Natural Piano Technic Vol2_Breithhaupt_1909

SCO :<0

R.

M.

BREITHAUPT

SCHOOL

OF WEIGHT-TOUCH

NATURAL

PIANO-TECHNIC

vol.

II

m

' _>o

42

1909

V.

2

. . 1

MUSI

INSTRUCTIVE

WORKS

FOR

THE

PIANOFORTE

EDITED

BY

C. F.

KAHNT

NACHFOLGER,

LEIPZIG.

Bach. Job. Seb. Vicr Orgel-Choralvorspiele. Bearbeitetvon

Tfc. Szaito

1. Aus der Tiefe nife ich.

—

X

Achbleib' beiuns,Herrjesu

Christ.

—

3._JesuLeiden,Fein

undTod.

—

4. AlleinOott in

der Hoh' sei Ehr".

—

_{Orgel-Fantasie} und _Fuge.

Be-arbeitet von Tk. Szaato . . .

—

Praludium und Fuge, e-moll, furOrgel. BearbeitetvonAugust Stradal

—

PraludiumundFuge, G-dur,fur Oirgel. Bearbeitet von Ai|Mt

Strmtel

—

Praludium und Fuge fur_Orgel.

Bearbeitet von Th. Szanto . .

Beethoven, L. van. Leichte

Sonaten, herausgegeben von

Walter Niemann

Bergcr,

Wilhelm.

Op. 89. Vier

Fugen, koniplett Einzein: g-moll b-moll a-moll B-dur

Variationen und Fuge

fiber ein eigenes Thema . .

—

_Op.93. Fun?Capricen komplett

Einzein: c-moll A-dur d-moll h-moll c-moll

Berlioz, Hector. Chor der

Sylphenu.

Onomen

u.

Sylphen-tanzaus „FaustsV'erdammung".

Bearbeitet von August Stradal

—

Die Hollenfahrf aus ..Fausts

Verdammung". Bearbeitetvon

«afnt Stradal

—

TanzderIrrlichter aus „Fausts

Verdammung". Bearbeitetvon August Stradal

Btuonl, F. B. Fantasie fiber

Motive aus „Der Barbier von

Bagdad" von Peter Cornelius

Chopin, Pr. TechnischeStudien

(Vorubungen) zu den

Klavier-Etuden,verfaBtvonCarl Pleper.

2 Hehe a

ComelliM, Peter. Der Barbier von Bagdad. Komische Oper. Ouverture von H. Behn. . . Cramer,J. B. Beltrife

zum

Stadium

der

Klavier-Etfiden,verfaBtvonTh. MSIIer-Reater.

Nr. 1. Eriauterader_Teil, netto

„ 2. Praktischer Teil mit 17

Ftuden-Beilagen. . .netto

X-2.50 2.-1.50 2.-1.— Nr. 1. n 2. „ 3. .. 4. Op.91. Nr. 1. „ 2. 1.20 1.— I.— 1.20 3. 4. 5. 5.— 5.— 1.50 1.20 1.50 1.80 1.20 1.50 1.50 1.50 1.50 2.- 1.-1.50

3.-Flelitz,

Alexander

von. Op.

79. Mazurka- Impromptu fur

Klavier

Gade,

Niels

W.

blatter . . . Drei Albuni-M. 1.50 1.80

Kaun,

Hugo.Op.56. Drei Stiioke.

Nr. I. Humoreske . . . . „ 2. Praludium „ 3. Nocturne 1.50 1.20 1.—

Klrchner, Fr. _Op. 139. Zwei

Klavierstiicke. Nr. 1. Landler. Nr. 2. _Tyrolienne —.80

—

_Op. 140. 8 Genrestiicke fur

Klavier 1.50

Nstur- _{und Stimmungsbllder.}

Heftl.Waldvogelein.

Friihlings-lied. Bachlein im Tale . .1.50

Heft II. Freudvoll und leidvoll.

Air Suisse 1.30

Krebs, Job.

_Ludwig.

QroBe

Fantasie _{und Fuge} inQ-dur fur

Orgel. Bearbeitet von August

Stradal

Kwast, James. Op.II. _Capricclo

—

_Op. 12. 2me. Gavotte . . .

Ll8zt,Franz.Christus.Oratorium.

Daraus einzein:

Einzugin_{Jerusalem. Bearbeitet}

von August Stradal

....

Das Wunder. Bearbeitet von

August Stradal

—

Die _Legende von der heiligen

Elisabeth. Oratorium.

Daraus einzein:

Rosenwunder. Bearbeitet von

August Stradal

...

SturmundGewitter. Bearbeitet

von August Stradal

....

—

Die_Loreley. FiirdasPianoforte

ubertragen vom Komponisten

—

Zwolf Klavierstiicke.

Ausge-wahit und revidiert von _Eugen

d'Albert netto

1. Die _Loreley. 2. Ave Maria.

3. Zweite _Elegie. 4. Ave

maris Stella. 5—7.

Gehar-nischte Lieder: Vor der

Schlacht. Nicht gezagt. Es

rufet Gott uns mahnend. 8.

Un

soir dans la _montagne

aus Troismorceauxsuisses . 9. Schnitter-Chor aus „Der

entfesselte Prometheus". 10.

Einleitungaus „DieLegende

von _{der heiligen Elisabeth".}

11. Marsch der Kreuzritter

aus _{„Die Legende} von der

heiligen Elisabeth".!

2.Hirten-gesanganderKrippe ausdem

Oratorium „Christus". 2.— 1.50 1.50 1.50 1.50 1.50 1.50 2.—

3.-MacDowell,

E. A. _Op. 19.

Wald-ldyllen. Vier Stucke fiir

Pianoforte, komplett . . . .

Nr. 1. Waldesstille . . . .

„ 2. Spiel der Nymphen

„ 3. Traumerei „ 4. _Dryadentanz . . . . 3.— -.80 1.50 -.80 1.50

Noskovk-ski, Sieg. _Op.2.

Craco-vlennes. Polnische Lieder und

Tanze fiir Pianoforte.

Heft I und II a

Pleper, Karl. Aufgabenbuch fOr

die Harmonielehre fiir

Koiiser-vatorien, Musikschulen und

Lehrerbildungs-Anstalten.

Heft I, II, 111 a netto

Raff, Joachim. Die Miihie, fiir

Pianoferte aus dem

Streich-quartett„Die schone Miillerin"

Reger,

Max.

Perpetuummobile

—

Scherzo 2.50 1.— 1.50 1.50 1.50

Riemann,

Hugo. Op. 6S. 15

leichte _{Spezial-Etuden} fiir das

geteilte Passagenspiel aufdem

Pianoforte

Rubinstein,Anton._Op.3.Deux

Melodies. Neue revidierte

Aus-gabe von Rob. Teichmiiller . .

—

_Op. 44. Soirees a St.

Peters-bourg. Sechs Stiicke. Neue

Ausgabeniit_Fingersatzusw.

ver-sehen von R. Teichmiiller.

Heft I. Romanze in Es-dur.

