A Tutorial utoria l by
E mma Leiuman
The Art Ar t of Piano Piano Tech Technique nique Workbook for Professi P rofessional onal Pianists Pia nists Second Edition
Published by Emma Leiuman
2014
1
• Singapore, Singapore
A Tutorial utoria l by
E mma Leiuman
The Art Ar t of Piano Piano Tech Technique nique Workbook for Professi P rofessional onal Pianists Pia nists Second Edition
Published by Emma Leiuman
2014
1
• Singapore, Singapore
Dedicated to all seeking piano students and teachers © 2014 Emma Leiuman “PianoWell” “PianoWell” is a registered trademark. All rights reserved. No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system, without permission in writing from the publisher. Published by Emma Leiuman, Singapore, Singapore, Singapore. Singapore.
This Workbook presents the analysis of 7 musical pieces. A student may use it as a supplemental material for Textbook to better understand how to analyze position change, full phrasing and form in the score.
Web: www.artofpianotechnique.com E-mail: emma@artofpianotechnique.com
2
Contents The Plan of Piece Analysis, Learning and Rehearsing ---------- 4 L. Beethoven. “Fur Elise” ------------------------------------------ 6 F. Schubert. “Musical Moment” ----------------------------------- 26 F. Schubert. “Serenade” ------------------------------------------- 38 R. Schumann. “Dreams” ------------------------------------------ 54 A. Lyadov. “Prelude” ----------------------------------------------- 62 A. Lyadov. “Musical Snuffbox” ----------------------------------- 78 C. Debussy. “The Little Negro” ----------------------------------- 98
3
The Plan of Piece Analysis, Learning and Rehearsing Analysis 1. Mark ngering and position changes in the piece. 2. Imagine each hand in timbre with movement. 3. Play the piece with each hand using the correct technique and correct ngering. 4. Imagine both hands in timbre with movement. 5. Play the piece with both hands using the correct technique and correct ngering. 6. Play the piece with both hands with intonation and weight and articulations. Gather weight before playing. Play the piece with intonation and weight from this moment on. 7. Listen attentively to harmonies of the piece. 8. Imagine both hands in timbre and harmony with movement. 9. Play the piece with both hands in timbre and harmony with movement intonating with weight each interval and articulation. 10. Imagine both hands in timbre, harmony and dynamics with movement. 11. Play the piece with both hands in timbre, harmony and dynamics with movement. 12. Imagine both hands in timbre, harmony, dynamics and balance with movement. 13. Play the piece with both hands in timbre, harmony, dynamics and balance with movement. 14. Imagine both hands in sound texture with movement. 15. Play the piece with both hands in sound texture with movement and pedal. Play the piece with pedal from this moment on. Pedal is marked in the “Do-it-yourself Analysis” section. 16. Imagine both hands in sound texture and harmony with movement. 17. Play the piece with both hands in sound texture and harmony with movement. 18. Imagine both hands in sound texture, harmony and dynamics with movement. 19. Play the piece with both hands in sound texture, harmony and dynamics with movement. 20. Imagine both hands in sound texture, harmony, dynamics and balance with movement. 21. Play the piece with both hands in sound texture, harmony, dynamics and balance with movement. Play the piece in sound texture, harmony, dynamics and balance with movement from this moment on. 22. Play the piece with both hands (or with each hand rst if needed) with musical speech. 23. Analyze phrasing in the piece – limits and types of motifs, phrases and sentences. 24. Play the piece with both hands (or with each hand rst) with musical speech and motifs. 25. Play the piece with both hands (or with each hand rst) with musical speech and phrases. 26. Play the piece with both hands (or with each hand rst) with musical speech and sentences. 27. Tune in to emotional image of the piece. Play the piece with both hands with phrasing (or without phrasing rst) feeling how you express emotional image of the piece through musical speech. 28. Analyze form in the piece – dramaturgic content of sentences. 29. Play the piece with both hands with phrasing feeling how you express image and form of the piece through musical speech. 30. Analyze meter - the unit of pulse in the piece. Feel the internal pulsation while internally singing the piece. Play the piece with both hands with phrasing feeling how you express emotional image, form and meter of the piece through musical speech. Play only in slow tempo at this stage. 31. Play the piece with both hands with phrasing feeling how you express emotional image, form and meter by the means of artistry through musical speech. Always mark ngering, position change and pedal in the score.
4
Learning MEMs and Movements Learning MEMs: play the piece by sentences (then by 2 sentences, 4, 8, etc.): 5 times in slow tempo; 5 times in moderate tempo; 5 times in fast tempo. Learning movements: play the piece by sentences (then by 2 sentences, 4, 8, etc.) with each hand and then with both hands: 5 times in slow tempo; 5 times in moderate tempo; 5 times in fast tempo.
