Piano Technique

Walter Gieseking, Karl Leimer

• Publisher: Dover Publications
• Year: 2013
• ISBN:
  9780486317410
• Topic: Medien & darstellende Kunst
• Subtopic: Musik

The volume presents two book by Walter Gieseking, foremost pianist of his generation, and his teacher for five years, Karl Leimer, that have long been sought after by students and teachers looking for a radical approach toward developing not only finger-technique but expression-technique. Emphasis throughout is on listening to one's self and proper understanding as the basis of proper technique for the piano.
In book one, originally titled The Shortest Way to Pianistic Perfection, Gieseking and Leimer work with a series of piano works — a study from Lebert and Stark, Bach's Two- and Three-Part Inventions in C, and Beethoven's Sonata in F Minor, Op. 2, No. 1. Before beginning to play, the student is asked to visualize each piece through silent reading. Through Leimer's instruction in this area the student soon discovers how to approach each piece as not merely a series of notes to memorize but as a coherent musical structure to understand. Following are instructions on natural interpretation, with consideration of touch, relaxation, and proper emphasis in the practice. Also given are notes on such topics as etudes, scales, broken chords, the trill, and tranquility.
In book two, Rhythmics, Dynamics, Pedal and Other Problems of Piano Playing, Leimer carries his method of visualization further with a study of the Allemande from Bach's French Suite in E Major. Following are further exercises and practices for developing other pianistic technique with reference to works of other composers. Specific exercises which cover rhythmics, dynamics, and phrasing are designed so that they will benefit not only the pianist but also performers on other instruments. Extensive chapters on variety of touch and the pedal give a great number of techniques and exercises for extending the expressive and dynamic range.

RHYTHMICS, DYNAMICS, PEDAL AND OTHER PROBLEMS OF PIANO PLAYING

CONTENTS

PREFACE

I. INTRODUCTION AND REFLECTION FOR THE MENTAL CONCEPTION OF THE ALLEMANDE FROM THE FRENCH SUITE IN E MAJOR BY BACH

II. TECHNIQUE THROUGH MENTAL WORK

III. RHYTHMICS

Pedagogical Hints

Couplets, Quadruplets, etc

The Up-Beat

The Syncope

Tempo

IV. DYNAMICS

V. VARIETY OF TOUCH

The Free Fall

The Throw and Stroke

The Swing

The Roll

The Pressure

General Hints on Touch

Posture While Playing

Legato

Nonlegato, Portamento, Staccato

The Uses of Touches for Technical Studies

Octaves, Sixths, and Thirds

Touch for Polyphonic Playing and for Phrasing Parts

VI. PHRASING

Phrasing Marks in the Notation

Phrasing in the Art of Interpretation

VII. THE PEDAL

Utilizing the Pedal in the Attainment of Tone Volumes

Application of the Pedal in Attaining Legato Effects Which Are Impossible with Fingers Alone

Application of the Pedal to Express Characteristic Sound Differences

PREFACE

My book, “The Shortest Way to Pianistic Perfection,” written in collaboration with Walter Gieseking, has found a vast circulation at home and abroad and has won spontaneous approval almost without exception. I have received many requests to publish supplements thereto.

This second book occupies itself almost exclusively with the education of concert pianists and gives instructions to pedagogues, who guide their pupils until they have reached artistic maturity. I have often been questioned as to how far these suggestions can be applied to beginners, college students, and serious-minded amateurs.

These aforesaid suggestions for pianists are indeed just as practical for primary instruction and also for players of other instruments. Because of repeated invitations, I then published the lectures which I gave at the Municipal Conservatory in Hannover (whose founder I am) in the form of the present supplementary volume to “The Shortest Way to Pianistic Perfection.” The material for these lectures came through my own pedagogical experience and was compiled from different sources.

In this supplementary volume a thorough discussion with regard to questions on Rhythmics, Dynamics, Modes of Touch, and Phrasing takes place. A separate chapter was devoted to the Use of Pedals, since very little material on this particular subject is available. I deem that these very applications are exceedingly important, since the application of the pedal is difficult to teach.