Scherzo

Heft II. _{Preghiera. Impromptu}

Heft III.Nocturne.Appassionato

Nr.1._RomanzeinEs-dureinzein

•—

Op. 50. Nr. 3. Barcarolle in

g-moll Neue Ausgabemit

Finger-satzusw. versehen von R

Teich-miiller. _(Eingefiihrt

am

Konser-vatorium zu _Leipzig)

....

1.— 2.-1.50 2.50 1.50 1.50

Rflbner,C. Op.6. LesSituations.

8 _petits morceaux

—

_Op. 7. Albumblatter.

Nr. 1. Rauschendes Bachlein

„ 2. _Ewig Dein

....

„ 3. Im Mai

Sch&fer, Dirk. Variationen auf

eine _Sequenz

Speldel,

Wilhelm.

Op.82. Orel

Klavierstiicke 1. _Agitato. 2. Menuett. 3. Gavotte. 1.— -.80 1.20 1.80 2.— Op. I. Szanto,

Th

Orientales. Nr. I. Ges-dur. . . . „ 2. C-dur

....

—

_Op. 2. Ballade fiir Piano

Etudes 1.20 1.80 3.- 1.-1.— 1.20

Taubert,ErnstEduard._Op.56. Drei Klavierstiicke.

Nr. 1. Walzer Es-dur . . . _1.50

„ 2. Walzer _g-moll

...

1.50

„ 3. Scherzo Es-dur . . . 1.50

Telchmflller, Robert. Neue

revidierte _Ausgahen von Anton

Rubinstein. (Eingefiihrt

am

am

Konservatoriiim zuLeipzig.)

—

_Op. 3. Deux Melodies. . .

I.-—

_Op. 44. Sechs Stiicke.

Heft I. Nr. I. Romanze.

Nr. 2. Scherzo . . . 2.

-Daraus einzein:

Romanze Es-dur 1.50

HeftII. Nr.3. Preghiera.

Nr.4. _Impromptu . . 1.50

Heft III. Nr.5. Nocturne.

Nr.6. _Appassionato. 2.50

—

_Op. 50. Nr. 3. Barcarolle . 1.50

Thullle,

Ludwig.

Op. 33. Drei

Klavierstiicke.

Nr. 1. _Vorfriihling . .

„ 2. _Reigen

....

„ 3. _Capriccio . . .

Wichtige Vorsohule

fiir_angehendeKlavier-Virtuosen.

Vlole-Liszt. 35 _ausgewahlte

Etiiden. Neu bearbeitet von

Dr.W.Niemann. _Komplettnetto 3.—

Wagner,

Richard. Fantasia

fis-moll.(NachgelassenesWerk.)

II. _Auflage 3.—

WelB,

Josef. _Op. 23. 8 kleinere Klavierstiicke 2.— 1. Arietta. 2. Mazurka triste.

3.Chantfran(;ais. 4.Serenade.

5.Airanglais.6.Valsestupide.

—

Op.25. _Lebenswogen.

Konzert-Etude i.50

—

_Op. 26. Zwei Intermezzi.

Nr. 1. I. Interrmezzo

(Marien-kapelle) 1.—

Nr. 2. II. Intermezzo . . .1.20

— _Op. 27. Zwei Charakterstiioke.

Nr. I. _Idylle

„ 2. _{Spanische Serenade} .

—

_Op. 28. Sturmmarsch. Studie

—

_Op. 29. Variationen und _Fuge

—

Op. 32. Fiinf Klavierstiicke.

Nr. 1. Romanze

„ 2. _Legende

„ 3. Menuett 1.—

„ 4. Serenade des Pierrots I.—

„ 5. Etiide (iiber

einWalzer-thema) 1.20

Wleniavi'sky,Joseph. Op. 18.

Souvenir d'une Valse pour le

Piano 2.—

—

_Op. 27. 3. Polonaise. A-dur 2.—

Wilm,

Nlcolal von. _Op. 207.

Kleine Suite (G-dur. Nr. ₅₎ . 2.—

1.— ].-1.50 2.50 1.-1.20

NATURAL

=

PIANO-TECHNIC

vol.

II

^=

SCHOOL

OF

WEIGHT-TOUCH

A

_practical

_preliminary

School

of

Technic

_teaching

the

natural

manner

of

_playing

by

utilizing

the

weight

of

the

arm

Preliminary

to

Intermediate

Grade

by

RUDOLF

M.

BREITHAUPT

With numerous

_photographic

illustrations,

drawings and

musical

examples

ENGLISH TRANSLATION

BY

_{JOHN BERNHOFF}

ORIGINAL

EDITION

IN

GERMAN

EDITION

IN

FRENCH

by /^IP^^^lV translated by

R.

M.

BREITHAUPT

f^^Sl

E.

CLOSSON

*

Die

naturliche

Klaviertechnik

_vUl^J

_Technique

naturelle

du

Piano

Band

11

\±S3^

vol. II

Schule des Gewichtspiels

La

_technique

de

la

_pesanteur

All _rights reserved

Property of the publisher for all countries

Presentedtothe

UBRARYqftte

PUBLISHED BY

uNivERSFTY

OF

TORONTO

_C.

F.

KAHNT

NACHFOLGER,

LEIPZIG

fromthe

Copyright 1909 by C.F.Kahnt Nachfolger, Leipzig

ARTHUR

PLETTNER

ISA

McILWRAFTH

COLLECTION

are not allowed in _{instruction-books,} methods and _{hand-books, except}

by special permission of the author and _publisher.

CONTENTS.

CHAPTER

I:

CHAPTER

II:

CHAPTER

III:

CHAPTER

IV:

CHAPTER

V:

CHAPTER

IX:

CHAPTER

X:

PART

I.

THE ELEMENTARY FORMS OF

WEIGHT-TECHNIC.

EXTERNAL

CONDITIONS.

P^g^

1. The seat ₇

2.

The

_{hand-bridge 8}

3.

The

_weight of the arm 1 1

TRANSMISSION

OF

THE

WEIGHT.

1. _{Testing the Weight,}

weight-bearing 13

2. _{Releasing the}

Weight 16

ACTION

I.

THE

LONGITUDINAL

OSCIL-LATION

OF

THE

ARM.

LATERAL

TRANSFERENCE

OF

THE

WEIGHT.

1.

The

_supported

swing of the arm 19

2. Lateral transference _{(shifting). Deep} fail and

High fall 20

ACTION

II.

EXTENSION

OF

FORE-ARM.

1. _{Participation} of the Fore-arm 25

2. Alternate rise and fall

—

vibrato

...

28

ACTION

III.

ROLLING

OF

FORE-ARM.

LATERAL ROLLING

OF THE

WEIGHT.

I.

Absolute

_rolling

motion.

ROTATION

OF

THE

_{CUBITAL (ELBOW)}

JOINT

31

II.

Combined

_{rotary motions.}

p»«*

A.

ROTARY MOTION

OF

_FORE-ARM

COM-BINED

WITH

EXTENSION

OF

FORE-ARM.

