Fund undamental ntals of Piano Practice
by Chuan C. Chang
To my wife
Merry and our daughters daughters
Eileen and and Sue-L Sue-L ynn
The The material rial of Cha Chapter One origin rigina ated from rommy notes on how the lat late Mlle. Yvonne Com Combe taught our daughter daughters. Ml Mlle. Combe Combe was Debussy's di disci scipl ple e and and helped ped transcri transcribe his his new compositi positions ons as he playe played them themout on thepiano. piano. She per perform formed that incr incred edible ble Secon Second d Pi Piano Concerto Concerto by Saint Saens with the composer conducti conducting. ng. Eve Every audien audience that attende attended re recital citals s by her her studen students, ts, especial ciallly when they they playe played Debussy Debussy and Sai Saint nt Saens, Saens, was mesmerize eri zed. d. Thi This s book had to be written wri tten:: without without it, it, her passing would would have deprived this world of a priceless art.
Chap Chapter O On ne: PI A NO TEC T ECHNI HNI QUE Chap Chapter T wo: TUNI T UNING NG Y OUR PI P I ANO
References
March 6, 2009 Copyright opyright © 2009, copy p perm ermitted if author’ author’s s name, Chuan C. Chang, and this copyright statement are included. ISBN: 1-4196-7859-0 I SB SBN N-13: 13: 978-4196 978-419678 7859 592 2 L ibrary brary of Congress Congress Control Number: ber: 20079 2007907 0749 498 8 Order this book at www.booksurge.com or A mazon.com This This entire ire book can be downloa loaded fre free at: http://www.pianopractice.org/ 1
Tab Table of Con Contents Tes Testimonials. ials..................................................................................................................................................... 6 A bbre bbrevi via ations and and Frequ Freque entl ntly Use U sed Phrase Phrases........................ s.................................. .................... .................... .................... .................... .................... ................... ............. .... 14 Prefac Preface e............................. ............................................. ............................... ............................... ............................... ............................... ............................. ............................. ................................ ................... ... 16 CHAPT CHA PTER ER ONE: PIA PI A NO TECHNI TE CHNIQUE QUE ......... .............. .......... .......... .......... .......... .......... .......... .......... ......... ........ ......... .......... .......... .......... .......... .......... .......... ......... ........ ........ ...... 24 I . I NTRODU NT RODUCT CTII ON .............................. ............................................. .............................. .............................. ............................... ............................... ............................... ........................... ........... 24 1. Obj Objecti ctive............................... ve.............................................. .............................. .............................. ............................... ............................... ............................... ............................... ................. 24 2. What What is Pia Pi ano Techniqu chnique e?................... ?............................ ................... .................... .................... .................... .................... .................... .................... .................... ............... ..... 25 3. Tec Techniqu ique, Mu Mus sic, ic, Men Mental Play ........................................................................................................ 26 4. Basi Basic App Approa roach ch,, Int I nte erpretation, tation, Mus Musiical cal Trai raining, ning, Abs A bsolute olute Pitc Pi tch h.................... .............................. .................... .................... .......... 26 I I . BASIC BA SIC PROCEDU PROCEDURES RES FOR PI PIA NO PRACT PRA CTII CE ........ ............. .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... ........ ... 28 1. The The Pra Practice ice Rou Routine ine......................................................................................................................... 28 2. Fin Fi nger Posi Positions tions............................... ............................................... ............................... ............................... ............................... ............................... .............................. .................... ...... 29 3. Bench Bench Height Height and and Dist Dista ance nce from Pia Pi ano............... no........................ ................... .................... .................... .................... .................... .................... .................. ........ 30 4. Starting Starting a Pie Pi ece: ce: Li L iste stening and A nalysis (Fur Eli Elise)................ ).......................... .................... .................... ..................... ..................... ................ ...... 30 5. Pract Practiicethe the Diff Diffiicul cult Sect Sectiions ons Firs Fi rstt .............................. .............................................. ............................... .............................. ............................... ...................... ...... 31 6. Shorte Shortening ning Diff Di ffiicul cult Passa Passages: Segm Segmenta ntal (Ba (Bar-by-Ba r-by-Bar) Practice.................. Practice............................ .................... ..................... ............... .... 31 7. Hands Hands Sepa Separate rate Pract Practiice: ce: A cquiri cquiring ng Techn Techniique............... que......................... .................... .................... ................... ................... .................... ................ ...... 31 8. Continu Continuiity Rule......................................... Rule........................................................ ............................... ............................... ............................... ............................... .......................... ........... 32 9. Chord Chord A tta ttack........................................... ck.......................................................... .............................. .............................. ............................... ............................... ............................. .............. 33 10. Gravi Gravity ty Drop, Drop, Chord Practice Practice,, and and Relaxation........................ tion.................................. .................... .................... .................... .................... ............ .. 33 11. Para Paralllel Sets............. Sets............................ .............................. .............................. .............................. .............................. ............................... .............................. ......................... ........... 35 12. L earning, rning, Memorizing orizi ng,, and Menta ntal Pla Pl ay.................... y.............................. .................... .................... .................... .................... .................... ............... ..... 36 13. V elocity, Choice of Practice Practice Speed................ d.......................... .................... .................... .................... .................... .................... .................... ................. ....... 38 14. How to Relax............... Relax.............................. .............................. .............................. .............................. ............................... ............................... .............................. ..................... ...... 