H. EHRLICH
HOW TO PRACTISE ON
THE PIANO
REFLECTIONS AND SUGGESTIONS
Ho<w to Practise on the Piano
REFLECTIONS
AND
SUGGESTIONS
BY
H. EH RL1CH
WITH PRECISE DIRECTIONS FOR THE PROPER
USE OF THE
TAUSIG-EHRLICH "DAILY STUDIES"
TRANSLATED FROM THE GERMAN BY
J. H. CORNELL
THIRD EDITION, REVISED BY
DR. TH. BAKER
Price, net, 25 cents
NEW YORK : G. SCHIRMER
1917
COPYRIGHT, 1901, BY
G. SCHIRMEK.
Muria
Library
Mr
220
IT is not, by any means, the aim of this work to set up a
new Method of Piano-playing in general, or to supersede or
oppose any method already established ; but, on the con-
trary, to form a Supplement to all methods, and to call the
attention of unprejudiced experts to a manner of practising,
not of executing, which has hitherto not been attempted, and
from which the author has obtained the best results. At the
oufeset it certainly presents some difficulties ; but it provides,
within a short time, the surest means for the pupil's guarding
against a wrong position of hand and wrist, and for uner-
ringly regulating the various positions for the Legato and
Staccato, for octaves and double trills in one hand, and also
of forming a correct fingering, which is attainable, in fact,
only through a correct position of the hands ; precisely in
this matter of teaching his pupils to finger passages for
themselves, the author has obtained results which were often
surprising.
Every teacher and learner has experienced how difficult it
is, so to regulate the position of the fingers, hand and wrist,
and of the arms, that each may act independently of the
others. To attain this end, years of practice by the pupil
and the unremitting attention of the teacher are often neces-
sary. All kinds of machines, hand-guides, etc., have been
invented for promoting the proper hand-position. They may
do some good, but labor under this disadvantage, that the
2 HOW TO PRACTISE ON THE PIANO.
pupil depends too much on them, so that after they are given
up it is long before he can do independently what with their
aid was easy enough. This independence from the very out-
set, without the aid of any apparatus, is what the author aims
to promote. The method of practising which he here presents,
renders every incorrect position of the fingers, and more
especially of the wrist, and every objectionable movement of
the arms, impossible from the beginning. It is adapted for
beginners of course with great caution and moderation ;
but with more advanced pupils, who have had one and a half
or two years' instruction, it may be carried out strictly, with
perfect confidence. Always, however, even in the case of
very advanced pupils, due moderation must be strictly ob-
served and prescribed to the pupil for practice by himself.
In presenting this method to experts, teachers and learn-
ers, the author must most emphatically declare, and will often
repeat, that he submits it, not as an authoritative system of
instruction in itself, but as an important aid to practice,
standing in the same relation to piano-study as gymnastic
exercise to the ordinary motions of daily life. Such exer-
cise does not teach walking, dancing, graceful deportment,
etc., nor does it give any particular expression to the counte-
nance ; but it nevertheless develops each single muscle of the
body to such a degree as to secure perfect equilibrium, per-
fect co-operation of the several powers, so that the gymnast
does many things with ease, which even a strong but un-
trained man can accomplish only with great difficulty, or not
at all. The present method has this additional similarity to
gymnastics, that it is really profitable only when applied in
moderation and with slow motions. For gymnastic exercise
HOW TO PRACTISE ON THE PIANO. O
develops and strengthens the muscles, promoting health and
giving great certainty in all movements ; but as soon as it is
practised beyond a certain wholesome limit, exhaustion -and
relaxation result, often rendering its discontinuance neces-
sary.
The method I lay down, in conjunction with the practice
of the "Daily Studies" by Tausig-Ehrlich, strengthens the
fingers and wrist in the highest degree, but this kind of prac-^
tice should not exceed 5 to 8 minutes at first, afterwards
say 10 to 15, perhaps three times daily ; otherwise, espe-
cially in the beginning, before the hands and fingers are used
to the method, the pupil will become so exhausted that he
may even have to give up playing for some time.
In order to acquaint himself with the physiological expla-
nation for the peculiar consequences of his method, namely,
the great fatigue at first, the unfailing success in a short
time, the author applied to Professor Kronecker, director of
a physiological department in the Royal University of Berlin,
and Dr. Remak, private tutor in the University, requesting
them to favor him with their views on the subject. They
kindly gave him the information, that the movements of the
muscles of the arms, wrist and fingers (like the ' movements
of all joints) are most extraordinarily complex. Dr. Remak
demonstrated to the author how every movement of a joint
is dependent on the appropriate co-operation of several mus-
cles ; furthermore, this co-operation has for its result not
only that movement which outwardly appears as the one
intended, but also (in the interior structure of the muscles)
movements in a direction contrary to those that appear out-
wardly. Thus, when the pianist merely raises his finger for
4 HOW TO PRACTISE ON THE PIANO.
the stroke, he sets in motion not only that muscle which
stretches the finger-joint nearest to the hand, but also a series
of other muscles which act partly in contrary motion. An
enumeration and description, however incomplete, of all the
muscles brought into action in piano-playing, would occupy
too much space, and does not come within the scope of this
work. The author will, therefore, confine himself to explain-
ing why the particular position of the upper arm which his
method prescribes produces results so extraordinary.
In piano-playing the upper arm is in so far active, that it
keeps the elbow in position. But the exact and steady
control of the position of the elbow and the forearm does not
by any means proceed from the mere will of the player, but
is the result of long habit, practice, and great watchfulness
on the part of both teacher and pupil.
Holding the upper arm free, as recommended and, at
the proper time, quite rightly to pianists, is, especially in
the first years of study, often detrimental to a correct posi-
tion of the fingers, hand and wrist, as it induces obliquity of
the forearm, a bad position of the hand, and an uneven
raising and lowering of the wrist faults which would
escape the pupil's notice. Such faults are, however, rendered
impossible if the upper arm is, during practice, for a short
time robbed, as it were, of its freedom of motion, and forced
to maintain a fixed position. Through the contraction here-
by imposed upon a part of the muscles of the upper arm, the
movement of the flexors of the upper arm is also in great
part prevented ; the player is forced to give up the oscillat-
ing motions of the elbow, and to move only the wrist or the
fingers, as may be required. That the upper arm can be
HOW TO PRACTISE ON THE PIAXO. 5
kept inactive for a considerable time, the player will best
realize by pressing that member tight to the body, holding the
elboiv not against the side, but more to the front, and playing
the following :
The contrary motion of the hands does not prevent the
upper arms from retaining their position. Only when the
passage is extended upward and downward, must the upper
arms be freed from restraint.
From these considerations, it will be evident to the reader
that the chief aim in developing mechanical skill in piano-
playing must be, at the outset, to reduce to a minimum the
motions of the upper and forearm, and to concentrate activity
in the fingers, hand and wrist ^ to look after the right posi-
tion of the fingers, hand and wrist, and that of the arm at
the same time, is for pupils of the middle stage a very diffi-
cult task, seldom perfectly accomplished, and only after a
long time and great painstaking. The incorrect position of
the fingers, now too straight and again too much bent, causing
them to touch the keys either with the middle joint, or with
the nails ; the turning the elbow outward, by which the
position of the hand is changed every instant ; the drawing
the forearm forward and back, whereby the wrist is pre-
vented from being quiet and from ever attaining to even and
6 HOW TO PRACTISE ON THE PIANO.
regular motion ; the pushing with the upper arm, which
places the hand either too far back on the keyboard or too
far forward ; all these are drawbacks which every one
would like to be able to remove. The method now under
discussion enables the pupil in a short time to master the
chief difficulties, to escape the danger of contracting most of
the aforesaid bad habits, and to acquire easy and sure control,
during practice, over the position of the hand, wrist and
arm. The extremely simple basis of this method is this, that
in slowly practising all the passages that are to be played
with the hand at rest, and all those in which the wrist
comes in motion, but especially in practising the " Tausig-
Ehrlich Daily Studies," the upper arm should be held
against, or as close as possible to, the front of the body.
