|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 33
As to whether he uses the Leschetizky method in its entirety, Mr. Hughes
testified in the affirmative.
"If you were to ask Leschetizky about the 'Leschetizky Method,' he would
probably laugh and tell you he has no method, or he would tell you his
'method' consists of only two things--firm fingers and pliable wrist.
"These are the principles upon which I base the technical training of my
pupils. I first establish an arched hand position, and then test the
firmness of the fingers and knuckle joints by tapping them. At first the
joints, particularly the nail joints, are very apt to sink in when
tapped by a lead pencil; but by having the pupil continue the tapping
process at home, it is not long before he acquires the feeling of
conscious firmness in his fingers.
"Along with this exercise it is most important to begin at once with
wrist exercises, as otherwise, from the effort to acquire firmness of
finger, the wrist may become stiff and unwieldy. The wrist exercises
consist in raising and lowering this joint, with the hand and arm
supported first on each finger separately, then on two, three, four and
five fingers. The wrist should not be so limp as to be incapable of
resistance; but rather it should be like a fine steel spring--a
'spring-wrist,' I call it--capable of every degree of resistance or
non-resistance the quality of tone demands.
"High finger action is not so necessary for beginners as most piano
teachers imagine. It is much easier to teach pupils to raise their
fingers high, than it is to teach them the acquisition of the _legato_
touch at the piano, which is only to be attained by playing close to the
keys, without raising the fingers. It is difficult to get pupils to play
a perfect _legato_ who have had years of training with high finger
action, something which should be taken up for _non-legato_ and
_staccato_ finger work _after_ the more difficult _legato_ touch has
been mastered.
TONE PRODUCTION
"The subject of tone production is one which is much neglected by piano
teachers. Viewed from this standpoint the piano is an instrument apart
from every other, except in some respects the organ. A young violinist,
'cellist or flutist has to study for some time before he can produce a
tone of good musical quality on his instrument. Think what the beginner
on the violin has to go through before he can make a respectable middle
C; but anybody, even a totally unmusical person, can play middle C on
the piano without the least trouble. It is just this ease in tone
production at the piano which leads to carelessness as to the _kind_ of
tone produced; and so piano teachers, above all others, complain they
cannot get their pupils to listen to what they are playing. Pupils
should be made to listen, by means of a special course in tone
production, which should go hand in hand with the technical exercises
used at the very beginning. Otherwise they imagine they are making music
when they place the printed page on the rack, and set the correct keys
in motion.
"There is no other instrument with which it is so easy to 'bluff' a
large part of the audience; for the character of the piano is such that
the general public often think it fine music if the player makes a big
noise. Pianists of considerable reputation often take advantage of this
lack of discrimination on the part of piano-recital audiences, which,
above all the other audiences, seem peculiarly incapable of judging
correctly the musical value of a performance.
"Of the hundreds of piano recitals which take place yearly in the
musical centers of Europe, only a comparatively small number are of real
musical interest. In many cases it seems as though the players were
merely repeating something learned by rote, in an unknown language; just
as though I should repeat a poem in Italian. The words I might pronounce
after a fashion, but the meaning of most of them would be a blank to
me--so how could I make others understand them.
RHYTHM IN PIANO PLAYING
"The subject of rhythm is an important one, and more attention should be
given it. Leschetizky once said that tones and rhythm are the only
things which can keep the piano alive as a solo instrument. I find in
pupils who come to me so much deficiency in these two subjects, that I
have organized classes in ear-training and rhythm.
Previous Page
| Next Page
|
|