•
iano Handbook
The
Carl Humphries
The Piano Handbook Carl Hampbries
A BACKBEAT BOOK First edition 2002 Published by Backbeat Books 600 Harrison Street, San Francisco, CA 94107, US www.backbeatbooks.com
An imprint of The Music Player Network United Entertainment
Media Inc.
J Published for Backbeat Books by Outline Press LId, 115j Cleveland Street, London W1 T 6PU, England
ISBN 0·87930·727·7
Text and music copyright © 2002 Carl Humphries. Volume copyright © 2002 Balafon. All rights reserved. No part of this book covered by the copyrights hereon may be reproduced or copied in any manner whatsoever without written permission, except in the case of brief quotations embodied
in articles or reviews
where the source should be made clear. For more information contact the publishers.
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J 0809876
Contents SECTION 1
SECTION 3
UNIT 1
35
SECTION 5
UNIT 7
100
• Freeing-up
• Posture and technique
• Couplets
• Reading
• Phrasing
• Alberti
• Stress • Black-key
• Black-key
scales (2)
• Black-key
arpeggios
• Hand positions
and fingering
• Hands separately
and together
• Classical
175
• The keyboard music
the wrist
UNIT 13 style
• Sonata form
scales (1)
bass (2)
• The passing thumb
UNIT 8
• Scale and triads
• UNIT 2
53
• The black notes • Keys & key signatures • Major
& minor
• •
• Intervals • Major
& minor scales
• Broken
·· ·•
109
Legato pedalling Tone control Repeated
(1)
& gradation
• Rubato
hand staccato
• Legato
Staccato
• Black-key
arpeggios
sca Ies
Chromatic Two-octave
UNIT 15
arpeggios
123
• Jazz, rock, & blues (1) • Jazz chord • Two-hand
progressions voicings
• Chord embellishment (1)
• Legato & staccato
SECTION 4
• Triplets
UNIT 10
• Hand position • Chromatic
changes
SECTION 2 74
• Rhythmic
shaping
• Extended
hand position
• Cantabile
(1)
(2)
81 time
control
Direct
Pedalling
• Melodic
minor
scales
hands together
• Chromatic
scale hands together
scale
chords (1)
90 & improvising
layout Prog.ressions
• Cadences • Melody
& harmony
& variation
Jazz scales and soloing Rhythm
Changes
211 playing
• Wrist staccato • Four-octave
• Ornamentation
UNIT 17
• Left-hand
• 20th century
leaps
up the hands (2) arpeggios
scales & arpeggios
225 piano
(1)
·•· ··• · • • ·
music
• Tonal colour
(1)
• Modern
scales
music
• Irregular
UNIT 12
• Voice-leading • Chord
Development Texture
metres and rhythms
• Contemporary
• Harmony • Keys • Chord
Theme & motive
• Ragtime
145
• Four-octave
UNIT 6 • Composing
harmony
Contrast;
• Hand independence
• Arpeggios
• Mixing
chromatic broken
Chromatic
• Contrapuntal
• Black-key
Espressivo (1) Four-note
voicings
SECTION 6
Tonal balance Two-octave
Left-hand Off-notes
• Finger independence
U IT 5 Compound
Modes
UNIT 16
up the hands (1)
(2)
• Beethoven
arpeggios
Thumb
·• • ·
& improvising
• Espressivo (2)
UNIT 11
• Sca les • One-octave
·• ·· ·•
197
Composing
• Mixing • Rotation
UNIT 4
·•· • ·· ·
133
• Interpretation
scale on D
(3)
scale on A flat & C
• Expression hand position
(2)
scales (3)
• Articulation • Tempo • Extended
pedalling
• Black-key
• Scales & scale theory
• Dynamics
playing
Left hand melodies
UNIT 9 66
189
• Romantic
chords (1)
UNIT 3
U IT 14
160
music
• Scales in 3rds & octaves
Jazz, rock, & blues (2) Syncopation, Rhythmic
grooves
& swing
idioms
UNIT 18
238
• Latin styles
Riffs & licks
• Arranging
Song form
• Reharmonisation
12-bar
blues
• Bebop & modern
Lead sheets & standards
• Ethnic,
Embellishing
• Odd-time
Pentatonic
a tune & blues scales
7th chord fingerings
urban,
jazz
fusion,
crossover
• Free improvisation • Creating
a performance
Reference Section
259
Preface W
elcome
to The Piano Handbook, a new kind of book that aims
to introduce
you to all aspects of the piano, and piano
playing, in a single volume. The piano has emerged as the
most exciting and important
medium
for creative music-making
in Our
Bartok. Meanwhile, experimental
free improvisation
think about new ways of connecting with
other
movement
disciplines studies.
like
will require that you
up musical gesture and performance
physical
theatre
And if you're interested
and
performance
culture. As a result, it has a uniquely rich musical heritage. I've tried to
groove, you'll want co see how sequenced drum-machine
reflect that richness in this book, on several levels.
Afro-American
Firstly, although
The Piano Handbook is primarily
a tutor, to be used
either for self-study or with a teacher, it gives you the world of the piano as a whole. It guides you through the process of learning to play in a wide range of traditional repertoire,
and modern styles. It introduces the piano's enormous
and the vast choice of recordings
available by great players.
drumming
techniques
That doesn't
mean that the book is just a pick'ri'rnix of different
styles, crammed into a single volume. It's nor. It has become fashionable co assume that differem
cultures
have nothing
interactions.
This view has dominated
impact On western
world
the
for your own personal exploration
of this
wonderful instrument. learning
the piano,
over
intended
takes a completely
new approach
music education bur
in the western
its limitarions
have become
concrete
to challenge
historical
that
connecrions
The
languages,
but also by focusing
sirnilariries
between
different
approach,
between
not just by looking
different
musical
cultures
at and
on che deeper organic and structural
kinds of music. All music reflects basic
within the grasp of the individual player - has made it central, not JUStfor
human resources and concerns: nor just how we think and feel, but also
performers
how we hear, how our bodies gec involved in playing and responding,
but for composers.
That's why playing and composing
have
repeatedly come together on the piano to produce exciting approaches that treat playing itself as creative, in live performance as improvisation
and in
the privacy of the composer's studio. In this book, you'll learn to play, compose and improvise
side by side, and you'll see how closely related
and
how our own playing and the music we relate co unfold in time itself. One consequence
of this
is chat in The Piano
Handbook
you're
encouraged to develop musical auiareness by thinking about issues critically for yourself. The aim is not just
CO
see how different styles of music reflect
the same deeper forces, but ro grasp what chat might mean for your own
these aspects really are. Thirdly, this approach means you'll be able to compare and contrast techniques
used by classical masters like Bach and Mozart with those of
jazz and rock greats like Bill Evans or Jerry Lee Lewis. You'll also discover that those techniques are there for you to use in your own way, to help you unlock your own creative and musical potential.
involvement
as a player
recommended
a wide range of books in the reference section, designed co
and
creacive
deepen your critical understanding There's a full-length
individual.
To
help,
I've
of music.
tutorial section, intended for older children and
In other words, you'll
adults who want to move rapidly through the earlier stages of learning the
learn about each different style in a way that take it on its own terms,
piano to a level where they can cake advantage of the rich repertoire of the
giving it the respect it deserves as a culture or genre. That leaves you free
instrument.
to choose the elements
book combines
you wish to take further, as you discover more
about your own strengths
Focusing on laying the foundations
instrumental
and interests.
The approach I've taken in this book reflects my experience over many
designed
learn is generally
interpretation.
to begin with things
you want
reachers force young people ro srruggle
to learn. Too many
with music they can't
relate to, and which offers few obvious opportunities and realising one's creative potential. active
involvement
with
their
for self-expression
It's one reason young people reject
own
musical
heritage,
in favour
of
established
methods
with
of a sound technique,
the latest
thinking
to illustrate
and tackle the major points
There are often pointers
to additional
learning, and exercises to practise, if you want pace.
As you progress,
improvisation, music
the
about
learning. You'll find quite a few of the best-loved classics of
the piano repertoire, alongside newly composed study-pieces
years as a player, composer and teacher. I've found rhat the best way ro modern
you'll
come
CO
and exercises
of technique
and
reiared pieces for
proceed at a more relaxed
across
sections
dealing
with
jazz and other non-classical styles, and the fundamentals
theory and composition.
These
harmony
outcome is a graded course that I hope will be enjoyable and challenging
of popular musical styles that are actually
less creative than the classical music that drove them away in the first place. Perhaps you have experienced something
The piano as an instrument
every style of music seriously: that is, in its own way. In other words, if
types of music.
The
in new and exciting ways.
like this.
By concrast, The Piano Handbook encourages you to approach each and
in various
of
how and why melody,
with watered-down
imitations
and form work differently
explain
Walkmans and computer games. Teachers are left trying to lure them back
finding
uniquely
has always been about individuals
rich ways to realise their potential
could even say that's why the instrument
as musicians.
You
was invented and developed in
you're going to play jazz, you've got to learn about scales, voicings, and
the first place. Ir's certainly
soloing, so you can improvise alongside teal jazz musicians. If you're going
prepare you for. But it also means that the really important
to play classical, you need to master classical technique
experience of piano playing aren't going ro come from this or any book.
and phrasing and
understand created.
J
increasingly apparent to those who work in the field.
- its ability to bring complex music
to reflect its special characteristics.
amazing versatility of the instrument
to
in common:
one another in the
society, with only chaotic and random
last few decades,
I've decided
Secondly, The Piano Handbook
substantial
that the best rhey can hope for is to exist alongside isolated ghettos of our multicultural
broadest possible foundations
or
into exciting
piano textures. It's all here between the covers of The Piano Handbook.
And it directs you to the many books written On more specialised aspects In short, it aims to give you the
break-beats
can be transformed
of the subject. Ir also tells the story of the evolution of the piano and its musical culture.
and
in the latest dance-house
the culture in which great masterpieces of the past were If 20th century music interests you, there's no substitute for
learning to analyse and play challenging
composers such as Schoenberg or
whar I've designed
They will come directly from you.
CARL HUMPHRIES
2002
The Piano Handbook
co
things in your
J
THE ORIGINS OF THE INSTRUMENT The piano could be said to stand at the centre of the traditions
of western music that
have flourished
it epitornises
in the last few centuries.
that technological
sophistication
rich language without like
has played in western music's attempt
the role
to develop a
sacrificing expressive control or creative freedom.
other keyboard
allows an individual unfolding
As an instrument,
instruments player
(such as harpsichords
to create
the complex structures
melody,
and organs),
harmony
the piano
and texture
all at once,
of western music in the process. At the same time,
the piano retains a large element
of the physically
expressive control over sound that
is natural to singing and playing but missing from other keyboard instruments. This
combination
of factors
instrument
of western
improvisers,
and for ordinary
has enabled
music,
both
people making
remains easily the most mechanically The piano
uses small
hammers
the piano
for virtuoso music
complex piece of equipment that strike
- an instrument
stretched
between
zither developed Playing the spinet
moveable
Christina Antonio Somis playing a small octave
by ancient
spinet in the mid-18th cemury. Other members of
tuning
Somis's family play violin and cello.
that dates
the strings
thanks
and bounce
Greeks
in their
and harmony.
Age - in which
board are struck
to the addition
early experi menrs
Sophisticated
or plucked.
of a resonating
strings later
the
chamber
and
with
the mathematics
of zither
still
used
of musical
in use include
the
cimbalom.
The first zithers arrived century
examples
off,
has its origins in early forms of
bridges that could alter the pitch of the note, as on the monochords
Japanese koro and Hungarian
in Europe
as portable
from the Middle
instruments
evolved
instrument by
control
known as a "benrside" type, with strings running obliquely to the keyboard. The insrrumenr was made in London in 1742 by Joseph Mahoon.
first
metal
such strings
to be struck
hammers.
The
of
the
expressive
over volume offered by
the modern
The spinet pictured is a wing-shaped model
these the
became an important
and developed
harpsichord (right) produce their distinctive
the
designed
precursor
sounds by rrfeans of mechanically plucked strings.
-
small
dulcimer
Bentside spinet
From
with
specifically
The spinet (above), the virginal and the
East in the 11th
(psalteries).
dulcimer
4
and
to be found,
inside
back to the Bronze
sticks or over a wooden considerably,
the central
composers,
in their own homes, where it
leaving the strings to vibrate freely. This mechanism zither
to become
performers,
piano.
Taken
up
in the late 17th
Virginal The virginal was an early keyboard instrument. This one was produced in Italy in the 1660s and, given its lavish decoration, was probably made for a wealthy customer.
century
by Panraleon
Hebenstreit,
the exciting possibilities be freely and dramatically Although
a virtuosic
the Greeks are rhoughr
This
instrument
used a wheel
continuous
that
to use a keyboard, was turned
appearing
by hand
form of water-organ
(or organisrrum)
was probably
around the I Oth century.
to stroke
the strings,
making
Clavichord
a
Clavichords were important early keyboard
sound, while simple levers (keys) caused small anvils to press against the
Over the next few centuries, pipes activated
primitive
with
remain
a feature
identifying
letters).
from identical
These eventually
of modern
keyboards:
black
added in the 13th and 14th centuries.
this type of keyboard mechanism
17ch century.
arrangement
with
of the hurdy-gurdy
Known
inscrurnents;
the pitch.
pipe organs were also developed,
by sliders in turn controlled
marked
sustaining
showed
where volume could
to have used a primitive rhe hurdy-gurdy
string at different points along its length, altering
gradually
player, the dulcimer
instrument
varied.
that operated rather like a keyboard, the first stringed
German
of having a struck stringed
with the
its action, or playing mechanism. It employed a
handles (which had ro be
became keys
the pivoted
metal "tangent" at the end of each key to strike
keys that
the string and make it vibrate.
were
A fusion of
the string-based appeared
as che geigenwerck,
in the
it
looked racher like a harpsichord. By the 15 th cenrury, and polychord the larrer
the keyed monochord
had appeared,
that
the clavichord
and it was from most
probably
evolved. The compass of the keyboard on this and other
keyboard
during
instruments
the 16ch century,
process continued through
was significantly
to six-octave
expanded
from two octaves to four-and-a-half.
with the development instruments
of harpsichords,
This
and then pianos,
at the end of the 18th century.
The modern
piano keyboard has a compass of 88 notes, covering a little over seven octaves. Alongside
the clavichord,
whose existence
was first reported
in 1404,
the one pictured below is German
and dates from the early 1800s. Pictured above is
there
5
THE STORY OF THE PIANO a family
emerged
of keyboard
strings:
instruments
the harpsichord,
with
mechanically
and spinet.
mechanism
(the 'jack')
to pluck
them
when
the key was
released. They differ from one another
in shape, size
sophisticated strings
and
then
damp
and arrangement The outside
spinet
popular,
dynamic
contrast,
either
sympathetic
vibration
all the dampers
the dynamic
with real dynamic
away
more resonance through
of strings)
or by keeping
and suitability
the 17th and l Srh centuries,
or even the clavichord.
instrument
tuned to different
to create a crude sense of
by lifting
In spite of its popularity
introduction
to the
them
in contact with the strings as the notes sounded.
throughout not provide
a bigger
as the keys) and with
from the strings at once (producing partially
By contrast
perpendicular
for each note, sometimes
Srops were introduced
though
to produce
running
(in the same direction
several strings
the
to be effective
gatherings.
was expanded
sound, with the strings
octaves.
used a
and virginals,
were roo quiet
of small domestic
the harpsichord keyboard
These
of strings.
clavichord,
extremely
dulcimer
plucked
virginals
control That
control
of individual
meant
remained
for concert
the harpsichord notes
demand
offered
for a concert
unsatisfied,
paving
use
could by the
keyboard
the way for the
of the piano.
Double-manual harpsichord For greater musical versatility, extra
CHRISTOFORI'S BRILLIANT INVENTION
keyboards C'rnanuals") were added co some harpsichords from the 17th century. This two-
By the end of the 17th century,
manual model replicates a 1638 Ruckers original.
organs,
the harpsichord
three types of keyboard
family, and clavichords. contrasts
performers,
such as violinists
of volume
The first instruments Bartolomeo court,
Crisrofori,
at the turn
number
of pianos,
hammers.
players ro achieve the subtle
being
demonstrated
by other
and string orchestras.
recognisable
today as pianos were built by
the keeper of instruments
of the 18th
century.
but brilliantly
posed by an instrument
were in use:
None offered the son of dynamic
response that would allow keyboard expressive
instrument
at the Florentine
He built
only a small
solved the technical
in which
strings
But his results were pracrically
problems
have to be struck
by
ignored by the musicians
of his own time in Italy. A visitor to Cristofori "gravicernbalo
described
the resulting
col piano e forte" (a harpsichord
instrument
as a
with soft and loud),
and it is from this that the modern piano takes its name. (Piano is short
for pianoforte:
forrepianos.)
some
early
instruments
In spite of the lack of interest,
refine his piano action, even developing Playing the harpsichord
that corresponds
A musical scene painted by Edith Hipkins in
direct
1885 shows a woman playing a harpsichord. (The
discovered
instrument at rhe back of her chair is a cirtern.)
strings
to the left-hand
the hammer
as to
the una corda mechanism
pianos. He used a hand stop to used for each note.
He also that the
could
at just one of the two strings
be securely
Crisrofori's
maintained
the case and altering
wooden block that supported
6
are
that longer, thicker strings would produce more tone, providing
strengthening
mechanism,
pedal on modern
known
Crisrofori continued
greatest whereby
stroke
under
a greater
the way the runing
tension.
That
pins were mounted
meant in the
them. of genius
the single downward
was his development movement
of the escapemene
of the key is convened
into
Cristofori action This sequence (below) illustrates the action of a 1726 Cristofori piano. The design is remarkably sophisticated considering it was the first of its type, though Crisrofori went on to improve it.
Cristofori piano This instrument was made by the man who virtually invented the piano, Bartolomeo Cristofori. He made this grand piano in Florence, Italy, in 1722.
two distinct
movements
of the hammer:
back down again so that the string
upwards to hit the string, then immediately
is left free to vibrate.
The trick was to let the
hammer
(and its shank) 'escape' from the rest of the mechanism,
rebound
and fall back down (with gravity)
key remained mechanism
depressed.
controlled
It was no longer
connected
even if the piano
to the part
of the piano
the pianos of Cristofori
bear little resemblance
to the
of today. The sound is much more delicate and projects less than that of
the harpsichord, hammers.
so that it was free to
the string,
by the keys.
In terms of tonal character, instruments
on hitting
and the touch is extremely
Nevertheless,
considerably
they
light,
do achieve
owing
to the small size of the
a real dynamic
range
while
being
more powerful than the clavichord.
ACCLAIM FOR THE NEW INSTRUMENT In the early decades of the l Sth century a number of instrument France
and
Germany,
independently strings.
of Cristofori,
None
description developing
inspired
by the
experimented
success
instruments
and
with actions that used hammers
of these really took off until
of Crisrofori's
manufacturers
of Hebenstreit
Gottfried
and attempted
Silbermann
in
working to strike
came across a
to recreate
their
design,
his own version of the piano action, known as Prellmechanik.
In 1736 Silbermann the time, Johann
showed his instruments
to the greatest
Sebastian Bach, who was impressed
German
but stated that the action was
heavy and the upper register weak. After many years of refinement again presented
one of his pianos, this time in Potsdam
composer of
Silbermann
at the court of Frederick
once the
7
THE STORY OF THE PIANO Grear (King Frederick II of Prussia), a keen music enrhusiasr This rime rhe insrrumenr Ir is probably
and
highly
exrernporising harpsichord,
Emanue'BACH
SONATAS & RONDOS
reflecred
culrure.
C.P.E. Bach's intensely
adventurous
approach
rhe new penchanr
Alrhough
his music
it laid rhe foundations
composing
and improvising
throughout
the 19rh century and, through who
added
Prellzungenmechanik manufacrurers classical period,
for emorionalism
or 'German
was raken
own action'.
developmenrs
both soughr
to England, to develop
This
and Haydn.
Haydn
and
on which rhis role
(zunge)
became
ro
popular
by Johann produce
with
rhe
German
of a check mechanism)
By contrast,
to
of the
Crisrofor i's later action
influenced
the 'English
forms simply as Srossrnechanik)
action'
to form the
in English piano design.
including
Americus
the possibilities
square piano with a simplified
in
for the
It rerained
up and developed
The Seven Years War, which broke out in Germany manufacrurers
conceived
styles of Mozart,
(with the addition
in its earliest pre-escapemenr
basis of subsequenr
and
(Ernpfindsamkeir)
principally
escapement
(which came to be known as Srosszungemechanik) (known
composing
action in pianos used by many of the grear composers
such as Mozart
the
emotionally
jazz, inro the 20rh century.
acrion his
the elder
role of the piano as the instrument
and was larer modified
become rhe Viennese
dramatic,
mosr fully overlap and inreracr.
Prellmechanik
Srein,
amongsr
keyboard
for the pianisric
as well as for the subsequenr
Silbermanri's
to
was probably
Beethoven,
Andreas
Music by Carl Philip Emmanuel Bach.
playing.
composer
for many years
sons, and the one who did more than anyone else to found
school of keyboard
Bach, the most original
in Porsdam
Emmanuel
numerous
German
Carl Philipp
that the court composer
Bach's
involved,
PLETNEV
no coincidence
was Carl Phillip modern
MIKHAIL
and amareur composer.
was acclaimed.
anion
of Crisrofori's (without
in 1756, drove many piano
Backers and Johannes action. Zumpe
an escapement)
Zumpe,
who
developed
a
that could be built
lumpe square piano Probably invented in Germany in the early 1740s, the square piano rose to fame some 20 years later in England. It was smaller and mare practical rhan the grand piano, with strings at right angles to the keys, and sold in large numbers, paving the way for the piano's coming popularity. The square piano shown here was made in london in 1769 by Johannes Zumpe and Gabriel Bunrebarr.
