many of the scales might depart from the accepted of certain scales when beginning on the third degree:

fingerings to good advantage. As a matter of inter- this is very little trouble.

est and without recommending innovations, I subjoin In fast practise the scales should be played with
,

a few examples of possible left-hand fingerings: — lighter tone, in order to avoid stiffness.

SECTION IV.

Note 16. Exercises 29-34. peating the chords, thus: —

Of course the marking: —
n n n n
iliflU *

U44& in order to gain facility in moving from one position

really implies: to another.

nVnVnVnV Note 17. Exercises 31 and 32.

that the pupil does not

PffH The teacher must see to it

shirk the fourth finger in chord-positions, whether f nil
or broken. Nevertheless, the third finger may be sub-
also be practised without re- stituted for the fourth in the following chords:
—
Exercises 29-34 may

G.F.K.l
 . -

33

RH.
Note 19.
The teacher must bear in mind that the curving of
the fingers to the degree required in scale -playing is

L.H. unnecessary and often impossible in extended chord -

positions and arpeggios. The chief advantage of curved
fingers is clearness of articulation, and in scales this
and perhaps also in these: — is vital; but in arpeggios the effect is actually improved
if the tones run together. Hence one uses pedal in

»a arpeggios and avoids it in scales

Both hands, fcj ,
l
g glj ggi It is always well, however, to insist on the best curve
possible.

Note 18. Exercise 34. Note 20. Arpeggio Fingerings.

The following fingerings will help small hands; 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-

and 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 pils may be referred to Moszkowskfs work on Double
necessary in most double-note passages is an import- Notes, and, for octaves, to Kullaks well-known treatise.
ant point. A light use of the wrist in any direction Practical fingerings of scales in thirds and sixths are
helpful at the moment (always avoiding undue exagger- to be found also in Zwintscher's "Technical Exercises",
ation) is the great requisite. fiusoni has made interesting suggestions as to double
Scales in thirds and sixths are excluded from this notes and octaves in his scholarly edition of Bach's
section, not being elementary technique. Ambitious pu- "Well -Tempered Clavichord".

SECTION VI.

Note 22. Stretch. Note 24. Pedalling.

The idea of swinging the arm in practising stretches Observe that in Ex. 88 the pedalling connects tones
is due, I believe, to Mr. Virgil. between which there would otherwise be gaps, while in
The teacher should be very cautious in attempting to Ex. 89 prevents "blurring" of dissonances. Only "syn-
it

enlarge a pupils grasp. Much harm may be done by in- copated" pedalling fulfils both these conditions.
judicious forcing. In the case of children, it is almost
Note 25. Poly rhythms.
always best to wait for the natural growth of the hand.
Do not despise Ex. 90: it is often a hard nut to crack.
Note 23. Velocity Exercises. When pupils have once learned to play three notes
Miss von Unschuld, in her exposition of Leschetizkys against two, other polyrhythms usually lose most of
principles of teaching, very reasonably advises the ex- their terror. Never attempt to use the "Least-Common-
clusion of the thumb for final notes in exercises for Multiple" method for three notes against four: the rem-
Scale -velocity. The series would thus be: — edy is worse than the disease. The ear is here the on-
ly guide, though it is useful to practise each hand sep-
ft .8 „1«, _vlg°i .a3l a -2* arately in the full tempo as a preparation.
etc.

Similarly, of course, in arpeggios.

G. F.K.I
34

MAJOR SCALES.

i-wtiffi
3

i^iilfcj jjj ^

^p
alii

gra »*»' »b
'

K Agtor-
?trr
l
m
21 4a «

i«nw ^ 1
„ 34 S 4
2 Vr-T-I

!
3fT
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-
8.2
ft
1 8

p-
5 4 3 *

jjflcfl r
j 3 2 1

si ^
^84 6

4 6 4

41 28 IjU,
gj
8AiJi82l8 ?l
jJPcc cf F 1
lg

EBBS
l2 3 *£i 3 *i

5 43| 18* 1

(S ,!^
8
821

yfiH
ps aa ^a-e^

3P 4
i"
jrJ?
a
'.*rtl1
y!«!.'"' J ''iiLi^i
i^crmc ccf
33C
** f

»l|p§ -ta^'tij*
»8

^
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^Hft^482
4 8giX» te
-F^#

"tar agf
i

G. F.K.I
 —

35

MELODIC MINOR SCALES.

*
» 8 *n 14

ff^ Up HI
JJ
j jip ^»
ri»
** ^ as
^ ^i ^]>Ig« i»

!
^44
3
:

3_2 ,
'i* —
i. Tl—i— „ iniiit!
wm m "liiiu.
S^

pmm
«ji ..rtiaitoi ga| 'to
g
•
,,,,

^ffiff ggmTf ff 3 i

^S 64 3
agfe 1 ^84 6

PP 'i Wi.ffl
sw m 34 12.
3
*JLAjt
a
fet

1884
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