39 15. Post Practice Practice I mprove provem ment (PPI (PPI ) ................... ............................. ................... ................... .................... .................... .................... ................... .................. ......... 41 16. Dange Dangers of Slow Pla Play - Pitfa Pitfallls of the the I ntuiti ntuitive ve Method thod......... ................... .................... .................... .................... .................... ............ .. 42 17. I mporta portanc nce e of Slow Slow Pla Pl ay.................... .............................. .................... .................... .................... .................... .................... ................... ................... .................... .......... 43 18. Fin Fi ngering.............. ring.............................. ............................... ............................... ............................... ............................... ............................... .............................. .......................... ........... 44 19. A ccura ccurate te Tempo and and the theMetrono tronom me................... e............................ ................... .................... .................... .................... ................... ................... ............. ... 45 20. Weak L eft Hand; Hand; Using Using OneHand Hand to Te Teach the the Othe Other................... r.............................. ..................... .................... .................... ............. ... 46 21. Buil Building Endura Endurance nce, Breath Breathiing.................. ng............................ .................... .................... ................... ................... .................... .................... .................... ............ .. 47 22. Bad Habi Habits: ts: A Pia Pi anist's nist's Worst Enem Enemy........... y..................... .................... .................... ................... ................... .................... .................... ................... ......... 49 23. Damper Peda Pedal .................... ............................. ................... .................... .................... ................... ................... .................... .................... .................... .................... .................. ........ 51 24. Soft Peda Pedal: Hammer Voici V oicing ng,, Phy Physics sics of the Pia Piano Soun Sound.......... d.................... .................... .................... .................... ................. ....... 52 25. Hands Hands Toge ogethe ther and Menta ntal Pla Pl ay ................... ............................. .................... .................... ................... ................... .................... .................... .................. ........ 55 Beeho Beehove ven’s n’s Moo M oonli nligh ght, t, 1st 1st Move Movem ment, nt, Op. Op. 27, 27, No. 2 .................... ............................. ................... .................... .................. ........ 56 Mozart’s ozart’s Rondo Rondo A lla Turca urca, fromSona Sonata K 300 300 (K33 (K 331). 1). ................... ............................. ................... ................... ............... ..... 59 Chopi Chopin's Fanta Fantaisie-Im sie-I mpromptu, ptu, Op. 66, 66, Fast Pla Pl ay Degra Degrada dati tion on (FPD (FPD))........ ............ ........ ........ ........ ........ ........ ...... 61 26. Sum Summary............... ry ............................... ............................... .............................. .............................. .............................. .............................. .............................. ........................... ............ 64 I I I. SEL SELECT ECTED ED TOPICS TOPI CS IN PIA PI A NO PRACT PRA CTII CE ........ ............. .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... ......... .... 64 1. Tone one, Rhyth Rhythm m, Le Legato, to, sta stacca ccato.......................... to.................................... .................... .................... .................... .................... ................... ..................... ...................... .......... 64 a. What is "Good Tone"? The The Bas Basic K eystroke. .......................................................................................................... 64 Ton Tone: Sing ingle versus Mu Mult ltip iple le Not Notes, Pianiss issimo imo, For Fortiss issimo imo. ............................................ 65 b. What What is is Rhyt Rhythm hm? (Bee (Beeth thove oven’ n’s s Te Tempest, Op. 31, #2, App A ppa assi ssiona onata, ta, Op. 57) ........ ............ ........ ........ ........ ....... ... 69 c. L egato, Stacca Staccato......... to................... .................... .................... .................... .................... .................... .................... .................... .................... .................... ................... ............. .... 71 2. Cycli Cycling (Chopi (Chopin's n's Fanta Fantaiisie I mprom promptu).. ptu)........... ................... .................... .................... .................... ................... ................... .................... ..................... .............. ... 72 3. Trill ril ls & Trem remolos ............................. ............................................ ............................... ................................ ............................... ............................... ................................ ...................... ...... 76 a. Trills. Trills............................................................................................................................................. 76 b. Tre Tremolos los (Bee Beethoven's Pathetiqu ique, 1st Mov Movement).. ).................................................................... 77 2
4. Hand, Hand, Fing Fi nge er, Body Moti otions ons for Tech Techniqu nique e.................... .............................. .................... .................... .................... ..................... ..................... ................... ......... 79 a. Hand Hand Motions (Pronation, (Pronation, Supina Supination, tion, Thrust Thrust,, Pull Pull, Cla Cl aw, Thro Throw, w, Fli Fl ick, Wrist Wrist)) ................... ....................... ....79 79 b. Playing with Flat Fingers (FFP, Spider, Pyramid Positions).......................................................80 c. Body Body Motions otions.............. ............................. .............................. .............................. .............................. .............................. ............................... ............................... ..................... ......8 88 5. Pl Playing ying Fast: Fast: Scal Scales, Arpe A rpeggi ggios, os, and Chrom Chromatic Scal Scales.......................... s.................................... .................... .................... .................... ................ ......89 89 a. Scales: Thumb Under, Thumb Over (TU, TO)............................................................................89 b. The The TO Mot Motion ion, Exp Explan lanation ion and Vide Video... o.....................................................................................91 .91 c. Practicing TO: Speed, Glissando Motion....................................................................................92 d. Scal Scales: Origin, Ori gin, Nom Nomencl nclature ture and and Fing Finge ering rings s................... ............................ ................... .................... .................... ................... ................... .......... 96 e. A rpegg rpeggiios (Cho (Chopin’ pin’s s Fantaisie Impromptu, ptu, Cartwh Cartwhe eel Motion, Motion, Finge nger Splits) Spli ts) ........ ............ ........ ........ ........ ...... ..98 98 f. Thr Thrust and Pu Pull, ll, Bee Beethoven's Moo Moonligh light, 3rd Mov Movement.. t..........................................................10 .100 g. Thu Thumb: the Mos Most Ver Versatile Fing Finger.. r.............................................................................................10 .103 h. Fast Chromatic Scales................................................................................................................103 6. Memorizing.............. orizing .............................. ............................... ............................... ............................... ............................... ............................... ............................. ..............................10 ................104 4 a. Why Memorize? orize? .............................. ............................................. ............................... ............................... .............................. .............................. .............................10 ..............104 4 b. Who can, What What to, to, and and When to, to, Me M emorize. .................... .............................. .................... .................... .................... .................... ................ ......10 106 6 c. Memorizing and Maintenance...................................................................................................106 d. Hand Memory............................................................................................................................107 e. Starting Starting the the Memorizing orizi ng Process............ Process...................... .................... .................... .................... ................... ................... .................... .................... .............. ....10 107 7 f. Reinforcing the Memory............................................................................................................108 g. Pract Practiicing Cold .............................. ............................................. .............................. .............................. ............................... ............................... ...............................10 ................109 9 h. Slow Pla Play.............................. ............................................. ............................... ............................... .............................. .............................. ............................... ......................... .........10 109 9 i. Mental Timing.............................. ............................................. ............................... ............................... ............................... ............................... .............................. ................. 110 110 j. Establi Establish shiing Perm Permanent Me Memory, Me M enta ntal Pla Pl ay ................... ............................. .................... .................... ................... ................... ............... .....11 110 0 Music memory.....................................................................................................................111 Photographic memory..........................................................................................................111 K eyboa yboard memory andme menta ntal play....... play................. .................... ................... ................... .................... .................... .................... ................... .........11 112 2 The Theoretica ical memory... .............................................................................................................11 .114 k. Maintenance...............................................................................................................................114 l. Sigh Sightt Re Readers versu versus s Me M emorizers.......... orizers.................... .................... .................... .................... .................... .................... .................... .................... .............. ....11 115 5 Bach's ch's 2-part 2-part Inve Invent ntiions: ons: #1, #8, and #13. 13. ........ ............ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... 116 116 Quiet hands.........................................................................................................................120 Sinfon Sinfoniia #15....... 15................. .................... ................... ................... .................... .................... .................... .................... .................... .................... ................... ............. ....12 121 1 m. Human Me Memory Funct Functiion; on; Mus M usiic =Me =M emory Al A lgori gorith thm........... m..................... .................... .................... .................... ................. .......12 122 2 n. How to Beco Becom me a Good Memorizer......... orizer.................... ..................... .................... .................... .................... .................... .................... .................... .......... 124 124 o. Summary....................................................................................................................................125 7. Exercises..............................................................................................................................................126 a. I ntrod ntroduc uction: tion: Int I ntri rins nsiic, Li L imbering ring,, and and Conditi Condition oniing Exercise Exercises s ..................... ............................... .................... ................ ......12 126 6 Fast Fast vs. vs. Slow Muscles cles ............................. ............................................ .............................. .............................. .............................. ............................. ..............1 127 b. Parallel Set Set Exe E xercise rcises s for for Int I ntri rins nsiic Te T echnica chnicall Deve Developm opment........... nt..................... .................... .................... .................... ............. ...12 128 8 c. How To Use Use TheParal Parallel Set Set Exe Exerci rcise ses (Be (Beethove thoven’s n’s App A ppa assi ssiona onata, ta, 3rd Move M ovem ment) nt) ........ ............ .... 134 134 d. Scal Scales, A rpegg rpeggiios, os, Fing Fi nge er Ind Inde epende ndence nce and Finge nger Li Lifting fti ng Exerci xercise ses s ........ ............ ........ ........ ........ ........ ........ ........ .... 135 135 e. Pla Pl aying ying (Wide (Wide) Chords, Chords, Fi Finge nger/Palm Spre Sprea ading Exercise Exercises s................... ............................ ................... .................... ................. .......13 136 6 f. Practici Practicing ng J umps..................... ps............................... ................... ................... .................... .................... .................... .................... .................... .................... .................... .......... 138 138 g. Stretc Stretching hing and Othe Other Exe Exercise rcises........ s.................. .................... .................... .................... ..................... ..................... .................... .................... ................... .........13 139 9 h. Problems with Hanon Exercises................................................................................................139 i. Practici Practicing ng for Speed ................... ............................. .................... .................... .................... ................... ................... .................... ..................... ..................... ............... .....14 142 2 Speed Stroke, Relaxation...................................................................................................142 Othe Other Speed Method thods s .................... ............................. ................... .................... .................... .................... ................... ................... ..................... ................ .....14 143 3 Speed Walls.......................................................................................................................143 8. Outlining Outlining (Beeth (Beethove oven' n's s Sona Sonata #1)........... 1)..................... .................... .................... ................... ................... .................... .................... .................... .................... ............ ..14 145 5 9. Polishing a Piece - Eliminating Flubs..................................................................................................146 10. Cold Hands, Slippery (Dry/Sweaty) Fingers, Illness, Hand Injury (Carpal Tunnel), Ear Damage (Ti (Tinnitus tus) ............................. ............................................. ............................... ............................... ............................... ............................... .............................. .............................. ........................ ........14 147 7 3
11. 11. Sigh Sightt Reading............ Reading...................... .................... .................... .................... .................... .................... .................... ................... ................... .................... .................... ................... ........... .. 153 153 12. 12. L earning Rel Relative Pitc Pi tch h and and Absol Absolute ute Pitc Pitch h (Sigh (Sightt Sing Singiing, ng, Com Composing posing)) .................... .............................. ................... ......... 155 155 13. 13. Vi V ideo Record Recordiing and A udi udio Record Recordiing Y our our Own Playing..................... Playing............................... .................... .................... .................... .......... 159 159 14. 14. Pre Prepa paring ring for Performance nces and and Recita Recitalls............... s......................... .................... .................... .................... .................... .................... .................... ............... ..... 160 160 a. Bene Benefits fi ts and Pitfa Pi tfallls of Performance nces/Recita s/Recitalls.......... s. ................... .................... ................... ................... .................... .................... .................... .......... 160 160 b. Basi Basics of Fla Flawle wless Perform Performa ance nces........... s..................... .................... .................... .................... .................... ..................... ..................... .................... .................. ........ 161 161 c. Practici Practicing ng for Performance nces.......... s.................... .................... .................... .................... .................... .................... ..................... ..................... ..................... ................. ...... 161 161 d. Pract Practiicing Musi usical cally. ............................. ............................................ .............................. ............................... ............................... ............................ ............................ ............... 162 e. Casua Casual Perform Performa ance nces........... s..................... .................... .................... .................... .................... .................... .................... .................... .................... .................... .................. ........ 163 163 f. Pe Performa rformance nce Prepa Preparation ration Routi Routines........... s. .................... .................... .................... .................... .................... .................... .................... ..................... ................. ...... 164 164 g. During the the Reci Recital tal. ................... ............................. .................... .................... .................... .................... .................... .................... .................... .................... .................... ............. ... 166 166 h. That Unfamiliar Pia Pi ano.... no.............. .................... .................... .................... .................... .................... ................... ................... .................... ..................... ..................... ............. ... 166 166 i. A fter fter the the Reci Recital.............................. ............................................ ............................... ............................... .............................. .............................. .............................. ..................... ...... 167 15. 15. Origin Origin and Control Control of Ne Nervousn rvousne ess......... ss................... .................... .................... .................... .................... .................... .................... .................... .................... .......... 167 167 16. 16. Teachi ching.......... ng.................... .................... .................... ................... ................... .................... .................... ................... ................... .................... ..................... ..................... ................... ........... .. 170 170 a. Types of Teachers. ............................... .............................................. ............................... ............................... ............................... ............................... ............................. .............. 170 b. Teaching Y oung oungste sters, Pare Parent nta al Involvem I nvolvement, nt, Me Menta ntal Pl Play, Abs Absol olut ute e Pitch Pi tch.. ........ ............ ........ ........ ........ ........ ........ ...... .. 170 170 How to teach your your chi child.......... d.................... .................... .................... .................... .................... .................... .................... .................... ................... ................... .......... 172 172 c. Memorizing orizi ng,, Reading Reading,, Theory.......... ory. ................... .................... .................... .................... .................... ................... ................... .................... .................... ............... ..... 174 174 d. Some Elements nts of Pia Pi ano L esson ssons s and perf perform ormanceskill skil ls..... s. ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... 175 175 e. Why the the Greatest test Piani Pianists sts Coul Could Not Teach Teach.. ................... ............................. .................... .................... .................... .................... .................... ............. ... 178 178 17. 17. Uprigh U pright, t, Grand Grand & Ele El ectron ctroniic Pia Pi anos; nos; Purcha Purchasing and and Care....................... Care................................. .................... .................... ................... ......... 