1. _Preliminary Studies 36

2. Exercises _preparatory to the Scale

....

37

3. The Scale 42

4. Extended Scales _{(Passage-work} and

Ar-peggi) 46

B.

ROTARY MOTION

OF

_FORE-ARM

AND

UPPER-ARM

COMBINED

47

CHAPTER

VI:

COMBINATION OF THE WEIGHTS

_(TONE

TO

TONE).

LEGATO

49

CHAPTER

VII:

CHAPTERVIII:

THE

NATURAL

REBOUND

OF

THE

WEIGHT

_(ARM

OR

HAND).

STACCATO

. 52

ACTION

IV.

FREE

OSCILLATION

OF THE

FINGERS.

I. _{Finger-oscillation} 54

II. _{Finger-action} with _weight 55

III. Various methods of _weighting 56

PART

11.

FORMS

APPLIED.

PLAYING

WITH

BOTH HANDS

SIMUL-TANEOUSLY:

POLYPHONIC

AND

FIGU-RAL

PLAYING.

I. The _{"independence"} of the hands 57

II. _{Melody (Cantilena)} with _{accompaniment.} . 58

III. _{Sustaining the tones, leaving} the _keys

down

60

IV. _Figurai Technic 63

DYNAMICS.

AESTHETICS.

TOUCH.

RHYTHM.

FINGERING.

I. _Dynamics 65 II. Aesthetics 66 III. Touch 67 IV. _Rhythm 87 V. _Fingering 89

CHAPTER

XI:

HOW

TO

PRACTISE.

1. _{Object and} art in _practising 91

2. _{Impediments and}

how

to overcome them . 91

3. Various kinds of exercises 92

4. _Daily Exercises 94

5.

How

to breathe _correctly 97

6. Fundamental works for studies 98

TECHNICAL

TERMS

Terms

and

names

to

_convey

the ideas of _{weight-technic,} translated

from

the

German

by

JOHN

BERNHOFF.

des Gewichtes Ubertragung Fortruckung Ruckwurf Fortrollung

Bindung der Gewichte Fingerschwung

Figuriiches Spiel

Langsschwingung des

Armes

- - -Grundfoimen des _{Gewichtsspieles}

-stumme Ubungen

Nullbelastung Mittelstellung flachgestreckt Spielbelastung parallele Handstellung

gebeugte, gekrummte Finger- - -

-eingezogene (gestreckte) Gelenke-

-Kn6chel-(Haupt-)Gelenke

Handbook

Rundform (Hohlmuschel) der Hand)

Hohl-{Schirm-)Hand 1

Boden der Taste

Beugung

der

Hand

Buckel Innendrehung AuBendrehung Gespannter Buchsenhahn tiefgestellte

Hand

Ausi5sung gebeugt-gestreckter Finger

nach

vom

_{geschwungener} Finger

-Kugelhand

festigen

Daumenstand

den Akkord greifen

Aufhebung des Gewichts

der Stutzschwung des Armes - -

-of the weight

transmission

lateral transference, shifting

rebound

lateral rolling

combination of weights

oscillation of the _fingers

figural playing

longitudinal oscillation of the arm elementary forms of weight-technic

silent exercises

discharged weight or zero-weight

intermediate position,

medium

pose flat-straightened

playing-weight

parallel pose

curved fingers

depressed, sunk (stretched) joints

knuckle-joints

handbridge, arch-set hand

hollowed _palm, umbrella hand

bed of the _key

flexion of the hand

humps

inward _{position: pronation}

outward _position: supination

cocked-gun pose

low set hand (hand sunk, with depressed wrist, below the key-board)

relaxation

curve of the extended finger

finger thrown forwards

hand as if _closing on a ball _(ball-hand)

to _steady

erect

thumb

_pose

to _grasp (sound) a chord

releasing the weight

PREFACE.

comprehension apt

tliemechanical. (Goethe.

In _publishing this _volume, I

am

_merely

fulfilling a promise

made

in the first

volume

of

_my

work

entitled: "Natural

Piano-Technic". _Myself an

_opponent

of all so-called _"methods",

I undertook the _present

work

very unwillingly,

knowing

from

practical experience

how

difficult it is to _{formulate these} appar-ently simple fundamental principles of technic without the aid

of practical demonstrations. Besides,

am

1 not _adding

one

more

to the _{already stupendous}

number

of

Methods?

The

Funda-mental _{Principles of weight-produced touch}

having, however, been

laid

down

_{theoretically,} it

became more and more

necessary to

develop those principles in a _gradual

manner

from _practical

experience for _practical use. _{Also, yielding} to the _repeatedly

expressed

wish

to have the substance of

_my

work

divested

of its scientific

encumbrance and

reduced to its _{simplest form,}

in order to render the ideas clear to all, and the "neiv theories"

universal, I have

now

condensed

the

work

to the

present

volume,

which

contains all that is essential

and

_important for

the _{elementary development} of a natural

manner

of _playing.

The

_{presentvolume,}entitled:"School

_of

_{Weight-Touch"}\s

inten-ded and

must be

treated,as apractical supplement to

_my

theoretical

work, its _{object being} to serve in _public

and

private instruction

as a sort of_preliminarySchoolofTechnicforthe _{intermediate grade.}

Any

of the _existing

_good

Schools

_may

be used in their

practical part for the elementary grades, the easier

works

of

Bach

_being selected for the intermediate _grades.

With

such a

foundation laid,

one

may go

on

building

up

the structure.

I

would

here

_oppose

the

_wrong

idea that

my

_object is to

upset all that has existed _heretofore,

and

to _explain music

_by

"psycho-physiology".

Our

aim is to

do

_away

with

_wrong

ideas

and

to trace back to their real

and

natural sources the action of

our _playing

members

and

the effect _{produced by} them.

What

we

_purpose to teach is in itself _nothing

new:

we

would disencumber

the

_{body and}

thus assistthe _{playing-members}

in their action,

and

teach

them

to play.

Our young

musicians

shall

no

_longer be tormented _{unnecessarily with}

five-finger-exer-cises, their little

hands

_lamed, stiffened

and

ruined

_by

_performing

impossible stretches

and

exaggerated extensions.

Moreover,

we

must

not _forget that "technic" is not all that

is _required, but that _now-a-days, as ever, the chief condition

still remains, viz. natural musical talent.

Where

that is _wanting,

i. e.

where

nature has denied the rudiments of _{physical dexterity}

Berlin.

and

musical _{comprehension,} it is _hopeless to look for success.

Let us be candid

and

confess that all

we

can

do

is to train

and

educate _carefully such natural talent as the _pupil is _{gifted with.}

Our

task, in short, is to foster the

_germs

implanted by nature, to cultivate

_{mind and body}

_by natural

means

and in a natural

way,

and

thus assist in _developing the _{personality (soul,}

spirit, intellect, general education, habits of life, all that _goes to

make

_up

a

human

_being), in the

manner

and

towards

the _goal destined _by nature. In the free _adaptation of

the _pupil's natural abilities will be

found

the solution so

extremely simple,

and

yet so complicated, of all _problems

involving mastery over,

and

success in, any branch of art.