8
THE STORY OF THE PIANO
.
English single action This system, shown in (he sequence below, was developed action
by Johannes
featured
of two steps
from Crisrofori's
Zurnpe
a jack, or pilot,
around that linked
original
1760. It the key with
rhe hammer.
Beyer square piano contemporary
Almost opposite,
with the example
Adam Beyer in 1777. The footpedal lowered
part of the lid to provide
the instrument's
volume
stops Cleft) allowed
..
pictured
this square piano was made in London
,
by
~
raised and
some control
over
and tone. The brass hand-
various damping
effects.
English double action Zurnpe
It was soon in huge demand
easily at a lower cost than harpsichords. especially after].C. London, featuring
in London,
Bach gave the first acclaimed public recital on the instrument his own works, probably
the instrument.
Zumpe marketed
classes rather
than the aristocracy,
the first to be composed
his instrument
specifically
in
also pioneered
this system,
which was
patented
by Geib in 1786. The action,
sequence
below, introduced
for escapement,
allowing
shown in
an intermediate
rapid repetition
lever
of notes.
for
effectively, aiming it at the middle
and keeping
the casework
simple
with this in
mind. Later models of square piano rended to be more ornate, however. John Broadwood produced
also began to build square pianos around the 1770s, and quickly
an enhanced
above the strings) the modern projection,
piano.
However,
underdamping
(dampers
pedal: two important
as the demand
grew
below rather than
distinguishing for more
tonal
features of power
and
it became necessary to increase the length and tension of the strings. This
eventually
forced
installed
version, fearuring
and a sustaining
Broadwood
to develop
an iron hitch
pin plate
above the sound board. By 1821 his firm had managed
that
could
be
to build the first
...
'''!c.'''_~ .
square piano with such a feature. However, instrument
it was the grand
the square piano eventually upright,
piano
as the 19th century progressed.
rhar
emerged
as the
principal
At the same time, the increasing
led to its replacement
since people wanted smaller instruments
as a domestic
instrument
concert '~~
size of by the
for their homes.
9
-
SUBTLETY OR POWER? Vienna dominated
the musical life of Europe from the late l Srh century through
the early decades
of the 19th century.
patrons of the arts, including
The ruling
Habsburgs
music, and so artists and those with related skills were
drawn to the city. Vienna became another focus for the piano industry, but the sort of instruments they rested on contrasting other the 'English'
that emerged
hammers
on one hand the 'Viennese'
as
action, on the
action.
Stein's improved
are prevented
introduction
like London,
in the two cities were quite different,
types of anion:
Like London, Vienna attracted these adopted
to
were enthusiastic
of checks.
from This
a number
escapement
of German
piano makers, and many of
action (Prellzungenmechanik),
bouncing
back up and restriking
type of action
continued
in which
strings
by the
to be used by numerous
German makers right up to the start of the 20th century. The sound of these Viennese grand pianos is much lighter and more delicate than that of modern intentions
instruments,
and this can sometimes
of the great Viennese By the
composers
1780s,
such as Mozart,
the English
become quite distinct
shed light
Haydn and Beethoven.
and Viennese
as instruments.
and is normally
double-strung.
triple-strung
and has a heavier construction. while the English
the hammers mounted
grand
pianos
had
The former has a lighter
construction
is also lighter,
on the musical
action
The latter is usually The Viennese action is more complex,
with
on a separate hammer rail.
White and black Removed from the Rosenberger piano below, this keyboard and action
English grand action
shows black and white
Devised by Americus Backers and others at
keys reversed, typical
Broadwood in London in rhe 1770s, this action
of many luxury
helped in the development of a more powerful
Viennese
piano with superior rone and dynamic response.
pianos of
the time.
Viennese grand piano Michael Rosenberger made this impressive
instrument
in
Vienna in the early years of the 1800s. By this time the musically flourishing city was established as a leading centre of piano production.
10
Clementi's design The exploded action
view below reveals the keyboard
removed
Clementi's
from the Clementi
instruments
and
piano.
often featured
an unusual
"harmonic swell" system, where an extra length
of string
was brought
create reverberation
into play to
effects.
Clementi grand piano Best known
as a composer
Muzio Clementi "father
of rhe pianoforte"
was closely associated instruments this grand Clementi
whose hammers
would
strike the strings
in England
and
with the
that bore his name, such as piano of 1822. The Italian-born
had come to England
and later his dramatic
Unlike the more powerful English instruments,
and pianist,
was also revered as the
influence
as a child,
piano compositions
the way Beethoven
wrote
for the instrument.
in a direct manner,
the hammers
of the Viennese
the strings as they hit them, producing English
pianos,
impossible without
these instruments
a gentler
instruments
and sweeter sound. But unlike the
were constructed
in such a way that
to adapt them ro satisfy the ever-increasing
sacrificing
the responsiveness
Out of favour as increasing
numbers
tend almost to caress
demand
of the action. This eventually of players
preferred
it was
for more volume, led them to fall
ro use the English
and
French models. At the same time as this shift occurred,
the centre of attention
of musical culture
in Europe was moving from Vienna to Paris.
In England
the success of the square piano during
especially strong demand response.
The new action
conjunction
Here, pianos
leading piano composer manufacturer
and Stodart,
this was developed
big business,
of rhe day in London,
as well. The manufacturing
by Backus,
in
on the basis of the designs of Crisrofori
were already
and pianisr
the late 1760s had led to an
with a richer tone and greater dynamic
that was ro facilitate
with Broadwood
and Silbermann.
production
for an instrument
causing
Clementi,
the
to go into business as a
process became geared
Muzio Clementi
to factory mass-
much more rapidly in Britain than elsewhere.
John Broadwood help him improve
went further the technical
and engaged consistency
the assistance
of scientific
experts to
of his designs. As a result he altered the
11
0752-1832).
THE STORY OF THE PIANO point at which the string is struck,
to improve
the quality
the bridge into two sections. These modifications
of tone. He also divided
enabled him to add half an octave
at the top and bottom of his grand pianos. Such was the success of these improvements expressed his delight
on being presented
be the only instrument increasingly
dramatic
remotely
that the ageing and deaf Beethoven
with a Broadwood
capable
of fulfilling
grand. He believed it to
the taxing
demands
of his
and extreme compositions.
THE ROMANTIC PIANO The French Revolution factories in England. spotted
led to several major piano makers in France leaving ro set up One of the most important
that the market was shifting
to do this was Sebastien Erard, who
away from the square piano and so focused on
the grand piano. Erard's most important
innovation
Beethoven's piano
allows a note to be replayed without
This contemporary illustration, dared
much
1820, shows the Broadwood grand piano
complex mechanism,
rhar was owned by Beerhoven.
speedier
note repetition.
was the double escapement
mechanism,
which
the key having to be fully released, permitting
English
makers
doubted
and made the mistake of ignoring The which
the durability
19rh
century
the Romantic
in European
of this
ir for several decades.
classical
emphasis on emotional
was
movement music,
transported
period
III
emerged
leading
intensity
both works and performances. to see musicians
the
to an
and drama in
Audiences
liked
into stares
of
Kirkman grand piano A very grand piano indeed - rhis one was allegedly owned by King George IV and was kepr for him ar Brighton Pavilion in England. Made in London in 1820, rhe piano features Jacob Kirkman's
"octave stop"
feature rhar added extra harmonic colour by adopting some higher-pirched strings.
l Beethoven's Braadwood piano, srill in use.
12
poetic and emotional
rapture,
it was usually the strings, thickness
and many concerts ended with wrecked pianos. In fact
rather than the action, that presented
(and thus their strength)
framework
of the instrument
was constrained
could suppOrt
the problem:
by the limited
without
warping.
their
tension that the Thicker,
stronger
strings could be used, but to reach the same pitches as thinner strings they had to be put under higher tension, and that meant building Manufacturers
belly rail to which the hitch-pin could bend under pressure. running
and fixed to the hitch-pin owing
withstanding hammers
the number
of more
forces. With
mid-19th
(originally
of braces was
efficient
the increase
fixings
capable
of
in string
tension,
larger
advances paving the way for the modern grand piano in
century,
patented
The musical
with
the
by Chickering)
consequences
introduction
of the
and the development
of these developments
full-iron
frame
of oversrringing.
were enormous.
The increased
dynamic range over a much wider compass, along with the sustaining
pedal, allowed
romantic
composer-performers
unprecedented fireworks
previously
of Romantic
many believed often ability
extravaganrly
and sensual
the
exiled
Polish
the hearts of audiences
haunting
sensuality
a violinist
1808 for Louis, King of the Netherlands, who was Napoleon Bonaparte's brother. Today it is stil l owned by the Dutch royal family.
whom
Liszr encouraged individual.
the piano's images
the
He would people's unique
of Romantic
co note that Chopin,
composer-virtuoso
the tonal
It is interesting
with some other performers
subtlety
of Pleyel
and
still felt by many to
soul of the instrument.
together
Chopin
with the soulful melancholy
of his piano compositions,
the innermost
day, preferred
the
(above) was made by the Erard Brothers in Paris in
its rich variety of textures.
captured encapsulate
talented
he exploited
the complex
through
Meanwhile,
Paganini,
on his own and other
Like Schumann,
to evoke
literature
became
Erard grand piano Another opulent instrument, this grand piano
and dazzling virtuosity.
to be the devil in disguise,
improvise
The piano
technical
soirees, in which the great names of the day would entrance
to see him as a demonically
compositions.
and Liszt to explore an
as well as performing
have been unthinkable.
Like the lean and other-worldly public
Schumann
variety of new moods and textures,
that would
centrepiece
such as Chopin,
audiences with their displays of emotion
---
and Erard both lay
and more robust actions became feasible. Steinway would achieve
the other important the
Eventually
to the advent
greater
was to attach iron braces
on the same plane as the strings,
plate. Broadwood
claim to this development.
the pin block and the
plate is itself fixed, but even these
The solution
above the soundboard,
reduced,
a stronger framework.
began to use iron spacers between
instruments
of the to the Erard's agraffe An important innovation made by the Parisian Erard company was the agraffe, pictured above in early, simple form on a piano of 1818. Strings are threaded through the device, which prevents them moving when struck. It improved che piano's tuning stabiliry and enhanced its rone.
Erard endorsements Erard made the most technically advanced pianos of the time and had factories in London as well as Paris. The company's instruments arrracted leading composers
and musicians; this particular piano
(lefc) was played by Mendelssohn and Liszt,
13
mechanical
sophistication
of Erards, bur also played Broadwoods
as the end of the 19th century,
a few late-Romantic
preferred
the Viennese-scyle
in England.
composers,
As late
notably Mahler, still
piano with its associations
of old
Vienna and the great classical masters. This
period
European Robert
also saw the
school
of piano
Schumann
married
day, Clara Wieck. had groomed Schumann,
the leading
her from birth
for an international
continued
to be felt through
and her own performances by improvised
own compositional
husband's
Pictured
was the leading and raught pictured
better
above left, Clara Schumann female virtuoso
many grear players.
is Wilma
(1819-96)
pianist
understanding
progressive
great
composer
female virtuoso
of the
career. Clara
preludes
talents
of them - a method
recently
were
of her own invention.
were sadly
career, but she encouraged
into the 20th
of works by others eclipsed
her students
around the pieces of music they were learning Clara Schumann
first
brilliant
as she became known, taught many of great pianists,
often proceeded Her
of the
The
Her father was a leading piano teacher who
whose influence century,
foundation
playing.
revived
by her
to improvise
in order to gain a
by some of the most
classical teachers of the present day.
of her day,
(The violinist
Neruda.)
THE EVOLUTION OF THE UPRIGHT The upright
we know today first appeared around 1800, following previous attempts
ro design vertical grand pianos (known as upright smaller, wanted
more economical an instrument
and portable
instrument.
whose sound retained
grands). It was developed However,
to be a
manufacturers
also
as many as possible of the qualities
of
the grand piano. More than one designer grand were redundant,
had independently
realised that the legs of the upright
so the bass strings could go right to the floor. Shortly after
that, Thomas Loud of London proposed
running
the strings diagonally,
so that either
longer strings could be incorporated
or the size of the case could be reduced. Loud
went to America, where he produced
small pianos, while in Europe obliquely
strung
pianos of this kind became known as pianinos. Another
Londoner,
1798, which allowed strings,
adding
William
Southwell,
the hammer
an escapement
had introduced
to be positioned and a check,
the 'sticker'
at the optimum
but it was Robert
Mahler's Gustav
Jules Massenet French composer upright upright
Massener
is seen here playing
piano for a few admiring was perfect
for entertaining
onlookers.
grand Vienna
in smaller
as a
was Mahler's first
made by Conrad
around
instrument
14
was renowned
pictured
piano,
later, Mahler
homes at the turn of the century.
who
and cond UC[Qr. The
instrument
an
The
Wornum
in
on the
Graf piano
Mahler
composer
action
point
1830. Seventy still preferred
when composing.
Graf in years
to use this
transformed Early
the upright
on, Wornum
stringing
piano into the instrurnenr
built
an upright
with the English
double
for the system
anion
used in uprights
today.
check the hammer
CO
further developed
that remains It employs
known,
French
manufacturers
production
wrongly,
was
meet
but
in
demand
action.
The
were mass
artistic
may have suffered.
The upright
piano was a product
also had the prestige the grand
pianos parts
extremely
important
of having evolved from of society.
and more
Size
was
an
issue, since the typical
middle class home in the mid-19th rooms.
that
classes, but it
of the wealthier
arisrocratic
adapted
his most
and his innovation
as the 'French'
could be sold co the middle
smallish
a
so that it cannot
of uprights
successful, to
standards
the basis
in Paris by Playel and Pape, so that it
became
commercially
diagonal
and in the 1830s he
strike more than once. In 1842 he parented advanced version of this anion,
we know today.
combined
action,
went on co develop the tape-check piece of tape
that
The
upright
or disguised
century had
piano
co function
else when not in use. Pianos
was often
as something
could resemble
tables and desks, or even chests of drawers. English especially domestic designs
and French
manufacturers
inventive appeal of Pape,
in
enhancing
were the
ofthe
ins trurnenr , and
though
expensive,
the
inspired
other
makers ro experiment.
Wornum upright piano The London-based maker Robert Wornum contributed a great deal co the development of rhe upright piano, including advances in actions. His "tape check" system prevented a hammer bouncing back and hitting a string, and is still in modified use today. This example ofWornum's crafr (above) was produced in abour 1835.
Sticker action
propels the hammer cowards the string.
This sequence of three steps, pictured above,
Building on Geib's action, it was pioneered by
illusrrares rhe mechanics of the so-called
John Landreth during the 17805 and then by
"sticker" aerion, named for rhe sricker rhac
William Southwell in the early 1800s.
15
THE EVOLUTION OF THE MODERN GRAND The
great
exhibitions
opportunities
and
world
fairs of the
for the major piano manufacturers
public. As a result, American huge impact
19th
century
offered
excellent
to present their new designs to the
piano makers, led by Steinway and Chickering,
in the European
market
many awards at major exhibitions
in the second half of the century.
with their advanced
production
made a
They won
techniques
and
new ideas for design and marketing. The Steinway family (originally the 1848 revolution They produced represent
in Germany,
called Steinweg)
a series of innovations
the last major developments
In the 1850s they introduced cast-iron frame that could support it possible to produce they had produced
instruments
the overstrung
had emigrated
where they had already in the production in the evolution
overstringing
to America after
been producing
of the modern grand piano.
to square pianos,
and developed
Theodor Germany
Sreinway,
a
far greater levels of tension in the strings, making with a much bigger and richer sound. By 1860, grand - the real forerunner
of the modern concert
grand - and had began to make use of a process for machine-felting to achieve a more consistent
pianos.
and design process: these
their hammers
tonal quality.
the only member
of the family to have remained
behind
in
in the 1850s, worked closely with the great 19th century German scientist
Erard grand piano European makers such as Erard were shocked by the influx of American-made instruments in the second half of the 19th century, primarily from Steinway, and the technical innovations they introduced, such as the overstrung grand. Instruments like this Erard grand made in 1866 would soon seem old fashioned.
16
Steinway celebration A Sreinway
trade banquet
1926 (left) underlines booming
worldwide
honour included conductors
of musical
Hermann
Helmholtz,
instruments
who had investigated
and musical
harmony.
1860s, Theodor
Sreinway
taken up by other manufacturers
single-piece During
laminated
introduced
from Sreinway
as well itself.
around
in the
refinements
the world,
that
notably
the
War II under
the
piano rim. factory of Sreinway & Sons was
used to make aircraft parts, wbile tbe German to produce
Steinway
firm acquired
maker,
partly
international
to America
a whole series of technical
World War II the American
by the Nazis
of
the acoustic foundations
After moving
were eventually
success. Guests
eminent musicians,
and their families,
as luminaries
and acoustician
in Berlin in
the company's
dummy
aeroplanes
the reputation
through
factory was taken over and rifle butts.
as the world's
developing
close
premiere
relationships
concert artists, many of whom were inclined
The piano with
to refuse to
perform on any other kind of piano. Apart century three
from Broadwood
& Sons and Steinway
saw the emergence of which
Bosendorfer
stand
Austrian
out
for the
of Vienna and Bechstein
on creating instruments Liszts
of a number
piano
Imperial
also creating
Bosendorfer
of their
the 19th
instruments.
supplied
with additional
themselves
the ferocious onslaught instruments
Court, and remains the leading Austrian
an instrument
that extended
quality
of Berlin both prided
capable of surviving
playing.
& Sons,
of other great piano firms,
of
to the piano firm,
notes at the very bottom
the range down to low C below the A that is normally
the lowest note on modern
pianos. Bechsrein
best of the many other developments
skilfully
integrated
in piano manufacture
the
inro their
grand pianos. Tbe Leipzig-based beauty
firm of Julius Blurhner
of its insrrumenrs,
early 20th
century,
particularly
and production
was admired
for tbe tonal
in the late 19th century was revived
auspices of the East German government.
Bluthner
after World
and
made an important
innovation
in
the form of the aliquot system, in which an extra string is added for each note in the higher register for sympathetic
vibration,
to enhance the singing quality of the tone.
Empress EugEmie Bosendorfer One of the most famous world, designed Makart
by Viennese
PIANOS FOR THE MACHINE AGE of the piano prompted
the instrument
into homes where no one could actually play it. The obvious solution
was to mechanise
manufacturers
to try to think of ways to bring
Phillipe
the instrument.
]7
Eugenic,
Napoleon
Hans in
of stories surround
bur it was certainly
the Empress
The popularity
was'
craftsman
and bui It by Boseridorfer
1867. A number origins,
pianos in the
this ornate instrument
III.
its
owned by
wife of Louis
THE STORY OF THE PIANO Mechanical
instruments
such as music boxes had been popular in Europe since the
14th century, and Mozart even wrote music specifically for them. The earliest system was the barrel mechanism; a lever
a cylinder turned, and nails inserted into it would trigger that
themselves cylinder
then
meant
beginning
to sound
on strings).
the music
then
started
The
(or the circular
automatically
again.
In the
of the street
piano,
nails
would
shape
of the
returned 19th
began to fit barrel mechanisms
the exception
commercial
a note
notes that
and
manufacturers with
caused
pluck
to the
century,
barrel
pianos
This sort of solid barrel had many limitations.
For an auromatic
to gain wide appeal a more sophisticated
music was required.
way of storing
The solution was to use a cylinder with punched
holes instead of raised nails, and the first successful automatic based on this idea was produced
by Giovanni
or 'Pianista'
- a freestanding
Minx Miniature piano
the piano
Around the time of World \1I7arII the Minx
'player piano' refers to an instrument
Minature piano was a great success in Britain.
fitted
Manufactured by Kemble from 1935, it was aimed
so that its mechanical
automatic
at rhe domesric market by virtue of its small size-
information
although as the picture above shows, it was also
it. The advent
piano
viable,
Fourneaux, machine
'fingers'
played
developed
the keys. By contrast
a compact
made
and efficient
continued in production until 1966.
and pedalling
could
Consequently, performance
by a performer.
be adjusted
This possibility
including
invented
in a crude
way of storing
but tempo, volume
way by an operator.
really reproduce
an actual
became available with the development
a system
for encoding
tempo changes, dynamics,
an electric motor to drive the mechanism The
types of
pianos' in the early 20th century. Moreover, in 1904 Edwin Welte of
in Germany
performance,
sometimes
piano players and player pianos couldn't
of 'reproducing Freiburg
already
both
about the pieces of music ro be played.
Most early piano rolls were lacking in expression or dynamics,
successful in ensembles. Remarkably, the Minx
the term
player mechanism
roll in the 1870s
since it offered
for storage. a 'piano player'
that could be wheeled up to
with an automatic
of the piano
piano
Racca. In the 1880s he
a Piano Melodico that used folded cardboard
In the 1860s a Frenchman,
inside
but
had little
success.
instrument
patented
some
to their pianos,
automated
piano
every nuance
and pedalling.
of a pianist's
He also introduced
instead of pedalled bellows.
was the jukebox
of its day.
gramophone,
to its inevitable creative
use
American
later,
by individuals Conlon
as anticipating
computer
the arrival
the jukebox
of the
itself, led
and swift decline. Nevertheless,
composer
regarded
But
and eventually
sequencing
Automated
such
Nancarrow, the
use
its
as the can
be
of modern
techniques.
pianos were popular in cinemas,
and this was part of a broader drive to exploit
Tomasso street piano Italian immigrants to England in rhe late 19rh century brought with them the idea of "barrel" pianos. These were often wheeled around the srreers on carts, like the one shown here. Each "pinned" barrel contained ten tunes and each tune lasted about 45 seconds. This street piano was made in London in about 1885.