179 179 a. Grand Grand,, Uprigh Upright, t, or Ele El ectron ctroniic?........... c?..................... .................... .................... .................... .................... .................... .................... .................... .................... ............. ... 179 179 b. Ele El ectron ctroniic Pia Pi anos................ nos.......................... .................... .................... .................... .................... .................... .................... .................... ................... ................... .................... .......... 180 180 c. Uprights.... Uprights.................... ............................... ............................... ............................... ............................... ............................... ............................... .............................. .......................... ............ 183 d. Gran Grands. ds. ............................. ............................................. ............................... ............................... ............................... ............................... ............................. .............................. .................... ... 183 e. Purcha Purchasing an A coust coustiic Pia Pi ano. no. ................... ............................. .................... .................... ................... ................... .................... .................... ..................... ................ ..... 184 184 f. Pia Piano Care Care.................... .................................... ............................... .............................. .............................. .............................. ............................... ............................... ........................ ......... 185 18. How How to to Start Le L earning Pia Pi ano: no: Y oung ounge est Childre Chil dren to to Old Old Adu Adullts............................ ts...................................... .................... ................ ...... 187 187 a. Do Y ou Need a Teache cher?. .................... .............................. ................... ................... .................... .................... .................... .................... .................... .................... ............ .. 187 187 b. Starte Starterr Books and K eyboa yboard rds......... s................... .................... .................... .................... .................... .................... .................... .................... ..................... ................. ...... 188 188 c. Beginn Beginne ers: Age 0 to 65+ 65+.................... .............................. ................... ................... .................... .................... .................... .................... .................... .................... ............... ..... 188 188 19. 19. The The “Ide “I deal” Practi Practice ce Routine Routine(Ba (Bach’ ch’s Teachings and I nventi ntion #4).... 4) ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ .... 191 191 a. L earning the the Rule Rules. ................... ............................. .................... .................... .................... .................... .................... .................... .................... ................... ................... ............. ... 191 191 b. Routi Routinefor Le Learning a New Pie Pi ece. ce.................... ............................. .................... .................... .................... .................... .................... .................... .................. ........ 191 191 c. “Norm “Normal” Practice Practice Routi Routines and and Bach Bach’’s Te Teachi chings....... ngs................. .................... .................... .................... .................... .................... ............... ..... 191 191 20. 20. Bac Bach: h: theGreate Greatest st Compos Compose er and and Teacher cher (15 Inve Inventions ntions and and thei their Paralle Parall el Sets) Sets)..... ........ ...... ...... ..... ..... ..... ..... ..... .. 197 197 21. 21. ThePsycho Psychollogy ogy of Pia Pi ano.......... no................... ................... .................... .................... ................... ................... .................... .................... .................... .................... ................ ...... 199 199 22. 22. Summary of Method thod......... ................... .................... .................... ................... ................... .................... .................... .................... ................... .................... ..................... ............. ... 201 201 I V . MUSIC, MUSI C, MATH MA THEM EMA A TICS, TI CS, AND RESEA RCH ......... .............. ......... ......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... ......... .... 202 1. Can Can We We Al A ll Be Moza M ozarts? rts? .............................. ............................................. .............................. .............................. .............................. ............................. .......................... ............ 202 202 2. Scientif Scientifiic A pproa pproach ch to Pia Pi ano Practice Practice.......... .................... ................... ................... .................... .................... .................... .................... .................... .................. ........ 203 203 a. TheScientif Scientifiic Method thod...................... .............................. .................... ................... ................... .................... .................... .................... .................... ..................... ................. ...... 203 203 b. Prin Principles ciples of L earni rning................................... g.................................................. .............................. .............................. .............................. .............................. ...................... ....... 204 3. Why I s Intuiti ntuition on So Ofte Often Wrong? Wrong?.......... .................... .................... .................... .................... .................... .................... .................... .................... ................... ........... .. 206 206 4. Moza M ozart's Formula, Formula, Be Beethove thoven and and Group Theory......... Theory................... .................... .................... .................... .................... .................... .................... .......... 206 206 Mozart ozart (Eine (Ei neK leineNacht Nachtm musi usik, Sona Sonata K 300).............. 300)........................ .................... .................... .................... .................... .................... ............ .. 206 206 Beeth Beethove oven n (5th Symph Symphony, ony, A ppa ppassi ssiona onata, ta, Waldstein).... n)........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ....... ... 209 209 5. Le L earning Rate Rate Calculation Calculation (1000 (1000 Times Faste Faster!) r!).......... .................... .................... .................... .................... .................... .................... .................... .......... 212 212 6. Future Future Rese Research Topi opics.......................... cs.................................... .................... .................... ................... ................... .................... .................... ..................... ..................... ............. ... 215 215 a. Mom Momentum ntumTheory of Pia Piano Pla Pl aying ying.. .................... .............................. .................... .................... .................... .................... .................... .................... ............. ... 215 215 b. ThePhysi Physiology of Techniqu chnique e. .................... .............................. .................... ................... ................... .................... .................... .................... .................... ............... ..... 215 215 c. Brain Re Research, rch, Using Using the theSubco Subcons nscious cious.. ..................... ............................... .................... .................... .................... .................... .................... ................ ...... 215 215 4