We

are the _{gardeners, carefully watching} and _tending the

young

plants, watering

them

day

by

day,

and

pruning

where

it

is needed.

We

_may

_prepare the soil, delve

and weed,

but

we

must

trust to nature to furnish _{the sap,}

draw

forth the _bud,

and

ripen the swelling fruit. Cultivation can

do

a _{great deal,} but it cannot _replace nature. Talent is _innate, not the result of

education.

The

_genius is _born, not made.

As

_regards the technical terms

and

the

names

_adopted to

convey certain ideas, they are either

borrowed

from the latest

investigations ofour subject orare dictated

by

practical experience.

Wherever

it

was

_possible,

—

and in order to secure _greater

uniformity

—

the scientific _terminology has been _{correctly applied}

(See Dr. F. A. Steinhausen: _{Physiological} Defects and

Reform

of

Piano-Technic, Leipzig 1905, Breitkopf

&

Hartel).

However

strange

and

even objectionable the

new

vocabulary

may

at first

appear to the teacher, the

new

words

will, I

am

_{convinced, very}

soon

_convey to the

mind

the sense _{intended, provided,} of _course,

the reader is not bent

_upon

_{maintaining an erroneous conception}

of finger-technic,

and

_{confounding cause and} effect,but is _prepared

to think for himself

and

_{reject antiquated notions}

and

traditions.

May

this "School of Technic" assist in _shortening the mechanical

part connected with the art of piano-playing,

and

thus enable us to devote our efforts to the culture of the soul and to enter

into the spirit of the compositions.

1 cannot conclude without expressing

my

_gratitude towards

my

faithful friend and counsellor Dr. Paul _Kraemer, for _kindly

reading

and

correcting the

work

from the medical man's special

point of view, and to the _publishers C. F. Kahnt _Nachfolger,

Leipzig, for all the _{trouble they} have taken in _bringing it out.

fig la.

Ideal _type of a piano-hand of a little _girl

aged six, set in a gently rounded natural

pose,showingthickregular fingerswith

power-ful _{knuckle-joints,} the rounded knuckles

pro-truding naturally.

Thumb

and back of hand

are broad, the short fore-arm _terminating

in a massive wrist

fig. lb.

The same hand, hanging in a natura intermediate pose, the pendentfingersslightly

curved.

THE

_ELEMENTARY

_{FORMS OF}

_{WEIQHT-TECHNIC}

CHAPTER

I.

EXTERNAL

CONDITIONS.

Silent' exercises Thescat

I.

The

seat.

The

_height of the seat

_depends

in _general

upon

the individual. It is determined _solely

_by

_{the general} size

and

proportions of the _physique,

more

_especially

_by

those of

the _upper

_{body and}

the lower extremities.

With

_regard to the

The

low

seat is _{indispensable only} at the outset, i. e. as _{long ^d,}

as it is a _question of

_making

the _{joints supple,} of _maintaining '"'^

relaxation of the muscles of the _arm, of _accustoming the

arm

itself to

assume and

retain _{a position of passive suspension}

and

fig. Ic.

The hand _{straightened out} flat in natural intermediate pose

(discharged weight).

fundamental principles of general technic, i. e. to the natural

func-tions of all the muscles _{pertaining to the parts}

_employed

in

pro-ducing the tone,

and

to the relaxing of the muscles of the arm, the low seat is the

one

to be _preferred in _{the beginning, as}

per-mitting of the wrist

and elbow

being held

somewhat

lower than

the level _{of the key-board.}

^i.e._away from_{the piano,} or withoutsQundin|( the keys. (Tr,n.)

fig. Id.

Hand-bridge with protruding knuckle-joints (hollowed palm orumbrella-hand

—

_{discharged weight.}

of _developing the shoulder- muscles. Later on,

when

all these

desired conditions have been _acquired, the _height of the seat

will be dictated

_by

the _{general physical proportions} of the

indi-vidual. Yet the

low

seat is to be

recommended

for those with

large bodies

and

long arms, in order to accustom the

arm

to a

passive pose of rest, i. e. to

_hang

free from the shoulder;

whereas for the short-bodied with _short, thick-set _arms, the

'«»

high seat is _preferable. All

_depends

_upon

the _"perception of

the weight-transmission". Naturally, the greater the energy

dis-played, the

more

the

body

will straighten itself out.

The

climax will be attained

_by

direct transmission of _{shoulder-power,}

i.

e

_{by employing}

the _key-board as a support for the

arm

_fully

extended, _(p. 33, fig. F.)

Sit in such

manner

that in _grasping a chord with both

hands

simultaneously, the key-board shall

be

so far

below

_you, as to

'

afford a _purchase.

Bend

the

_body

somewhat

forward. Sit

more upon

the thighs than

upon

the _posteriors, the feet _resting

firmly

on

the floor.

The

muscles of the lower

body

and

of

arm: a firm, steady hattd-briage,

on which

the

arm

rests like the H»nd-bridge

superstructure of a bridge

on

its arches

and

_pillars.

Explanation:

Lay arm and hand

relaxed, flat

_upon

a table Experiment (fig. Ic).

Then

slide back with the _fingers (i. e.

draw them

in a

little), raising

and

hollowing the

palm

of the

hand

_somewhat,

thus obtaining a hollowed _{palm, the} umbrella-hand (fig. I_d).

The

umbreu«-hand

"ball-shaped" hand, i. e. _{the form,} it

would

assume

in _clutching

a _ball,

_by

_flexion, is

shown

in _figs. II_b, c.

We

thus obtain the arch-set _{metacarpus carrying the weight}

of the arm.

The

_fingers

must

either be _straightened out_"^(fig. I_d) or Fingers

fig. le.

Transmission of tlie _weigtit (theweight transmitted to, and supported by, the

middle-fingers

—

playing-weight).

the

abdomen

must

be

_relaxed,

and

the

_body

itself free to

perform

any movement.

The

_general rules in the _{elementary stage}

—

to sit

oppos-ite the centre of the _instrument, at arm's _length

from

the

wooden

frame _{of the key-board, etc.,}

—

remain the same.

n.

The

arch-set

hand

_{(hand-bridge).}

There

is

no

hard

and

fast rule to determine

one

special

way

of _holding the

arms,

hands

and

fingers to suit all cases

and

answer

ail

pur-poses. All so-called

normal

positions are to be rejected.

In the_beginning

one

_thing is _required for _{weight-technic,} i.e.

for _{the transmission, supp>ort,}

and

balance of the _weight of the

fig. IIa.

Parallel _{pose (old} school) with curved fingers and depressed knuckle-joints Kohler's "school"-hand; cf. also Riemann, Deppe, Jaell and others

(to be used only to get the effect of the _{"jeu perle").}

slightly curved, the knuckle-joints protruding

and

forming

humps

Thus

_{posed, the fingers}

become

"stilts", "props" supporting the

weight borne

by

the

_palm

of the hand, arched to form _{a bridge.} This is the first

and

most

_{important part devolving}

_upon

the

fingers.