Learning Difcult Fragments Separately play a difcult fragment 5 times with each hand and then 5 times with both hands: in slow tempo; in moderate tempo; in fast tempo. Play a difcult fragment within its context 5 times with each hand and then 5 times with both hands: in slow tempo; in moderate tempo; in fast tempo. Play the whole piece in order to reveal new difcult fragments.
Preventing Overplaying the Piece. Creativity Play the piece 11 times paying attention to: sound texture with movement; sound texture and harmony with movement; sound texture, harmony, dynamics and balance with movement; sound texture, harmony, dynamics and balance with movement, and musical speech; sound texture, harmony, dynamics and balance with movement, musical speech and phrasing; sound texture, harmony, dynamics and balance with movement, musical speech, phrasing and imageinspiration; sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, imageinspiration and form; sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, imageinspiration, form and meter; sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, artistry, image-inspiration, form and meter.
Rehearsing While maintaining self-control and artistry, play the piece several times to: 1. Toys. 2. A well-wishing listener. 3. Several listeners. 4. On different instruments. 5. In different halls.
5
Poco moto
una corda
1.
2.
dim.
6
1.
(legato)
7
2.
8
/
trochaic motif inside the motif
3
3
3
9
dim.
poco rit.
10
5
2
4
3
1
4
1
1
5
5
4
4
5
4
2
4
3
4
1
1
5
1
3
1
5
2
1.
2
4
2.
1
5
4
4
2
2
1
2
1
4
5
2
4
2
4
3
m.s. dim.
1
2 5
1
1
2
2
1
5
1
4
1
5
1
3
2
11
5 4
4 5
3
1. 2
4
1
1
1/5
2.
1
2/1
2
2/5 1/2/5
3/1
5
5 4
1 3 5-1
3
2
4
5
4
1
3
1
2
2 1
3
3
2
(legato)
5
3
5
4
2
2
4
2
2
5
4
5/4/2
5
3
3
4
5
1
3
2
1
5
2
5
1
2
3
4
2/1
4/2
3
1
3
1
1
2
5/3
1
2
1
3
4/2
2/1 1
1
3
1
3
2
2/1
12
3
2
3
5 5
4
4
5
1
2
4
3
2
5
4
1
5
1
1
4
2
5 5
4
2
2 5
2
4
3
1
1
2
4
5
1
2
1
2
1
2
4
5
1
13
1
1
4
1/3
2/5
2/4
1/2/3
1/3
4/1
3/1
1/4
1/5
1/4
5/1
3/2
2/5
1/4
2
1
2/4
3
1/2/3
1/2/4
1/2/3
2/5
1/2/4
1
2
1
3
4 1
2
3
5
4
1
2
4
1
5 1
3
3
3
2/1
4/2/1 5
14
2
4
1
2
4
3
4
3
2
1
3 3
1
2
1
4
1
2
1
1
3
4
5
2
4
3
1
4 2
1
2
4 5
1
4
5
2
1
4
1
5
2
4
dim.
2 5
1
1
2
1
2
5
4
4 2
15
1.
2.
dim.
16
1.
(legato)
17
2.
18
3
3
3
19
dim.
20
Poco moto
beginning development
1.
intensication culmination 2.
rising to culmination conclusion
dim.
21
beginning 1.
2.
(legato)
development
rising to culmination
22
culmination
conclusion
beginning
23
development
3
3
3
24
rising to culmination
culmination
conclusion
dim.
poco rit.
25
Allegro moderato
/
iambic motif inside the motif
26
27
trochaic motif inside the motif
dim.
dim.
28
2
3
4
3
2
4
5
1/4
2
5 2 3
1
4
3 1/3
2
2/1
4
3
2
3
3
4
5 2
1/2/5
3
3
3
2
3
2
1
2
3
4
5
4
3
29
2
4
3
4
4
1
3/5
4
5 2/4/5
3
2
1
4
5
4
3
2/1
5
5
4
3
5 3
4
2/5
1/4
3
2
5
4
3
30
3
4
5
3
4
3
2
2
3
4
3
4
3
2
1/3/5
4
3
4
dim.
5 4
1/5
3
2
3
2
3
dim.
4
4
3
3
3
3
4
4
3
4
2/1
31
3
in motifs intonate small author’s motifs shown in the “Do-it-yourself Analysis” section
32
33
dim.
dim.
34
Allegro moderato
beginning development
introduction
intensication rising to culmination
35
culmination conclusion
rising to culmination
36
culmination
dim.
conclusion
dim.