That this position of the upper arm is not to be rigorously
observed in playing pieces more rapidly, must be stated
emphatically, to avoid all misunderstanding ; but experience
will teach that strength will be developed in quite another
way, even in more rapid playing. In order to give the arm,
and thereby the fingers and wrist, the best position at the
present stage, and at the same time to exercise the most per-
fect control over all their movements, the following directions
should be observed.
First, lay the fingers of both hands flat on the keys c e g
a c, 1 yet so that the round, fleshy part of the finger tips, but
by no means the nail, touches the keys. The thumb, of
course, does not lie perfectly flat on its key, but is turned edge-
ways. The fingers having been thus set on the keys, the
1 Smaller hands will have to take c d efg, and here the thumbs of both
hands will, of course, lie more with the outer edge on the keys.
HOW TO PRACTISE OX THE PIANO. 7
upper arms are to be moved toward the body so as to closely
press it with the elbows ; the elbows, however, must lie, not
beside but before the body, the forearm remaining extended
in front of the body, and planted on the ribs. The player
must, accordingly, sit perfectly upright. 1 The teacher will
do well to press, during some lessons, the pupil's upper arm
(holding it precisely where the elbow lies) firmly against the
body ; be it well observed, the elbow's place on the body is
in front ; for if it be held further back, the arm loses part of
its strength. In the very act of moving the arms close to
the body, the fingers must take the right position on the
keys ; it is impossible to hold the hands sideways, or for the
ringers not to lie immediately over the keys, unless the fore-
arm also is moved sideways ; hence, the moment the upper
arm is pressed against the body, the position of wrist and
hand is emphatically a compulsorily correct one. It remains
only to give the fingers, holding c e g a c, the proper position,
as prescribed by all schools. They should, while firmly stand-
ing on the keys, be slowly bent as far as is practicable, the
fleshy tip of each finger resting on the key. This bending
cannot be carried to excess, since the elbows form the natural
impediment, and would, at the moment of bending the fingers
too much, retreat behind the body. Hence, the position of
the upper and forearm, as above indicated, constitutes an in-
fallible basis of self-control for the proper position of the
1 Nearsighted persons should wear spectacles, in order to prevent bending
the body forward, and the consequent retreating of the elbow. The spec-
tacles should be so focussed, that the player, when sitting upright, can see
the notes distinctly. The wearing of such spectacles is absolutely essential
to prevent an incorrect position of the arm and hand ; and a good optician
should be consulted.
8 HOW TO PRACTISE ON THE PIANO.
fingers, hand and wrist. No one can, after a few days'
application of this method, hold the fingers, the hand and
the wrist higher than they can be raised of themselves, i.e.,
without at the same time raising the arm ; both extremes,
that of too high and of too low, are absolutely avoided.
Besides these advantages, which are not fully recognized by
the pupil till after some time, this method also develops in
the highest degree the strength of the fingers and wrist, by
concentrating power upon them. This is best demonstrated
by means of examples. We will begin with the simplest
finger-motions. The pupil, we will suppose, strikes the tones
<$ d$ e$ /$ g%, each one five or six times alone, quite power-
fully, with both hands, ascending and descending, observing
meanwhile the prescribed position of the upper arm. At
the first attempts the fingers will perhaps still press the keys
down, instead of raising themselves and then falling and
striking in hammer-fashion ; but after a few minutes the
fingers will rise automatically in the proper way ; and if the
pupil will take care it is not difficult to remember to
have the fleshy finger-tip always fall straight on the key, he
will in a few days acquire the true touch, which is, of course,
also attainable by other methods, but only after much time,
with greater pains, and with the closest attention exerted in
many directions, whereas in the method here laid down it is
only necessary to attend to the finger-tips, for the position
of the upper arm is, after from five to eight trials, perfectly
assured.
The above exercise for the five fingers will be most profit-
ably practised in tonalities having many black keys, as a full
stroke is more difficult on the latter than on the white keys.
HOW TO PRACTISE ON THE PIANO.
We here insert an additional exercise which the author
has recently introduced, -with great success, as a preparatory
exercise for all kinds of piano-practice. Before practising
any difficult passage, the pupil should execute the following
exercise with both hands :
In so doing, strictly observe the following directions :
Each finger must at first be stretched out horizontally to its
full length, and then, before striking the key, slowly bent
and held suspended over the latter. The finger should, there-
fore, not bend and then immediately strike the key, but must
remain lifted, after bending, above the key, and then strike
it. This exercise can be most precisely executed when the
pupil counts one ! two ! three ! at one extending the finger
slowly and completely, at two bending it and holding it lifted
over the key, and at three striking. The slower the move-
ments, the greater their effect. The author can give positive
assurance, from experience, that this exercise is one of the
most effective of all, promoting strength and lightness of
touch in a surprising manner. It should, of course, be exe-
cuted, as a preliminary exercise to any given passage, in the
same key as that passage. Also carefully observe the rule,
that the finger should strike with the fleshy tip, and never
with the nail, and should hold the key down until the next
finger has struck its key.
Players having large hands frequently bend the tip-joint
10 HOW TO PRACTISE ON THE PIANO.
of the finger too much, and strike the key with the nail. To
avoid this, they should bend the middle joint considerably
less, in order to insure the striking of the key with the fleshy
tip alone. The teacher has to bestow even greater attention
on the position of elbow and wrist, in the case of players
with large hands, than when the pupil's hands are small,
because the mere circumstance of having small hands often
forces the pupil to assume the correct position.
After these perfectly simple bendings and movements of
the fingers have been practised a few days three or four times
daily, from three to five minutes at a time, I would advise
that the pupil proceed at once to the practice of the scales,
in a compass of two octaves, the right hand beginning on c of
the Small Octave, and no finger being raised from its key till
the next one is lying full on its key, thus :
__ ]E __ ^^___^__^_ f ^
J
^^ft^^fL
^=1=d:
T- -j- -.-
Descending :
HOW TO PRACTISE OX THE PIANO. 11
In this exercise the striking finger must be raised as high
as possible (while the other remains down), and must fall
quite forcibly with its fleshy tip on the key; the upper arm
is, of course, held close to the body. The reason why I in-
sist upon keeping one finger down, is very important. The
striking finger must be raised high, in order to fall full and
strongly upon the key, yet ivithout at the same time raising
the wrist, of which there is danger. The wrist should remain
inactive, the power of the jingers only being exerted ; and, to
insure this, the finger which had the last tone remains down.
The next finger may then lift itself as high as it will, the
wrist is forced to remain quiet, as the finger which is down,
together with the elbow resting on the body, prevents its
rising. By this exercise it is made clear that the very best
legato may be acquired without in the least changing the
position of the hand ; in the ascending scale the 3d or 4th
finger of the right hand, being forced to remain down while
the thumb strikes the tone next above, thereby forms an
arch, under which the thumb reaches its key quite easily,
without at all changing the position of the hand ; in descend-
ing, the 3d and 4th fingers do the curving over the thumb,
which is kept down. What is here said of the right hand,
applies to the left also, with the difference that in the latter
the arcJies are formed in descending, the curvings in ascending.
The author must again call attention to two important points ;
first, that only slow and very careful practice affords real
profit ; secondly, that we are concerned only with a kind of
gymnastic exercise, by no means with an absolute system
applicable to all cases.
He who has for some weeks practised the scales in the
12 HOW TO PKACTISE ON THE PIANO.
manner here recommended, very slowly, and with the pre-
scribed position of the upper arm and the elbow, will be able
to play them in any other way, according to any other direc-
tions, with greater rapidity and certainty; just as the gym-
nast, who, from having been accustomed to lift the heavy
dumb-bells toward right and left, not suddenly but slowly, is
able later to lift much heavier weights, when accompanying
the action with a slight swing of the arm ; and whoever prac-
tises the scales slowly, tolerably legato and evenly, with the
upper arm in the prescribed position, will be able to play
them with free arms in the most rapid tempo, and with per-
fect correctness, and this after only half the time given to
practice which would have been requisite had he not adopted
this method.