18
Steck reproducing
piano
Aeolian took over the New York-based George Steck company in 1904, purring its Duo-Art piano roll reproducing system of 1912 inro Steck uprights (below). Piano rolls (above), invented by Racca Piano Melodico
Edwin Welte in Germany in 1887, quickly
This "melody piano" was patented in 1866
became popular, with many great pianists making
by Giovanni Racca and made in Bologna,
rolls for sale by Aeolian and other companies.
Italy, around 1900. An improvement over the barrel piano, it allowed longer runes to be played by using folded cardboard sheets and a crank-operated mechanism.
the popularity
of the instrumenr
and situations
as possible. Pianos were adapted for use on yachts, and even
by adapting
it co as many social purposes
in the ill-fated airships. The development
of electric pianos,
in which the sound is electrically
altered, and then of electronic pianos, in which the sound is electronically generated,
produced
exploited
alternative
by popular
achieved
success
distinctive
musicians.
and
computer
and
electronic
digital
keyboards,
sounds or simulating
that sound
another
the musical
technology
sophisticated means
significance
Of the former, In popular
allowing
instrument
instrument
that were readily the Fender-Rhodes
culrure industry
circuitry
thanks
to its
has seized upon
to develop
capable of exploring
increasingly
a wide range of
the sound of an acoustic piano. The advent of MIDI
can now be processed
kind of numerical
technology,
data. Acoustic
entirely
in the digital
domain,
as just
pianos have also been fitted with MIDI
them to store information
about an acrual performance
on the
and then replay it 'for real' in the absence of the player.
Ironically, technology
characteristics
sound.
In recent decades,
synthetic
sound
even the most sophisticated has not yet succeeded in matching
'rouch-sensirive'
electronic
keyboard
the extraordinary
sensitivity
to human
touch of an ordinary piano action - one of the fearures whose expressive importance prompted
the invention
of the piano in the first place.
19
THE STORY OF THE PIANO
Modern grand action: 1: At rest
2: Hammer strikes string
3: Hammer in check
A modern grand piano action is shown in this
The jack continues ro move upwards unril its roe
Wirh the key still held, the hammer bounces off
sequence, featuring Sreinway's Accelerated
encounters the see-off burton. The jack flicks off
rhe string and is grabbed by the check. The
Anion. As che key is pressed, rhe caps ran screw
the railer, leaving rbe ham met moving in free
process of the downward movement of rhe
rises, causing the jack to push up on the roller
flight cowards the string. Meanwhile the damper
hammer has caused the repetition lever co
through a slor in the repetitive lever.
has been lifted off the suing by rhe damper wire.
compress rhe repetition spring.
THE MODERN GRAND The
Steinway
Model
D concert
grand
piano (shown here) is the instrument by
most
performance
modern
concert
purposes.
in 1857, although
only after another developed
e
• f)
e
• " e
0
Sreinway
unique
technique
the entire
to the instrument's
between countries,
since some raw materials
the
instruments
have a different
normal for pianos of this calibre to be adjusted
G
(USA),
to the individual
4D
period 16 moulded toe 171eg 18 leg cap 19 bent side 20 heel 21 rim or case 22 short stick 23 prop stick 24 front half, front top 2S top hinge 26 music rest 27 music desk 28 straight side 29 action 30 action standardl hanger
(the
introverted brighten
with
a
that
about
150
(Germany)
and
slight
differences
originating
in
the
two
source. At the same time, it is player, in order
of the action are optimally
suited
user's musical preferences and way of playing.
Some players
Key
from
unique sound.
produced
to suit the individual
to ensure that both the tone and the responsiveness
rim
for
of wood - a feature
traditionally
York
it was
ten years that Sreinway
Model Ds each year in Hamburg New
~
1 balance weights/key leads 2 keys 3 front baize/key bottom 4 front rail S balance rail 6 balance pin 7 back rail 8 cheek 9 lyre post 10 una corda pedal 11 sostenuto pedal 12 damper pedal 13 lyre 14 lyre brace 1S castor
piece
contributes
0
0
G 6)0
its
manufacturing single
for
The first version of this
model appeared ~
used
pianists
like to express a preference
1920s
and
1930s),
which
for Steinways
made in the inter-war
are felt to have a slightly
darker,
more
expressive tonal character. This may well be a reaction to the tendency to the tone of modern
the preferences
whose expectations This characteristic other respects, now started
grand pianos generally,
of the recording
industry
are often influenced is most ptonounced
concert-going
by what they hear on modern
public
recordings.
in Far Eastern pianos (eg, Yamaha, Kawai). In
however, such as the responsiveness to rival the subtlety
to bring them into line with
and of a modern
that
of the piano action,
was once the sole province
these have
of the great
European firms. Tonal purists
may even go Out of their way to obtain one of old 'patent
Bli.ithner grands - instruments
known for their exceptionally
tone - possibly with a view to having it reconditioned. time
when
considered beauty
above
instrument,
20
the manufacturer inadequate all else,
was using
and rather or who
make
However,
only
this can represent an interesting
modest
choice.
action'
and beauty of
These pianos were built at a
a more primitive
unreliable.
subtlety
type of action,
now
for those who value tonal technical
demands
of the
J
THE STORY OF THE PIANO
-
4: Hammer freed
5: Back to rest
6: At rest, dampers raised
As the key is pardy released, rhe hammer is freed
When the key is fully released the hammer falls
When che damper pedal is pressed, a series of
from the check and rises slightly, caused by the
back so that it is JUStclear of the hammer rest.
levers raises the underlever, lifting the dampers.
reperirion spring. This allows rhe jack back under
The toe of rhe jack leaves the set-off button and
Once a string has been played and the pedal
the roller. If the key is played again, rhe hammer
the jack is fully repositioned under the roller and
pressed, a tab prevents rhe damper wire of any
hits rhe string, though less forcefully this rime.
the damper is lowered on to rhe string.
nore being helel from falling back.
Modern grand piano This Sreinway Model D, illustrated in exploded view, has had its full assembly removed. The keyboard and action have then been freed from the casework and partially pulled our ro show the keys and the key bed. The acrion has been lifred from
Key 1 serial number 2 agraffes 3 dampers 4 wrest pins 5 cast-iron frame 6 treble bridge
e e e e
7 duplex bridge 8 sound board 9 bass strings 10 bass bridge 11 hitch pins
f)
o
rhe key assembly.
21
Modern upright action
Hammer strikes string
Hammer in check
Key released
Half blow
This sequence illustrates
Just before the hammer
The hammer is caught by
Now the wippen lowers,
When the half blow (soft)
the action of a Bosendorfer
strikes the string, the roe of
the check, which prevents
freeing the jack from the
pedal is depressed, without
Model 130, which is similar
the jack moves to the set-
rhe hammer from bouncing
check. Then the jack, aided
a key being played, the half
to most modern upright
off burton. The hammer
back and re-striking the
by rhe repetition spring,
blow rail tilts forward, the
actions. Tbis first photo
then strikes the string and
strings. The key is still
relocates in its notch. The
bammer moves closer to
(above) shows the pares of
bounces back, aided by the
held and so the damper
note can be played again,
the string, and the nore
the action at rest.
bridle strap.
remains off the string.
though with less power.
sounds more quietly.
f) f)
f)
e ~
G
Q)
G
fi fD
Art-case piano
@)
This unusual "Ivory Spirit" Stein way upright was designed by New York artist and craftsman
4»
e
Wendell Castle in 1989.
CD
e
0 8 G)
0
e
4D «0
0 ~
22
~
Modern upright piano This Bosendorfer Model 130 is illustrated in exploded
view, revealing
its frame, action,
keyboard and strings. Few companies produce rheir own actions roday, and Bosendorfer is no exception,
conrracting
the work to Louis Renner
GmbH, one of the world's largest manufacturers of piano parrs. Renner and Schwander actions are both considered ro be of the highest quality.
Key 1 key block 2 lock rail 3 toe(s) 4 lock 5 side stick 6 sound board (part) 7 long bridge 8 pedal rocker 9 half-blow (soft) pedal 10 damper pedal 11 key 12 bat (front) pin 13 bass strings 14 short (bass) bridge 15 hitch pins 16 columns 17 balance pin 18 cheek 19 key weights
20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37
pilot wire pilot (capstan screw) action standard treble end treble strings action rail agraffes back half wrest pins halftop half-blow rail hammer checks bridle wire hammer rest rail frame hammers bass end half-blow crank
THE MODERN UPRIGHT Modern-day
teachers and performers
that does not preclude
who require a top-quality
home use have often favoured
Model
130 Srudio
(shown
upright
pianos. Most of this instrument
produce. The challenge of the inevitably problem diminished
is that
here) is one of the most highly is hand-crafted,
for a manufacturer
shorter
string
the action
requires
at a price
pianos.
regarded
is to compensate
for the effect
on tonal range and projection.
a shorter
key, which
Another
consequently
offers a
level of responsiveness.
The height of the Model 130 Studio is typical of modern full-size uprights:
..-..
51" (1300m).
However,
names depending (91D-965mm)
smaller sizes are available,
on their height.
A 'spinet'
known in America
uprights
- known
in Britain
also like to refer to instruments
pianos. The smaller types may incorporate
about
by different
piano usually measures about 36-38"
high, while a 'console' piano is about 38-43"
this are 'standard' Americans
Their
of modern
and it takes almost a year to
of uprights
lengths
instrument
Bosendorfer
(965-1100mm).
as 'full-size'
of 43-47"
uprights.
(l100-1200mm)
some alterations
Above Some
as 'studio'
to the action - notably
the use of a 'drop' action.
23
A NEW SOUND AND NEW VOICES By the
end of the
effectively would
19th
completed
continue
engineering,
century,
to be subtle
finish
Instead,
concentrated
improvements
composers
on exploiting
had
After that, there
and manufacturing
but there would be no innovations consequences.
the piano
its evolution.
in
technique,
with real musical and performers
the instrument
as it was
- and still is today. At that point,
however,
the musical culture
the western world received a new stimulus incorporation most parr,
of influences
from Africa. For the
these did not come directly
itself. Instead descendants
they came via America,
was beginning
piano played an important In the last decade
to Europe
where the music of former slaves and their
to be widely heard.
of the 19th century,
began ro develop a popular following:
composed
obsession
for Americans.
by Scott Joplin
Afro-American
musical
did establish
the typical
virtuosic dimension the innovations
It is most
'Jelly Roll' Morton's
24
musical
strongly
associated
ragtime
European
whose rhythmic
patterns
for right-hand
from ragtime
with
it became fashionable
into an essentially
ragtime recordings.
styles
was a syncopated
left-hand
jazz piano. One can hear the transition
to jazz piano, following
of Jelly Roll Morton (below).
and blues. Ragtime
Subsequently
bass note and chord later served as a foundation
and right). Art Tatum (above) brought a
the
songs and marches into something
speed on piano rolls. Although
elements 'stride'
two African-American
ragtime
(1868-1917).
the music played at breakneck The king of ragtime was Scott Joplin (top, left
And almost from the beginning,
parr.
solo piano style that evolved from minstrel national
of
by the
musical
of a
the rags ro hear
incorporates language, alternation
improvisation
it of
in early
ro early jazz piano in some of
THE STORY OF THE PIANO By contrast,
blues was an idiom that displayed
an immediately
compelling
manner,
in black slave songs in the American were flattened African
as a folk-song
South. It used a distinctive
in
genre rooted
scale in which notes
or 'bent' from the normal major scale of European music, to reflect the
feeling for melodies
suffering:
the legacy of African-Americans
since it originated
and to produce
an out-of-tune
feel, expressive
of raw
these were known as 'blue' notes.
The form of the blues consisted itself corresponds infinitum,
to a distinctive
of a repeated
relationship
to the underlying
sometimes
performed
sequence,
style of singing
that has a rhythmically
the rhythms
and inflections
with piano accompaniment, boogie-woogie
country as these developed Barrelhouse
acquired
ad
loose
metre (which is always in 2 or 4 time) and therefore
with
sometimes
of speech.
Blues was
with guitar.
However,
its real influence on popular styles of piano playing emerged through other styles: initially
which
AAB form. This can be repeated and elaborated
often with a declamatory
also a close connection
12-bar harmonic
and barrelhouse,
throughout
its influence on
but also much of jazz, rock and
the 20th century.
its name from the primitive
huts that functioned
as bars in
the lumber camps of the Deep South of the US. There the piano and alcohol formed a close association
in a rough and dangerous
environment,
where a saying like "Don't
shoot the pianist, he's doing his best" may well have been used literally. Boogie-woogie
was also synonymous
associated with drinking the 20th century.
with
establishments
the rough
In this respect, its pounding
rhythms
bass lines - echoing blues and banjo styles - contributed Yancey and Pinetop
Smith
and licentious
lifestyle
in urban America in the first few decades of
were perhaps
and rhythmically
marked
to its significance.
Jimmy
the most infamous
early exponents,
other masters who can be heard on record include Pete Johnson,
and
Meade Lux Lewis
and Albert Ammons. The slower, more bluesy feel of barrelhouse jazz pianists,
who fused it with the other musical
roots of jazz. Jazz emerged performer
improvising
musicians
maintain
bandleader which
around
mix
French)
andlor
Creole,
and musical
black musicians
began
to export
Great 'stride'
pianists
bands with written pianisr-bandleaders
with inventing Latin
arrangements
and
influences
to the
upon a solo while
The pianist
other and
Artur Schnabel was one of the greatest interpreters
jazz,
European
in late
the music
19th
to other
cities,
also took it up. began to emerge,
It was characrerised
used as backing
such as Duke Ellington,
by big
for solos, led by
Earl Hines, Nat 'King'
Cole and Count Basie, or, on a smaller scale, Fats Waller. The 1940s saw the appearance pianists,
of some
notably Art Tatum,
saw the beginnings emergence
phenomenally
gifted
virtuous
solo
Errol! Garner and Oscar Peterson. It also
of a radically
new conception
of jazz with the
of bebop.
CLASSICAL IN THE 20TH CENTURY Meanwhile,
the world of classical
great pianist-composers Schumann,
Chopin,
century
and Liszt had provided
fame and success and a brilliant generations
music continued
of the mid-19th
of virtuoso
players
repertoire, to
tour
to change.
The
like Mendelssohn,
a glamorous encouraging Europe
and
model
of Beethoven's
piano works
during the early 20th century.
In the 1910s and
such as James P. Johnson
and then, in the 1930s, Swing developed.
ptogression,
in the background,
where he lived and worked.
especially Chicago, where white musicians
that contributed
by an emphasis
a chord
is often credited
of Negro,
cultural
century New Orleans, 1920s
a tune
the beat and the harmony
the
idioms
in the 1920s, characrerised
'Jelly Roll' Morton
reflects
(especially
was taken up by many of the early
of
subsequent America,
25
THE STORY OF THE PIANO
leading
pianists at work: Ferruccio Busoni at
the keyboard
exploiting
the mass popularity
the time,
known
Alkan, Gottschalk, By the start
(below); Edwin Fischer and
Walter Geiskeing on record (sleeves, bottom left); and Emil Gilels in concert (bottom
right).
dominate
of the piano as an instrument.
for their dazzling
technique
of the 20th
century,
piano rolls and early gramophone
a number
Thalberg,
although
the degree
Ignace Minister
Pole, Leopold
(1860-1941),
the Romantic Godowsky
who also became Prime his loose tempi
and accompaniment.
(1870-1938),
composer
and
Another
was revered amongst
and tone. Josef Hofmann
testify to the subtlety and
can
to surpass even Liszt in his astounding
famous for his spontaneity pianist
intensity
the most famous of these,
style with
of melody
brilliance
Romanticism,
and expressive
was probably
pianists and considered technical
to
remains steeped
of 19th century
of rubato
Paderewski
desyncronisation
had begun
to modern ears.
of Poland,
epiromizing
personalities
Their style of playing
and drama
sound exaggerated
of
Their legacy would last into the age of
recordings.
in the intensity
26
included
Tausig, von Bulow and Anton Rubinstein.
the world of piano performance.
8uSM.
Other great pianists of
and intensity,
and risk-taking,
and depth
of insight
Sergei
Rachmaninov
(1876-1957)
was
while recordings that the Russian (1873-1943)
brought
to his playing.
0874-1944) Romantic
By contrast,
brought
the Russian
an element
Josef Lhevinne
of classical
restraint
to the
approach.
The Italian
composer-pianist
Ferruccio
best known for his transcriptions Romantic
pianistic
distinctive
decadence.
aesthetic
performance
technique
and far-reaching
at the time
works in a
for achieving
it is now disdained
practice.
is
in music with a Gothic intensity
Valued
of its own,
authentic
(1866-1924)
of Bach's instrumental
idiom, resulting
and Art-Nouveau
Busoni
Quite
intellectual
apart
a
by advocates of
from his phenomenal
engagement,
Busoni was one
of the era's most original composers for piano. His own works had to wait until the last decades of the 20th century to be appreciated. The French pianist perhaps the greatest his day,
Alfred Corrot (1877-1962)
exponent
of Schumann,
became known as
Chopin,
and Debussy of
thanks to his poetic feeling for tone, texture
and mood, as
well as his rigorous intellect. Meanwhile very centre
-
the works of Beethoven, of the classical
exponent
in the Austrian
Schnabel
caprured
Beethoven's pioneered great
the
sonatas
Beethoven
pianist intellectual
piano
unrivalled
reputation
(1895-1956),
imposed
sing
subtlety
Solomon,
distrust
expressively,
who studied
of virtuosity
Fischer
of
he also little
known.
(1886-1960),
The inimitable Glenn Gould, one of the most
Another
distinctive modern players of Bach's music,
whose Bach and
pictured here with leonard Bernstein.
50), whose emotional palette seeking those
of French
music,
achieved
especially
apparently
transcending
an
Debussy.
of tonal detail and his pedalling,
which
the physical
in his playing in a way that has stood the test
with
a pupil
of Clara Schumann,
of pianist artists was the Rumanian
refinement
and sense of proportion,
of tonal colours, bridged to continue
the perceived
who sought Julius
the gap between
inherited
the
Katchen
Dinu Liparti (1917-
combined
with a rich
those early 20th century
excesses of the 19th century
to reintroduce
classical
American
pianist
depriving
the world of a great Brahms interpreter.
rJI~r[DINU
parents,
for its own sake that was part of the legacy of this great teacher.
One of the most spiritual
and
drama but
by the piano action itself. The English pianist Solomon (1902-
88) fused classicism and romanticism of time.
style
unique,
were previously
for the interpretation
the instrument
pianists
emotional
born in France to German
This was thanks to his exceptional
romantic
authoritative (1882-1951).
are imbued with a deep sense of humanity. Gieseking
limitations
and
works, which
their
Schnabel
remains
of the classics was Edwin
Walter
make
like a colossus at the
found
Artur
in a way that
Schubert's
exponent
standing
repertoire,
(1926-69)
values.
Romantic
Like Liparti , the
saw his career cut short
by illness,
LlPATTI
The legendary final recital by Rumanian
Dernier Recital! Last Recital Letzter AuftriH
BcS.1cw;on.1SIX.1950 BACH • MOZART·
(;..I~te'A".1r SCHUBERT·
CHOPIN
ACc:t..I\.lfIUD 1.l:c..OIlOl"OS
~=~I=:,,:~~
O'f 1Hl
••
s se
pianist Dinu lipatti (far left), recorded days
alPlatOII.
1>~ ..~ ~ ,•.... 5.",...l-.,.,
before his death. Glenn Gould's exciting
GOUlD'S EICI11NG DEBUT RECORDING OF 1955
....••
debut recording of Bach (left) from 1955 is
BACH GOLDBERG
considered by many to be the most distinctive piano recording of the century .
VARIATIONS
GOUlDa
P IA N
27
Another intimacy
great Rumanian and purity
was Clara Haskil (1895-1960),
to her interpretations
Mozart) but is still not as widely appreciated great female pianist status
in Britain
working
who brought
of a range of composers
as she deserves. Haskil was not the only
at this time: Myra Hess (1890-1965)
for the expressive
a subtlety,
(most notably
immediacy
and religious
achieved
conviction
iconic
that her
playing displayed. The mid-20th
"1.101 •.. lull ••.••.••.• Jl;i•• · (.
<.r'..••
( •••
0 ••11 ••Or
'in·
Horovitz
(described
considered
authoritative),
0903-91),
whose performances
By contrast,
Ili«.I. -..I"H"
(n •..I'i·h·•••••••
others
~ .• ,
So •••••••.
and
and classicists
Artur
Rubinstein
players such as
(whose
such as the Argentine-born
convey analytical
Rudolf
Serkin 0903-91)
with a sense of struggle
unpredictable subtlety.
event,
Chopin
Claudio
is
Arrau
insights that reveal his exceptional
emotional
as supreme
mastery
Glenn
Gould
individual
(above) define rock'n'roll piano.
28
(1932-82),
approach
the works of Beethoven playing
and Sviaroslav Richter whose combination as classicist
a unique
of wondrous
(b.1915),
of technical,
and and
lyrical
both Russians, intellectual
or Romantic.
Their
and
recorded
revealed them ro be giants of the instrument.
One of the most striking
pictured (below) in relatively
relaxed mood. His 19505 records for Sun
times achieving
defies caregorisarion
legacies have increasingly
Jerry Lee Lewis, the explosive showman of
pianists
approached
that could make each performance
while at other
Emil Gilels (1916-1985)
also emerged
rock'n'roll,
as a 'tornado')
of both great romantic
depth of musical understanding.
Ur •.·••tI.I,· •.•.