d. The The Fut Future of Pian Piano … ………… …… ………… ………… ………… ………… ………… ………… ………… ………… ………… ………… ………… ………… ………21 …217 7 . e. The Futu Future of Educa Education..……… tion..…………… ………… ………… ………… ………… ………… ………… ……….… ….……… ………… ………… ………… ……….21 ….219 9 V . JA J A ZZ, FAK FA K E BOOKS, BOOK S, AND AND IM IMPROVI PROV ISA SATI TION ON.... ......... .......... .......... .......... .......... ......... ......... .......... .......... .......... .......... .......... .......... .......... .......... ........ ...2 220 CHAPT CHA PTER ER TWO: TWO: TUNI TU NING NG Y OUR PIA PI A NO..... NO ......... ......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .......... .........22 ....222 2 1. I ntrod troducti ction.............. on.............................. ............................... .............................. .............................. .............................. ............................... ............................... ...............................22 ................222 2 2. Chromatic Scal Scaleand and Temperam rament........................... nt..................................... .................... .................... .................... .................... .................... .................... .............. ....22 223 3 a. Mathe thematics tics of the theChromatic tic Scal Scale and I nte nterval rvals ........ ............ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... 223 223 b. Te Temperam rament, nt, Mus M usiic, and and the the Circle Circle of Fifths Fi fths...................... .............................. .................... .................... .................... .................... ................... .........22 225 5 c. Pythago Pythagore rea an, Equa Equal, Me Meantone ntone, and and “Well” “Well ” Te Tempera peram ments. nts. ........ ............ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ........ ...... ..22 226 6 3. Tuning Tools ............................... ............................................... ................................ ............................... ............................... ................................ .............................. ......................... ...........22 228 8 4. Preparation...........................................................................................................................................228 5. Getting Started.....................................................................................................................................228 a. Eng E nga aging and and Mani Manipul pulating the the Tuni Tuning Le Lever. ver........... .................... .................... .................... .................... .................... .................... ................... ......... 229 229 b. Setting the Pin..................................................................................................................................230 c. Tuning Unisons................................................................................................................................230 d. Sympathe thetic V ibrations. tions. ................... ............................. .................... .................... .................... .................... .................... .................... .................... .................... ............... .....23 232 2 e. Making that Final Infinitesimal Motion...........................................................................................232 f. Equalizing String Tension................................................................................................................233 g. Rocking It in the Treble...................................................................................................................233 h. Rumbling blings s in the the Bass. Bass........... .................... .................... .................... .................... .................... ................... ................... .................... .................... .................... ................. .......23 233 3 i. Harm Harmoni onic Tuni Tuning. ng. ............................... ............................................... ............................... ............................... ................................ .............................. ..............................23 ................234 4 j. Wh Wha at is Stretch?... ................................................................................................................................23 .234 k. Precision, Precision, Precision.........................................................................................................234 6. Tuni uningProc Proce edure dures s andTe T emperam rament................. nt........................... .................... .................... .................... .................... .................... .................... .................... .......... 235 235 a. Tun Tuniing the the Pia Pi ano to the the Tuni uning Fork........... Fork..................... .................... ................... ................... .................... .................... .................... .................... ............... .....23 235 5 b. K irnb rnberge rger I I ............................. ............................................ .............................. ............................... ............................... .............................. ............................... ........................... ...........2 236 c. Equal Temperament.........................................................................................................................236 7. Ma Making king Minor nor Re Repairs (Voici (V oicing ng and Poli Polishi shing the the Caps Capsta tans ns)) ................... ............................. .................... .................... ................... ........... ..23 237 7 a. Hammer V oicing oicing.. .................... .............................. .................... ................... ................... .................... .................... .................... .................... .................... .................... ............... .....23 237 7 b. Polishing the Capstans.....................................................................................................................239 REFE REFERE RENC NCES ES.............. ............................. ............................... ............................... ............................... ............................... ............................... .............................. .............................. ................... ...2 239 Book/V Book/Viideo Revi Reviews......................... ws........................................ .............................. .............................. ............................... ............................... .............................. .......................... ...........2 241 Reviewe Reviewed d Books: Cla Cl assi ssical cal Musi usic .................... .............................. .................... .................... .................... .................... .................... .................... .................... ............ ..24 241 1 Gene General ral Concl Conclusi usions ons from fromthe the Revi Revie ewed wed Boo Books. ks........... .................... .................... .................... .................... ................... ................... ................. .......24 241 1 List of MUST READ Books & MUST VIEW Videos....................................................................242 Reviewe Reviewed d Books: Books: J azz, Fa Fake Books Books and and Improvisa provisation... tion............. .................... .................... .................... .................... .................... ................. .......25 253 3 Reviewed Videos.................................................................................................................................254 Web Sites, Books, Videos.......................................................................................................................254 Gen General ral ............................. ............................................ ............................... ............................... .............................. .............................. .............................. ............................... ........................ ........25 254 4 Site Sites s with Free Sheet Mus Musiic and and Othe Other Goo Goodie dies s................... ............................. .................... ..................... ..................... .................... .................... ............ 254 254 Pia Pi ano I nstru nstruct ctiion (Cla (Classi ssical cal), Te T eache chers, Schoo Schoolls........................ s.................................. .................... .................... .................... .................... ................. .......25 254 4 Books Not Referenced Above, by title................................................................................................255 Piano ano Technology Technology,, Tun Tuniing, ng, Parts, P arts, Man Manufac ufactu turrers ............................... .............................................. ............................... ............................... ................. 256 256 Injury from Piano Practice............................... .............................................. ............................... ................................ ............................... ............................... ..................... .....2 256 J azz, Cho Chords rds, Theory, ry, Ins Instruc ruction ion (Pop (Popular lar Mus Music) ic) ................................ ............................................... ............................... .............................25 .............256 6 Sheet Music, Video, CD, Book, Stores............................. ............................................. ............................... ............................... ............................... ..................... ......25 257 7 Notes Notes for Trans ransllators: tors:......... ................... .................... .................... .................... .................... .................... ................... ................... .................... .................... ................... .................. ......... 257 257 ABOUT THE AUTHOR.............................................................................................................................258 L ist of Tables Tables,, Equa Equations, tions, and V ideos.................... os.............................. .................... .................... .................... .................... .................... ................... .................... ................ .....25 258 8 I ndex.............................. ............................................. ............................... ............................... ............................... ............................... .............................. .............................. ............................... ................... ...2 258 5
Request: to those who have found this material useful, please make an effort to let at least two people people know about my my web site, site, so that we can start start a chain chain reacti reaction on of ever more people people that will be informed of this site. I am looki ooking ng for voluntee volunteer s to trans tr ansllate this this boo book k into any language. See "Notes for Tra Translat lators" on P. 257. Please emai aill me at cc88m@aol @aol.c .com omto to discuss this matter. This book is presently being translated into German German,, Polish Polish,, Italian, Spanish Spanish,, French French,, Simplified Simplifieda and Tr Tra adit itio ion nal Chinese, and J and Ja apanese. Te T eachers can use use thi this book as a textbook for for teachi teaching practi practice ce methods. ethods. It I t can save you a lot lot of time, allowing you to concentrate on teaching music. The Preface is a good overview of the book, and the book reviews in the Reference section contains detailed reviews of the most relevant books. Students: I f you don’ don’t have have ateacher, cher, pick pick any pi piece of music usic you want want to le learn (that (that is is within your technical skill level) and start practicing it using the methods described here; the methods are arranged roughly in the order in which you will need them as you start learning a new pie piece. ce. In I n ei either case(with (wi th or withou withoutt a teacher), r), re read the the entire ntire book book quickl quickly y the first tim time. Ski Skip p any any section that you think is not relevant or is too detailed; do not try to understand every concept or to remember anything – read it like a science fiction novel (but none of this is fiction) – you just want to get acquainted with the book and get some idea of where certain topics are discussed. Finally, read as much of the Testimonial section as you find interesting. Then re-start from where you think the book gives material that you need; most people will need to read all of Chapter One, sections I and II II. The T hen you can can skip skip around around to spe specif cific topics topics that app applly to the composi position tion you are le learning rning.. If I f you don’t have a clear idea of what compositions to learn, this book cites many examples, from begi beginn nne er ma materi teria al (Cha (Chapter One, II II I.18) to inte interme rmedia diate; te; therefor therefore e, in in your your fi first rea reading ding,, look look for for where these examples/suggestions are.