The

hand-arch _must, of course, not be considered as a

rigid hand-pose or

one

assumed

for practising-purposes only.

It is _merely intended to assist in _developing an _{energetically}

rounded

form of the

hand

_supported

on

firmly set fingers

and

knuckles. Later _on, the technical difficulties _having

been

mastered, the

hand

may

do

as it _{likes, provided} the _supports

are _strong

_enough

and

the tone be located in the bones

(the knuckles). For // is the

hand

that

must

suit

figures

fig. Hb.

Rounded hand as if _closing on a ball _(ball-hand).

fig. lie.

Hollowed _{palm, by} outward rotation _{(Supination).}

fig. Ilia.

Over-tension of the fingers with stiffened _{knuckle-joints} and wrist as taught

by the old schools and methods: wrong.

fig. Illb.

"Cocked-gun" pose with absolutely stiffened knuckle-joint: wrong.

musical or technical

_forms,

not vice versa. It _adapts itself to

the instrument,

assuming

such postures

and

forms as _correspond

to its build

and

its

own

_{peculiar (anatomic)} structure

and

pro-portions. Similarly,

and

as a natural consequence, the arched

hand

_adapts itself both to the musical

and

instrumental forms:

its _shape

and

|x>se being modified or determined

by

the same,

1. That the _{knuckle-joints} of the _fingers

do

not

bend

in

(fig. Ilia). Over-tension, i. e. the

much

_{praised "Jtdl-cock"}

setting ofthefingers(fig.Illb

and

c) isabsolutelywrong,

when

viewed

from _{the stand-point of} free _{weight-produced touch,}

for

we

no

longer need such exaggerated tension of the

fingers; besides, the bending-in of the fingers

would

Whatto_giurd

against:

fig. lllc.

Finger raised, old method, with low-set hand and stiffened wrist: radically wrong.

fig. Hid.

Natural curve of the extended _{fingers lightly} thrown forward, the wrist

being held high or low: _{good pose.}

i. e. there are as

many

_hand-poses as there are technical_forms.

The

_play of the

hands

is a constant interchange of contraction

and

extension, of rise

and

fall, of tilting, twisting, turning

(in-ward and out(in-ward

flexions)

and

rolling, gliding motions in both

directions (in

and

out) of parallel figures (similar

and

dissimilar),

converging

and

diverging (of both hands), etc.

So

that there

are as

_many

_{modifications}

_of

the hand-arch as there are _physical

peculiarities in the build of each indiindual hand, etc.

In so _ix>sing

and

_shaping the _hand, care

must

be taken:

destroy the bridge

and

hand-arch,

and

thus, from the

outset, render transmission of _{weight impossible.}

When

_dealing with _{weak, too loosely jointed}

hands

Preliminary

•

1*11,

!• t

i".

exercises for

With lobulated _fmgers

and

_unsteady jomts, preparatory awkward

exercises

must

be _practised, to _strengthen

and

_steady '""^^

each joint,

more

especially the primary joints,

and

in

such _manner, that the _fingers shall _always

be

_slightly

curved

and

in such curved, contracted _pose, each _finger

shall practise separately

on

single notes:

9) . . . , 9.

O

Q

O

«

n

«

o

1.

8

3

3

3

Qawbtg-hand

and and 5th fingers

Hold

the

hand

somewhat

low and

_shape it so as to

form, as it _were, a claw (fig. iV); the full _{weight of} the

arm

to fail

_upon

the _firmly

rounded

_{fingers, grasping}

with the _tips.^

Practise this exercise _daily, if _possible, until the

end

is _gained, i. e. until the _joints have

become

firmer,

stronger

and

the fingers "acting as props" will "stand"

and

_"support" the _weight of

hand and

arm.

2.

The

25^ and

5*

_{fingers particularly}

—

the roots of

which

constitute the internal and external _points of

The

handt

natural to it, without exertingany pressure, while avoiding

any tension or _spasmodic stiffness.

The

arch-set

hand

constitutes the _typical

_form

for all

funda-mental positions

and

_{poses; held} thus, it is the basis of all our o?we

"weight-technic".

""^

This pose ofthe

hand

is _{required only}to transmitthe _weight

and

_support the arm. Later on,

we

shall _{recognize only} one

form: the absolutely relaxed, supple

hand

with loosened joints.

III.

The

_weight

of

the

arm.

The

full utilization of the ^'",.' massive _weight of the

arm

_(which differs as to _quantity and

fig, IV.

Low-set hand with the fingers strongly curved inwards in order to _steady

the first _{twojoints (and} tip). The thumbrests upontheedgeofthekey-board

fig. Va.

Hand raised erect _(on the "i^A _finger). Transmission of weight

—

play-weighted hand "in erection".

Aim ata natural

pose

support in _determining

and

in _limitingthearch ofthe

meta-carpus

—

must

be raised to the height of the

middle-fingers, so that all the _{principal joints} shall describe an

arched line, slightly curving the back of the

hand

(fig. Id

and

_figs. Illd

and

_VI).

Fingers and

hand

must

retain a natural pose, i. e. the

hand

must

_always remain in an unconstrained normal

intermediate _position (figs, la, b,

and

XIIa),

which

is

Theobject

aimedat

'

This exercise serves merely as a means towards an end, and should

by no means lead to the conclusion that a clawing, scratching pose of the

hand is what

we

are aiming at. The touch is _{produced by} the _{fall of} the

arm, not by a tiring action or strained tension of the fingers (as in the Leschetizky-Bree-Melasfeld-methods).

quality with each individual),

when

combined

with the elastic

muscular tension of the

whole

_physical apparatus set in motion

(shoulder, upper-

and

fore-arm, hand, fingers), constitutes the

fundamental elements of _{piano-technic.}

The

essential condition

of its

_employment

is a clear _conception of the various degrees

of _energy needed

—

the mental control of the _{heavy, loose,}

freely oscillating arm, or realisation of weight.

In order to _perceive this

and

_put it _{to practical use,} so that E^pei

it shall be "felt" and _"lodged" in the _finger-tips, lay the arm, with all its muscles relaxed, at full _length and flat

_upon

a table Arm-.

(fig. I _c), arch the

hand

to form the bridge (fig. I_{d), and, raising t^ger}

the _upper-

and

fore-arm, transfer the _weight to the

hand

and

to the _firmly set _{fingers (figs.} Ie

and

_Va).

The

_arm,

^^ ^^

hanging loose

and

inactive in the shoulder-joint, is "supported" suppc

m

U

swiaf

• rope

by

the

hand

or

_by

the _{fingers (passive bearing,} in contrast to active _{bearing of the}

arm by

the shoulder-muscles

—

_light arm).