After the scales have been practised in this way for some
time, it is proper to proceed to Broken Chords (Arpeggios),
and at the same time to attack some wrists-exercises. Broken
chords are to be practised in the same way as the scales, i.e.,
one key must be held down while the next finger raises
itself for the stroke, then falls forcibly with the fleshy tip on
the key ; thus :
J.-
-J-=-N
' !i f^p
Here the pupil will meet with some difficulties. It is im-
possible for a player with small hands, and difficult even for
one with long but untrained fingers, to keep the upper arm
HOW TO PRACTISE OX THE PIAXO. 13
close to the body and at the same time to play a broken
chord slowly in the way indicated above. The forearm, and
with it the elbow, will necessarily take a somewhat slanting
position, thereby removing the upper arm from its close
proximity to the body. It is much easier to retain this prox-
imity of the upper arm in playing broken chords rapidly,
when of course the holding down the key must be given up.
The author recommends the following exercise at the begin-
ning :
I
=3=
d:
r-fjs
v v i
because in it the stretches are not so wide, and all the fingers
are brought into action.
It is indisputably easier to execute the legato in broken
chords (and even in scales) if the hands, when the thumb
passes over, are turned towards right and left, the elbows
outward. This ease and certainty however, last only as
long as the passages concerned are played piano or mezzo
forte. But to play a broken chord, a running passage formed
from a broken chord, or a scale, ascending with the right
hand, descending with the left, loud, or very loud, at the same
time holding the elbows turned outward, is almost as im-
practicable as to give a blow with clinched fist without keep-
ing the upper arm and the elbow close to the body.
Let the following be attempted :
14
HOW TO PRACTISE ON THE PIANO.
SyLj* ^
or even merely this :
HOW TO PRACTISE ON THE PIANO. 15
playing in the left hand in contrary motion and keeping the
elbows turned outward, and it will at once be seen, that the
strength of the fingers decreases as they get higher or lower.
Then play the same passages, keeping the elbows as close to
the body as possible, and in front of it, and it will be evident
that the strength increases the more the hands move away
from the central point, and the more the upper arm can sup-
port this outward movement. The author believes that he
can, without great presumption, recommend his method of
practising chords as suitable for every kind of execution
for piano and forte ; doubtless (as he observed at the very
outset) it offers difficulties, especially for small hands, and
a perfectly close position of the upper arm to the body in play-
ing broken chords slowly is not possible. Asa set-off against
its difficulties, the method offers the very important advan-
tage, that the elasticity of the separate fingers is more de-
cidedly developed than in any other system. Be it well
understood, we are always presupposing slow practice !
Whoever has been accustomed to this for some time, will
thenceforth be able to see his way clear under all circum-
stances.
Still more beneficial is the close position of the upper arm
in wrist-exercises, which it is earnestly recommended to take
up simultaneously with broken chords, both, of course, in
very great moderation, lest the pupil become too much
fatigued. A beginning should be made with octaves re-
peated on the same keys,
16 HOW TO PRACTISE ON THE PIANO.
in both hands, very slow ; the wrist must be raised each time
as high us possible, the elbow close to the body, and in front ;
the fingers, including the thumb, must fall with the fleshy
tip on the keys. In the first minute, many trying it for the
first time will deem it impossible to play an octave from the
wrist without at the same time moving the forearm a little ;
but on resuming the exercise after a short interruption,
even those least accustomed to it and most mistrustful will
be convinced, that the hand moves in its joint quite easily
without any raising of the forearm, and that the difficulty
lies rather in keeping the upper arm in position. More-
over, every imperfectly trained pianist will have an experi-
ence which ought to convince him of the correctness of this
method ; namely, if the elbow lies against the body, in front,
the forearm will, at the first attempts at wrist-exercises in
octaves and chords, move sympathetically, i.e., raise itself, yet
after some minutes it is so exhausted that the wrist alone
will move. The forearm cannot, in fact, in that position
long continue in motion, and is forced to remain at rest.
After the first wrist-exercises on the octave c, it is advis-
able to practise the same motion on octaves with black keys,
and then to proceed chromatically, thus : c, c, d, d, e,f, etc.,
striking each octave from 5 to 6 times with the fleshy tip of
the finger. It is strongly recommended even in these begin-
nings to use the Ifih finger on black keys, it will be ex-
plained later why this usage is based on the structure of the
hand. After octaves on the same tones have been practised
for some time, as directed, alternating with broken chords,
the Scales in Octaves may be begun. Only a very slow tempo,
however, insures the perfectly uniform raising and lowering
HOAV TO PRACTISE OX THE J'lAXO.
17
of the wrist, together with a uniform strength of stroke. The
author knows by his own experience and that of many pupils,
that uncertainty in octave-passages is often owing, not to in-
sufficient practice, but to want of uniformity of wrist-motion,
consequently of touch ; and that very sloic practice, with the
upper and lower arm perfectly still, far more speedily insures
unerring execution even in rapid tempo, than much longer
practice according to some other method, in which the raising
and lowering of the wrist cannot be so forcedly uniform as hi
the author's method. He has, especially of late, obtained
surprising results with pupils who had previously greatly
fatigued themselves over difficult passages. One could not
play with confidence the octave-passage in Schumann's No-
vellette in E major ; another found insurmountable difficulties
in the octave-skips for both hands in the Trio (in D major)
of the /$ minor Novellette, in this passage :
etc. ;
a third struggled in vain with the octave-passage in contrary
motion in Liszt's transcription of the Tannhauser-March :
The author had these passages practised in his presence
very slowly, some 10 or 12 times, at first holding the pupil's
18 HOW TO PRACTISE OX THE PIANO.
elbows close to the body, but after the fifth time allowing
him to exert his own strength. This procedure was success-
ful, even in the Tarinhauser-passage above cited, with both
hands ; 1 after the pupils had practised in this way three
times, with short interruptions, and had thus gone over the
passage some 30 or 36 times, they were able, by allowing
only a little more freedom to the forearm, immediately to
execute the passages in question in considerably quicker
time and with certainty, which they had never before accom-
plished after practising almost a hundred times with great
'care, but without system, at home.
The whole secret of this rapid success lay in the circum-
stance, that by holding the upper and lower arm as directed,
the wrist alone was brought into action and was forced to
raise and lower itself uniformly. For the chief fault of most
pupils in executing octave-passages and chord-successions in
staccato or portamento, consists in unconsciously uneven wrist-
motion ; they endeavor, it is true, to avoid raising the fore-
arm and the wrist at once, but it escapes them that they
sometimes do not at all raise the arm and the wrist, merely
pressing down, instead of striking, the octaves or chords, at the
same time generally pushing the arm forward. This fault is
impossible in the method now under consideration. The
method is undeniably difficult in wrist-exercises, and should be
applied only with great moderation and in slow tempo ; but
the author has found it infallible, and productive of sur-
prisingly quick results ; and he confidently invites teachers
to give it a trial, especially as it does not combat any other
method, but is only a supplement to all.
1 Short arms are, of course, not expected to remain perfectly close to the
body, from the upper cfl upward.
HOW TO PRACTISE ON THE PIANO. 19
Whoever has for some time practised this method (how
to properly apply it and teach it to others, will be considered
further on), will often find with remarkable readiness the
best way of fingering passages, even the most difficult. If a
trained pianist who has not yet applied the method will take
the trouble to hold the upper arm as directed, and attempt
the following passages, the fingering of which generally
offers considerable difficulty, he will at once see how much
easier the author's fingering is. Let us take this passage in
the 3d variation of the Andante of Beethoven's Grand
'Sonata in /' minor :
holding the hand somewhat forward towards the fall-board,
and it will soon be clear that the above fingering is, with the
hand perfectly at rest, the easiest. In the Sonata in A major,
Op. 101, in the passage
23451
etc.