Te T estimo imonials ials (Re (Recei ceived ved pri prior or to J uly, 2004 2004)) The These testimonials ials illus illustrate the hopes, trials ials,, tribu ibulat lation ions, and trium iumphs, of pian ianist ists and pian iano teachers. chers. I amhea heartened rtened by the num number ber of teachers chers who provide provi ded d testi testim monial onials s and and by their their indi i ndicati cation on that they they are havi having ng more success with with their their students by using using these these types types of methods. It I t seem seems inescapa nescapabl ble e that that teachers teachers who conduct conduct rese research and improve prove thei their tea teaching ching methods are are mor more e successful. Numerous pianists mentioned that they were taught all wrong by previous teachers. Many, any, who li liked thei their teache teachers, rs, noted noted that that these these teachers achers used methods sim similar to those in in this this book. The There is almo lmost unifor iform agreement on what is righ ight and what is wrong; therefor fore, when you follo follow w the scien scienti tiffic approa approach, ch, you don’t don’t get into into thesitua situati tion on in in which which people ople cannot cannot agree agree on what what is is right. ri ght. I was im impresse pressed by how quickl quickly y some some people ople pi picked up thes these e methods. ethods. The The excerpts have been edite ited minim inimally, lly, but irr irrelev levant details have been excise ised so as not to waste thereaders’ tim time. I want to thank everyo everyone ne who wrote; wrote; they have hel helpe ped d me to im improve prove the book. I can’ can’tt get get over the fact that that reade readers rs keep keep writi writing ng the the book book for for me me (i.e., (i.e., I could could ins inse ert thei their remarks in in my book, and and they would would fit fi t perfe rfectly!) ctly!).. In I n the the foll ollowing owing,, I have not se selected cted just just the flattering ri ng remarks; I chose material rial that seem seemed signi signifficant cant (educati (educationa onall), whether whether posi positi tive ve or critical. Entries in [….] are my comments: 1. [From a Christian Minister] This This book is the Piano Bible Bible.. I ha have made such tremendous progress sinc ince purchasing ing it [1s [1st editio ition n book]. book]. I continue continue to recommend end it it to others. others. 6
2. [In [I n Ja J an., 2003 2003,, I rece receiived ved thi this em email (with (with pe permi rmissi ssion)] on)] My name is is Ma Marc, and and I am17 years years old. old. I just started started playi playing ng the pian piano o about about a month ago ago and and have have been been readi reading ng your book, book, The Fundam undamental entals s of Pi Piano ano Practi Practice. ce. . . . I do not not have have an instructor instructor yet, but am in the process of looking for one . . . . [followed by a series of precocious questions for a young person person with with so little ttle pia piano experi xperie ence. I answere nswered d hi his que questions stions as wel well as I could; could; then then in in Ma May, 2004 2004,, I received ved this this astoun astoundi ding ng em email] I don’t don’t quite quite expe expect ct you to remember ber me, but I sent sent you an email ail a li little ttle more than than a yea year ago. . . I would would li like to let let you know how pia piano has has been comi coming along for me using using your method. ethod. I bega began n pla playing ying the the pi piano abou aboutt Chri Christm stmas of 2002 2002,, using your me method from fromthe begi beginn nniing. ng. Mid-Ma d-M arch of 2003, 2003, I entere entered d my high high school school’’s concerto concerto competi competiti tion on for for fun fun and experi xperie ence – not in in the hopes of winni winning ng thei theirr $500 scholarshi scholarship. p. I unexpectedly dly won fi first place place, competi competing ng agai gainst more sea seasoned soned pia pianists nists of up to 10 10 yrs. I t did did shock shock the jud judge ges s when when I told told them them I had had been pla playing ying for 3 months. onths. A few days days ago, ago, I won this this yea year’s r’ s competi petiti tion, on, as well well. In I n other words, words, progress has has come very quickly. Such progress is one of the greatest motivators (aside from the general love of music), so I can now see myself playing – and improving in – the piano for the rest of my life. And, though I must give my teachers credit as well, your method is my foundation upon which they build, and I bel believe it is is the the main rea reason for my my progress. progress. However, However, I stil still consi consider der myse mysellf a beginn ginne er . . . . My websiteha website has s al all of the recordings recordings which which I have have made ade to date date (18). . . . recentl recently, y, I have have be been rerecord recordiing Chopi hopin’ n’s s “Raind “Raindrop” rop” pre prellude ude, Scarla Scarlatti’s tti’ s K.466 K.466,, and and Bach’ Bach’s s Inve Invention in in F ma major. . . . My My next next recording recording wil will be Bach’s ch’s Sinfoni Sinfonia a in in E minor, and and I pla plan to have tha that done done by by the end of next week. week. Y our book is is far far more than any any lover lover of music usic and and the pian piano o could could expect, expect, and and I cannot cannot thank you enough for the help you have given to me and so many other aspiring pianists . . . . [Go to the websi website and and li listen sten to those those amazing azing recordi recordings ngs!! !! Y ou can can even even find hi him at theM the Mus usiic Download Download web site (search Marc McCarthy).] 3. [From a respected, experienced piano teacher.] I just ski skim mmed your new secti section on [on paral paralllel set set exerci exercise ses] s] and and thoug thought ht I’ I’d sha share my ini initi tia al reaction. ction. As the the Queen Rege Regent of Exerci Exercise se--Haters, ters, I’ I ’ve lobbie lobbied loud loud and strong for the crim criminal nalization of Hanon et al, and was at first aghast to think you may have joined the downtrodden masses of the pseudoudo-voodoo voodoo--esque sque pract practiitione tioners, hopel hopelessly, ssly, helple plessly, ssly, repe repeating ting,, repe repeating, ting, . . . . Anyway, nyway, to get get to the the poi point, nt, I do se see apoint of merit rit in in your your approa approach ch,, IF I F I F I F the the stu stude dent foll follows your your COMP OM PL ETE directions directions and and uses the the descri describe bed d key key combina binati tions ons as a dia diagnostic gnostic tool – NOT to repeat each each and and every every combi combina nati tion on as a dai dailly routine routine.. As a diag diagnosti nostic c tool and subseq subseque uent nt reme remedy, you’ve you’ve succee succeeded ded marvelousl arvelously! y! There here was was somethi ething fami familiar about about your exerci exercise ses, s, so I dug around around at thestudi studio o toda today and and found ound the the Techni chnische sche Studien by by Loui L ouis s Pla Pl aidy, Edi Editi tion on Pete Peters, fi first printi printing ng ca 1850 1850.. Al A lthough though Pla Pl aidy’s dy’s phi phillosophy osophy conce concerni rning ng the useof his his exe exerci rcise ses s is is much dif different rent from from yours, the actual actual notes notes printe printed d on thepage page foll ollow nearly rly to the lette letter (te (tee, e, hee, hee, I should should say say to the note) what you have described in your exercise chapter. Plaidy’s exercises were highly respected in Europe throughout throughout the late 1800 1800’’s and and were were used duri during ng that tim time at the Conservatory onservatory in Lei L eipzi pzig. g. Plaidy himself was quite a sought-after instructor, with several of his (students were) accepted into L iszt’s szt’s inn inne er circl ci rcle e and/or nd/or havi having ng som some sort sort of succe success on the the conce concert rt stage stage. Y ou’re ou’re in in the company pany of greatness! 4. I am curious curious to know if if you know of of the work of Guy Ma M aier. Does hi his app approac roach h with with “im “impul pulse” se” practice of 5 finger patterns go along with the “parallel sets” you mention? Maier does use the principle of repeating one note with each finger as the others are held quietly at the key surface as Think king ing Fing Fingers was one of thebooks of exerci one of the 5 finger exercises. Thin exercise ses s Ma Maier wrote wrote with with Herbert Bradshaw in the early 1940s. One of his first 5 finger exercises that seems to mirror what 7
