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LIBBABV

THE f'J'INCH

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3 3333 057866™^^^^ The school of octave-playing

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THE NEW YORK PUBLIC LIBRARY

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The

New York Public

The Branch

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NEW YORK PUBLIC

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Libraries

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PERFORMING ARTS

book

Music Collection

40 Uncoln Center

Plaza,

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York,

form 048

NY

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THE SCHOOL OF OCTAVE-PLAYING-Settion One

Piano

Y T Y Y Y Y Y

SCHIRMER'S LIBRARY OF MUSICAL CLASSICS Vol.

Y Y Y Y

475

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KULLAK The School of Octave-Playing For the Piano Section

I:

Preliminary School

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20. Left hand

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IV.

Both functions of the wrist combined.

For the hammer- touch, an up -stroke and down-

means

are by no

forbidden.

stroke are employed; for the pressure-touch, the lifting- and depressing of the hand with a supporting

With notes of equal time -value, when the same key (or a similar key) is struck repeatedly,

the latter, as already seen, we obtain the legato effect in octave-playing. But this lifting and depressing of the hand may likewise be effect-

and depression alternate as evenly as or more e., take each group of 2, 3, 4 possible, successive strokes with the hand in the same po-

finger.

ively

By

employed

for staccato octaves, in simultaneous

combination, especially for the execution of long and

rapid octave-passag-es Liszt's

(e. g.,

Schubert's "Erlkonig', in D\>

Hungarian Rhapsody

strict rules

—

Bl*).

Though

cannot be formulated, some practical

may be offered. On black keys, generally

hints (1)

using the 4th (or 3rd) no means forbidden.

fing"er,

hold the

though

hand high,

the 5th is

by

(2) On white keys, generally hold the hand low, and use the 5th finger, though the other fingers

13858

(3)

let the lift

i.

sition (either high or low).

The skilful and well-considered utilization, and the greatest possible regularity in alternanation, of lift and depression, is one of the best means of avoiding weariness and stiffness in the hand and arm during long octave - passages. A too arbitrary alternation in the position of the hand is apt to render the playing

unquiet and uncertain. The following exercises require no further

commentary.

12

Practical Exercises.

R

Exercises

indicates the raising (high position) of the handj

D, depression.

m

i D

i

(d)

p,

are to be practised

(c)

(b)

1(a)

^>ff f

I (a) (b) (c) (d) (e)

succession without change of tempo.

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14

Section

Preliminary

When

hands and

(he

by the foregoing- exercises, that they can

Section, containing octave

may be taken

bination,

-

up.

tain a systematic view, the

-

fulfil

all

Second

playing, the

(2)

Octaves in progressive intervals.

(3)

Passages

(4) Octaves

in

broken chords.

mingled with

full

or partial chords.

com-

(5)

Interrupted (simulated) octaves.

In order the better to ob-

(6)

Overlapping octaves, the hands alternating.

exercises are

(7) Exercises

passages

in manifold

arranged

under the following heads:

on the Tremolo,

Trill,

Appoggiatura

and Glissato.

(l) All the scales, including the

chromatic.

I.

The

Remarks.

have been so trained

fing-ers

fnnctions demanded by octave

11.

Scales.

would

(1)

Legato.

master, most, of course, be played very slowly and

(2)

Staccato with the legato fingering; and

may

(3)

Staccato with the

and 5*^

(b)

It is

(a)

firmly at

scales, like everything else that one

As

first.

be struck,

to the fingering, all

staccato playing, with the

in

octaves 1^*

1%^

jmd

5*1?

fingers throughout.

unnecessciry to explain, that tempo, tone

fingers, whether on black or on white keys, so long

power, rhythm, certain characteristic colorings (such

Some

as maestoso, pomposo, tempestoso, appassionato, gra^

as the elbow maintains

its

position unchauiged.

celebrated pianists, like Alexander Dreyschock, have

zioso,

raised this simplest of fingerings to the dignity of a

termining the height of the up-stroke and down-stroke,

rule;

however,

I

consider

fingering required of what

was

marks all scales-

in

it

practical to

legato playing

apply

the

taking note

said on this point in the preliminary' re-

to the staccato

style.

Therefore, practise

and of

the raising

etc.)

cire essential in

de -

and depression of the hand.As soon

as the first mechanical study

is

accomplished, ne\'er lose

sight of the principle, that for special artistic purposes deviations

from

are allowed.

->^>- .H--.^

1M68

careszando, scherzoso,

the hard

-

and - fast rules of the school

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(e) is

When

a white key follows a black one,

the latter

always taken with the 44^ finger:

handiest, but unfortunately, as already observed, all hands can use it.

As no normal fingering, (f)

On two successive black keys,

the

change

is

op-

tional.

A

fingering employing

13868

3™

finger

is

often

the

not

like that for the simple scales,

can be adopted, it will be an excellent plan for the pupil to try, with the aid of the remarks under (a\(b\(cVd) and (e),

the

"3~r

to

pare

concoct a fingering for himself, and then to comwith the one which I have marked.

it

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II.

Octaves

in

staccato playing, all these exercises will be executed with the l^.t and 5^Pj wrist-movement as In

With regard

legato, Ex. 1 offers no difficulties. In Exercises 2-8 the 4*h finin

the scales.

to the

germust be much bent, the 5*h striking rather 1. rt

4

r.

\

5

flat.

Progressive Intervals. The succeeding exercises can be played only

in

an

approximate legato; for the change of fingers indicated by the figures can be effected only in moderate tempo.

A*r4

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