, -i m w
-*-
the author fingers as above indicated, and many of his
pupils, who found this at first impracticable, and to whom
he had then given liberty to find a better fingering, finally
recognized his as the safest and easiest. Likewise in Men-
delssohn's Song without Words, No. 11, which may also be
regarded as an excellent exercise for the left hand, the
author finds that his peculiar fingering at the end of the
first division :
20 HOW *TO PRACTISE ON THE PIANO.
is the surest for obtaining a good legato from his pupils,
when they hold the upper arm near to the body. In many
a Fugue and Partita of Bach he has found fingerings,
by means of his method, which greatly facilitate difficult
passages; also in the G major Nocturne and the At? major
Ballade of Chopin ; and after a trial of all other fingerings he
feels he can say without presumption that his may be classed
among the safest and least difficult. It often happens, too,
that a fingering which at first seemed the most awkward,
after it had been practised and then compared with others,
seemingly less awkward and difficult, turns out to be the
safest after all, as involving the least risk of missing, playing
wrong notes, etc., precisely because it keeps the position of
the hand unchanged. Of course, original fingering is the
last stage of the present method, and possible to him only
who by frequent practice and use of the method has made
it his own, and is perfectly certain of holding his arms
in the proper position.
But the road to this certainty _s comparatively short and,
though difficult, with some attention is infallible ; and the
author takes the liberty again to precisely indicate this road,
which leads to the desired goal without superseding any
other method, unless it be an intrinsically wrong one.
Gymnastic exercise, when cultivated with due moderation,
has never yet spoiled a man's bodily carriage when good,
though it has improved it when bad.
HOW TO PRACTISE ON THE PIANO. 21
Every one who wishes to follow the method here laid
down, should for 8 or 10 days practise very slowly the pre-
ceding separate finger-exercises, scales, broken chords and
octaves, in the proper order, at first not longer than from
2 to 5 minutes at most, four or five times daily. The chief
point is, that the upper and forearm get accustomed to their
position, and that the keys be boldly struck by the fleshy
finger-tip. After 8 or 10 days these exercises may be prac-
tised longer, or which is much more profitable oftener,
say 6 to 8 times daily, always from 4 to 6 minutes at a
time. For the rest, the pupil may practise his pieces, just as
before, according to his teacher's method ; but the author
would venture to suggest that the pupil, when slowly prac-
tising a passage, not when executing it in the proper tempo,
should keep the upper arm, if not exactly against, yet as
near to the body as possible. The development of strength
necessarily resulting from this, re-acts most beneficially on
the independence of the fingers. After two weeks of such
preparation by means of the simple exercises, the pupil
should pass on to the " Tausig-Ehrlich Daily Studies ; "
these must absolutely be played according to the method,
;vith the upper arm in its close position, the elbows firmly
planted in front of the body, and in very slow tempo, which
may be somewhat accelerated only after long practice. Each
tone must be struck full with raised finger. These " Daily
Studies" should not especially in the beginning be
practised longer than 5, then 8, and at the longest 10 minutes
successively, otherwise they fatigue, relax, and strain the
hand too much ; they may, however, and should, be taken
up often through the day, just as the gymnast takes in his
22 HOW TO PRACTISE ON THE PIANO.
hand the dumb-bells to exercise and strengthen the muscles
of his arms and wrists, taking good care not to exceed at
one time a strictly prescribed limit. The author's opinion
is, that the longest practice should last 10, 15 or 20 minutes ;
it can, however, be taken up according to the player's
usage and strength three, four, or even five times a day.
This, however, by no means implies that at each resumption
of practice the self -same exercise should always be taken up ;
it must be evident to all that expenditure of strength on a
variety of objects is less fatiguing than when concentrated
on one single point.
From the moment that the " Tausig-Ehrlich Daily Studies "
are attacked, it is also recommended that the pupil with
permission of his teacher practise the difficult passages of
the pieces which he is studying ten or twelve times very
slowly and with a vigorous touch, with the upper arm close
to the body and the elbows before the body, and then again
attempt them, each time with the arm free; he will soon be
convinced that he has gained greater certainty, repose and
power in the execution. Of course, patience and persever-
ance are necessary, for the fatigue is at first not trifling, and
many a player will for some days complain of stiff fingers,
just as the gymnast after the first exercises feels an un-
pleasant stretching and drawing in all his limbs ; but in
both cases the beneficial results will soon be evident, and
enjoyment will increase with the progress made. This
progress will, of course, show itself sooner in some than in
others, for there is undoubtedly a special talent for the
purely mechanical and technical as well as for the intel-
lectual. No one will deny that Tausig's infallible technique
HOW TO PRACTISE OX THE PIAXO. 23
was the result not merely of constant practice, but, for the
most part, of peculiar talents ; these talents were, it is true,
developed to the utmost by untiring diligence, but it is
equally true that another pianist could never, even with
twelve hours' daily practice, attain to this technique without
being gifted, like Tausig, with a special talent in this direc-
tion, without uniting to perfect mechanism a feeling for
clearness and rhythmics. But even purely mechanical excel-
lence, which might seem the result of practice, is often due
to special talent. Willmer's trill, Dreyschock's octave-pas-
sages and pearly runs, the indefatigable endurance and
power of the recent phenomenon, Herr Zarembski the
author expressly names three piano-virtuosi with whose
musical method he is far from sympathizing \vere and are
special achievements, due to 'a particular gift, which should,
however, not be overrated.
The author can testify from experience that even such
pupils as had but little talent for technique, after patiently
practising for some time according to the method here ex-
plained, all at once showed comparatively sudden progress ;
while, on the other hand, those whose organization (structure
of the fingers and wrist) facilitated the mastery over techni-
cal difficulties, acquired in a short time a much more vigorous
touch and greater certainty in passages of every kind.
The author confidently recommends his method to the
favorable consideration of teachers, and to amateurs for self-
instruction, with the following observations, which will cer-
tainly win the approval of all intelligent persons.
In our time the mechanical part of piano-playing, i.e., mere
isolated passage-work, having nothing in common with Touch,
24 HOW TO PRACTISE ON THE PIANO.
Rhythmics, variety of Tone-color, that is, with the technical
part properly so called, has had an enormous development.
To say nothing of the modern virtuoso-composers the
Herzes and Kalkbrenners, and others, who in their " Fan-
taisies " (without fancy) make great demands on the player,
or of the as yet unequalled master of the piano, Franz Liszt,
who, in his Concert-pieces and Studies, requires the " tran-
scendental," - even Beethoven in his last Sonatas, then Schu-
mann and Chopin, and now Brahms, Kiel, Kirchner, and
others, present in their works the most difficult combinations
of runs, trills, double-notes, chord-successions in rapid tempo
and octave-passages, the mastery of which is the more
laborious from the fact that the effect depends, not only on
the technique, but equally on the delivery, the spiritual vivi-
fication of the passages. Now, it is not necessary to demon-
strate by prolix argumentation that by far the greater number
of young pianists make the greatest account of the technique
and devote most time to it. Hereby attention is withdrawn
from the spiritual conception and the delivery. On the
other hand, to be sure, it also happens that many a pupil
devotes his attention chiefly to the latter, and neglects the
technique, which thus remains faulty. It is very seldom the
case that the mechanical part, the technique, and the deliv-
ery, are maintained by the pupil in equilibrium, and it may
be asserted that this case is chiefly the result of extraordinary
talent, implying that the pupil has a quick perception and a
lively imagination, and hence can afford to devote, without
detriment to the delivery, a great deal of time to the techni-
cal part. The author sets out from the conviction that an
equilibrium between the purely mechanical exercises and
HOW TO PRACTISE OX THE PIAITO. 25
those studies which develop technique and delivery the
musical element is best established by assigning to the
mechanical part little, but that difficult, and to the musical
part, on the contrary^ much. The mechanical exercises, he
thinks, should be so adapted as to require great exertion and
with but moderate practice develop strength in every direction ;
while, on the other hand, so much the more time and attention
should be given to those exercises which promote a thorough
knowledge of rhythmics, which perfect the touch, kindle and
musically refine the imagination, cultivate the sense of form,
quicken the perception, facilitate the recognition of the vari-
ous tone-forms, and educate the mind to a correct apprecia-
tion of the master-works of musical art. Hence, as soon as
the pupil has reached the middle stage, and for instance
is ready to take up the 1st Book of "Cramer's Studies," the
method should be, nfew difficult technical studies (the pupil's
strength and abilities determining how often and how long
they are to be practised), and many pieces, not difficult ones,
but such as must and can be played well.