After _supporting the

arm

a _while, let it fall _again

on

to the

table _(fig. I_{c). Repeat} this

movement,

until the weight is realised

in the _finger-tips, i. e. until the actual consciousness of _weight

is awakened. It

_may

be useful to

make

the _{pupil practise} this

exercise with his _{eyes closed,} as

_owing

to the _consequent

concentration of

mind and

_will-power,

due

to non-diverted

atten-tion, the feeling

becomes

intensified, while intermediary senses

(sense

of muscular

power, pressure

and

pose) are quickened. In

place of the fable,ordinary

weighing

scales

_may

be_used,in order to

determine the weight,

and

at the

same

time demonstrate _oculariy

the

amount

of pressure exerted,

which

must

be uniform.

The

_{supporting-posture} of the

hand

_{having been sufficiently}

practised, follow it

_up

with _{balancing-exercises, causing}the

whole

arm

to _perform a

_pendulous

_{motion, yielding} to the _tilting action

of the wrist,

up

and

down

and

supporting its _weight

_upon

the

arch-set hand. This

movement

and

the _suspension of the

relaxed

arm

constitute the

most

elementary forms of _releasingthe

weight.

The

_relaxing of the muscles naturally corresponds to an

immediaterelease of_pressure

on

the_{key(byweightingthe shoulder).}

The

arm

thus set

_swinging

in its three _{principal joints (shoulder,}

elbow

and

wrist),

may

very appropiately be

compared

to a

rop>e, the transmission of its

movements

producing a

succes-sion of continuous undulations _{(fig. A).}

fig. A.

Exercise:

Take

the _pupil

_by

the

hand

as if _bidding

him

a

hearty

"good

day",

and

shake his

arm

held at full _length.

The

interaction of the three _{principal joints,}

more

_especially that

between

elbow and

wrist will be realised at once.

The

same

experiment will enable us at

once

to detect the least

_impediment

in _{free action,} the _slightest

_spasmodic

retention or _contraction, i. e.

the withdrawal

and

_{holding back} of the fore-arm.

In all these' _preliminary studies

we

must

_{distinguish (with}

Steinhausen) between:

1.

The

hand

_weighted to _{the utmost,} i. e. _{the greatest}

amount

Thethreechief

of _{pressure together} with full muscular

_power

and

the _!"lgh"«hnic

whole

_{weight bearing}

on

the _keys.

2. _Suspension or removal of the _{weight resulting}

from

the withdrawal of the _point of _support of the _arm, as

when

the

arm

is raised from off the table

and

held,

borne

_by

the muscles of the shoulder (active carriage)

up

in the _air, a form of muscular action

which

takes

place even during the shortest pause or rest in _playing.

3.

The

arm

_weighted "for _playing", i. e. the _weight of the

relaxed _arm, or the normal _pressure of the bulk of the

arm suspended

passively or reposing with its full _weight,

all its _{muscles completely} relaxed.

The

_{gross weight} isfrom three to six

_pounds

or more.

The

The forms ot weight of the relaxed

arm

(i. e. of the

arm

weighted for playing)

""*'"

is from

two

to three

_pounds

₍₁₂₀₀

—

1500

_grammes',

that o^

the

hand

in _{repose about V?} a

_pound

_{(250 grammes).}

The

_weight in _{/- or //-style (leggiero, leggierissimo, jeu}

perie) onlyabout 5 to8 ounces, i.e. the_weight of the _lightest hand. For practical purposes,

we

have only to deal with the

arm

weighted for _playing; since the

hand

_weighted to the utmost

—

the crudest form of touch

—

has _nothing in

common

with

the technic of artistic _playing. All

_dynamic

_gradations of

touch, for the intermediate _stages of _technic, are

between

the

suspended

weight

and

that of the

arm

_weighted for _playing.

The

other _degrees of attack are effected

_by

the velocity,

by

the

backward

_sweep

of the

arm

and

by

special tensions of the

muscles of the shoulder

and

back _{(See Breithaupt,} Natural

Piano-Technic. Vol. 1. 2"^ edition. C. F.

Kahnt

_{Nachfolger, Leipzig.).}

•

CHAPTER

n.

TRANSMISSION

OF THE

WEIGHT.

ExercisMlimited

_Having

_goHC

_through these _preliminary, but _{indispensable}

sutiol^n'T™ exercises, wiiich,

owing

to the discordant effect _{they produce} f^ge^"""

°"

"P°"

^^^ ^^^' ^^^ b^iier be performed _inaudibly,

we

_proceed to

Transmissionof

study at thc _piano itself. weight

From silent

exercises

to exercises at

theinstrument

i. e. that no conscious muscular contraction in _any

_way

affect orrreeiosci

disturb the relaxed state of the arm. _^J^^°"^^

This is

most

_important, for at first with _{every pupil (even}

with _children) certain _involuntary,

_spasmodic

reactions

and

a

fig. Vb. Hand set to take thirds.

fig. VI.

The

5*

fingerready to actas _{a "support".} Modernconstruction with_protruding

"knuckle" _(radical knuckle-joint) to bear the _weight of hand and arm _firmly.

Experiment Threechief features of the exercise Weight without pressure

I.

_Testing

the weight,

_weight

_-bearing.

The

teacher should hold the pupil's right arm, lay it

_upon

his _{(the teacher's)} extended

_open

hand

_{(I. h.),} raise the _pupil's

arm and

let it _{suddenly drop back again}

on

to the pupil's knee. In _raising the arm, be careful:

1. That the

arm

rest with its _{full weight, yet} without active

pressure whatever,

upon

the _supportafforded

_by

theteacher'shand.

2. That it

_hang

loose from the shoulder and oscillate _freely.

resistance will be _noticed,

which

it will take time

and

_patience

to overcome.

The

relaxed state of the _arm, as

we

notice in the case of

a child

when

_asleep, or as

we

_may

_{experience ourselves,} if

we

let our

_{arm hang}

loose over the back of a _chair, constitutes in

its _{unconscious, practical application (true} technic is free from

apparent effort) the starting point of all ulterior _development.

the arm, while relaxing the shoulder-muscles will

be

attended

by

a slight contraction in the back

and

a natural tiring of the

shoulder; both are, however,perfectly harmless

and

will disappear

in time.

Muscular reaction, contraction, signs of fatigue, of "aching"

shoulders, that feeling of being

"done

up", of exhaustion are

the safest criterion for the teacher, as they prove the natural

reaction of the muscles

and

that the

movements

and

actions

performed are those required. Intelligent teachers, possessing

symptoms

are, of course, felt in the shoulder.

_They

will not

last _long, however, but disappear in the course of _practice.

They

are felt most, wherever

spasmodic

tension in shoulder

and

elbow

impedes

the reformatory process of training the muscles to

assume

a state of natural relaxation.

3. That the three chief _joints of the

arm

act

and

react

^^'^^t"""

naturally

one

upon

the other, i. e. that neither the

shoulder-joint,

which

is apt to groiv stiff,

owing

to the continually

repeated grasping-action, nor the elbow, nor the wrist-joints

fig. Vila.

Modem

erect _thumb-pose (hand set to take _sixths).

^l*""

some

_knowledge

of_physiologywill _{easily detect}all this

_by

pressing

upon

the muscles in _question.