"I,,,,'f"
century saw the emergence
pianistic
personalities
whose performances
with unique
insights
of the century was the Canadian
of J.S.Bach
and superlative
combined technical
a remarkably competence.
OF. lnHE PIANO
Gould
was also a superb
Schoenberg,
interpreter
of difficult
20rh century
composers
The other great wild man of rock'n'roll piano
such as
playing, Little Richard.
and a highly original thinker about music generally.
ROCK'N'ROLL AND ITS OFFSHOOTS In the mid-1950s
a new popular
style emerged
American
counrry music and African-American
identified
with the emergence
In its purest structure Richard
of popular
driving
culture,
a catchy backbeat.
thanks
melody
became
three-chord
the piano back inro the
personaliries
such as Little
and showmanship
of
playing to great effect.
A wide range of musical offshoots of rock'ri'roll playing
techniques
featured
fingerpicking
Cramer,
while gospel and blues piano playing
halftime
a simple
the physicality
piano styles, many of which involve imaginative
approach
with
It catapulted
to colomful
and Jerry Lee Lewis, who exploired
percussive, pounding
from a fusion of white
& blues. Rock'n'roll
of mass youth culture in post-war America.
form it combined
and a rebellious,
foreground
dramatically rhythm
and drum
grooves
and strumming
led ro a range of distinctive transformations
into keyboard
of emerging
equivalents.
effects, as in the slip-note
rock guitar
Country
rock
style of Floyd
came to reflect the more extrovert
of rock. Ramsey Lewis took gospel piano in rhe direction
of soul, and the
funk feel which came out of blues and soul fed back inro the rock piano of
characters such as Elton John.
.....•
Blues piano playing not JUSt through Jump
has remained
an active force throughout
the 20th cencury,
its influence upon other popular styles, but also in its own right.
blues developed
on the West Coast of the United
jazz and blues that offered interesting
improvisational
influence on the likes of Little Richard. Meanwhile
States as a synthesis
possibilities
traditional
in addition
of
to its
blues piano continued
to be played in places like Louisiana with little change, well into the second half of the 20th century.
29
BEBOP AND THE RISE OF MODERN JAZZ In the 1940s a new kind of jazz began co appear, familiar
in which the embellishment
tunes was replaced by a fast and freer style of melodic
soloing
of
using scales
derived from changes made co the chords of those runes. This was accompanied punchy
and irregular
with charismatic
rhythms,
and pianists
Thelonious
Monk.
like Bud Powell,
jazz through
Evans and McCoy Tyner
bebop pianists was Bud Powell (above).
appeared
Wynton
the 1950s,
especially with their subtle techniques
ushered
in a period
of post-bebop
instruments
jazz and thirdstream
Kelly,
or the individualistic
but in the 1960s pianists
on the scene, developing
further, keyboard
by
a whole new feel. Bebop had arrived, along
and virtuosic players such as Charlie Parker, Miles Davis and John
Coleraine,
Bebop dominated
A dominant influence among the younger
creating
this language
for laying Out left-hand
experimentation,
like Bill
including
even
chords. This
the use of electric
in jazz by the likes of Herbie Hancock,
as well as west coast
jazz, in which players like Dave Brubeck
introduced
elements
of modern classical music. The legacy of bebop and post-bebop,
from the 1970s through
has been a modern jazz scene that continues approaches,
as shown
Barron, not co mention Braxton or Cecil Taylor.
Bill Evans (right) was perhaps the greatest of all jazz pianists, although Thelonious Monk has to be a close contender. Recordings are all that we have left of both Monk and Evans.
30
by players
co the present day,
co include a wide range of experimental
such as Chick
Corea, Keith Jarrett
advocates of free jazz and avant-garde
and Kenny
jazz such as Anthony
.....~~;,..,~
WoJfgang Amadetts Mozart
PIANO CONCERTOS these developments,
Alongside
various traditional
styles have persisted,
the general trend has been towards a more technically style of playing, instrument
in which the interesting
contrasts
although
polished and less spontaneous
with classical ways of using the
have been watered down.
CLASSICAL PERFORMANCE TODAY The playing
of the majority
in which technique 20th
century.
perceived
of the great classical pianists of today reflects the ways
and awareness
The general
as the excesses
trend
of style have developed
over the course of the
has been away from what
of the Romantic
approach
that
century. This tendency has been reinforced by two important technology
has been felt rhroughour
to hear live performances
with
and of improvements
classical music. Listeners
the same technical
to be
the 19th
factors.
Firstly, the influence of the growth of the record industry recording
have come
dominated
perfection
taken over by performers tends
to be a lack
performers event.
of popular
of awareness
music. The downside
that a live musical performance
It should
rehearsed,
be something
or prepared,
has increasingly
among
all but
interpret
inspiration
controversial.
..-.
in which
music in a manner
the performance
practice
Zimerman (below).
of this greatest
should still be a special
that can never be fully planned,
musicians
of 'authentic'
are encouraged
that reflects what researchers at the
risk-
and insight of the moment.
The second major factor has been the emergence practices,
right), Friedrich Guida (above), and Krystian
At
been
that must leave room for spontaneity,
taking, and the intensity, performance
the
More piano greats: in jazz, Herbie Hancock (top left); in classical, Sviatoslav Richter (top
they have come to
expect on CDs at home, and artists feel they have to satisfy those expectations. the same time, the role of musical showman
in
now expect
time
to
know of
it was written.
This
is
Some people argue that we simply cannot know how
the music of the disrant past was actually performed,
since there are
no recordings. In the case of the piano, the matter is complicated substantial
changes
have evolved fortepianos
that have occurred
from harpsichord-type
to the modern
the harpsichord
instruments,
concert grand.
when playing
as keyboard
further by the instruments through
early
Should we play Bach on
it on the piano allows so much more
31
THE STORY OF THE PIANO
l in the way of possibilities
for expressive shaping
using dynamics
and articulation
I
How much of the flavour of the harpsichord Would
Beethoven
have preferred
should we try to recreate on the piano' to hear his sonatas on a modern concert grand,
where even the most extreme textures his own time, strained music
retain clarity and projection,
or on a piano of
to its own limits and beyond in the attempt
to deliver the
I
This is the complex and demanding addition,
they must negotiate
juggling
record
contracts
record producers,
world of choices for the modern pianist.
the pressures
with jet-set
and international
of the international
tours,
concert
competitions
managers
concert
and agents
with prestigious
In
circuit, with
arts festivals.
What distinguishes
the great players of the modern world is their ability to preserve
a sense of artistic
integrity,
individuality
and involvement
through
all these
distractions. The repertoire
for the piano is vast - far larger than for any other instrument.
get a rough idea how vast, cast a glance over the repertoire
(To
guide at the back of this
book.) Many players have therefore
achieved particular
Andras Schiff in J.S.Bach,
Uchida and Murray Perahia in Mozart, Mikhail
Plernev in C.P.E.Bach
Mitsuko
and Russian
Richard Goode in Beethoven,
music, Alfred Brendel
Krystian Zimerman
and Maurizio Pollini in early and mid-20th examples
approaching
Radu Lupu in Brahms,
century music are JUSt some of the finest could also lay claim to
of many other parts of the reperroire as well.
THE PIANO IN CONTEMPORARY Contemporary
in certain areas.
in Haydn and Schubert,
in Chopin,
of this. At the same time, all of these performers
being masterly exponents
MUSIC
classical music has evolved in the last 50 years or so into something a subculture
1960s produced Barraque
distinction
of its own. The European
important
heavyweight
avanr-garde
works for piano,
and Boulez and the piano pieces of Stockhausen.
piano was the ideal medium whose abstract and fragmented
for an intellectually
of the 1950s and
such as the sonatas For these composers,
severe and uncompromising
textures often typified the nihilistic
intensity
of the
style, of mid-
20th century musical modernism. Meanwhile, understanding
American
composers
of the piano
as an instrument:
foreign objects into the mechanism works for player-piano Some players have become noted for their skills in specific areas or with the work of particular composers. Maurizio Pollini (above) excels in performances of 20th century music (not to mention Beethoven), while Alfred Brendel (right) is known for his penetrating interpretations
of Haydn and Schubert.
32
such as Cage and Nancarrow Cage's prepared
stretched
piano
our
introduced
and strings to alter its sound, while Nancarrow's
turn the instrument
into a vehicle for multi-layered
textures
'--
of superhuman
complexity,
more recent computer The
1970s
experiment, with
onward
World
have both
saw a retreat
musical
past
from
and
musics and popular
exerted
'posrrnodern' working
the results of
techniques. radical
in favour of a more positive engagement
the European
cultures.
anticipating
sequencing
a substantial
styles
and
in contemporary
with
other
musical
influence
attitudes
idioms on the
of those
music. Modern
now
composers
such as Ligen have attempted
to fuse the intellectual
rigour of classical composition
with the new resources
offered
by an engagement
with
musical
cultures
dismissed
The piano thanks
previously
has proved
to its capacity
harmonic
an ideal
of
as primitive.
medium
for this,
for multi-layered
rhythmic,
and melodic textures.
Other composers,
such as Ferneyhough,
piano is capable to its utmost the pressures of modern Joanna
the subtleties
MacGregor
that previously
extremes,
have pushed the complexity producing
expressionistic
Murray Perahia (above) is a pianist revered
of which the
commentaries
for his musicality and understanding.
on
living. At the same time, younger classical pianists such as
have been successful
separated
different
in overcoming
the barriers and prejudices
musical
subcultures,
resulting
is that
the piano,
with
subtlety,
remains
in stimulating
Joanna MacGregor (below) is pictured in rehearsal with Pierre Boulez and Harrison
crossover experiences. What
is clear
technological interesting
beyond
sophistication and challenging
doubt
and expressive instrument
on the contemporary
its
combination
of
Birtwistle in France in the early 1990s. Today,
the most versatile,
she is helping to redefine the image of the piano as we move into the 21st century.
musical stage.
33
l
SECTION
1
UNIT 1 THE KEYBOARD Open the lid of your piano and you'll find a neat arrangement keys: the keyboard. computer,
Don't
worry,
it's not so different
of black and white
from the keyboard
which was named after this one. In fact, it's a lot simpler.
on a
There are only
two types of key, black and white. Look at the pattern
they form. Mostly,
white
white, black, white and so on. But sometimes no black key between between
them
keys alternate
with black keys:
two whites sit next to each other with
them. That means some of the black keys have a larger gap
than others. Look at the whole keyboard
and you will see that the
black keys are in a group of tWO, then a group of three, then another two and so on. Those five black keys (a group of two and a group of three), with the seven white keys around the keyboard.
them, form a pattern To understand
keys in that pattern,
of 12 keys that repeats itself along the length
the keyboard,
note its position,
of
you need ro be able to pick one of the
then find the equivalent
key where the pattern
repeats itself, then again and again. Each of the keys that makes up the pattern
is a
different note, with a name taken from the letters of the alphabet. At the beginning, in the pattern:
note has a different pattern.
ABC
concentrate
on getting
to know the positions
the black keys are the signposts letter-name
Then the letter-names
0 E F GAB
until, after seven notes, we return to the starr of the start again from the beginning.
C 0 E F G A
Press down the keys, one at a time, near the right-hand again at the left-hand higher,
of the white notes
that help you find them. Each white
end. What's
and those further
move along the keyboard forward
through
through
the alphabet.
the difference?
end of the keyboard:
Notes further
to the left sound lower. This is their pitch. to the right,
the alphabet.
When
then
to the right sound When
you
the pitch goes up and the note name moves you move left you go down, and backwards
Try saying your alphabet
backwards from G to A.
Exercise 1.1 Look at the picture of the keyboard. Middle C is close to the middle of the keyboard, immediately to the left of a group of two black notes. Now find it on the piano. Close the book and find every other C. Then find every D, E, F, G, A and B.
The right height Adjusting the height at which you sit every time you practise is a hugely boring waste of time. That's why you should have an adjustable piano
The distance from one note to the next one with the same letter-name
stool, which you can set permanently at the right
octave.
height for you. Don't settle for cushions on a chair,
So we say that the pattern
is called an
repeats itself at every octave (every eighth step).
or for one of those old-looking stools with a place for the music inside: you can't adjust them. Later
POSTURE AND TECHNIQUE
you may find it necessary to change the height slightly to play different kinds of music.
Apart
from the drums,
Good pianists
don't
the piano may be the most physical
just play with fingers and hands,
how every inch of their body contributes That means your posture
36
they're
instrument
there is.
constantly
aware of
to the music.
- how you position
yourself at the piano - is really
l
important.
Correct posture means sitting
shoulders
upright
loose, low and relaxed, and sitting
with a straight
back, keeping your
at the right height
and distance
the piano. Sit too low or close, and you'll restrict your freedom of movement the keyboard.
Sit too high or far away, and you lose intimacy
from across
and the ability
to
engage the weight of your body. Everyone has a different and distance, horizontal
or sloping
hands while sitting bottom
body shape and size, so there's no simple rule for height
but generally
in classical
slightly
music
downwards
at the keyboard,
your forearms
towards
should
the hands.
so the right
hand is some way towards
and the left cowards the top, If you have to lean backwards
instrument
to do this, you're sitting
aspect of this is hand shape.
they've
playing
music.
the hands
co position
is technique.
Look at your hands. All the fingers are a
size and shape, bur somehow need
the
tOOclose.
different
We
your
away from the
The general term for the physical aspects of playing an instrument An important
be roughly
Try crossing
all got co work equally
well when
on the keys to minimise
the
differences between fingers. Place one hand on the white keys near the middle. Notice how the knuckles slope down, away from the thumb, the smaller,
weaker fingers
in the direction
of the smaller fingers. This means that
have no room co play. Twist
from the wrist (cowards the thumb)
the hand round slightly
until you have level knuckles;
note how the
fingers themselves
have co be less flat to continue
hand was cupped
co hold an object in the palm of the hand. You need both level
knuckles
and rounded
hand slightly
resting on the keys, as though
fingers. Observe how the thumb
the
has to curve in cowards the
co sit squarely on the key: don't let it stick our, or rest on the wood in
front of the keys. Now take a look at your wrist. It should
be slightly
lower than the rest of the
hand, and should feel relaxed, but not so much that it causes the hand to collapse on to the keys. It must support knuckles
the hand but not constrain
may push downwards,
this problem,
forcing
it. If the hand tenses up, the
the wrist to rise. Most adult learners have
at least with their weaker hand. As soon as this happens, stop playing
and give your hand a good shake so the wrist goes floppy. Best to take a coffee break before starting
again.
Now check your shoulders
again.
Are they still relaxed,
tensed up and risen since you stopped thinking don't
or have they quietly
about them) Check your elbows tOO:
let them stick our sideways when the hands are on the keyboard,
arms hanging
loosely off the shoulders,
feel your
and let the elbows find their natural place
fairly close to the sides of your body. Remember on playing
to keep checking
Top: a good hand position means level knuckles
for signs of tension, and never force yourself to keep
when it occurs. Of course, some tension
is necessary for your body to
operate at all, and for you to control it. The golden rule of piano technique
Hand shapes and rounded fingers. Centre: letting your knuckles slope ro me right leaves no room for your shorter fingers to play. Bottom: (he high wrist is a sign of
is: maximum
relaxation
+ maximum
control.
a tense hand. Ti me ro rake a break.
READING MUSIC: PITCH With
classical music, we normally
learn to play from written
that was not the case with jazz and other non-classical people who only want to play non-classical
music. Until recently,
styles. Bur these days even
music are learning
to read music notation
because it really helps. This should not diminish
the importance
where players tend to study recordings music.
What's
more,
hearing performances
classical
musicians
of learning
by ear in jazz, for example,
and live performances
rather
also learn 'by ear', through
than written seeing
and
by other musicians.
37
UNIT 1 At its simplest,
music is written
down using a group
of five horizontal
lines,
known as a stave or staff:
Notes are written as circles, either on the lines, or in the spaces between them:
Classical music Classical music means music written by composers for the mainly European tradition of music played
o
o
o
()
o
o
in concerr halls, at the opera, or in churches. Some people caLLthis 'serious music', but this is
The higher or lower the note appears on the stave, the higher or lower it sounds. But
misleading: not aLL'classical' music cakes itself seriously, while a good deal of ocher music has
there are more notes on the piano than can fit on a single stave, so the piano uses two
serious intentions. In chis book we'll use the
staves. Each of the staves has a sign, called a clef,
neutral term 'non-classical' to include jazz, blues,
piano's range it relates roo It is written
rock, folk, and mainstream 'popular' styles.
to indicate
at the beginning
which parr of the
of each line of music. These
are the two clefs: Treble
clef means the stave corresponds
to the region above (right of) Middle C.
Bass clef means the stave corresponds to the region below (left of) Middle C. Treble clef:
The upper stave is normally lower stave, normally
Bass clef:
played by the right hand, and uses the treble clef. The
played by the left, uses the bass clef. (Occasionally,
advanced piano music, you'll see a third stave, but this is exceptional.) of notes represented
by the staves meet at Middle
line, known as a leger required.
line, drawn through
The combination
stave, because it amounts
in very
The two sets
C, which is indicated
by a little
it. It only appears when it is actually
of treble and bass staves is sometimes
called the great
to a single large stave of eleven lines. MiddleC
~ I
n_
nn_
-
-
-
~ •
I)
u 0
I)
-
-
-
0
n
0
-
-
It
-
-
TJ
0
1
TJ -~-~)-~-
treble clef is B; but a note in the middle
Treble
A note on the middle
the notes for each clef. Here it is:
clef (right hand):
F
A
o
I'
And these are the notes on the lines:
line of the
line of the bass clef is D. We need an easy
These are the notes in the spaces:
38
~~-~ -~--
0
Note that the two clefs have to be read differently. way to remember
~~-~ -'-)-~-
I)
c I'
E o
UNIT 1
4
E
B
G
0
Every
Good
0
0
0
0
F
D
~
Boy
Favour
Deserves
Bass clef (left hand): The spaces:
A
E
C
G 0
I)
o
()
All
Cows
Eat
Grass
The lines:
F
0
Good
Boys
A 0
0
0
o
Of course, any fool can remember remember
D
B
G
~
Deserve
Fine
rhese phrases. Whar
Apples matters
is wherher
you can
which phrase or word refers co which clef (or hand). If it has five words
you know it's gOt co be lines; if it has four words or letters, it's gar be spaces. Try co learn rhem. When nares go below the bass stave, or above rhe rreble stave, we use more leger lines, like wirh Middle C. Nore that rhe high C is rhe same disrance above the treble srave as the low C is below symmerrically
C
rhe bass clef. (It's
D
E
our
F
4
:J: -o
the only nore rhar comes
in rhis way.)
-U-
-e-
0
Because rhe hands often cross rhe middle
0
G
c
B
A
of rhe piano, we sometimes
need co wrire
nares for rhe righr hand below Middle C, and for rhe lefr hand above Middle C. Each hand rends co keep ro its own stave and clef, so we use leger lines again:
G
c
D
E
c
B
A
F
READING MUSIC: RHYTHM Playing music isn't jusr about knowing
whar nares co play, it's about knowing
when
co play rhem. Music rakes place in time. We read each line of music from left ro right,
like a book, but we don't jusr play rhe nares when we feel like ir: rhe music
rells us exactly when co move from one nore co the next. Timing and shorter
in music has several aspecrs. Firstly, there's rhe pattern (faster)
nares in a musical
phrase
of longer (slower)
or rune: rhe rhythm.
Jusr like in
39
dancing, pulse
we feel how rhythms
or beat. Usually,
the metre
should
those individual
them
beats are grouped,
to a basic underlying
providing
what is called
of the music (like metre in poetry).
Music is written measures.
down in sections,
Each bar is separated
called a barline.
each several beats in length,
or
of beats per bar, which usually remains
a piece.
The end of a piece
is indicated
This is called a double
by two lines,
barline
one thin and one thick,
you'll see a double
and repeat the piece.
bar in the middle
should stop there and go back to the beginning. you must ignore the repeat sign and continue your repeat somewhere
close
(or 'double bar' for short). Two dots before
a double barline tell you to go back to the beginning Sometimes
called bars
from the next by a vertical line across the stave,
The metre is the number
the same throughout together.
go by relating
of a piece, indicating
that you
The second time round,
though,
to the end. If you're supposed
other than the beginning,
to stare
you'll see a double barline followed
by two dots.
barline I
double barline I
1 bar
~
~
~
~
~I~:~~~~: ~:~~-~ i i i repeat from start to here
Rhythms starting
are written point
In northern
using different
kinds of note, each with a different length.
is the longest commonly-used
created by dividing by subdividing
repeat from here .....to here
note, the semibreve.
The
Shorter notes are
that long note, firstly into two notes of half its length,
and then
those notes, and so on. Europe and America,
the names of the notes reflect that process of
division in a rational way. But the British use names that come directly from French and Latin.
AMERICAN NAMES: whole note
semi breve
0
half notes
j
j
minims
quarter notes
.J
.J
crotchets
eighth notes
sixteenth ootes
thirty-second notes
40
BRITISH NAMES:
.rJ .rJ .rJ .rJ .J J J J .J
j j j
.J
j j j
.J
j j j
mm9mm9mm9mm9
quavers
semiquavers
dernisemiquavers
Placing a dor after a rime-value
adds half as much again co the value of the note: four + two = six (crotchet) counts
dotted semibreve
o·
dotted minim
I'
two + one = three (crotchet) counts
dotted crotchet
r'
one + half= one-and-a-half
~.
half + quarter
dotted quaver
Another
way co think
whatever
note length
pulse is expressed
about different represents
(crotchet)
= three quarters
note lengths
the underlying
counts
of a (crotchet)
is as divisions
count
or multiples
of
pulse or beat of the music. This
at the start of the first line of music (in each stave) in what is
called the time signature.