Let no one say, it is dangerous to begin difficult technical
studies so early, to weary the pupil and disgust him with the
piano and with music generally ; that it is necessary rather
to begin by awakening in him a sincere love for piano-playing
the rest will come of itself, etc., etc.
He who pursues art seriously, whether as an amateur or
professionally, will not shun any difficulty that leads more
rapidly to the goal. And the teacher must on his part
understand how to foster in the young pupil a love for
music, even when giving him many a hard lesson. With
regard to the necessity of beginning early with difficult ex-
26 HOW TO PRACTISE ON THE PIANO.
ercises, the author would refer to the drill of the Prussian
recruits, and to an example from ancient history. Observ-
ing how the Prussian recruits learn to march, how they must
first raise the leg, with strongly bent knee, very high, and
hold it some time in this position, how they then with a jerk
stretch out the leg and foot perfectly stiff, hold them so a
moment, and then tread on the ground, thus dividing each
step into three parts, whereas in ordinary life the practice is
merely to raise the foot a little above the ground and then
set it down, observing all this, one might at first judge
this method to be more whimsical than useful ; indeed many
a superficial observer might consider such an exercise as only
worrying the poor man for nothing, for " in actual marching
he never uses this kind of step." But this very exercise gives
the Prussian soldier steadiness and endurance in marching;
precisely because he has been required, practising slowly, to
exert to such a degree the power of all the muscles of the
leg, he is able later, in more rapid movement, to overcome
with so much greater ease the difficulties of a long and
fatiguing march. So, too, did many a Roman soldier, before
going into battle, bind metallic soles under his sandals, in
order that the march, when begun, might seem rather a relief.
In the same way, when the pianist applies in his slow practice
the most difficult method, requiring the exertion and concen-
tration of his strength, he will strengthen, in a high degree,
the muscles of his fingers, and in playing overcome all diffi-
culties with greater certainty and ease. For indolent or
weakly students of music this method is, of course, not
adapted ; perseverance and a certain amount of strength are
now-a-days necessary to every one who desires to carry piano-
HOW TO PRACTISE OX THE PIANO. 27
playing beyond mediocrity. Nevertheless, that perseverance
and earnest striving accomplish more than strength alone,
has been proved by the great artists Billow and Tausig, who
with slight bodily frame and small hands have done such
wonderful things.
For becoming thoroughly conversant with this method in a
short time with the most favorable results, the " Tausig-Ehr-
lich Daily Studies ?> are indispensable, as offering the great-
est number of entirely original mechanical exercises of every
kind, and containing, so to speak, a complete course of piano-
gymnastics. In view of the universal and unlimited appro-
bation of these exercises by the most eminent and competent
authorities representing the various schools, the author ven-
tures to assert, that they form the most useful basis of that
system which by difficult exercises of short duration leads to
a rapid and general development of technique, and allows so
much the more time and attention to be devoted to strictly
musical, artistic culture. In order that these exercises may
be practised exactly in the spirit of Tausig and according to
the intentions of the author of this little book, who has
worked out and arranged the exercises from sketches and
made some not altogether unimportant additions, there follow
precise directions for each separate number.
The author at the same time takes the liberty to suggest,
out of his own experience, to teachers who make use of the
" Daily Exercises " for their pupils, that they should not
strictly follow the order prescribed, but have their pupils
practise at the same time a variety of exercises having dif-
ferent aims. The order of arrangement is for the sake of
system ; study must be regulated according to individual
28 HOW TO PRACTISE ON THE PIANO.
capacity. For some pupils, especially the advanced, exercises
on stretches, or in broken chords, especially the double-
note and wrist-exercises in Book II., are advisable immedi-
ately after the first three lessons. Here the teacher must,
of course, decide what is most proper. Students who are far
advanced, will best judge for themselves what they require.
DIRECTIONS FOR PRACTISING THE "TAUSIG=EHRLICH
DAILY STUDIES."
BOOK I.
THE author recommends that Exercise No. 9 be taken up
first of all, each separate tone being struck not only twice,
as written, but 8 or 10 times. Observe well that each
finger should be raised as high as possible, and then fall on
the key with full force, and with the fleshy tip. The wrist
must be held motionless, almost rigid, upper arm and elbow
close to the body. After this, Exercise No. 1 should be
taken up, and thereafter the rest in regular order.
No. 1. To be played with great distinctness, so that
each tone be heard separated from the other.
No. 2. Play in f time, raising the fingers high ; let the
5th finger in ascending, and the thumb in descending, always
remain down till the next tone is struck. Thus :
In the left hand, of course, the thumb remains down in as-
cending, the 5th finger in descending.
No. 3. To be played in exactly the same way as No. 2.
No. 4. Likewise |. The last three notes of each group
crescendo,
I | J J j j , and similarly in descending.
;j_ *^ *-{?< .J.
Perfect distinctness is an essential condition.
29
30 HOW TO PRACTISE ON THE PIANO.
No. 5. Slow and loud ; the first note for the 2d finger
must be struck powerfully, and not shortened.
No. 6. The last three notes of each group somewhat
crescendo.
No. 7. Slow, loud, the quarter-notes strongly accented ;
the whole force must proceed from the fingers, the hand to
be kept perfectly quiet and not to add the slightest pressure.
No. 8. Raise the fingers high without the aid of the wrist,
and let them fall hammer-fashion. The exercise is, after
frequent slow practice, also to be played in quicker tempo,
when the wrist will come a little into play.
No. 9. Already spoken of.
Nos. 10 and 11. The groups perfectly uniform, the first
note not to be shortened, but rather to be played with a very
slight accent.
No. 12. Perfectly uniform ; here no note is to be made
prominent above another.
No. 13. In both hands hold the first note (#, right hand,
c, left hand) as a half-note. Also play the exercise in con-
trary motion, the right hand taking the notes of the left hand,
and vice versa.
No. 14. The 4th, 3d, and 2d fingers should, being kept
perfectly rigid and half-bent, glide one after the other, thus
holding the key as firmly as possible ; let the fingers fall
powerfully on the fleshy tip ; keep the arms perfectly quiet.
No. 15. This exercise is to be played fast, yet with the
greatest distinctness on the part of the 4th and oth fingers.
HOW TO PRACTISE ON THE PIANO.
31
1433
etc.
No. 16. The main point of these exercises consists in the
stretch from the 2d to the 3d finger. Do not, therefore,
spring from one tone to another, but play legato, slowly, leav-
ing the 2d finger down till the 3d has struck.
To attain perfect uniformity of both hands in this exercise,
play it in the left hand thus :
No. 17. To be played slow, with heavy stroke on each
tone. Beware of letting the tones run into each other ; each
one must be heard distinctly, perfect in itself. The left hand
plays two octaves loiver, that the two thumbs may not collide.
No. 18. An essential condition here, as also in
Nos. 19, 20, and 21, is, that the finger which holds the
quarter-note should be raised, nota the fourth sixteenth-note,
but after it. Hence a slow tempo must be observed, in
32 HOW TO PRACTISE ON THE PIANO.
which it is much more difficult to perform the exercise well,
than in quick tempo, in which the holding-on till after the
fourth sixteenth would be impracticable.
No. 22. This exercise is likewise to be played slowly,
each separate note to be powerfully struck ; the half-notes
must be strictly held.
The author feels bound to observe here, that the exercises
should invariably be played in all the keys, in order to produce
really satisfactory results.
It is only by being forced to move with certainty in all
directions that the fingers obtain that elasticity and muscular
power which the mechanical part of modern piano-playing
demands. But, as it would consume much time and cause
fatigue to practise eveiy exercise in all the keys, consecu-
tively, they should be played the first time in 4 keys, c, c$, d,
eb, the second time in e, /, /$, g, the third in at?, a, bb, b.