Many questions arise again and again with regard to the present applications, although they have formerly been discussed, of course, from a different point of view. But this is immensely important with regard to instruction, because many things cannot be repeated often enough: Repetitio est mater studiorum.

The chapters on reflection and technique through mental work have been inserted, since these problems are generally treated too carelessly, in spite of their importance.

Hannover, December, 1937.

KARL LEIM

I. INTRODUCTION AND REFLECTION FOR THE MENTAL CONCEPTION OF THE ALLEMANDE FROM THE FRENCH SUITE IN E MAJOR BY BACH

It is an important pedagogical experience to confine oneself to a single problem while studying a composition if the single tasks are to be understood thoroughly and carried out in all details. However, more advanced pupils will be able to treat more than one problem at the same time when practicing. This is an asset to their future success.

One should first of all concern himself with the impression of notation and acquaint himself with the valuation of notes. After mastering these rudiments, one should learn the proper modes of touch. One thinks of composite rendition only after the preceding problems have been satisfactorily solved. First-class piano playing is possible and thinkable only after these problems have been rendered exactly and with utmost care. This successive solving of problems, which must also be a matter of utter concentration, is not the only ways and means for reaching a goal, inasmuch as we also learn to see and understand them in the quickest and best manner by following the intentions and indications of the composer.

The struggle with the so-called “mentally lazy” is, of course, a difficult one. It is necessary to convince the pupil that the memorizing of single measures and short passages will train the memory and that such training will not involve unconquerable difficulties. In my book, “The Shortest Way to Pianistic Perfection,” I have shown that mind training is accomplished through reflection. As a model example for reflection, I have analyzed an Etude, two Inventions of Bach and a Beethoven Sonata. Points of conjecture for reflection can be found very easily, but, naturally, there are also sections which are hard to memorize and where one encounters great difficulties.

The importance of reflection, which, in spite of its advantages, is appreciated very little and used seldom, causes me to analyze the French Suite in E major by Bach as a further example. The scanning of its “Note-picture” will easily and quickly serve as a means to its impressiveness. Contrary to this, it will seem as though the illustration of reflection which is used for enlightenment is often far-fetched and made up of so many words that one might think it useless and a waste of time.

I hope that my directions, which should immediately be transferred to the “Note-picture” of every single measure, will be understood instantly. My earnest advice is: Do not proceed from measure to measure until you have entirely memorized the first measure; thereafter selecting only a few measures at a time which must, of course, be practiced four to six times in the course of a day. In this manner, I have discovered, almost without exception, that my pupils have mastered and committed to memory all passages of the Alle-mande with absolute certainty in a comparatively few days. When teaching, I always demanded (in varied order) marked places (such as D, D-sharp passage, bass melody, sixth cadence) which the pupils would then play in proper tempo with proper fingering, etc., with little hesitation or delay. Although the marking of single measures isn’t exactly necessary, it may be advantageous in accomplishing the task of memorization. Reflection, itself, must be comprehended gradually and independently by the pupil. A competent teacher should be able to direct him on this point. The capability of memorizing in this manner will grow extraordinarily and rapidly. Many pupils, after one year of this practice, have been able to memorize several pages from lesson to lesson. In many cases, my pupils have furnished proof that with the training of the memory one can obtain excellent results, and that it will pay to undertake all studies in the proposed manner.