The

absence of these

symptoms

is _positive evidence of detrimental counteractions or

impediments

and

_proves that the

movement,

the action is

_wrong.

The

reason

for this

_phenomenon

will be

found

inthe simplecontrastbetween:

actions required in_{piano-playing,}viz.

_{suspending and}

relaxing,

and

those performedin_daily life

_by

our

arms and

hands,viz. in_carrying,

holding, seizing or grasping.

The

former constitute actions

which

the muscles are but little

accustomed

to.

The

_{object pursued}

by

the _{piano-student} exacts a different _schooling

and

practice.

Now,

as in training those

members

to

assume

a

suspended

position, the shoulder has to bear the

whole

arm, the first

show

_any signs of rigidness or inflexibility through muscular

tension.

After thus _testing the weight,

which

must be

repeated atTest

theweight

each lesson, bear the full-weighted

arm

of the pupil (supported

on

the teacher's hand) to the _key-board,

and

set it

_upon

the

middle-finger placed perpendicular

upon

a black key (C"#«,

^b*

or

_AV)

(fig. Va).

If the

arm

"holds" at all, the teacher

may

withdraw

his

own

supporting hand,

and

leave the pupil's

arm

to its

own

weight (natural balance). In order to prevent the

arm

from suddenly

dropping

below

the level of the key-board, set the

hand

firmly, raising the wrist rather high (fig. Vb).

The arm mus

Continue this _{exercise, bringing the}

weight to "bear"

simi-5^ingrrs''*''^'"'y

"P°"

*he 2"d, 4th

and

5'"! fingers.

The

last-named finger

5th fingerweak-(fig. VI) requircs particular attention, as in

most

cases, the support

it affords will _prove too _weak,

and

for

months

it will

bend

in

and _give at the _joints, under the

arm

_weighted for _playing.

s"reI4hen5th

'^ '^ advisablc so to _develop the _{knuckle-joint} of the little

finge? finger even at this _elementary

stage, that

on

attaining the

inter-with the first joints bent in, as the case required

and

as the

execution suited _{the fingers.}

The

formation of a firm,

rounded

°"=^*'°p =

,. . _c rounded f

finger-tip, for the highest concentration of

_dynamic

_power

and tip

development of energy, is, nevertheless, to be

recommended

as preferable (figs, lla, b,

Vllb

and IXa). But after all is said

and

done,

we

must

take into _{consideration the general physique,}

dis-position and habits of the _pupil.

Theoretical

figures

fig. Vllb.

Thumb

"crooked" (in grasping pose

—

over-tension of the thumb).

Used for _{chords, octaves,} also in _{polyphonic playing} and in _{legato rolling.}

fig. VIIc.

Hand ofa_{girl-pupil showing}a weak middle _{thumb-joint preventing the} thumb

from _forming a firm _{arch -pose; the} thumb _wobbling to and fro and _giving

way through articulary weakness.

mediate _grade, the "building up" of that finger

may

be completed

and

the _{joint properly "curved", ready} for its

new

work.

The

bending-in of the first _joint is

no

_{absolutely objectionable feature,}

provided the _middle-joint is _sufficiently firm. Liszt

_{and Chopin}

almost _{constantly played} with a

more

or less flat touch and

' _{The thumb}

is the first _finger. (Tr. n.)

The

following exercise will assist in _training the

5^

_finger Experim.

to act as a _{support (fig. VI):} Let the

hand

fall

_upon

the

thumb

(as a prop), allow the

arm

to

hang

in the _yielding wrist _(in

low

posture), raise the

hand

from

below

into a set _posture, the

knuckle-joint of the S"" _{finger serving} as a base of _support.

Continue this _shifting from the

thumb

to the S"" _finger,

pro-gressing thus in broken sixths or broken octaves. This exercise

may

easily

be

practised

on

a table, care being taken to _straighten

out, not curve, the

whole

_finger, else it is _apt to _give at the

knuckle-joint Fingers with too tender nail-joints or middle-joints

must, of course, be trained

and

strengthened, but not before the

preliminary exercises in flexion

and

contraction have been

stu-died, _(figs. IV

and

IXa). Firm finger-joints are indispensable in

higher technic; without

them

it is _impossible to

_produce

the

massive

_power

of tone required in martellato.

I

The

thumb

also calls for attention, as its radical joint, mostly

stiff

and

_{clumsy, requires preparatory training} (cf. fig. Vila).

Relaxation

and

_agility of its radical _joint, as also itserect _pose, are

of great importance in _forming

and

training the

whole

hand.

The

flexion of the

thumb

(fig. Vile) is _mostly

due

to

in-sufficient tension

_power

of the hand, a _disadvantage

under which

most

_pupils labour,

more

especially the

young

ones

whose

hands

have been strained

_by

_{prematurely stretching} octaves.

Consi-dering

how

prevalent this articular

weakness

is, it is _high time

to introduce into all Institutions

and

Conservatories of

Music

the

instrument contrived

_by

Professor

Zabludowski

and

built

_by

Menzel,

which

is furnished with

two

_{adjustable key-boards,} a

normal

one and

a small-sized

one

with the _{keys closer together.}

The

_{general adoption} of _{three-quarter,}

and

half-sized violins

pleads in favour of the introduction of small -sized _key-boards.

Besides, the articular

weakness

_may

be

overcome

_by

_firmly

setting the

thumb

down

(fig. Vila)

and by

curving the

two

first

joints (see the crooked

thumb

_fig. VII_b).

Too

much

time

must

not, however, begiven to these matters.

They

will _gradually

come

about _{of themselves,} so that the _pupil

need not be taxed with

them

_{unnecessarily.} Practice will

equal-ise the _dexterity of the _fingers,

and

_daily exercise in

support-ing the weighted

arm

will _{gradually strengthen} the _joints

and

render

them

fit to

do

their

work

with ease.

The

arch-set

hand

and

its relaxation is the result of _{practice, of} the _adjustment

by

habit to the

most

_elementary

_purpose

of _technic, viz. to learn to _support

and

relax the _weight of the arm.'

*^l^Z

'* 'S o^ ^ar _{greater importance} that the teacher should

watch

chiwpoint,,

and

control the _{weighting (see p.l2),}

which

must

be

done most

carefully, especially in the beginning.

The

free

_{"suspending" and}

"dangling" of the

arm

in the _{shoulder-joint, the equipoise of} its

own

weight, the loosening of all the _{muscles, the easy relaxing}

of the _articulary

mechanism

constitute the chief _object of this exercise, which, for the first _year, will _{require constant supervision}

and

correction.

_Thus,

when

the

hand

is set erect

on

the

•

Oewiditstragung: literally

-

weight-bearing. (Tr. n)

tbc

key-board, the teacher's

hand

_{supporting the arm,} lift the

arm up

"^^^ *«"* °''

fairly high

and

then let it sink back _{again; the teacher} should also pose

frequently strike the pupil's

arm

suddenly

from

underneath.