When the pupil has gone once through all the keys, he can
select those which he has found most difficult. Transposition
may at first be found troublesome ; but now-a-days every one
who studies music as a profession must transpose. Amateurs
who practise these exercises, may avoid the drudgery of
transposing by having them written out in the different keys
by a copyist. At any rate, it is indispensable, we repeat, to
practise in all the keys, and the lamented Tausig regarded
this as the chief basis of his system. His idea was, it is true,
to begin with the most difficult keys, but the author deems
it better for the sake of unity to start from C major.
No. 23. This exercise is most generally quite wrongly
conceived and practised. All pupils play it with an accent
of the hand, even, if possible, with a push of the arm. This
HOW TO PRACTISE OX THE PIANO.
33
is all wrong. The author cannot better indicate the correct
execution than by advising the pupil first to play the exer-
cise very slowly as follows,
^f=^ -n 1
=3^=3^3=
etc.
with the accent, that is, on the first note ; only the fingers
may move and by their own strength strike the keys ; the
palm of the hand should be perfectly quiet, and must not give
emphasis to the fingers. When the above preparatory exer-
cise has been practised for some time with great exactness
and very slowly, the pupil may play the first note the
appoggiatura always faster and faster with a sharp accent,
being very watchful that the hand does not fall. This is best
prevented by holding the elbows as close to the body in
front as possible. As many pupils, despite our repeated
caution not to let the hand sink after the finger-stroke, never-
theless move the arm and hand, I have introduced the follow-
ing variant, which, though difficult, leads most surely to
complete independence and repose of the fingers :
HOW TO PRACTISE ON THE PIANO.
I
. t - |-- fe i
r -u ^~ * -Jf-Y E^-biu e=i=|=- J
Fbai a~" ' 1 I I R)arl a~ i FH I _r I a~l
JZ*z -fci 1 1, , iiiT 17 * ' * ' ' i ~ * ' a ^ ! '
M. F-^ ^J ^ ^0 , .
etc.
=F=P- ' -F->-f-f_P= T
etc.
No. 24. This exercise, which the author of this work in-
vented ten years ago for his own use, and through which
Tausig was primarily induced to confide to him a share in
HOW TO PRACTISE ON THE PIANO. 35
the work, and afterwards its entire elaboration, is very diffi-
cult, and many a stretch is impracticable for small hands if
the half-note be held strictly. This exercise is also fatigu-
ing, and should at first be played perhaps in only two major
and two minor keys, always alternating from one to the
other. The main point is the perfectly even execution of
the thirty-second notes, which must be played loud and very
legato. The exercise is to be taken only in moderate tempo.
No. 25. - All these exercises formed from scales are to be
practised as indicated in the Introduction ; i.e., when the
thumb passes under or is passed over, the key previously
struck is to be held by the respective finger. The exercises
may also be extended by variants, such as
* etc.
The fingering here, especially at the transition to dfr, is some-
what awkward.
No. 26. In this exercise the chief object of attention
should be that the tones struck by the 2d and 4th fingers be
played perfectly legato and quietly. Any tempo may be
applied here.
No. 27 This exercise is one of those which are to be
practised only in moderate tempo; the quickest would be
j = 100. For the chief point is the perfect distinctness of
the individual notes simultaneously with a perfect legato.
Here, too, the hand must be kept perfectly quiet, which at
first is difficult, especially in passing the thumb under the
2d finger in the minor keys.
36 HOW TO PRACTISE ON THE PIANO.
No. 28 For practising this exercise with the greatest
profit, it is advisable to hold in both hands the notes for the
thumb and 5th finger as quarter-notes.
The left hand plays two octaves lower.
No. 29 A crescendo at
so that the tones struck by the 2d and 4th fingers may sound
loud and distinct. The exercise should be practised chiefly
in those keys in which the 2d and 4th fingers have to strike
black keys.
No. 30 To be played loud, the 5th finger well bent. Any
tempo is suitable.
No. 31. Rather slow. The elbows must lie close, so that
in passing the fingers over or under the hand may retain its
position unchanged. Even though the body should follow the
motions of the fingers, the arms must remain firm in position.
This very useful exercise may, without fatigue, be carried
through all the keys at one time.
No. 32 The main point here is the strengthening of the
3d and 4th fingers. Practise in three major and three minor
keys at a time (major and minor alternately) ; the exercise
is somewhat fatiguing.
No. 33 The first exercise,
HOW TO PRACTISE OX THE PIANO.
37
not fast, loud, the octaves not detached but very smoothly
connected. The following variant will be found very useful,
for the left hand especially :
The second exercise
is to be played as fast as possible, but very distinctly and
very loud.
No. 34. - - Legatissimo, loud, not fast.
No. 35. In tolerably slow tempo, with perfectly quiet
hand ; the right and the left hand hold firmly the notes
struck by the thumb and followed by the skip of a seventh,
with a view to perfect legato. The left hand plays the exer-
cise two octaves lower. Here is a somewhat difficult but
very useful variant:
No. 36 This exercise is to be played in precisely the
same manner as No. 35 ; here too the thumb firmly holds the
tone followed by the skip (here that of a sixth). The arms
38 HOW TO PRACTISE ON THE PIANO.
close to the body. The left hand two octaves lower. For
the left hand in the first measure take the fingering 3 5
instead of 4 5
and so on throughout in descending.
No. 37. - This exercise may be taken in any tempo not in-
compatible with the most perfect repose, certainty and even-
ness of stroke, and legatissimo playing. Not being very
fatiguing, it may be carried through all the keys at one time.
No. 38. To be taken at first very slow, and even after
frequent practice not faster than = 100. Always loud and
legatissimo. An essential condition is a perfectly uniform
legato at the places where the fingering is given. To be
practised in all keys (always four at a time ; see p. 32, No.
22), as often as possible, because the motion of the fingers
hereby excited will be of great assistance in executing
broken chords.
No. 39. This exercise also is to be played legatissimo ;
in ascending, the 3d finger is to be held down,
in descending, the 5th finger
This exercise is most profitable in tonalities in which the
3d and 5th fingers must often strike black keys.
Nos. 40 and 41 are exercises with the hands in contrary
motion ; hence the direction that each hand should first prac-
HOW TO PRACTISE ON THE PIANO.
39
tise its own part separately. The pupil must then aim at
the most perfect distinctness and uniformity, in a rapid tempo.
The exercise is to be practised forte, as well as piano.
After these exercises, let the pupil attempt to play the
first of Cramer's Studies, in Part I, with his hands crossed,
the left hand taking the right-hand part, and vice versa :
BOOK II.
No. 1. The exercise can be played in any tempo ; in the
left hand two octaves lower.
No. 2. The chief condition here is that the hand, at the
passing-over and under of the finger immediately after of
before an octave, shall remain in the same position ; hence,
the exercise should be played at first very slowly. Players
with small hands are advised to hold the hand rather high,
so as to facilitate the passing-over and under.
No. 3. This exercise is one of the most difficult and
fatiguing, and at the same time most useful. It is, of course,
to be attacked by those players only to whom the other
exercises are already tolerably easy, or who, without having
40 HOW TO PRACTISE ON THE PIANO.
studied special preparatory exercises, have a powerfully built
hand and strong fingers. As indicated in the Book itself, the
exercise is to be taken adagio, and with the fingers lifted high.
It is to be practised in those tonalities especially in which
black keys often occur. For small hands the 1st exercise
(on the second brace), marked " Another fingering," is per-
haps quite impracticable if the quarter-notes are to be strictly
sustained. With this fingering, however,
32121
the exercise may be played without special difficulty. The
other difficulties are much less important. The exercise be-
longs, as has been said, among the best, but it must (like
many a gymnastic exercise) be practised quietly and with
great moderation, till the fingers are so strengthened that they
can carry it through six keys without fatigue.
No. 4. This exercise also Tausig constructed it for his
own use - is difficult and fatiguing, but unsurpassable for
strengthening the fingers and rendering them independent.
The chief points aimed at are uniformity of stroke and a
perfectly smooth connection between the 2d finger and the
thumb. It is another of those exercises which are to be
played at first in only three keys, for avoiding excessive
fatigue.
U" 0i 5. Here may be applied all that was said concerning
No. 23, in Book I ; the 4th finger must attack with a rather
HOW TO PRACTISE ON THE PIANO.