The time signature
says which type of note provides
looks like a fraction. The lower figure
the basic unit of the pulse. If the basic unit is a
crotchet,
that's a quarter
of a whole note, so the figure in the lower part of the time
signature
is a 4. The upper figure in the time signature,
meanwhile,
indicates
how
many of those notes go co make up a bar: the piece's metre, in other words. Here are the most common
time signatures.
(Note the alternative
signs for some
of thern.)
Simple duple time 2 quavers beats per bar
2 minim beats per bar
2 crotchet beats per bar
alla breve
or
Simple triple time 3 quaver beats per bar
Simple quadruple
3 crotchet beats per bar
time
4 crotchet beats per bar
"common time"
or
41
UNIT 1 RESTS Music doesn't
just consist of sounds arranged
are often just as important.
in time. The silences between sounds
Each note has an equivalent
rest,
indicating
a silence
that lasts the same length of time. The rests have the same names as the notes they match:
'crotchet
rest', 'eighth
note rest' and so on. Dots may also be placed after
rests, JUSt as they are with notes, and they work the same way. (One difference: whole bar of silence is indicated
by the sign for a semibreve
a
or whole note rest, even
when the bar lasts for more or less time than this.)
Note:
Rest:
Rest:
Note:
'J
0
-:
===F=
i
Exercise 1.2 Let's practise a few rhythms rhythm
by themselves first.
relates to the underlying
Remember,
always feel how the
pulse or beat. In each of the following,
clap the
rhythm while counting the beats. Note that we start counting afresh with each new bar. We say the numbers for each main beat of the bar, 'and'to mark half beats, '_etJ on quarter divisions and '
in rhythmic
divisions. (This way of counting is
music and modern popular
styles, and is used by
drummers.) Notice the relative strength and importance of the different
beats of the
bar, as indicated below: the first beat of each bar is always strong.
COUNT: 1
1
2
1
2
1
1
2
3
12312&3&123
1
2
3
4
2
3
4
1
e
&
&
1
42
&
2
1
1
2
&
2
1
123&
2
4
3
2
3
1
4
2&a
1
2&
2
&
1
3&a4
1
1&23&
12&3
3 & 4
2
123
le&a2&3
&
1
2
4
& 2 &
3
& a
4
BASIC HAND POSITIONS AND FINGERING In piano music, numerals.
fingering
is written
Each hand is numbered
(=2), middle symmetrical
just above or below the notes,
outwards
(=3) and ring (=4) fingers,
from rhe thumb
the index
co the lirrle finger (=5). So fingering
Correct fingering
is
Whenever you're learning to playa piece, always
between the hands.
The basic hand position
make sure you practise it with rhe correct
on the piano lets you play five notes side by side, one
finger on each. For example, placing
your right hand with the thumb
enables you co cover all the white notes from C thumb
using small
(= 1), through
CO
fingering. When fingering isn't given, it's up to
on Middle C
you to work it our and wrice it in. Always have a
G. Placing your left hand with the
pencil to hand. Using the same fingering every
on Middle C means you cover all the white notes from C down co F. Try tbis
one band at a time, keeping can also position
in mind what was said earlier about hand
the left hand exactly
one octave
below the right
shape. hand,
time you playa passage speeds up learning.
You so the
bottom (5th) finger sits on the C below middle C, as in the next exercise.
Exercise 1.3 Wben your band is in position, play the notes under your fingers, one at a time, up and then down. Now shift the hand to a similar position on G (ie, u/itb G at the bottom and D at the top), and do the same thing. Then move down a step to F, and then back to C. Then try the other hand.
Right hand
1
~-e-
Left hand
43
~.
. ".
UNIT 1 . WARMING-UP. Okay, it's time to get playing.
Let's start with a couple of basic exercises to develop
control of the fingers.
Exercise 1.4 'Five-finger running exercise.' Try playing the fingers of each hand, running' up and down in the basic position, starting on Middle C. Make all notes the same length and volume, exceptfor making thefirst of eachgroup offour slightly stronger. Keep the hand relaxed, and make sure eachfinger (and especially the thumb) lifts by itself beforeplaying. Gradually increasespeed.
Right hand
i
1234543212345432
I
~2-e-
~
Left hand 5
4
2
2
543
234
3
4
5
How you move from one note to the next is very important. creates the feeling of a musical line unfolding, about
'tunes'
smoothly natural
or melodies
by holding
in music.
Connecting
Unless otherwise
indicated,
each note on until the next one actually notes, breaking
the note just as you finish pressing
always join notes
begins to sound. It's
to want to let go of each note in order to begin playing
creates gaps between
up notes
which is what we mean when we talk
the next, but this
the sense of line. You should begin releasing down the next note. That means
that (for a
fraction of a second) the first note is still actually held as you play the next one.
Exercise 1.5 Basic trill exercise. A 'trill' is a regular alternation between two adjacent notes. Practise this exercisevery slowly at first. There should be no gaps or audible overlaps between one note and the next. Check that eachfinger lifts by itself beforeplaying, and let it fall with its own weight, sinking into the key to hold it down. Are your wrist and forearm relaxed? When you feel them aching, stop and give the hand a shake, or take a coffeebreak.
44
Right hand
'"
J-
"
3
4
"
3
2
s
I
2
1
~~-e-
2:_
Left hand
3
2
3
4
5
4
~o
Whenever
you practise, start by
'warming
up' for a couple of minutes
with these two exercises.
Artur Rubinstein at the keyboard.
45
II
HANDS SEPARATE PLAYING With
all of these pieces, try clapping
the rhythms
first: remember
how they sound,
then aim for the same sense of timing as you play the notes.
Exercise 1.6 'Frere Jacques', an old French song. otice how the right hand moves up a step in bar 5 by changing to 4th on G, soyou have a stretch from E back to thumb on C. The left hand is one step higher than in Middle C position, so thumb plays D instead of Middle C.
CD: TRACK 1
(right hand)
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(left band)
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2
5
2
Exercise 1.7 'Oranges and Lemons': a great English tune to get you going. Here the left hand
CD: TRACK 2
thumb also starts on D instead of C, but shifts down at the end so that it's playing an octave below the right hand, with thumb on G instead of 5 tb finger.
(right hand)
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47
5
Exercise 1.8 In 'Fairy Dance' the basic hand position is slightly extended for both hands, and the
3
CD: TRACK
melody swaps around between them. The right hand thumb has to shift from D to C in bar 4. Pass the left hand thumb
under the 2nd finger
to play F in bar 7, and
don't forget to count rests as well as notes. Keep both hands in position ouer the keys, even when they're not in use.
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Exercise 1.9 CD: TRACK 4
For 'Bugle Call', set the hand to keep the gap between fingers the same, but at the same time keep everything loose and relaxed.
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48
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UNIT 1 Exercise 1.10 In 'Vict01"yMarch', watch that the weak 4th and 5th fingers lift and play for themselves without disturbing the rest of the hand. Is the weaker side of each hand properly supported? Keep thumbs over the keys and pointing slightly in towards the hand, even when_not playing.
5
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Exercise 1.11 'Soldier's Song' requires good thumb mobility. The thumb should lift freely without pushing the hand over onto the weaker fingers. Relate dotted rhythms to the underlying pulse.
CD: TRACK 6
move thumb! 4
fl
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move thumb!
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49
3
2
UNIT 1 PLAYING WITH HANDS TOGETHER Now it's time to start playing
'hands together'.
of the piano, so it's important
to approach it in the right way. Generally,
first practise
each hand separately
This is one of the biggest challenges then combine
the hands at a
much slower speed. Take one short passage at a time and gradually
bring it up to
speed, paying equal attention
until fairly fluent,
you should
to both hands and listening
carefully to how they both
sound.
Exercise 1.12 In 'Roundabouts',
the hands mostly play the same notes an octave apart, with
different fingers,
but at tbe end they move in opposite directions, with tbe same
CD: TRACK 7
finger in eacb hand. Notice how the left hand is also written in treble clef
3
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Exercise 1.13 In 'Wedding Bells', each hand takes turns to move at a faster or slower speed than
CD: TRACK 8
the other. Look out for the stretch between left hand thumb and 2nd finger in bar 7.
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stretch!
50
3
5
2
UNIT 1 Sometimes
you'll see a curved line joining successive notes on the same line or space.
This is a tie: it means you hold the first note for the combined
length of both notes.
This is most often used when a note carries on over the barline. In other words, when two notes are tied together,
don't sound the second.
Exercise 1.14 'Morning Hymn' has many dotted rhythms, which you should practise by clapping first: feel the missing beat corresponding to the dot. Notice the tied note at the end, in the left hand.
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THE PASSING THUMB (SCALE OF C) If we play up and down an octave, we get a scale. When the first note is a C, we say it's a scale of C. Because we only have five fingers, we have to use a special technique to go beyond the fifth note: it's called the passing
thumb.
After we play the first under after the 3rd
three notes with thumb and first tWO fingers, we pass the thumb
finger and place it on the fourth note. Then we use the fingers to play the rest of the
Similar and contrary motion
scale. Playing a downward
When hands move in the same direction we call it
scale with the left hand, the process is the same. The left
similar motion; when hands move in opposite
thumb passes under the second and third finger and lands on the fourth note. Bur when the right hand is playing up, they do something we reach the thumb
different.
a descending
directions we call it contrary motion.
scale, or the left hand is going
In each case, we start with the 5th finger, but when
and run out of fingers, we cross our third finger over the thumb
to play the next note. When passing over or under like this, be careful not to let your elbows stick our: make the wrist and fingerslthumb
do the work.
51
Exercise 1.15 First practise
this scale of C major hands separately,
then together. Combining
hands is harder in the same direction than in opposite directions, because different fingers are playing at the same time.
Opposite directions: under!
-. 3
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4
5
4
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under!
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3
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Same direction: under!
over!
4
4
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3
3
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under!
over!
over!
1
3
TRIADS Pythagoras on musical theory
If we play the l sr, 3rd and 5rh notes of rhe scale all ar once we ger a rich and
Triads provide the basis for harmony in European
satisfying sound, called a triad.
music. They were discovered by the Greek mathematician Pythagoras, who worked out that
Exercise 1.16
scales could be constructed by dividing a vibrating srring at different points. He concluded that the
First play the triad of C major, letting the hand (and the weight of the arm} sink
ratios used to work out those points were
into the keys. Can you make all three notes sound exactly together, and equally
fundamental ro the construction of rhe universe.
clearly? A good trick is to closeyoztt"eyes and feel those fingers touching the keys, then
His cosmology was wrong, but his experiments
depress them all as a single movement.
with strings srill form the basis of musical theory.
Try to
=. the
band in this shape, so that
when you move the hand around the keyboard it still plays triads wherever it lands. Keep the wrist loose. Then try the same with the the other hand.
C
~~ 5
52
F
Gee
G
C
Exercise 3.5 'Somersaults'
has rapid shifts of position,
note at a time. First practise
and is made up of ,broken' chords, played a
CD: TRACK 18
each group of three notes as a block, with all the notes
played at once.
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CHROMATIC SCALE ON D A chromatic
scale uses all the black and white notes available in an octave, and
requires a special fingering.
The 3rd finger is used on all the black keys in both
hands, while the 2nd is only used when we come to play white notes with no black ...•...•
.
key between them. The fingers should be slightly more rounded than usual, well in towards the black keys, and close to the keys all the time.
Right hand
J- """""" """""'" ef@I_~.1 legato Left hand
2:1~~' 1321313132131312313131231
73
;:
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5
SECTION
2
SECTION
2
UNIT 5
COMPOUND Normal
TIME
time values work by subdividing
how triplets
for the duration
of a piece, using the time signature.
Compound
time is different again. It gives each beat the value of a dotted note, so
it has three, not two, subdivisions. of a semi breve (a crotchet of expressing
dotted
subdivisions signature.
the beat into halves, but we've already seen
divide the beat into thirds instead. We can also group beats into threes
Note lengths
is a 'quarter-note',
notes like thar. Instead,
making
up the dotted
are normally
we use the value of the individual
note, placing
Above it we use the total number
that at the bottom
of those subdivisions
know each beat has three of those subdivisions, bar we simply divide the top number
expressed as fractions
for instance) but there is no simple way of the time
in the bar. We
so to find the number of beats in the
by three.
Compound duple: 6/8 = six quavers = 3 + 3 = two dotted crotchet beats per bar
i..-r r_r Compound triple: 9/8 = nine quavers = 3 + 3 +3 = three dotted crotchet beats per bar
~r r r r r r r r r Compound quadruple:
12/8 = twelve quavers = 3 + 3 + 3 + 3 = four dotted crotchet beats per bar
W a:::r a:::r a:::r a:::r In compound
time, the subdivisions
I
are 'beamed'
together
(written
with their tails
joined at the top) in threes rather than twos. However,
notice that subdivisions
the subdivisions
way. For example,
are still divided
quavers are grouped still grouped
in half in the normal
in threes to make up dotted
in twos, because
they are dividing
crotchet
beats, but semiquavers
up straight
quavers,
of
in 6/8, are
not dotted
quavers. If we start grouping
semiquavers
are the same as dotted written
crotchet
in threes, we create a dotted quaver bear. These
beats, but with all time values halved (they are
as 6/16 or 9/16 or 12/16, and are pretty unusual). The music will sound the
same, whether
it's written
in 6/16 with dotted
in 6/8 with dotted crotchet
quaver beats and serniquaver
more likely to come across compound all time values doubled, crotchets. Note
beats and quaver divisions, or
divisions.
time signatures
In early music
you're
such as 6/4, 9/4, or 12/4, with
so each beat is worth a dotted minim and divides into three
Again, the music will sound the same. that 3/8 is not compound
time,
but is like 3/4 time,
with
time values
halved. So in 'Fur Elise' the quaver beats divide into groups of two semiquavers.
THUMB CONTROL Developing
flexibility
and control of the thumbs
We've already mentioned than other movement
fingers
of the thumbs,
their angle of movement
causing tension
control,
hands and fingers.
82
the positioning
of the thumb joint. Thumbs
the hand without poor thumb
because
is vital to good playing
technique.
which are more awkward
is at odds with
the natural
need to be trained to move independently
in the hand. Countless
which results in an uneven
pianists
tone and muscular
of
are let down by tension
in the
Now here's the same broken chord, as it should really be playe
C major
Here's the same thing on G.
G major
-------------------------------------------,,----------
Notice how G major (GBD) has exactly the same spacing of notes, and therefore the same fingering,
as C major. The same goes for F major (FAC), A minor (ACE), D
minor (DFA) and E minor (EGB). All of these broken chords share the same pattern because they have just white notes. You should practise all of them, beginning the same kind of preparatory
with
exercise shown above for C major.
CHROMATIC SCALE ON D: TWO OCTAVES This would be a good time ro learn the two-octave works with
exactly
the same fingering
chromatic
scale, starting
as the one octave version.
Just
on D. It continue
passing the 3rd over, or thumb under, to get you into the next octave.
""'"'1 I
89
SECTION
2
UNIT 6 COMPOSING AND IMPROVISING Whether
you want to write a full-scale piano concerto or just to improvise
the odd
tune in private or with friends, you'll need more theory than if you are just reading and playing
music composed
that determine
by other people. You'll
need to understand
how chords are used: the theory of harmony.
before non-classical
harmony,
so let's start with that.
the rules
Classical harmony came
(We'll
get started
on non-
classical in Unit 9.)
HARMONY Chords t.,
Chords are combinations a single
unit.
especially
of notes played simultaneously
In traditional
consonant
classical
music,
so that we perceive them as
they're
combinations
basic form is a triad,
meaning
three notes separated
by intervals
five note scale: play the first, third and fifth notes, omitting We already
which means four chord
I~'
I
,
'-
.;
Augmented maj.3rd
thirds
and minor
Diminished
maj.3rd
L----.J
maj 3rd
min.3rd
L----.J
mm.3rd
L----.J
maj.3rd
min.3rd
--------------
We get a whole family of triads by building only the notes of that scale. (The technical from one scale is diatonic traditional
major
I~ ~ &~ li#j~~~o~';'~o I~&~~~~&~~~~ ~I
L----.J
----
of a third. Take a
major and minor thirds to produce a triad,
Minor
min.3rd
I
The
types:
Major
!! ~ o~
j
sound
the second and fourth.
know that there are two types of thirds:
thirds. There are four ways of combining
I
that
- they don't clash. (Notes that do clash are dissonant.)
harmony.
The opposite
classical music the only common
scales is the chromatic
one on each note of a scale, using
term for a set of chords using only notes is chromatic
harmony,
since in
scale apart from the major or minor
scale.)
Here are the chord types created when you build on the notes of a major key or scale. Make a careful note of which type of chord appears on each degree of the scale:
---" .i
,
major
minor
minor
major
major
mmor
diminished
H
§
§
§
§
11
§
I
II
ill
IV
V
VI
VII
~
And now the chord types for a minor key or scale. The scale we are using is called the harmonic
minor
scale: there are other types. Notice how the chords appearing
on each degree of the scale differ from those associated with the major scale.
,~ mmor
oj
diminished
I,§
I Triads bottom
can appear
II
augmented
major
14~ @§
~@§ III
in different
minor
IV inversions.
note to the top, so a different
V Inverting
major
diminished
I,I,§
@§
VI
VII
a chord means shifting
note sounds at the bottom
~
the
of the chord, even
91
UNIT 6 though
the notes of the chord have stayed the same. (Broken chords are really a way
of practising
moving between inversions of the same chord.) Root position
First inversion
Second inversion
Keys Chord structures
in traditional
of tonal harmony,
meaning
classical music are based on the major-minor the chords are derived from their position
system
in the major
and minor scales, as we've just seen. It also means that they work in terms of a key. We learned about keys in the first section of the book (see key signatures). any moment,
traditional
tonal music is in one key or another,
meaning
At
it is built
around the major or minor scale that starts on a specific note. Tonal music gravitates towards that note as a tonal centre,
trying to reach 'home base' by whatever
means
possible. So there are chord - that is, relations
functions
between
within a key. Bur there are also key relationships
keys. Let's look at those first. Key relationships
the number of notes that any two keys have in common. key signature
with one sharp, F-sharp:
reflect
For example, G major has a
so all its notes are the same as those in C
major except that one. The more notes in common, related. This is reflected in the key signatures.
the more closely the keys are
A key with four sharps is closer to one
with three sharps than to one with one sharp: the same with flats. We can show this
learning keys
by arranging
The quicker you learn the order of keys and key signatures
shown
in this
diagram,
the sooner
you'll become confident in understanding bow all aspects of harmony work. The distance between any two keys around the circle determines
direction,
numbers of sharps in one
and flats in the other. (It's a circle because F sharp major, with six sharps,
is the same key - with the same notes - as G-flat major, with six flats. That's example of what we call an enharmonic this relative
other in rhe course of a piece of music - what we
major.
minor
an
key relationship.)
Note that for every major key there's a minor
the
effect of cbanging from one of those keys to tbe call a modulation.
the keys around a circle, in order of increasing
key with the same key signature:
is always a minor third (three semitones)
These minor keys can then be arranged
around
down from its relative
the inside of the circle. For
both major and minor keys the result is a series of keys, each a perfect 5th away from the previous one: the circle of fifths.
e
(9#) (dj) (Ii)
(b\)
• •
Key Signatures
Major keys
92
Relative minor keys
(al)
b
(el)
Chord functions In classical music, the functions keys, since they principally
of chords are much the same for major and minor
reflect where the root of the chord is located in the scale
(rather than the chord type). Hence the technical
names for chord functions
(see the
chart below) also tell you the scale degrees the chords are built on. They are shown with roman numerals:
Degree
Technical
Term
Function
TONIC
Tonal
centre
(most important
Point of maximum II
SUPERTONIC
III
MEDIANT
IV
SUBDOMINANT
V
DOMINANT
VI
SUBMEDIANT
harmonic
for subdominant
chord
5th above submediant Substitutes
for dominant
5th below
tonic
Main source of harmonic 5th above
chord tension with dominant
tonic (second most important
Main source of harmonic
LEADING
resolution
5th above dominant Substitutes
VII
chord)
chord)
tension with tonic
5 th above supertonic
The perfect 5th
Substitutes
The importance of the perfect 5th interval reflects
for tonic chord
its role in the acoustic origins of the major scale
5 th above mediant
TONE
itself. The ancient Greek mathematician
Rarely used chord
Pythagoras discovered that all notes in rhe scale can be derived mathematically from successive
As with keys, the interval
of a 5th is crucial in determining
chords. The most important
chords are the primary
works like a magnet,
to become the centre of gravity.
trying
triads:
the relations
attraction:
back to 1. But IV establishes
a counter-weight
intervals of a perfect 5th, which can be reproduced
I, IV and V. Each chord
home chord, but V asserts itself as a rival centre of attraction resolving
between
I is the strongest,
On
octave, produced by stopping the string in the
a 5th higher, eventually to V by creating
middle, is based on a simpler ratio. Frequency
another
and subdominam
Just as V relates to I, so each of the secondary as functionally also function
as substitute
vibration of a string, but it also determines
as keys.)
intervals berween pitches. If a string remains at
triads, II, III and VI, can be heard
related to the chord a 5th lower. However,
the same tension, the ratio between frequencies corresponds to the ratio between string lengths. If
in a major key they can
you halve the length of a string, you doubJe its
minor chords for the major chords two steps higher (the
frequency, creating the octave. To make a perfect
primary triads). (Compare the way the relative minor is derived from a major key.) Because classical music tends to treat minor key harmony the same principle
of substituting
applied in minor keys, even though These functions
then determine
for the chord
5th, you reduce the string's length by a third.
as derived from major,
two steps higher
is sometimes
the chord types are quite different. which chord
progressions
sound effective.