If the limb is _{properly relaxed,} i. e. if the

arm

is _heavy

and

limp, falling back naturally

and

at once, each time it is _struck,

steadily resting its _weight

_upon

whatever _finger is at the time

supporting it,

we

may

rest assured that all is

going on

right

and

is as it should be.

The

arm must

so

abandon

itself to its

own

weight that it shall _require

some

exertion

on

_{the part} of

the teacher to

move

it from its _position.

As

the _{weight does} not _vary,

and

the muscular sense

per-ceives

and

discerns the _weighting

_by

the resistance

which

the

muscles have to

overcome

at _every

_{movement, no}

_difficulty will

be

found

in _testing

and

_determining the. same. The constant _^JZ^'b^tZ

zveighfitig will become a habit with the pupil,

and

what

at the s^o""* "««""

beginning

had

to

be

taken in with the

mind and

_practised, will

gradually

be

performed unconsciously: the weighting-act will

become

automatic.

The

best

_way

to _proceed in _{transmitting the weight} is: to

set the

arm

_limp

_upon

the _{key-board, and,} with closed _eyes,

transfer the _weight

from

bedded

_key to

bedded

_key zvithotit

sounding

them, the _fingers

_weighing

_heavily

and

with their full

breadth

on

the _keys

_(somewhat

after the _gait of _{plantigrades).}

The

sensation

must

recall that felt in _{walking over} a _moor, the

ground

giving at every step.

The

noiseless

bedding

of the _keys

and

the careful _shifting of the _weight exact a concentration of

mind,

which

in its turn facilitates

and

intensifies the realization

of _weight.

The

_fingers

must

not be raised, they merely take

turns in _carrying

and

_{transmitting the weight, passing, as} it were,

the load from

one

high, curved knuckle to the other.

II.

_Releasing

the

_weight.

This _{weight-bearing} act

—

_{passive bearing process,} is

followed

_by

the removal or _{relaxing of} the _weight

—

active

of^we^ght

bearing process, effected

_by

the _{pupil's suddenly lightening} the

^J'^'',^ ^„^, heavy (weighted), receding arm,

and

letting it, while in absolute aud testn

contact with the

bedded

key, rise with the key.

The

arm

then

hangs

active in the _{shoulder-joint}

and

is "borne"

_by

_it, so that

the sensation of _weight is transferred to the shoulder.

"Passive"

must

_{always be}taken as

_meaning

_{relaxation; for here,}

as _{everywhere else,} muscular exertion is never _{entirely suspended.}

Exercise: _Bring the _weight of the

arm

to bear

_upon

each E='P«"n>"«:

of the _{fingers separately, including} the

_thumb,

_firmly set

on

the

bedded

_key; then _{suddenly carry} the _weight

_by

_allowing the

heavy

arm

playing-weight passive bearing light

arm

discharge of wfiight I active bearing.

This exercise:_/a//

_of

the_weight

—

relaxation

—

_{rising with} the

key,

must

be repeated, until thealternate

charging and discharging

contraction or _{stiffness, every}

joint, muscle

and

sinew of the

limb _being relaxed.

The

arm

should oscillate _naturally in the

wrist-joint. Notice the perfect spring in _{the fetlock-joints}

which

gives that _{elegant grace} to the _step of a _{thorough-bred}

horse,

of a _{stag or} a deer.

The

_pupil should also _{study playing} various forms of

ac-companiment and

chords, at first without _sounding them. Then,

—

_{sounding them}

—

he should practise all _{the exercises with}

fig. VIII.

Relaxed, limp hand, resting on the bedded keys, with perfectly loose wrist and suspended arm (state of relaxation).

of thearm, can be performed perfectly

and

with ease, i. e. without

any

contraction or muscular resistance, at a

moment's

notice.

Having

succeeded in this, leave the (finger)

hand on

the

key

and

let the descent be_folloivedby instant relaxation.

The

best

way

to

do

this is to relax the arch-set

hand

and

slacken all

its muscles: the _hand,

_becoming

soft and _pliable, rests with

only as

much

pressure

on

the key as is _required to _keep it

down

and

sustain the tone _{(fig. VIII).}

Silentmercwe _Preliminary exercise: Place the

hand

_upon

_any interval of a sixth or _octave, without

_sounding

it,

arm

and

hand

relaxed, oscillating, in natural rise and fall _(flexion

—

_tension),

_up

and down,

the _fingers

_bedding

_{the keys} without further pressure.

Every

movement

must

be supple, perfectly free from muscular

both hands, in similar

and

in _{alternating action:}

right

hand

....

high

—

deep

left

hand

deep

—

high

or vice versa.

It will be found excellent _practice to allow the "descent" to

terminate in _{a gliding motion,} i. e. to

make

_{the finger} in action cudir

glide to

and

fro

upon

the bed of the key, the

hand

lightly

resting in the wrist-joint, the

arm

givingsoftlyand with suppleness

to the

movement.

This loosening or relaxing of the limb constitutes the

most

^''''""

most 1

important feature in the

whole

technic.

The

solution of the feature

nature, consisting, as it _does, in the _faculty of _{producing an}

arm

relaxed in its _joints,

on

the mental _impulse, at _any

time,

anywhere,

and

utilizing it, without

expending

other

muscular [)Ower than that normally required for the oscillating

descent,for the transmission

and

theremovalofthat _{self-sameweight.}

The _{mastery of xeeight-technic}, the study of its natural

dynamic

gradations, with perfect alternation

between

normal

mus-cularaction

and

muscularrelaxation,

Jorms

the secret

_of

all teclmic.

»iody

_Dynamic

_{study: Bring} the arm-weight to bear

_upon

the _key

(fig. Va); and,

moving

up

and

down

with it, test all the

various

_dynamic

_degrees of touch, resulting from the natural

weight, as they occur

between

the

arm

naturally weighted for

playing

and

the

arm

releasedfrom weight, in thefollowing manner:

In all these _{preliminary exercises,} the _object of

which

is

to determine the

_dynamic

_intensity of each tone _separately, the

pupil

must

be careful to use the broad fleshy part of the

finger-tip,

which

should adhere to the key, as it _{were, by} suction _power,

until _every

_dynamic

_degree of _percussion enters into the sense

of touch.

The

_object is the culture

and

refinement of the muscular or '»''''''

"""

mustbecomeso

tactile _sense, concentration of the mental _perception of _tone, refinedas

mu-awakening

of a keen sense for all that concerns the

_dynamic

_produce

'°eve'r*i^

value of the _{single tone,} to render the _feeling in the _finger-tips

^Jef_ht°"g«u«

more

acute,

and

refine the sense of _touch, i. e. the harmonic">e weight of connection

between

brain

and

tone.

' " _"^

k

Xt

iXE

XE

XC

XE

XE

s

XE

XE

J^

jCf"

J"

rnf

mp

P

PP

PPP

deer

esc.

The same

in notes of less value:

V

•

o

s

^

^

jsr

y

rnf

decresc.

PPP

PP

cresc.

and

so on.

p

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M