41
strong accent, bent, and with the fleshy tip ; the chord is to
be struck with the power of the fingers only, with no aid
from the hand.
No. 6. This exercise is to be played in various ways.
First, with two ties, thus :
second, connecting only the 4th sixteenth with the following
one, the others being played staccato :
-0- -- -9
and third, thus :
In this staccato the wrist comes into play.
No. 7. This difficult but excellent exercise, which bears
eloquent testimony to the genial Brahms' earnestness and
thoroughness in whatever he sets about to do, is to be prac-
tised with the 3d, 4th and 5th fingers of both hands sharply
curved, the thumb remaining, on the contrary, always per-
fectly extended. In this way alone can the exercise be mas-
tered. It may be taken in any tempo ; distinctness is of
42
HOW TO PRACTISE ON THE PIANO.
course indispensable. Only a practised and strong player
will be able to carry it through more than three or four keys.
No. 8. - Play legatissimo, loud, and separate the single
tones one from the other. The surest means of avoiding all
uneveaness is, at first to keep the thumbs of both hands
always down :
and in the variant the 5th finger in the right hand, the 4th in
the left :
i
-- - -
-. -- 1 -- V-
No. 9. This exercise is perhaps still more useful for
strengthening the weaker fingers than the preceding one. It
must be practised first by each hand separately, with the
arms perfectly close to the body, and as in No. 8 keep-
ing down the thumb in the right hand, the 4th finger in the
left. Play with powerful stroke. A most excellent exercise
is, to practise the variant,
HOW TO PRACTISE ON THE PIANO. 43
in the following manner in both hands and in all the keys,
i
playing the tones given to 5 1 as a Trill, which may be pro-
longed at option.
In this some very difficult positions will occur, as, for ex-
ample, at the transition from at> to a,
1515
here the hand is to be kept perfectly quiet no easy matter
even, for practised players. The author can give this exer-
cise which is entirely original with Tausig as also the
Trill-variant above indicated, the strongest recommendation,
founded on experience.
EXERCISES FORMED FROM BROKEN CHORDS.
Before proceeding to the directions for each separate exer-
cise, the author deems it necessary to repeat with emphasis
that precisely these exercises are all to be played with the
awkward close position of the arms, and that it is better that
the body should follow the movement of the hands, than that
the arms should be freed from their awkward position. Only
after long practice can the teacher permit more freedom, or
the pupil take upon himself to use it.
44 HOW TO PRACTISE ON THE PIA^ Y O.
No. 10. The pupil should lay his hands extended and
with the fingers bent over the keys to be struck, before be-
ginning. Each tone must then be struck, slow and loud, with
a slight accent on the double-notes.
No. 11. The same way of playing. The accent on the
Third must, however, be stronger than in the preceding ex-
ercise. The player should take special care that the Thirds
always sound perfectly even, full and strong, avoiding the
arpeggiating way of playing
into which so many pupils unconsciously fall.
No. 12. Here, where the 3d and 4th fingers have the
Thirds, or Seconds, as the case may be, the directions for
Nos. 10 and 11 must be applied with still greater emphasis.
Only when the double-notes are struck perfectly full and even,
is the aim of the exercise reached.
No. 13. The same manner of playing. Here, however,
special attention should be given to the 4th and 5th fingers,
that they remain curved and always strike powerfully with
the fleshy tip.
No. 14. Here each group should be sharply detached ;
the Sixteenths are to be played with perfect evenness, the
first one of a group by no means to be shortened.
Nos. 15 and 16 are exercises which require the fingers to
exert all their muscular strength. For the fingers only must
strike, and that with full force, the hand and the wrist not
being allowed to add any emphasis to the stroke. For avoid-
ing any such emphasis, the pupil will do best to hold firmly
the first two tones, thus :
HOW TO PRACTISE OX THE PIANO.
45
and
_^=L
The left hand will here play two octaves lower. Difficult as
these exercises are at first, they will in a short time show
themselves to be proportionately excellent and beneficial.
The player who practises them slowly, with moderation, and
in the manner prescribed, will feel by the end of a week
how greatly and rapidly they promote the independence of
the fingers and also the power of stroke.
No. 17. An almost easy exercise, when played in quick
tempo, in which the touch is facilitated by the swing of the
hand ; but difficult and fatiguing when played slowly, so that
the fingers must each time strike with full force, unsupported
by the swing of the hand ; to be practised, therefore, slowly
and in moderation until the pupil can play it for a long time
without feeling the least fatigue.
TRILLrSTUDIES.
Nos. 18a, 18b. It is to be remarked chiefly that the trills
in these two exercises may be extended much further than
indicated ; i.e., they may be repeated 20 or 30 times :
the player has only to take care, that the hand, in changing
46 HOW TO PRACTISE OX THE PIANO.
to the next position, remains perfectly quiet. The duration and
rapidity of the trill must depend on the pupil's strength and
usual practice.
No. 19. Here a repetition of the trill (in the Sixteenths}
would not be expedient ; the exercise is to be practised pre-
cisely as it stands. The chords are to be played with a per-
fectly quiet stroke of the fingers, without any aid from the
hand. A faster tempo than a moderate allegro will be hardly
practicable even for a well-trained pianist.
No. 20. A perfect legato, especially in the lower tones
(eighths) ; no finger should be raised before the other strikes
its note. The following would be the exercise for the left
hand corresponding to that for the right :
This exercise may also be very profitably practised in the
following manner, prolonging the trills,
f-^--^^ -^ *
An excellent variant is also this
HOW TO PRACTISE ON THE PIANO.
47
No. 21. This exercise is less for practice in trills than for
that of double-notes; it is difficult, and must be practised
very slowly. Here also are two variants applicable with
great profit. Extension of the trill :
In both cases the quarter-notes should be held strictly.
No. 22. The directions for Nos. 20 and 21 apply also to
this exercise. As an exercise for double-notes it is to be
played with the fingers lifted rather high.
EXERCISES ix DOUBLE-NOTES.
The author advises the earnest student to practise, before
attacking these exercises, some preparatory exercises in
Thirds and Double-notes. Tausig added to his edition of
dementi's " Gradus ad Parnassum " a series of scales in
Thirds, with special fingering. Another most excellent
exercise, too little known, was published many years ago by
Czerny ; it forms a complete piece in itself, leading, in con-
tinuous passages of Thirds, through all the major and minor
keys, and often exhibiting very original combinations. The
48 HOW TO PRACTISE ON THE PIANO.
author can conscientiously advise all teachers and students
to become acquainted with both the exercises just najned,
certain that they will find so much the less difficulty in the
Tausig-Ehrlich exercises now to be discussed.
No. 23 This exercise must be practised at first very
slowly, with a powerful stroke ; the whole note must be
sustained till after the last 16th (this of course only in slow
tempo ; in quick tempo the note cannot be held so long).
It is very profitable to so extend the trill that each measure
may contain 8 quarter-notes.
No. 24 This exercise cannot be practised too 'slowly at
first. For its chief aim is the connecting as closely as pos-
sible the two Thirds :
smoothly together. The player must endeavor to bring over
the 3d and 5th fingers to the keys in such manner that
they may glide rather than jump. This requires a consider-
able exertion of strength on the part of the fingers, especially
if the arm remains firm in position. It is, therefore, per-
fectly clear that the exercise is most profitable when played
very slowly, powerfully and as legato as possible. It is
easier in quick tempo, because in the passage given above the
fingers glide more easily. The variant on the same page, in
which the Thirds in the right hand ascend, and those in the
HOW TO PRACTISE ON THE PIANO. 49
bass descend, offers some difficulties on account of the
stretches, but is perhaps less awkward; here, too, a slow
tempo is advisable.
No. 25 This exercise in Sixths is difficult for very small
hands only ; but in a slow tempo it is generally conquered
before very long. Somewhat more difficult is the second
part with the descending figure ; this requires slow tempo
and precise, even attack where the fingers cross. The upper
arm must always be held close to the body.
No. 26 Only slowly and forcibly ; to be played in hardly
more than 4 keys.