37
Moderato
3
3
3
espressivo
sempre staccato
3
3
3
3
3
38
3
3
3 3
espressivo
non legato
rall.
39
leggiero
smorzando 3
3
3
3
3
3
3
3
3
3
40
3
3
poco a poco rall.
molto dim.
espressivo
rall.
smorzando
41
1/2
2
2/4
3
1/2
1
2/4
1/2
3
2
1
3
3
4/2
2/1
5/2
5/3
5 1/4 2/3
2/1
4/2
2
1/4
2
2
1
4/2
2/1
3
2
1
3
3
5/3/2 3/2/1
5/2
2
4/2
2/1
3
2/1
1/5
3
1/4
2/3
3/5 3
2/4
5/3/2
2
42
1
4/2
2/1
2/4
3
3
4/2
4
2
1
3
3/2
2/1
1/4 2/3 3 3 5
1/4
1/3
3/5
1
4/2
1/2
3
4/2
3
3
5
1/4
2/5
3
4
4
2
4/2
4/2
3
4
4/1
1/4
2/5
1/3 1/4
1 5/4/2
1/3
3/2
3/2
5
1/3
2/4
3/2
1/4
3/4
2/4
3/4
5/3/2
1/3
5
3
2/4
3/4
1/4
4/2
43
2/1
2/4
3/4
1 3/2
1
1/2
5/4/1 3 2
1/2
1
2 3
3
2
2/4
3/5
1/4 2/3
3
2
1
3
2
3
3
1/4
3
1
5/3/2
1
4/2
3
1
2/1
1
2
2
1
3
1
2
2
5
3
1 1
3
1/4
2/3
3/5
3
2
3
2/3
2/3
2/4
1/5
3
1
2
3
5
4
2
5
1 3
1
4 3
2
4
2/5
1/2/4 3
3
1 3
2
2/3 1/4
1/3
3 5/3/2
2
44
1
2
2/3
4
5
3
5
5
3
1
2
3
1
3 5
3
2
5/1
2
2
molto dim. 3/2
4/2
5
1/3
1/2/4
3/2
3
3/2
3/4
2/4
3/2
4/2
3
1/4
4/2
5
3
2/4
3/4
4/2
2
2/4 3/5 2
3/2
3/2
45
2/3
2/1
3/5
5/3
1/2
3/2
1/2
2/3
2/1
5/3
3/2
2/4
3/4
3
3
3
3
3
3
3
3
46
3
3
3 3
47
3
3
3
3
3
3
3
3
3
3
48
3
3
molto dim.
49
Moderato introduction
beginning 3
3
3
espressivo
3
3
3
3
3
50
development
3
3
3 3
intensication
espressivo
rall.
51
rising to culmination
smorzando
3
3
3
3
3
3
3
3
culmination
3
3
52
3
3
deviation
poco a poco rall.
molto dim.
conclusion
espressivo
smorzando
rall.
53
=80
m.s.
m.d.
a tempo
ritard.
54
a tempo
ritard.
ritard.
55
2
5
1/3
2/4
2
4/1
1
4
2
1
2
2
1
1
3
4 3/5
5 3
2
1
5
1/1
2/1
3/1 2
2/5
3
5
4
1/4
4
5
2/5
1/4
5
3
1
4
1
3
4/1
3/1
3/1
4/2
2
1/4
1/2
2/4
5/3
2
4
1/4
2
5/2
3
1/2
5/2 1 3
5/2
56
4/1
4
1
3
1
2
3
2
1
5
2
1/4 1/4
3
2
1
1/5 2
2
3 2/1
3
1
5/2
1/3
1/2
2
1
3/5
2
1
5/2
5
4
4/1 4
1
1 2 3
2
4
5
1/3
1
2
1
1
5
3
2/4
4/1
2
5
3/5
3
2/1
4
3/1 2
5
4
3
2
3
5
1/3
2/4
2/3
5
1/2/3
2 1
1
2/1
2
3 5/2
4/1
2/1
5/3 1
57
2/4
2
1
in motifs intonate small author’s motifs shown in the “Do-it-yourself Analysis” section
58
59
Andante
beginning development
rising to culmination
ritard.
a tempo
60
culmination
ritard. a tempo
ritard.