CHORD LAYOUT AND FINGERING The basic layout for chords consists of three notes in the right hand and one in the left ('the bass'). Since most chords are triads, one note of the triad appears in two differem octaves: it gets doubled. easiest thing
Usually this means the left hand note, because the
for the right hand is to playa
inversions.
(You'll see why if you try playing
important
is which
triad in close position, Ex.6.5.
note lies at the top of the chord,
Compare
is
the term used by scientists to refer to the speed of
it is a 5th lower than I as well as a 4th above. (The same logic applies to
the relation between tonic, dominant
a stringed instrument by stopping or fretting
the string at ewe-thirds of its length. Only the
the
in one of its
it to Ex.6.4.)
More
since this may be heard as
forming part of a melody.
93
UNIT 6 Close position right hand
,
Open position right hand
(j
"'
40
~
-i:S-
..
t
Viewed hands rogether,
these chords are all root position
at the bottom.
Sometimes,
though,
firsr inversion
or second
inversion,
especially
chords: they have the roor
in classical music, we use chords in
for variety. These sound less resolved. There
are rules for which note ro double: Root position chords: double any note. First inversion chords: don't double the bass (ie, not the 3rd). Second inversion chords: only double the bass (ie, the 5th). This means close position
triads will also work well as second inversion chords, bur
not as first inversion chords. First inversion (open position)
,
(j
5 2 I
5 3 1
5 2 1
Second inversion (close position)
0
5 3 1
5 2 1
5 3 I
/
u -e-U-
-a-
-e-
.. Note
the right
important
hand
fingerings.
However,
to realize that chord fingering
(especially for close position with preceding
are for isolated
chords), since it also depends
or succeeding
you may need to rethink minimum
these
chords.
can be much more complicated
It is
than this
on how they connect
up
chords. This can happen in all SOrtS of ways, so often
fingering
ro link chords
together
smoothly
with
the
of changes of hand position.
VOICE-LEADING The way a chord links up with preceding leading
(or 'part writing').
heard as moving
or succeeding
melodically
to a corresponding
singer in a group takes responsibility
for sounding
is what makes for the sense of smooth
transition
which
composers.
is highly
progressions
prized
chords depends
by classical
as combinations
of unfolding
note in the next, like when each a particular between
note in the chord. It
one chord and the next,
It allows
lines or 'parts'.
us to hear
chord
The rules for voice-
leading can be complex, but you should know the basic principles: Golden rule: each note moves to the nearest note in the next chord.
94
on voice-
This refers to the way each note in one chord can be
There are three different ways in which two parts may relate to one another: Parallel motion
In parallel motion, moves while
Contrary motion
Oblique motion
the pans move in the same direction;
the other
stays fixed; in contrary
in oblique motion, one part
motion,
they move in opposite
directions. Other rules: avoid
parts
moving
in parallel
a perfect
5th
or octave
apart
('parallel
5ths/octaves'); aim for contrary or oblique motion between the upper voices and the bass. Note how these two rules are related. avoid
'parallel
remembering
5ths'
or 'parallel
if you're improvising
If the bands move in contrary octaves'.
This
general
motion,
principle
your own chord arrangements
you
is worth
in practically
any
style.
Chord progressions A chord
and cadences
progression
is a sequence
respecting
the functions
of chords and using these to create patterns
resolution
that sound 'logical'.
of root progression:
of two or more
chords
Think of them as combinations
which
works
by
of tension and
of certain basic sorts
these in turn work because they're strong enough
to displace
the first chord with the second while keeping a sense of continuity.
Great root progressions: up or down a 5th or 4th down a 3rd Other
root progressions:
up or down a 2nd up a 3rd The second group can work, depending
on context
and the particular
example, IV-V works well in classical music, bur V-IV is sometimes you'll hear it a lot in blues-based
I
Plagal I
I
I
I
I U
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~ ~J I
I
I
tt -e-
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IV
I
r
IJ I ~~:r-I I
I
-e-:::;-
-jI
Interrupted
Imperfect
J
\
v
For
and rock music. (That's because blues emphasizes
Perfect
fl
chords.
avoided, though
V
95
V
VI
UNIT 6, the subdominant emphasizes noting
region
of tonal
the dominanr.)
down the numerals
harmony,
whereas
classical
You can learn a lot about for any sequence
music
typically
chord progressions
that strikes
just by
you when you're playing
pieces or just messing about at the keys. There are special rules about using chords in second inversion. should be approached by a root position 'six-four'
and left by step (a 'passing six-four'),
chord with the same bass note (a 'cadenrial
refers to the old way of showing
intervals
chord
of the notes above the bass as numbers.
we'll see later on, something just gives the melody notation
similar happens
six-four').
inversions
The term
by specifying
leaving the keyboard
bass according
with chord symbols.
the bass
the
In the Baroque period, composers
would just write the bass line with these numbers, decide how to realize the figured
Either
or the chord is followed
player to
to his or her style or mood. As
in jazz when we use a lead sheet The modern
that
system of classical chord
uses the following abbreviations:
Root position: First inversion: Second
inversion:
Melody or harmony first? Right from the beginning of classical music,
MELODY AND HARMONY
composers, music theorists, and even philosophers have disagreed about whether melody or barmony comes first in music. They probably never will
There are two ways to think about the relationship
between melody and harmony.
agree. Even great theorists like Schoenberg and Schenker have struggled to make sense of tbe way
Harmony
they seem to unfold together.
implied
comes from melody: chords can spell Out a harmonic by a melody; they provide a harmonization
be played alongside Melody
the progression
already
the tune.
comes from harmony:
which melodies
structure
- a series of chords that can
chord sequences
can be developed,
through
provide
decoration
source material
from
of the uppermost
part of
in various ways.
In rhe first case, you may want to create the melody yourself before harmonizing in which case you'll need to think about contour and phrase
structure,
as well as harmony.
A good melody develops by rising and falling in interesting while introducing
it,
(the shape of the melody), rhythm,
subtle variations
to a regular underlying
bur consistent
rhythm.
ways,
In early music
the melody line often refleers the character of dance forms - a bit like some popular styles
roday.
Classical
creating
'question
and
gradually
to a high-point
melodies
often
answer'
effects.
divide
up into phrases
Romantic
melodies
of equal usually
length, build
or climax, which can often be delayed for emotional
up
effect.
Have another look at the melodies in the pieces you've played so far in this book. Which
of the above categories
chord structure
would you place them in? Why not try analying
the
of the melodies. Could the chords have been realized in other ways)
Can you make up a tune of your own chat works with chose chords? Once you've an idea for a tune of your own, the hardest thing is knowing
what to
do next. So here's what to do: Try to work out what key and time signature Try writing
it's in;
it down (you'll need some blank manuscript
paper);
Wrice out che chords for each degree of the scale of che key of the tune; Look to see if the notes corresponds
in each bar, half-bar,
form a pattern
to some or all of the notes of one of the chords from the scale;
Once you've found the implied chords, cry extending
96
or beat,
the chord progression;
chat
Look for motives
(small but distinctive
musical shapes within
each phrase) that
could be repeated or developed. One way to extend a melody taking a motive and subjecting
is through
development:
this usually consists of
one or more of its aspects to a series of changes, but
in such a way that it remains recognisable.
For example,
a common
technique
is to
repeat the tune a step higher or lower, forming a rising or falling sequence. Another altering
way is variation:
here we repeat
some of the details,
for example
the same basic idea, but each time
by adding
between long notes - what we call embellishment.
faster notes to fill in the gaps This was especially important
early classical keyboard music. When keyboard instruments c.....,
early pianos had limited
sustaining
potential
such as harpsichords
in and
it was necessary to decorate long notes
to avoid awkward gaps in the musical line or texture.
Embellishment Embellishment harmonic
is another
progression.
melodically
It can even make
interesting,
techniques
way of deriving
the inner
who want
to create
their
own versions
of the tune itself as an embellishment
harmonic
structure,
Classical
don't
or the bassline
more
of existing
material.
helps us to see how it relates to a
and what that harmony should be.
embellishment
(which
parts
are also used by composers to create tunes, as well as by
Thinking
notes
line from the top part of a
so it's worth looking at more closely. Many of the standard
of embellishment
jazz improvisers
a melodic
techniques
belong
are ways of connecting
to the chord over which
up non-harmony
they sound)
with
harmony
notes (which do). A passing
note
notes, sounding
An accented
is a non-harmony
note moving
by step between
two harmony
off the beat:
passing
note also moves by step between harmony
notes, bur is itself
on the beat, creating a dissonance
x
x
ft. Escape
notes precede a step or leap with one or more steps in the opposite direction: x
~ An auxiliary
note moves to the note a step above or below, and back again:
x
~ An anticipation
sounds before the harmony
it belongs to, and then again with the
chord:
97
UNIT 6 x
X
~ An appoggiatura
sounds
on the beat as a dissonance,
then moves by step to a
harmony note:
A suspension
is like an appoggiatura,
the note as a consonance
against
but prepares the dissonance
the previous
by first sounding
chord, then holding
next beat (as a tied or repeated note) before achieving
resolution
it over onto the
by step to a weaker
beat (or off the beat).
The Renaissance This was a turning point in the history not just of
European culture, but of Western music. The 'rebirth' of ancient Greek and Roman values in music rook the form of an emphasis on sung melody lines with chordal accompaniments, so decoration and drama became more important
Dominant 7ths
than the smooth textures required by the Church
The use of embellishment
in medieval times. Melody was freed up, reflecting
developed,
the influence of Arabic and Tslamic musical cultures, and (he emergence of the major-minor system allowed chords ro be treated as an independent aspecr of musical structure.
especially
operatic singing
became more and more sophisticated
with
the increasing
in the period of the Renaissance.
hearing melodic dissonances, the dominant
importance
it became acceptable
as classical music
of instrumental
As people started
music and to get used to
to include a dissonance
as part of
chord: a 7th above the bass that only resolves with the resolution
of
the chord itself. Note how the 7th (here, the F) resolves downwards
by just a semi tone to the 3rd
of the next chord. It's natural to hear the 3rd (the B) of the dominant semitone
to the tonic. This is called a leading
a semi tone are especially powerful. Wagner
used them
to introduce
chord rising a
note effect. These movements
In the 19th century
the revolutionary
more and more chromatic
of just
composer
notes into harmony.
You'll find similar things when we look at jazz. (However,
in the example above, the
3rd in fact moves down
as marked.
permitted
to the 5th of the next chord,
This
is only
at cadences.)
This relaxation composers
of the rules of consonance
to add other
notes to chords
and dissonance
to increase
tension
in their music. This led to the dissolution
music,
and produced
makes jazz improvisation
the looser relationship
set a precedent
the dramatic of tonality
between
melody
for later
and expressive
in modern
classical
and harmony
that
possible (as we'll see in Unit 9). ()
f
~ tt __ ~
{ .-..
V7 Note how the 7th (here, the F) resolves downwards the next chord. It's natural
semi tone to the tonic. This is called a leading a semi tone are especially powerful.
98
by just a sernitone
to hear the 3rd (the B) of the dominant
to the 3rd of chord rising a
tone effect. These movements
In the 19th century
the revolutionary
of JUSt
composer
UNIT 6 Wagner used them to introduce more and more chromatic notes into the harmony. You'll find similar things when we look at jazz. (However, in the example above, the 3rd in fact moves down to the 5th of the next chord, as marked. This is only permitted at cadences.) This kind of relaxing of the rules of consonance and dissonance set a precedent for later composers to add other notes to chords to increase the dramatic and expressive tension in their music. This led to (he dissolution music, and produced
the looser relationship
of tonality in modern classical
between melody and harmony that
makes jazz improvisation possible (as we'll see in Unit 9).
Exercises Using the piano, try to realize the following chord sequences as four-part harmony with appropriate voice-leading. Where possible play three notes in the right and one in the left. Write each realization down as you do it. Then embellish the top part to produce melodies. 1. Key of C major:
IV
I
IV
VI
II
V
:11
2. Key ofG major:
VI
IV
V
lIb
IC
V
:11
Vb
VI
mb
IV
Ib
II
V7
:11
3. Key of F major:
I
4. Key of A major:
V
V
I
Vb
VI
V7
:11
5. Key of A minor:
V
IV
lb
lIb
V7
VI
:11
Notice how these chords often fall into regular groups of two or four that suggest a kind of harmonic rhythm. This gives the music its sense of forward motion. Now see if you can add more chords to round off each progression with a cadence.
Heinrich
Schenker (1868-1935) was, along
with
the
composer Arnold important
Schoenberg, one of the two most music theorists of the early 20th century. He
was born in Galicia (now western Ukraine) and worked in Vienna, first as a practical musician and composer, and then as a critic. This led him to investigate
the
formal basis of the great musical masterpieces, to try to understand
what
made them
special.
From the
publication of his Theory of Harmony (1906) to the end of
his life,
he concentrated
on theoretical
work,
producing a series of analytical studies culminating in Free Composition.
Schenker sought
to analyse the
extended
unfolding of classical forms in terms of tonal forces, emphasising how harmonic
direction
is shaped and revealed by underlying
polyphonic structures of voice-leading, embellished on different levels. This approach became increasingly influential in the latter part of the 20th century: it was taken up by American music theorists and applied more flexibly to a wider range of musical idioms. Schenker's approach emphasises the linear unfolding of music in time, as opposed to sectional and thematic contrasts, and points to a sense of structural depth (foreground and background) in music. Also, the importance given to embellishment reveals how even the complex works of great composers may reflect the melodic vocabulary of improvising musicians in unexpected ways.
99
SECTION
3
TONE CONTROL When musicians
talk about tone control, they mean all the ways in which you can
control the quality and volume of the sounds you produce. Different
instruments
allow the player more or less control over different aspects of sound. This is especially significant
with the piano.
First the bad news. Here's what you can't do on the piano: control the colour (brightness,
erc.) of individual
control the tuning of individual control the way individual
sounds;
sounds;
sounds unfold once they have been begun.
The last point is important,
especially where dynamics
are concerned.
You can't
make a sound get louder, or even keep it at the same level, once it has already begun. Sounds on the piano die away automatically, not cut off by releasing
but how long this takes (if they're
the keys) depends on their initial loudness and pitch: louder
and lower will last longer than softer or higher. These changes in sound level within notes are outside
your control,
so they don't get shown in the written
makes it easy to forget that they are occurring.
music. This
But staying aware of the level of the
sound after it starts means you can decide how other sounds relate to it (as louder or softer). And this affects how the original sound gets heard. This trick is central to classical piano playing. instrument smoothness,
In classical piano we often want the
ro 'sing' rather than sound percussive, continuity,
which means achieving
and evenness of rone. And this means creating
maximum the illusion
that each sounds sings on until the next one, when in fact it dies away. Now the good news. Here's what you can do: control
the overall dynamic
level (loudness)
of sounds, unlike with the organ or
harpsichord); control when the sound is Cut off; let the sound continue
until it dies away naturally;
control the sympathetic
resonance
of other strings (with right-hand
alter the tonal quality of the whole instrument left hand pedal, which works like mutes Because
you can't
control
individual
pedal);
ro a duller, softer sound (using the
do on other instruments). sounds
directly,
except
in terms of how
loudly they start and how long they last, you have to make those aspects work much ......
~
harder than on other instruments. to have anyway: imagination.
This calls for something
kind of music one person can play. Differences connecting
all good musicians
In fact, it allows for much more complexity
up sounds in different
need in the
of tone colour can be evoked through
ways, so playing
at an advanced
level often feels
more like being in control of a whole orchestra.
PHRASING AND STRESS We've already seen how swinging
the hand round sideways with a lateral movement
of the wrist is necessary ro keep broken chords flowing smoothly.
As with passing
the thumb under in scales, this requires keeping the wrist as loose as possible. But
Using the wrist in phrasing
we can also use the wrist to shape phrases. Lifting the wrist as we approach the end
Keep the wrist loose and relaxed. Letting it sink
of a phrase simultaneously
down slightly (top) makes for a relaxed but full
lightens and shortens the last note, making a gap which
can also mark the end of the phrase. Conversely, note produces an accent that can emphasise
letting
the wrist fall as we playa
the strong beats of a bar. Again, this
requires looseness of the wrist. The illustration
(right) shows, slightly exaggerated
tone. Lifting the wrist near the end of a phrase (bottom) lightens and shortens the last note, leaving a gap that indicates that the phrase is over.
for clarity, how the hand naturally gets drawn in under the wrist slightly as it lifts.
101
Exercise 7.1 The simplest form of this exercise is known as couplets. The first note in each pair is stressed and joined smoothly to the second, with the wrist low and relaxed, but as we come to play the second note we are already beginning
to lift the u/rist, which both
makes the second note lighter (softer) and makes us release the key sooner. Start by trying
this on the piano
lid, then begin playing
the notes. The u/rist controls tone
(volume) and length at the same time, which makes for musical playing.
The second
half of the exercise uses this technique
Combining
this with
lateral wrist movement
with extra notes in each phrase.
will further
enhance the character of the phrases
and help to keep the wrist loose. Play it through hands separately,
1,Vith the left hand
an octave lower than written.
J-
Right hand ~
t
~ t
etc.
1324
i~~~ 5~
4
2
3
42
1
2
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4
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2
4
3
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etc.
123234
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(lateral)
t
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Left hand (8ve lower)
5
t
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-----. (lateral)
-----.
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'-----
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54323432
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5
etc.
-.. (lateral)
Exercise 7.2 Notice how this exercise reverses the combination
of lightening
and shortening.
phrase ends on a strong beat with a short, strong note approached lighter note on a weak beat. The accents come more from kicking
into the key from
shortening
t 1 ~
Right hand ~
~
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im7~7 5
3
5
2
~
5
J
as you lift
t
~ 2
Left hand (8ve lower)
3
t
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-----.
4
(lateral)
Kabalevsky.
technical points.
102
with a slight stress and
~ 3
------.
Next we're going to work on a piece called 'Clowns', Dmitri
the fingers,
it off, so once again
come from the same movement.
~~*~ 5
the wrist
Each
smoothly from a
-----. ----..
by the Russian composer
Let's start with some exercises to prepare you for the main
Exercise 7.3 The left hand needs lateral movement for the octave jumps, even though these are staccato, so here's an exercise to get this going.
L';";"i
5
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Exercise 7.4 The right hand calls for couplets just like in Exercise 7.2, so practise lifting and dropping. Here's an exercise to practise shifting the right hand finger position between the black and white notes, in blocks.
Moving 3rd finger Right hand
3
3 2 1
2 1
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q,
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7
7
q,
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Moving 4th finger 4 3 2
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4 3 2
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7
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Exercise 7.5 Exercise 7.5 shows how to combine the hands by concentrating on the underlying pattern, so you see how the fingerings of the hands link up. Notice how frequently both hands use the same finger at the same time. Start very slowly and speed up gradually. Keep the thumbs light, especially when they play together.
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UNIT]"J Exercise 7.6 Now here's the whole piece. Remember, accidentals affect the note in question for the whole of the rest of the bar, unless cancelled by other ones.
CD: TRACK 24
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UNIT 7 Exercise 7.7 'Country Gardens' is a traditional folk tune associated with English Morris dancing. The left hand callsfor coupletsat the start, while the right hand has quite a few changes of hand position within the melody. Getting the hands to lift off on different beats of the bar can be tricky here. Watch out for the change of clef in the left hand in the secondline, and for the unusual chromaticthirds fingering there.
CD: TRACK 25
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Morris Dancing is a traditional
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ritard. - - - - - - - -
---
.....mp r.
-
style of English folk dancing,
mainly from the Cotswolds and north-west of England, danced in groups using handkerchiefs, sticks or swords, and with bells attached to knees so the dancers make a rhythmic noise. Each dance has a specific folk tune. Many of these tunes were saved from extinction at the end of the 19th century when Cecil Sharpe and others went into the countryside to record them, since rural traditions were dying out in the face of industrialisation and migration into cities. Some claim that Morris Dancing dates back to primitive pagan times, but there are no records of it before the 15th century. Others claim that this is a myth, and that the participants invented this colourful history for themselves. The name 'Morris' seems to derive from 'Moorish', leading some to suggest North African origins for the dance. Originally all male, the dances are now often performed by women.
105
~~
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/"'--..,
UNIT 7 MAJOR SCALES ON BLACK NOTES Major scales starting
on black notes have a different kind of fingering,
based on the
need to pass the thumb under to a white note after a black note. In B flat major, this means we don't always get the same combination
of fingers (between the hands) on
the same black notes. Also, the second finger is put in at the start of the right hand, and at the top of the left hand.
B flat major
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E-flat major is easier, since the fourth finger is always used when two black notes are played one after the other, but never when there is only one.
E flat major
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legato
<
:>
2
I
3
2
1
4
1
2
...,
3
2
1
3
~!'-~.1
2
2
:>
4.2
:>
2
2
4
3 3
2 4
4_3
:>
I :> 1
3
A-flat major works on similar principles,
1
~~!'-~ 2
121
2
3
1
2
1
2
:>
>-
;;;
:>
2
except that there are two pairs of black
notes, one followed by a single white note and one followed by two.
A flat major
tJ
I
U
2
3
.•.•
legato
<
··
1
-
1
3
2
-
?
3
•. :>
:>
2
I
4 -:>
2
3
2
1
3
106
1
..., -,I .•.•.
1
3
2 4
3
2 2
:>
3 1
2 2
-
4
:>
:> •• ~.-
41
:> 3
:>
1 1
2
:>
3
4
2
J
1
....
