The Groundwork of the Leschetizky Method: With Forty-seven Illustrative Cuts of Leschetizky's Hand

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G.Schirmer, 1902 - Piano - 119 pages
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Page i - THE GROUNDWORK OF THE LESCHETIZKY METHOD ISSUED WITH HIS APPROVAL BY HIS ASSISTANT MALWINE BREE WITH FORTY-SEVEN ILLUSTRATIVE CUTS OF LESCHETIZKY'S HAND TRANSLATED FROM THE GERMAN BY DR.
Page 5 - ... better control and adaptability for a great variety of arpeggio and scale positions. The piano student of today might well consider the advantages of practicing in various hand positions before dismissing the flat-finger position on the basis of such subjective statements as the following by Bree: 'Bending the raised finger inward, or stretching it out stiff and straight, does not look well,, and is a waste of strength, at the expense of tone. and velocity.
Page 34 - In order that chord playing may not tire one too soon, it is indispensable not to hold the chords with a stiff wrist after striking them. Relax the wrist instantly after the stroke; then it will be unnecessary to expend more strength than is requisite simply to hold the keys down. ' Nearly all pianists relax chords naturally, because of the tiring 'feel
Page 29 - Staccato is obtained in the following manner: ' . . . the key is struck down from above. ' A distinction is made between finger-staccato and wrist-staccato, according as the striking lever hinges at the knuckles or the wrist. 'The finger staccato is played by throwing the fingers upward. Hold the wrist loosely and unmoved, raise the bent finger high, strike the key swiftly, and let the finger fly back immediately as at first.
Page 19 - when the slow scale with strong, even touch is thoroughly drilled into the fingers, practice it with the various shades of dynamics; at first forte, then pianissimo, and finally crescendo and diminuendo.
Page 32 - lift the thumb, at most a handbreadth, and strike the key with a twisting motion of the wrist, which is held somewhat higher. After this, let the thumb hold its key while the outstretched and stiffened fifth finger plays its key. This exercise strengthens both fingers greatly. ' Tremolo technique such as this is used for playing all intervals larger than a third; consequently the movement is important. The use of the term 'stiffened fifth finger
Page 28 - Styles of Touch' leads the reader into new difficulties. Bree says: 'The pupils of Leschetizky who particularly excel by their touch and their full warm tone, owe this particularly to the proper study of the finger exercises.' In this set legato is announced for the. second time. This fundamental touch should have been fully explained in the early set on 'General Riles.
Page 32 - Play them in the style of wrist staccato, taking care that the width of the stretch does not change when the hand is lifted, so that the octave may be struck squarely and clean. ' In rapid tempo, 'the fingers are held near the keys and the hand movement resembles a fluttering. Play forte and fortissimo octaves with a firm wrist held high.
Page 56 - In chords the theme usually lies in the highest part. In order to bring it out, ...make the finger which bears the theme longer than the others. This is done by stretching this finger out on the key. The longest finger presses its key down deepest, obtaining a fuller tone.' The instruction given tends to cause the 'longest...
Page 29 - Ch the twenty-ninth page instructions are given on how to play legato: 'the finger is lifted in normal style only when the next finger has struck its key. To obtain legatissimo, let the finger lie a trifle longer, after the next tone is struck ' Such tuition fails to consider the mechanism of tone production; nor is the element of speed considered.

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