Allemande of the French Suite in E Major by Bach

Key—E major. Time 4/4. Count loudly and shortly. The first measure for the right hand consists of chord tones of the E major triad with two passing notes in the following manner: After the up-beat B, the E major triad follows, starting with g-sharp, a as passing note; chord tone b, chord tones e″ e′ e″, f-sharp as passing note, e″. Then follows the exact repetition of the first half of the measure. The left hand begins on the second eighth note and consists of the E major tones in eighth notes: e, g-sharp, b, e′ and repetition of the E major triad. The second measure for left hand begins with e′ and for right hand with g-sharp′. When studying these measures, we commonly close with the first tone of the ensuing measure in order to impress “position and fingering” with absolute certainty. We shall call the second measure the “tri-tone-measure” since it contains the tones e″ f-sharp″ g-sharp″, being repeated after the lower seventh a. Thus is the following course: Right hand—g-sharp′ e″ f-sharp″ g-sharp″ a′ g-sharp″ f-sharp″ e″, then comes d-sharp″ as the “third” of the now following dominant triad b d-sharp f-sharp with the passing note e″ and finally the diminished “third” d″. The left hand has the four scale formed tones e′ d-sharp′ c-sharp′ and then, with the omission of b, the small a, the second half again has the analogical scale tones from b on, b a g-sharp e. This measure, too, is easy to remember. The third measure begins with the tones c-sharp″ right and left. We’ll name it sixth cadence. After c-sharp″, as the “third” of the sub-dominant, the passing note d-sharp″ follows; then e″ a″ a′ aa″ c-sharp″ a″. The frame work is the sixths c-sharp″ a″: b′ g-sharp″ a′ f-sharp″ in the fourth measure g-sharp′ e″ f-sharp′ d-sharp″. The sixths partly follow immediately on the first tone or are delayed until the end of the quarter note. The first sixth proceeds in direct succession. The second sixth b′ g-sharp″ is delayed through the seventh a″ and fundamental tone e″. The third sixth a′ f-sharp″ is delayed through b′ c-sharp″. The fourth sixth is direct. The fifth one is again delayed through g-sharp′ a′. Thereupon, the fundamental tone e″ follows. The “left” descends from small a to d-sharp in scale form. Now the sub-dominant triad (e c-sharp a) follows; then four tones b g-sharp a b; the tonic-triad, E major. The next two measures (5 and 6) we will call the “Chord-spot.” The left hand part consists only of perfect chords, whereas, in the right hand part, the chord progressions are interrupted by intermediate tones. At this place, we begin with the up-beat g-sharp″ d-sharp″ f-sharp″. The first tones in measure “five” are e″ (right hand); left hand, small c-sharp. Then we must bear in mind the chord tones at the beginning of both measures: c-sharp e g-sharp, and one tone lower, b d-sharp f-sharp. In the second half of measures five and six, these chord tones, f-sharp a-sharp, c-sharp and e g-sharp b, follow a fifth lower each time. The right hand begins with e″ c-sharp″, between them the passing tone d-sharp″, then e″ g-sharp″ c-sharp″ e″ and b′ as transition to the next chord. The second chord a-sharp′ f-sharp′ with intermediate tone g-sharp′, a-sharp′ c-sharp″ f-sharp′, seventh e″ and f-sharp′. The third chord is the exact sequence of the preceding from d-sharp″ on. In the “left,” the chords are the same. The chord tones follow one another alternately in contrary motion. Measures 7 and 8, we shall call the scale cadence. The left hand begins with the small e; after that, from c-sharp on, the B-major scale to b with intermediate tone f-sharp before b. Then cadence tones e f-sharp F-sharp B. The right hand has the scale tones from c-sharp″ to g-sharp″ up and down, only f-sharp missing when scale ascends. After that, the B-major scale from b″ to c-sharp″ with intermediate tone e″. Then mordent on d-sharp″, mordent on c-sharp″, closing tone b′. Measure 9, with preceding up-beat, is called six-five-four position. The right hand tones consist of dominant tones b d-sharp f-sharp; after that, first chord tone f-sharp″ with sixth a-sharp′ second chord tone d-sharp″ with fifth g-sharp′ third chord tone b′ with fourth f-sharp′. The left hand has B major triad with passing c-sharp; after that, b f-sharp b e, then the opening theme of the first measure from d-sharp on which passes through to measure 11 as sequence. The sixth sequence in the right hand follows, same beginning in the ninth measure with sixth g-sharp′ e″, then a-sharp′ f-sharp″, b′ g-sharp″, then triad b″ g-sharp″ e″, the scale tones g-sharp″ to b′ thereafter, chord tones g-sharp″ b′, mordent on a-sharp″, then, as an ending, triad B major with intermediate c-sharp″. In the left hand, cadenc...