.-
3
:>
2
3
2
I
3
1
2
:>
3
2
-,I?i-
:> •..•
:>
2-1
3
3
:> 4
1
2
3
:>
Remember
that for every major scale there is a relative
same key signature
but with accidentals
above scales follow the fingering
minor
added. However,
patterns
(see Unit 2) with the
the relative minors for the
for major scales starting
on the same pitch,
rather than for the relative majors. (So G minor follows G major rarher than B flat major, etc.)
G minor I'l
3
4
1
4
1
>
1
3
3
>
legato>
..
> >
->
··
-
> 5
~~~
•• ~~~~~~~
1
4
-
5
••
>loI
;) ~ -,J.• ! -,I
1 u <
1
I
3
3
4
3
!.• -,J~~
>
-
1 >
1
-
4
> 5
>-
>
C minor 1
I
3
.~q.~. ~.
1
4
I'l
I
>
3
>
I
)
40
.••
>
3
4
1
5
3
legato> >
4
.h.~
>
~
v
J
3
1
3
1>
•
~~. >
1
>
4
.?i-
>
>
4
5
>
-
3
I
3
5
>
F minor I'l
4 I
I
4
3
I
I
1
3
4
>
3
4
>
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) J
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40
>
legato>
·
.-
> 5
>
>
4 1
- .•~~q~~~ I
3
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>
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>
..
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•
..:~~ >5
>
3
107
> 1_
-
1
3
4
>
(/
UNIT 7 BROKEN CHORDS WITH BLACK NOTES broken chords can be played even when they include black notes that
Four-note
require thumb
to be used on them at some point. When this situation
approaches,
move the hand further into the black keys, even when actually playing white notes. This can be tricky, especially if you don't have slender fingers, but try to get used to it. Practise hands separately only.
B flat major r.h.
G minor r.h.
~ l.h.
1
2:~11~__ 5
4
2
1
5
108
3
2
1
021~5
1
2
3
5
1
2
45
2
4
5
-
SECTION
3
TONE PRODUCTION It's never enough just co know whac level of loudness you want - you need co know how co produce
it wichoue sacrificing
control over ocher aspeccs of playing.
You'll
find rhar you want co strike the keys harder for more sound, which may make your arms and wrists tense up: they can become sciff and lose the freedom of movement they have when relaxed.
Your muscles
may tire more quickly
and get strained,
leading co injuries. Before you know it, people will say you're 'banging' loudly in an awkward
-
playing
everything
too
and tense way. As a result, you may feel you have to make a
special physical efforc just to play quierly.
Bue chan can jusr increase the underlying
physical tension. So you need to learn how to produce by controlling
different
levels of volume in a relaxed way,
how much of the dead weighc of youe body is released into the keys as
you play them. Make sure you're sitting
up straight,
with relaxed,
loose shoulders.
Close the
piano lid and hold your arms so your hands are some way above the lid, ready to fall and land where the keys would be. Let go complecely
so they drop, noticing
how
hard the impact feels when they hit the lid. Then do it again, bue when your hands reach the lid, keep them resting there for a bit, with the weight still pressing so chat you can feel the lid accually raking when you lean against
something.
your weight
and supporting
down
you, like
Feel the weighc of the upper part of your body
and arms pressing down on the lid through
your hands. Remember
how that feels.
Now open the lid and try the same ching wich each hand in cum, so that you end up holding
down a simple
chord (like the one in Exercise 8.1). Can you feel the
weighc pressing chrough your hands and fingers and into the keys) The next ching is to control how much of your own weight chis by thinking
of different
go of more of the body releases more weight, and working
upwards
For maximum
you release. We do
pares of the body as having their own weight.
to include
starting
Letting
with the hands themselves,
the forearms, whole arms and even the shoulders.
loudness, we tilt forwards co chrow che whole weight of our back into
the piano.
Exercise 8.1 Try playing and holding the chords in just one band, adding more weight with each chord, then gradually taking the weight back up into your body until you are left with just the gentle pressure of the hands and fingers. Then do the same with the other hand, and hands together. Notice how the wrist plays the role of a support throughout, keeping the hand from collapsing under the weight of the arms.
light
----------I~~
5 2
tJ
11
5 3
il
I
5 2 I
------------I~~
19-
1
3 5
19-
~
~
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J 3 5
1 2
5
110
light
5
5
3
II
I
~
40
.
I
heavy
~ 1 2
5
~
3 J
I
I
I
~
~
I
3 5
# 1 2
5
~
SECTION
3
SCALES AND SCALE THEORY FOR JAZZ, ROCK, AND BLUES In classical
piano
playing,
scales tend
co be treated
just as technical
warm-up
exercises. Bur if you want co be creative and compose or improvise
your own music,
scale theory. This tells you how differem
kinds of scale are
you'll need co understand organised,
and how they relate co each other, so you can use them to make music for
yourself. Traditional chromatic. provide
classical
By contrast, source
material
music
really
only
uses three
scales:
major,
jazz, rock and blues draw on a wider for chords
and melodies,
and
these
are still
often
understood
in terms of the major-minor
alterations
to the major scale that could be built on the same note, shown using
numbers
to represent
scale-degrees.
distinction.
though
minor
range of scales to
The best way to learn these is as
This will allow you to find the notes of any scale
in any key, providing
you're familiar with the major scale for that key. For example,
the classical harmonic
minor scale can be written
as:
1 2 b3 4 5 b6 7 Within
the seven-note
all musical cultures
major scale is a more basic five-note scale, found in almost
across the world. This is the pentatonic
scale. Notice
how it
misses out the 4th and 7th of the major scale: 12356
,...
2
3
(4)
5
6
(7)
•
(0)
•
•
(0)
•
This means that instead of tones and semitones,
~
it consists of tones and minor 3rds.
Because it's found within the major scale, it's known as the major pentatonic. The equivalent
minor
penraronic
uses the same notes, bur starts a minor
lower. Note that 4th and 7th degrees of the scale are not omitted,
,...
major pentaronic,
~3
4
5
~7
...
•
•
•
Notice how the 7th of the minor penratonic
is already flattened,
the raised 7th of classical major and minor key harmony. 5th, to this scale gives us the blues 3rd, 5th and 7th produce
,...
scale.
Adding
1
~
when compared
a bluesy, our-of-tune
~3
4
~5
...
•
~o
5
q•
to
an extra note, the
This note is also flattened,
and the
sound when the scale is
played over major key harmony:
124
as they are in the
but the 2nd and 6th degrees.
1
flattened
3rd
~7
•
SECTION
4
UNIT 10 INTERPRETATION When
you learn classical
pieces,
you're
presenting
someone else, so you have to make judgements sound. That's what interpretation
music
that
was written
by
about how the music was intended
to
is all about.
In Unit 5 we looked at ways of making a melody sound more expressive by subtly Develop your interpretation
adjusting
Don't just learn the notes first, in the hope of
relation to harmony
working out an interpreracion and then imposing
as we go along, to reflect the structure
of the line and its
and metre. We can also use slight adjustments
the timing of particular
it later on: rhar never sncceeds. Let your interpretacion
the dynamics
notes or chords, to heighten
of tempo,
the listener's
and of
expectations.
There are all SOrtS of ways to pm across the mood, feeling or character of a piece,
develop gradually as part of the
process of mastering the playing, so technique and
but
expression are coordinated from the outset.
interpretative
only
if we've
STYLISTIC:
first
become
aware
of it for ourselves.
To achieve
proper
awareness, think abour these issues as you learn the piece: When was the piece written,
and what were the conventions
for playing
that SOrt of music at the time? (Don't panic: we'll go into this larer.) Who wrote it? Does it belong to a particular EXPRESSIVE:
What sort of mood, emotions
it suggest a personality? DRAMATIC:
genre?
Is it song-like,
What dramatic
or character
dance-like,
features or contrasts
does the piece have? Does
or like a conversation
or a march?
could you bring om? Where does
the climax come? How is it resolved? NARRATIVE: A musical romance
Does the music tell a story? What do you think happens in the srory,
and how does it end?
Robert Schumann (1810- 5 6) was one of the most important composers of the Romantic period,
By now you should be getting
which lasted from towards the beginning of the
imagination.
the message: interpreting
music is creative. It takes
19th century to the beginning of che 20rh. He was also a great pianist, writing a lor of fine music for
Italian
Abbreviation
Explanation
the instrument. He fell in love with and married
forte-piano subito forte subito piano sforzando
fp
loud, then immediately
sf sp sfz
suddenly
Clara Wieck (1819-96), the leading piano teacher .of her day; her students established some of tbe grear schools of piano playing of the last hundred years. The romance between
soft
loud
suddenly soft with a sudden accent
Robert and Clara-
the leading composer and rhe leading pianist of
See the Glossary
for more Italian
musical
terms
and their abbreviations.
the time - was one of the great events of the
advanced level you will also be expected ro know French and German
At an
terms.
German musical world. Legend has it that wbeo Schumann was trying to drown himself in the river some people passed by in a boat and fished
TEST YOUR INTERPRETATIVE SKILLS
him Out of the water. He immediately rhrew
The Schumann
himself back into the water again. Like several
inrerprerative
piece 'First Loss' (opposite) abilities.
offers a perfect chance ro exercise your
With a title like that, it's obvious it's going to be sad. (Like a
Romantic poets, philosophers and composers, he
lot of Romantic
evenrually went mad and ended up iu a mental
expressive piece, so we can do a lot with shaping dynamics
asylum.
the intensity
music,
it's about
dearh.)
melody
It's clearly an
and timing
to bring om
to heighten
musical story or drama. Note how Schumann
and accompaniment
ro form a single
sense of melodic shape and motion at all levels.
134
subject:
of the line, and we can also use speed and timing
overall sense of an unfolding integrates
that forbidden
texture,
the
cleverly
while retaining
a
UNIT 10 Exercise 10.1. 'First Loss' starts with just the right hand, inviting you to focus on the expressive value of each note euen more them usual. Although
the first note is individually
CD: TRACK 28
marked loud
(fp), this is relative to the overall character of the phrase and not aggressive. Hold it for
Precious silence
slightly longer, so it has a chance to die down a little. That way it will connect up with
Rests are as important as notes. Music isn't just
the line. (Note the way the left hand then fills out the harmony with ouerlapping notes:
about hearing sounds in more incense ways than
these produce a sustained
texture
and echo the falling
intervals
you would in everyday life - it's also about
of the melody.) The
learning to hear and appreciate silences.
and really starts to flow from bar 6 down
music only gradually picks up momentum,
tou/ards the cadence in bars 9. Then the expressive return of the opening can coincide with
a slight pulling
alterations
back of tempo,
(D-sharps
and A-sharps)
Not fast (j
5
j,j.
••
I
) 40 l\ ··
so it gets drawn
------
4
out yet again.
should also be highlighted,
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4
3
2
2
1
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f'lj,j.
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Chromatic
The second half of
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4
2
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135
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UNIT 10 'First Loss' has some difficult passages, especially where each hand plays more than one voice. Practice each voice with the correct fingering before combining voices slowly within each hand, listening for balance between voices and legato. (Bring out the upper voice where this is part of the principal line. Only then combine the hands, and try to continue listening to the inner parts as well.) Notice the tempo changes indicated, and that pedal is only used where a legato would otherwise be impossible. In bar 31, the right hand chords marked with staccato dots and slurs should be neither legato nor staccato. Feel the dramatic impact of the rest in bar 30 - silence is an important part of this piece, and it's there even when you don't hear it.
MIXING UP THE HANDS Sometimes
the hands interact or relate to each other in unusual ways while playing.
For example,
they may dovetail
together
to form a single texture or line, or overlap
by playing in the same region of the keyboard at the same time, or cross over to play on opposite
sides of the keyboard.
It's always important
should move in and Out of these positions: behind,
to know exactly how they
for example, which hand goes above and
or below and in from of, the other. This may be indicated
in the music (eg,
'l.h. under', 'r.h, over'), or left to you to work out.
Non-legato In the next piece you'll see some more places where notes or chords are marked with both staccato dots and slurs. This is called non-legato, chord has some feeling
of length,
meaning
that each note or
and a slight gap before the next one: a sort of
relaxed staccato that keeps a sense of line and connectedness,
like someone speaking
rather than singing.
Arpeggiated chords The wavy vertical lines in front of certain chords in the next piece (bars 15, 59 and 61) mean that they should be 'spread'. sounding
chord as specified guitar, hands
begin with the lowest note,
by drawing
rather
fingers over several strings in a single
than simultaneously,
from the wrist to make arpeggiations
them as a
chords on a lute or
(A single wavy line across both staves means you should
in succession
movement
chords
by time values. The effect is like strummed
or harp textures produced
movemem.
Spread
each note in rapid succession up to the top one, yet still holding
as one big spread.)
spread both Use lateral
sound natural rather than forced.
Exercise 10.2 CD: TRACK
29
'Avalanche' by Heller has lots of dovetailing of hands, and a bit of overlapping too. The opening figure consistsof triplets, which must relate accurately to the crotchetpulse stated in the second bar. The division between staves shows how both hands participate in the line, with the division of bands shown by direction of note stems. First practise the jl.owing line by itself, until you can't hear the switching of hands. (Fingers closeto keys will help here.) Then introduce the staccatochordsin the background. Note how each long minim note in the melody continues to be held after the chord, and how pedal is added just to 'colour the held note, without losing the staccato release of the chord. The nonlegato in bars 13-14 can be done with light 'dabbing movements from the arm rather than wrist. Bring out top notes in the right hand chords in the middle section, focusing on contrasts of dynamic level. (Think about your 'scale'of volume levels- are they consistent throughout the piece?) Dovetailing of hands means there's no point in practising them separately: instead, analyse the music into levels (melody and accompaniment,
136
foreground and background) and practise each level before combining
them, Apply this
approach to the final section (bar 57 ornuards) as well. But bars 67 -9 revert to a normal of the bands,
combination
50
they do need to be practised bands separately! Think about
Allegro vivace
5 3
(j
r.h. :
rm
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UNIT 10 the contrast of a light 'snowflake'
touch with dramatic
textures
and sonorities that
require release of weight into the keys, a-nd use the wrist to get good leverage on louder staccato chords. The runs in bars 25-28 and 41-44 should sweep down the piano rhythmically
(so accent on the first beat of the bar), with a crescendo as they approach the
bottom. After all, these really are meant to be 'avalanches'.
m
A
5
36
1,_..,4
fJ
'1
5 ,
5 2
4 2
3 2 1~1
4
~~l
I
•
-
40
I==-
<
11!t
~(
q ill
,.
··
1
~
1
1
===-
--
L..[f
2 -3
I
f
123
fr-
~ 2
3
ft
1
r-H~
43
fJ
41
1/1
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~
5 2
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<,
m
40
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1
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3
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c.
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4
u
3
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5 3 2
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""' 138
l
Exercise 10.3 In this study the hands overlap throughout, so the right hand must stay above and behind the left, playing
rigbt up on (and between) the black keys. Marking
rhythmic group with an accent helps maintain
CD: TRACK 30
each
rhythmic evenness. For accuracy and of hand movement for the
control, keep fingers close to the keys, with a minimum
staccato playing. At the same time, note how repetitions of notes between the hands require
to control speed while maintaining
YOlt
a sbarp and precise staccato touch.
Con moto r.h. over 5
4
4
3
mp sempre staccato
>-
>-
>-
5
5
5
6
--====== f >-
1 2>4 5
2
>5
BASIC ROTATION Take
a look
semiquavers,
at the
next
piece
(Ex.lO.S).
Notice
the alternating
pattern
of
first in the left hand, then the right, then the left again.
If you try to play these passages by themselves
(ie, hands separately)
you'll notice
how quickly your hand stiffens up and your forearm gets tired and tense, disrupting the evenness problem,
of rhythm
and rone. We use a special
technique
ro overcome
this
called rotation.
Forget the piano for a moment.
Imagine
those door handles that have ro be grasped
you're opening and twisted
door handle like this in your home, that's even better.
a door by turning
one of
round. (If you've gOt a real Go and try opening
it, and
observe carefully what your arm and hand do.) orice how your whole circular, direction,
twisting
movement.
forearm, That's
wrist,
and hand move as one, in a kind
rotation.
Now try repeating
then the other, so that the arm continually
it, first in one
turns ro and fro. Now try with
the other hand. That should give you an idea of the kind of arm movement need when you play the following
of
you will
exercise.
139
>1 2 3
Exercise 10.4 Start slowly and gradually
speed up, stopping for a rest as soon as your hand starts to
feel tired. Accent the first note of each group slightly to maintain
rhythmic
evenness.
The left hand plays the same notes, an octave lower.
----'-----------------------------Right hand I
5
5
4
5
Left hand (Bve lower)
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Franz Joseph Haydn (1732-1809) lived a long life, most of which was spent as court composer to the aristocratic Austro-Hungarian
Eszterhaza family. This enabled him
to develop gradually as a composer, absorbing local Viennese musical influences over a long period and responding to changing tastes, while emerging as an increasingly mature and inventive composer. His music is characterised by a gentle and good-humoured wit, and by the dramatic use of form to surprise the listener in countless ways. Haydn wrote a huge number of symphonies, string quartets and piano sonatas, many of which are masterpieces. He was influenced by his encounter with Mozart, and his own risk-taking made an impression on Beethoven, who briefly studied with him. Later in life, Haydn made visits to London, and wrote some of his finest symphonies to be performed there, as well as a number of superb piano trios. Haydn's long career means that his music spans the evolution
of the music of the classical period, from baroque and
galante origins through to the drama of early Beethoven. His keyboard compositions begin as works for harpsichord and end as full-length
sonatas, exploiting
expressive range and dynamic possibilities of the piano.
140
the
Exercise 10.5 This piece by Haydn requires good rotation [rom both hands. The left plays rather high up at the start, so avoid unnecessa'ry leaning back. Better to lean in the direction of where the right hand is to give space to the left, with feet firmly on the ground, apart and in front, to support the body's need for balance. You'll also need to u/ori: to bring the right hand melody out, as the left hand plays in a stronger register at the beginning, so it should be kept [rmn dominating. Rotation also helps you to master independence of hands from the point of view of articulation: right hand must be phrased with couplets and staccatos, lifting off, while left hand stays legato; then the roles are reversed for the middle section, Watch out for left hand octaves in bars 13-16: keep the wrist loose and relaxed, sinking in on crotchets, and practise with eyes closedto memorise hand shifts. Haydn had a great sense of humour, so aim for a lively and light-hearted feel.
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MELODIC MINOR SCALES Classical music uses two versions of the minor scale: harmonic minor.
minor
and melodic
So far we've only learned to play the former, which is the one that chords are
based on in minor keys: hence the name. However, large step - a chromatic 6th to sharpened
this scale contains
interval of an augmented
7th (ie, the leading
an unusually
2nd (see Unit 2) - from flattened
note), which makes it unsuitable
for melodies,
since this is hard to sing. So there is a special version of the scale for melodic lines, which evens out the intervals flattening
by raising both the 6th and 7th on the way up and
both on the way down. Hence this melodic minor scale has different
in ascending
and descending
forms, though the fingering
is normally the same.
A melodic minor /)
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UNIT 10
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UNIT 10 ARPEGGIOS TOGETHER the hands
Combining problem
AND
CHROMATIC
for arpeggios
if you've mastered
co join notes smoothly
SCALE -
(in the same direction
them hands separately;
when stretching
HANDS
only) will not be a
bur be careful, it's easy co forget
under or over into the next Octave when both
hands are playing. Slow them down co stare with. It's time co try playing directions
(contrary
the chromatic
motion)
scale hands
together:
then in the same direction
first in opposite
(similar
motion).
Start
with one octave, then extend it co a second octave with the same fingering. Note
how in contrary
between
motion
we get matching
hands when we start on D or A-flat,
fingering
around which black and white notes form a symmerrical
,
ar the same time
since these are the only two notes pattern.
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yourself on D and A-flat, beginning
with thumbs
check our the fingering
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together.
(You may need to glance back at Unit
again.)
3
3
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144
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so here it is on C, where we have the added feature
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work in reverse order between
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SECTION
4
FINGER INDEPENDENCE As rhe music physical
you're
abilities
won't be able
(0
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learning
gees more demanding,
allow you
(0
play it without
meet your own artistic standards,
you need
muscular
(0
strain:
develop
your
otherwise
you
which should also be developing
by now. The more closely playing,
you listen,
such as inequalities
the more you'll
of (One or rhythm,
probably
means you're becoming
problems
is tension, which may be a result of poor practising
more self-critical.
to develop real control and independence So here are two exercises as warm-up
CO
play right
But the chief cause of all these habits. It can take time
of tbe fingers without
develop relaxed independence
exercises before practising
in your own
scales, arpeggios
forcing them.
of the fingers. Use them
or pieces.
This exercise uses extremely slow practise to make you aware of how each stage of
through the piece ar full speed> Or do you begin
playing a note needs to be executed in a natural and relaxed way.
by practising just the difficult passages, starring
Place one of the hands in a simple five-finger
slowly and gradually increasing speed? CO
(0
any faults
Exercise 11.1
Perfect practice Do you Start off practising by trying
When you get
notice
or breaks in legato. This is good: it
position on the keys. Check that
hand, wrist, arm and shoulders are all relaxed (with fingers rounded, knuckles level,
a problem passage, do you
just keep on struggling in vain to play it again
etc.). Lift one finger, holding it raised well above the key for a few seconds, keeping
and again, so that you're actually practising your
all the others resting on the keys, and the hand, wrist and forearm relaxed.
mistakes, or do you stop and try to find out why
Now let go of the finger
you can't play it, and what you're doing wrong?
so it falls on to the key, and release enough weight to
depress the key. Keep on feeling the hand weight pressing down through the finger
What do you think are the correct answers to
into the resistance of the key-bed, with the hand relaxed and supported from the
these questions? A handy trick when learning difficult music is to begin wirh the end of the
wrist. Hold the note for a few more seconds, and remember how this feels, with the
passage, gradually adding on the earlier bits until
hand relaxed and other fingers just sitting on the keys.
you teach tbe beginning. This reverses the order in which different parts of the piece come to your attention, helping technical consistency.