61
Moderato
3
3
62
/
63
iambic motif inside the motif
rit.
a tempo
64
65
3
3
1
2
2
3
4
4
3
4
5
4
3
4
1
2
3
4
3 1
3
66
3 2
3
4
5
2
5
2/5
4
5/2
2/5
4/1
4/1
5/2
5 4 5
2
5
5
4
3
2
5/2
3
4
5
2 1/2/3
5
3
4
2
3
1
2
3
2
5
4
2
2
1/4
5/2/1 3
1/2
1/3/5
4
2/1
4
1/2/5
2 2
3
4
4
1/3
3
1
1 2
4
3
67
2
2
1
2
5
5
3
4
3
5
1 2
3
4
3
5
1
3
3
4
3
3
3
68
3
3/5
5
4
3/5
4/1
5/2
5
4/1
5/2
4
2/4
4
1/3
5/2
5
4 3
5 3
3
2
5
2
1/2
3/5
3
4
2
5
4
3
1/5
3
2
5
1
m.s. 5/2
1 5
5
2
1
2
3
2
2
2
5/2/1
4
4
2
1/4
3
5
1
2
69
1
2
3
2
4
4
3
3
70
71
72
m.s.
73
Moderato
beginning
introduction
3
3
development
74
75
rising to culmination
rit.
a tempo
culmination
rit.
a tempo
76
77
Automaticamente =80
sempre staccato
1.
2.
78
79
80
81
82
5
4
3
2
1
sempre staccato 2
3
1
5
4
3
5
4
5
4
3
1
2
3
2
1.
3
2.
2
4
4
4
5
2
4 2
5
3
4
5
3
3/2
4
3
4
2
5
2 2
3
83
4
4
5/4/1
1
1
2
5
4
3
5/4/1
2/1
5
5
4
3
3
3
4
4
3
5
2
3
4
5
2
2
4
2
5
2
1
2
5
1
3
2
2
3
1
4
4
1
3
2
1
1
3
2
3
2
1
1 3
3
4/5
1
2
2
4
4
4 1
2
2
2
5/3
2
3
1
4
2
3
5
4
2
4
3
3
2
3
84
3 3
2
4
1 2
2
2
1
1
1
3
1
4
1
2
2
4
2
3
2
5
4
2 1 1
1
3/2/1
2
3
5 1
2
3
4
5
5
4
2
1
2
3
2
1
4
5
3
2
4 2
1
2
1
3
1
5 2
3
2/1
2 2
4
2
1
1
2
4
2-3 1
1
1
2
1
1
2
5
1
1
2
1
2
4
1
2
4
2/1
2 2
1
4
1
2 4
5
85
1
1 2
3
1
2
3
4 1
2
2 2
1
2
5/4
1
86
87
sempre staccato
88
89
90
91
92
=80. Pulsation by quavers
beginning introduction
development
sempre staccato
rising to culmination
93
culmination
beginning
94
development
95
deviation
rising to culmination
culmination
96
conclusion
97
Allegro giusto
marcato
dim.
dim.
cresc. molto
Un peu retenu
a tempo
98
cresc.
rit.
a tempo
dim.
99
dim.
a tempo
cresc. molto
100
cresc.
rit.
a tempo
dim.
dim.
cresc. molto
101
2 2
1
5/1
3/1
5/1
5/1
3/1
marcato 4
5
4
2
4
2/4
3/1
2
3
3
4
1
dim. 5/3 4/2
3/1
2/1
3/1
1
5/1
4/2
3/1
5/1
2
2
2
dim.
cresc. molto
3
4 1
3
4
2/1
3/1 3
3 4
2
102
1
1
2
5 1
3
3
1
3
1/4
3
2
5
3/1
2
2
3
1
2
1
3/5
1
3
2
5
4
5
4
2
1
3
3
1
2
3
2
1
4
4
2
1
2
3
4
3
3
4
2
2
5
3
4
2
4
1
4
2
5
5
2
2-4
4
4
2
3
1
5/3
1
3
1
4
2
3
2
3
2
2
3
2
5
2
4
4
cresc. 3 4
2
1
1
2
4
2
1 4
3
4
dim.
103
3
2
3
2
1
dim.
cresc. molto 2/1
104
3/1
cresc.
dim.
dim.
1/2
cresc. molto 5/3
105
in motifs intonate small author’s motifs shown in the “Do-it-yourself Analysis” section
dim.
dim.
106
cresc. molto
cresc.
dim.
107
dim.
cresc. molto
108
cresc.
dim.
dim.
cresc. molto
109
Allegro. Pulsation by quavers
beginning
rhythmically
dim.
dim.
cresc. molto
Un peu retenu deviation
development
a tempo
110
cresc.
rit.
intensication
a tempo
dim.
111
dim.
a tempo
cresc. molto
rising to culmination
112
cresc.
rit.
culmination
a tempo
dim.
dim.
cresc. molto
113
A Tutorial by
E mma Leiuman
The Art of Piano Technique Workbook for Professional Pianists Second Edition
Published by Emma Leiuman
2014
114
• Singapore, Singapore