\,011
to achieve
Now release the key by releasing the weight of the finger, and feel the hand revert to being entirely supported from the wrist. Concentrate on relaxing for a few more seconds (in the playing position), then begin with the nextfinger. As you play each note, think: 'lift - play - relax!'
146
Exercise 11.2 This is an advanced trill study. (Trills are rapid alternations notes: see the section on ornaments, equality
later in this unit.)
between adjacent
It will help you to achieve
between fingers and develop evenness of tone and a relaxed legato. Note
that there are three elements to be controlled simultaneously: long note (with release of hand-weight alternating
the finger holding the
into the key-bed); the fingers playing
the
notes (which must be even in tone and time, and perfectly legato); and
the fingers not playing, but sitting on the keys. In the last case, try closing your eyes and feeling the fingertips just touching the surface of the keys. If you can't control all three elements while staying relaxed, you're playing too quickly, so slow right down.
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legato
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147
4
Left hand
legato
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3
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ORNAMENTATION Ornaments
are stylised
early classical instruments more
music
musical
decorations,
such as harpsichords,
limited
movements
sustaining
abilities
formality
of the aristocratic
centuries.
This was the Enlightenment
independence decorating
when
instrumental
arias in dramatic
the
a melodic
particularly
and early pianos, modern
expressions
prevalent
piano.
in Europe
music
and
Opera
singers
line. In
for keyboard
all of which Like
the
had
scylised
of the spirit of elegance and
period, dominated
and extravagant
feeling for melody in classical music.
148
than
culture
from sacred music.
important,
clavichords
of ballet, they were important
humanism,
used to embellish
they were especially
opera would
in the 17th and l Sth by the rise of science and
began
to achieve
greater
show their virtuosity
ways. This greatly
influenced
by the
UNIT 11 Classical ornaments require
need good finger control and independence,
very rapid notes to be fined
sounding
forced or awkward.
keys. Many ornaments composition
(Unit
into the existing
rhythm
since they often
of the line without
Keep the hand relaxed and the fingers
correspond
to the classical embellishments
6), which reappear as standard
jazz techniques
close to the
used in melodic for embellishing
chord sequences (Unit 9). Ornaments realisarion changed
were frequently
might
indicated
be left to the performer.
gradually
over the 17th
recorded. Only the principal
using
shorthand
symbols,
The conventions
and 18th
centuries,
whose exact
for how this was done
and are only imperfectly
forms are given here, and you should be aware of them,
but the rules are by no means fixed or certain. Grace
notes
look smaller
than usual, and do not affect the way the rhythm
other notes relates to the beats of the bar. A single grace note is usually written
--
quaver with a diagonal slash, which makes it an acciaccatura or more grace notes are written shorter time-values. the underlying
in the same way, often without
Grace notes are normally
rhythm,
though
though
in the 18th and early 19th centuries
('leaning
also corresponds
note') looks like a single grace note without
to the appoggiatura
sounds on the beat, delaying
as a melodic
(for the appoggiatura)
the slash,
embellishment.
the main note to afterwards,
of the main note gets split into two equal subdivisions
Written:
note sounds,
grace notes were
Played:
An appoggiatura
into two-thirds
the main
single and multiple
played on the beat.
Written:
appoggiatura
the slash, and with
their speed may be varied to suit the character of the
They usually
but
as a
note'). Two
played very quickly so as not to alter
just before the beat on which
music.
also commonly
sound
('crushed
of
or, for dotted
The
so the value notes, usually
and one third (for the resolution).
Played:
149
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UNIT 11 : A turn is a decorative note, the written
figuration
passing quickly through
rhe nore above the written
nore itself, the nore below, then the written
note itself again. In
classical period music, or where the (Urn is placed after the note rather than on (he note, rhe figure upside-down
will be preceded
by (he written
nore itself.
versions of the same. Nore also how the rhythm
co suit differem speeds or doned
Inverted
(Urns are
of the (Urn is adapted
notes.
On the note: Written:
Played (fast Baroque):
r
F Played (slow Baroque):
Played (Classical):
Inverted: Written:
Played (fast Baroque):
r Played (slow Baroque):
Played (Classical):
After the note:
~'~J Written:
Played:
~
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Written:
Played:
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A trill is a rapid alcemation
between rhe main noce and the note a scep higher. Trills
begin on the upper note in Baroque music (eg, ].S. Bach or Handel) immediacely Haydn,
by chis same nore, but as the Classical
Beethoven)
(unless preceded
chis practice
150
shifted
period
(Mozart, note
by the upper note as a grace note), Because (he tri ll normally
ends
for the melodic resolution
co starting
developed
on rhe written
with a turn (in preparation
gradually
unless preceded
that follows, if the latter is not
already anticipated
melodically),
the later style requires
inclusion
of a triplet
to fit
all notes into time. (The last two notes of the turn often appear as grace notes before the resolution
note.) Trills were employed
arias, coinciding not continue
with a final resolution
through
to round off cadenzas in concertos or vocal
of dominant
the entire duration
music become single alternations,
harmony
to the tonic, and may
of the note. Trills on short notes in fast
turns, or a combination
of the two.
Written:
Played (fast Baroque):
F Played (slow Baroque):
Played (Classical):
Written:
Played (fast Baroque):
tr
tr
$=f~l1~~F~~r~ Played (Classical):
Played (slow Baroque):
~
Mordents
evolved Out of trills on short, fast notes (,Schneller'
later came to consist of a single alternation
in German).
They
with the note above or below (like upper
or lower auxiliary notes).
Written:
Played:
r
J
•
Written:
J
~ Played:
#
J Note
how the small
chromatic
alteration
accidentals
~
placed
r
~
above or below
of the note above or below the written
ornament
signs
~
signify
note.
151
UNIT 11 Exercise 11.3 The Classical period ornaments in this theme from Haydn's A major Sonata should
CD: TRACK32
reflect the relaxed character of the music. Watch out for the difference acciaccaturas (bars 2, 4, 8, 10 and 12) and appoggiaturas Grace notes before the final appoggiatura
bar tell you to finish
between
(bars 5-6 and 13-14.)
the trill with a turn, while the
in the last bar takes two counts, resolving only on the final
beat.
Practise the melody without ornaments first, then hear how decorations embellish the line without distorting its underlying character and shape. The repeat marks means that in performance you could play each section first without, then with ornaments.
TEMA
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LEFT HAND LEAPS A lot of piano music requires line) and chords accompaniment
the left hand to alternate
in the middle to a right
register
hand melody.
to create
between
This requires
texture
good control
leaps, which must not result
in unwanted
with legato pedalling,
the latter much more difficult
making
low notes (a bass
a rich harmonic
accents and which are often combined to coordinate.
hand should move over the keys within a more or less horizontal
The left
plane, and should
not release the bass note until after the change of pedal. Move into position chord slightly
before you need to play it Cpreparation'),
and bass line individually,
fingering
as an
of left-hand
and first practise
chords as if moving
Control of volume is essential, especially when pedalling
directly
for each
the chords
between
them.
is involved.
Exercise 11.4. Practise this left hand pattern, first between the hands, then entirely in the left hand. Aim for the same control of volume and texture in both cases.Then practise the same material, using the rhythm from the actual piece below,
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Erik Satie (1866-1925) was a lonely eccentric who lived in Paris in the early part of the 20th century. At that time the city was a great centre for radical artistic movements such as Surrealism, Futurism and Dada, and home to colourful individuals like Picasso, Breton, Stravinsky, Diaghilev and many others. Satie, however, was a quiet man, always polite and elegantly dressed. Only when he died did it emerge that he had been living all the while in one of the poorest parts of the city, with almost no possessions except his collection of identical, perfectly pressed, grey suits. His music has a strange and subtle combination of irony, sadness and detachment, and expresses nostalgia for ancient Greek culture.
Exercise 11.5 Gymnoptdie No. 1 by Satie is a slow piece that requires perfect control of tone and texture. Try to obtain the pianissimo levels required for both hands without resorting to the soft pedal, grading crescendoscarefully. Keep strictly to time, to maintain the sense of poise, and avoid adding expressive nuances beyond those marked in the score.Your touch should be soft and velvety. Notes in chordsshould be perfectly synchronised, so listen carefully, monitoring balance between the hands and the effect of the sustaining pedal. A Gymnopedie was an ancient Greek ceremonial danceperformed by several dancers,probably moving in unison.
CD: TRACK 33
153
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155
UNIT 11 Carl Phillip Emmanuel Bach (1714-1788) is one ofthe most important figures in the history of classical
l
keyboard music. One of the many sons of the great German Baroque composer J.S.Bach. he was a great composer in his own right. He really developed the arts of keyboard composition. improvisation and embellishment to an unprecedented level of originality. shocking audiences with his experimental. freestyle approach. He paved the way for the great giants of the Classical period (Mozart and Haydn) and especially for the greatest rebel of them all: Beethoven. C.P.E. Bach's Essayon the True Art of Playing Keyboard Instruments. published in 1753. is still widely studied today. Bach preferred the clavichord to the harpsichord. but his late keyboard works were probably written with the piano in mind. He developed an intensely personal style of playing and improvising. reflecting his involvement with the trend towards free-ranging emotionalism (Empfindsamkeit) in the arts in Germany in the 1760s and 1770s (also known as Sturm und Drang. meaning 'storm and stress'). Later composers brought this tendency under tighter control. He was probably the first to recognise the individualistic potential of the keyboard. and to set about realising it to the full. The English historian Dr Charles Burney describes encountering Bach's involvement in his own performances. which was quite new and shocking for its time: 'He played till near eleven o'clock at night. During this time he grew so animated and possessed.that he not only played. but looked like one inspired. His eyes were fixed. his underlip fell. and drops of effervescence distilled from his countenance.' He used ornamentation
and phrase structure in such a way that the
music seems to dramatise the unfolding of the personal moods and thoughts of the composer-performer
himself.
In this way. C.P.E.Bachalso moved music in the direction of a closer resemblance to expressive speech. and to the rhetorical structures of oratory. He thus made the performance itself into a confrontation
between artist and audience. in contrast to the
more impersonal collective music making of public events that previously dominated. In contrast to earlier composers. it can be hard to tell whether some elements in his style have their origin in improvisation or in composition. In his autobiography.
he complains of the conflict between his own artistic
aspirations and the life of professional musicians at the time. As Mozart himself said. C.P.E.Bachwas •...the father of us all - without
him. nothing would have been
possible!' He kicked off the European tradition of keyboard improvisation and piano playing as creative forms of performance - a tradition that in the 20th century shifted from classical music into jazz (except for organ music). It's the spirit of that great tradition that this book is dedicated to keeping alive.
DOVETAILING AND OVERLAPPING THE HANDS Exercise 11.6 CD: TRACK
33
This piece by c.P.E. Bach requires continuous dovetailing of the hands, as well as overlapping. There should be an even flow of rbytbmicaliy accented semiquauers throughout. Notice how few dynamics there are, and use your imagination to develop a dramatically interesting interpretation, matching the sudden shifts of register. The line should be shaped with dynamics that match rising and falling melodic contours, and right hand octave alternations should employ rotation. Feel your hands transporting you between different regions of the keyboard, letting the rest of your body follow, but keeping firmly balanced. This piece will strengthen your weak 4th fingers.
156
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158
••
UNIT 11 BLACK-KEY ARPEGGIOS It's time to add some more two-octave
arpeggios
B major and B minor follow standard hand 3rd on the D sharp in the former, However,
we haven't
mentioned
arpeggios
thumbs
notes.
fingerings,
with left
in the latter.
them until now because they call for fingers well starring on black keys below.
starr on black notes,
on white
arpeggio
left hand 4th on D natural
into the black keys, just like the arpeggios When
to your repertoire.
white-note
B-flat
major
the fingering
is unusually
must change
tricky,
to keep the
since thumbs
play on
different notes.
B flat major I')
2
I
40
"ill
legato
2
~
in E-flat
-
'V,. >-
2
1
major
thumbs
fingering
3
play together,
used whenever
..,
2
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2
a standard
4
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By contrast,
1
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producing
242
-
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making
life simpler
and
the third of the chord is the only
white note. (Try A-flat major like this too.)
E flat major 2
2
f}
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1
2
as ordinary
-
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4
4
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in the equivalent
the same fingering key arpeggios
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legato
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241
relative minor keys have a flattened arpeggios
third. They take
with just white notes. For instance,
major
start on the same notes. You can try G, C and F minors this way: JUSt
take G, C and F majors, flatten the third in each hand, but keep the same fingering.
159
SECTION
4
{--"
RHYTHM IN JAZZ, ROCK AND BLUES J
The fundamental from their
contrast
different
between classical and non-classical
ways of dealing
rhythm
and other aspects of music differently,
rhythm
itself.
. .1
,-'
rhythm,
Non-classical
music explores rhythm,
or in separate
combinations,
precise
effect
of music: between
feelings
about
melody and harmony
melody and harmony
combining
of combining
aspect
different
at the level of motifs, themes, and melodies. more independently,
them more freely later on as separate
to performers,
all elements
who don't have to calculate
at once
in the way that
the
classical
composers do. Because non-classical
music such as jazz, rock and blues evolved from the music of America in the 19th century, it reflects
black slaves shipped ,
reflecting
(until the 20th century) integrates
music
elemental
but they treat the relation
systematically
layers. This gives more flexibility
,
the most
Both kinds of music are rhythmical,
Classical
j
with
rhythm.
musical cultures comes
African traditions in American
from Africa to North
of drumming
revivalist
and singing,
hymns.
as well as the European harmonies
African drumming
makes rhythm
central,
that reflects dance, and when Africans dance, they really dance, letting whole body until
they fall into a trance. That's
elegance of European
courtly
It's this spirit of surrender
used
in a way
go with the
a world away from the controlled
dances, in which the body is held fixed and upright.
to the dance that emerges also in rock music and modern
dance music idioms. Because rhythm . -'
in non-classical
music relates to drumming,
it reveals a whole
new side to the piano: that it is, in fact, a percussive instrument. Something similar in 20th century classical piano music, with composers like Bartok and
happens
Stravinsky
(See the Bartok piece in Unit 17.)
Rock pianists play the instrument
percussively
using their whole body, releasing
much more physical energy than classical pianists. Jazz pianists
also feel rhythm
more strongly
in more exploratory
ways, channelling
movements
hands
of their
improvised
in their body, but work against this
their physicality
such a way that
over the keys can take on a life of their
the
own in
melodic lines and figurations. From jazz to house
The other side of this coin is that melody with
an Afro-American
gospel
base, such as jazz, which
music, and the spirituals
In blues,
tends to be rhythmically
the conflict
produces
expressive
suffering
and displacement
evolved
(the work and recreational
between
"out-of-tune"
African
scale-runings
effects C'blue
of Africans
notes")
freer in music
from blues,
religious
the commercial entertainment
harmony
that evoke the sense of
and poor people
generally
in America,
between emotionally -'
usually tells a story, with a style of declamation
heightened
speech and song. This lets the rhythm
the melody line reflect the irregular
rhythms
and continuous
much more closely, since it is not bound strictly tuning.
Instrumental
feel of melody rhythm
phrases comment
as heightened
in improvised
speech, resulting
lines, which
underlies
styles, but also much jazz improvisation. notation
isn't really designed
need to listen to old recordings
-
.;
inflections
by constraints
on the unfolding
and shape of of speech
of metre and scale
story, echoing
in a distinctive
that lies
this "raw"
feel for shape and
not just R&B and blues-based
The downside
to show these things,
ind ustry and the
demands of youth culture have played an everincreasing role. From jazz, ragtime and boogiewoogie through to rock'n'roll, rhyohm and blues (R&B), rock, pop, punk, funk, reggae, disco, heavy
especially as they moved into big cities in search of work. The blues musician
music, largely made possible by the influence of Afro-American music on urban cultures in which
songs of slaves). and European
The 20th century saw an explosion of new sryles of
rock
metal, death metal, acid, house, and whatever makes the charts and clubs this rime next week, popular musical styles have become parr of the cultural landscape against which most young people today define themselves. This means that musical styles closely reflect the preferences of particular generations and subcultures, as well as their approach ro social activities, especially dance.
is that our system of musical
so it misrepresents
them. You
to get the feel of how blues works. The point about
161
Afro-American underlying closer
rhythm
to its own
inflections)
Specialisation or crossover?
vety different from those of classical playing, you may have some choices to make. Let's be frank. You won't be able to pound away at rock grooves
is not just that
origins
Christian
used to happen
more flexibly
characteristics
to the
brings
(the
melody
rhythms
and
Guide at the back of this book for examples
styles. (pentecostal)
and African
members
of a congregation
with individual
freely exremporised
can relate
but that this freedom
in the expressive
of speech. See the Listening
In gospel, together,
melody
and metre of the music,
of the many Afro-American
Because the physical demands of rock and other strongly rhythmical Styles of piano playing are
idioms
(shamanistic) bursting
traditions
merge
spontaneously
into
song above a chorus, 'taken over' by the Spirit. The same thing
in European
religious
singing,
and can still be encountered
on
one day, and play Mozart with the delicacy and
remote Scottish islands. All this fed into the way popular singers and jazz musicians
control of a great classical concert pianist the next.
work using melody to extemporise.
So be clear about your priorities. Do you want to be a great classical pianist, or a leading light on the rock scene' On the other hand, in today's 'crossover' cul ture many cop professionals prefer to
Jazz over the last half-century band arrangements
of the 'swing'
work between these extremes. Physically, it's
'cool jazz' to Sixties
easier to combine jazz and classical, as pianists like
sophisticated
Friedrich Guilda have shown, reaching the top in
increasingly
both fields.
has drifted away from the traditional
improvisatory
styles of New Orleans and Chicago Ctrad jazz') and the entertainment-orientated
you're
and experimental reliant
more likely
stretching
era. From bebop in the Forties,
'new wave', modern
jazz has become
through
Fifties
a progressively
more
art form with its own connoisseurs.
on compositional
techniques
to find the tradition
from C.P.E Bach through
keyboard
Beethoven,
These days,
exremporisarion
Liszt and Chopin
greats of jazz and rock - being kept alive by 'free improvisation' the 'alternative'
It's also become
from classical music.
of free-style
Mozart,
big
specialists
-
to the working
music circuit.
The only real way to learn popular styles is get our there and experience
the dance
cultures of the day (if you don't already do so), and, as with jazz, to learn by listening to what other musicians are doing. In this book, we can only hope to sketch the most basic features of rhythmic
styles and the differences between them. It's up to you to
get into the 'feel' of the 'groove' (ie, the particular
rhythmic
style), and that's more
abour how you relate to your own body than it is about any techniques
you could
ever learn.
SYNCOPATION, GROOVES & SWING The principal
distinguishing
features of rhythmic
styles derived from Afro-American
music are: offbeat
emphasis:
the weak beats of the bar (normally
rock and heavy rock this can be extreme,
creating
the 2nd and 4th beats). In
what drummers
call a strong
backbeat. syncopation:
displacing
the rhythmic
the metre, usually on to a subdivision (It's worth
pointing
accent away from its normal
position
in
belongs
to
of the beat.
our that syncopation
is a concept
classical music. In African music, syncopation
that properly
is the norm rather than the exception,
whereas in classical music it is treated as a 'rhythmic
dissonance'
- between
actual
rhythm and implied metre - that has to be resolved.) Rhythmic
styles also divide
into those that subdivide
threes. The latter will often be heard as also dividing unequal
length,
approximating
to a triplet
rhythm of two-thirds,
bear. In blues and slow styles, you'll often see this written 12/8 compound
162
into twos Ot
then one-third
our as a shuffle
rhythm
of a in
time, but in jazz it becomes so normal that it's assumed even when
the music is shown as even quaver divisions permanent
the metre
the beat into two parts, bur of
or as dotted
triplet feel in simple time is known as swing.
rhythms.
This effect of a
, UNIT 12
Written:
'!~@ Played:
'!~
Swung
rhythms
American
in jazz also reflect
folk music
traditions)
metre, to create a distinctive
the strong
of how melody
'upbeat'
or 'downbeat'
strong links to Celtic folk music traditions the beat by making tends
to create
delaying
atmosphere
(in black
and white
can work rhythmically feel. Country
against
music (which has
in Scotland and Ireland) will often push
melody notes consistently
a dragging
awareness
anticipate
of frustration
the main notes so they sound slightly
it slightly, by leaning
whereas blues on the
beat,
after. (Not all blues does this, since
not all blues is downbeat.) The particular and strength of the style figurations
combination
of speed, subdivision,
of offbeat, will define the groove may rest.
Harmonic
devices,
degree of swing or syncopation,
of the music, on which the whole feel melodic
elaborations
and
bass line
often derive their sense from this, especially as different rhythmic
open up gaps in the texture for melodic elaboration get a glimpse
in different
of some of the most widely used rhythmic
popular music, at least in their simplest
idioms
ways. Let's try and
idioms of Afro-American
forms.
fiNO OIlT /tit OVERr08£1.
The great rock session pianist Nicky Hopkins, seen here playing electric piano.
163
UNIT 12 RHYTHMIC IDIOMS The examples that follow just illustrate there are endless variations.
the most basic forms of groove - on which
Play each one through
over and over until it's in your
bones, and your own body will begin to tell you how to vary the rhythms.
Ragtime & Jazz Ragtime
was one of the first syncopated
who found employment
styles, developed mainly by black musicians
in cities by playing pianos in bars. Left-hand
provide the basic rhythmic
pattern,
with syncopated