No. 27 This exercise may be played in any tempo, pro-
vided it sounds distinct. It is advisable to take it through
in both piano and forte. The chief care here must be for a
very exact and uniform connection of the tones.
No. 28 A genuine finger-breaker a la Tausig, especially
for small hands ! But also one of the most original inven-
tions of the great executive artist, who in technical com-
binations has evinced so much cleverness ; there exists per-
haps no second exercise aiming, like this No. 28, with such
directness and certainty at developing the stretch between
the 2d and 3d fingers. In execution the hand must be
stretched and the fingers firmly bent. Players with small
hands will hardly be able to avoid sometimes holding the
2d and 3d fingers stretched out high and rigid ; the augrn.
Fourth c a or . will always be difficult for short fingers.
Nevertheless, this exercise is so efficacious and beneficial,
that it cannot be sufficiently recommended. Only let the
player practise it with moderation and leisurely, carefully
avoiding all excessive fatigue.
50 HOW TO PRACTISE ON THE PIANO.
Nos. 29 and 30 Each of these exercises consists of sev-
eral parts, each part to be gone through by itself. The first
part in No. 29 contains the chromatic scales as a basis for
double-notes ; in No. 30 the chromatic scale lies in the
higher part of the double-notes. The other parts are each
another combination of double-notes in chromatic progres-
sion ; here the tempo cannot well be prescribed. It is hardly
necessary to say, that in playing each double-note the
greatest distinctness combined with a perfect legato is abso-
lutely essential.
The whole series of exercises in double-notes is to be
recommended only to advanced pupils who have passed
beyond the middle stage, or to such as have long and power-
ful fingers ; these will be able, even should their technical
skill be not yet markedly developed, to go through most of
these exercises in double-notes without risk of incurring
excessive fatigue.
W RIST-EXERCISES.
Although mention has already been made (p. 15) of the
proper manner of beginning and going through the wrist-
exercises, the author deems it expedient to return to the
subject with some additional remarks. That in all octave-
passages the black keys are generally to be struck with the
4th finger, will be best realized by the player in executing
the chromatic scale in octaves, without following the author's
method, therefore with the arms unrestrained, being only con-
cerned to keep the hand so quiet that it does not slide
HOW TO PRACTISE ON THE PIANO. 51
forward and backward, but remains in the same position.
Here he will at once discover that the 4th finger automat-
ically so to speak falls on the black keys ; these are
shorter than the white ones, and to reach them, the finger
must be more extended. The 5th finger is often unable to
reach from a white key to a black one unless the hand
pushes it forward, while the 4th finger naturally lies perfectly
free near the black key ; it has only to strike it, without the
least stretching being necessary. The author can give the
fullest assurance that Liszt and Thalberg (his teacher) as a
rule played octaves in no other way, and only in certain
special leaps here and there used the 5th finger, along with
the 4th, on black keys. It has happened of late that
virtuosi and teachers make frequent use of the 5th finger on
black keys. The author ventures to disapprove of this
usage, and to maintain that it can be justified by excep-
tional circumstances only. That the " Daily Studies " con-
tain no actual Octave-exercises, is explained in the preface
to that work by the fact that Theodor Kullak's " Method of
Octaves " has exhausted the subject, so that nothing new
remains to be said on this head.
The author therefore refers students to that work, at the
same time offering the suggestion that the wrist-exercises on
_J I l_
the single tones rfjrF"** a n be repeated 10, 20,
or 30 times, or oftener, as they are among the most strength-
ening. Moreover, the chromatic scale in the compass of an
octave, with the hands in contrary motion,
52 HOW TO PRACTISE ON THE PIANO.
practised with the arms and elbows close to the body, is an
excellent preparation for the most difficult passages which
require the action of the wrist, such as now come under
consideration.
No. 31. The wrist-exercises of this collection are subject
to no particular tempo the player may, when he has mas-
tered the difficulties and made sure of uniform wrist-motion,
choose the tempo for himself. The beginning should, how-
ever, even with trained players, be taken quite slow, for the
perfectly uniform raising and lowering of the hand is the
first indispensable condition, and is attainable and kept un-
der sure control at first only by slow playing, with arms and
elbows close to the body. The player has but to attend to
the one point, that the elbow lie in front as steady as possible
everything else will come of itself, including. the stroke
with the fleshy finger-tip.
No. 32 This exercise (devised by the author of this work
for his own use) should be played loud, and with perfect
evenness. The pupil should give the preference to tonalities
having many black keys. In playing the exercise legato, be
very careful not to clip off the 1st pair of sixteenths from the
second pair, thus :
the 2d sixteeenth should be fully sus-
HOW TO PRACTISE OX THE PIAXO. 53
tained : at the two sixths E5Ezz^=i?iz the hand should
be pushed along, as it were, without being raised.
The following repetition may be employed as a variant:
No. 33. In this exercise perfect evenness of stroke in
both hands is the chief condition. To attain this, the hands
should remain always spread out over the keys, so that be-
tween the last chord of the left hand and the first of the
right, and contrariwise, no break be felt, and the chords
sound as if played by one hand.
No. 34. A very difficult exercise, but one which gives
to the wrist and the fingers certainty and force in the most
difficult positions, especially in striking black keys. It may,
without special fatigue, be carried through all the keys (at
least through 6 or 8) at a time, by large hands: it will be
better for small hands, which find the stretches difficult, to
play it through only 2 or 3 keys at a time, choosing, how-
ever, new keys each time it is resumed.
No. 35. An exercise of complex difficulty. To be prac-
tised slowly with a powerful stroke, the fingers always falling
hammer-fashion.
No. 36. The elbows must absolutely lie close to the body
without moving from it; since the forearm in leaping must
alu'ays move to and fro, the only possibility of a sure control
over the correct and uniform raising and lowering of the
wrist is in the steadiness of the elbows in their position.
54
HOW TO PRACTISE ON THE PIANO.
No. 37. In this exercise there can certainly be no question
as to the method ; the point is, to play it well and distinctly,
whatever position be chosen. Here let the player find out
for himself how to get through. If he has, by diligent, cor-
rect practice of the foregoing exercises, strengthened his
fingers and developed a supple and steady wrist, this exer-
cise will present no great difficulties; no one will find it
easy !
STRETCHES AND SKIPS.
Instead of theorizing how the pupil may best acquire the
proper execution of Stretches and Skips, the author ventures
to make a practical proposition at once. Let the following
figure be played :
at first very slowly, with the fingers fully stretched out; the
hand must not raise itself, or jump, but must, as it were, be
drawn ; take the tempo gradually faster and faster ; the wrist
must be kept quite easy,, so that the drawing motion of the
hand to the right and the left may take place without any
difficulty. After these preparatory exercises have been gone
through with for 8 or 10 days, the pupil may proceed to the
exercises in the " Dailv Studies."
HOW TO PRACTISE ON THE PIANO. 55
No. 38 Always stretch, not jump. Here is a variant
of greater difficulty :
No. 39. Same rule as just bef ore, same variant.
No. 40. Similarly.
No, 41. It is impossible to play this exercise with the
upper arm quite close to the body. But the pupil who
attacks this exercise must have already practised the others
so well as to make it easy for him to hold the elbows at least
pretty near to the body, and not turned outward so as to
form an angle, as it were, ~==z ^==~, as is the habit of
some players.
Nos. 42 to 47. All these exercises are to be played in
the manner indicated for the preparatory exercises. That
the left hand has great difficulties to overcome, the author is
perfectly aware. But he offers the following observations.
In the first place, these most difficult exercises occur at the
end of Book II ; the place that they occupy sufficiently in-
dicates that the editor takes for granted they are to be played
only after the preceding ones have all been pretty well mas-
tered. And in the second place : If the pupil is so far
advanced, this exercise in the left hand will no longer appear
so excessively difficult, and will seem but the last stage of
technical finish. No. 47 requires a very light hand and at
the same time a powerful stroke.
56 HOW TO PEACTISE OX THE PIANO.
BOOK III.
This book contains no strictly systematic exercises. It
offers, however, much that is new, and many original com-
binations, especially in the part following the Preludes, which
is the work of Tausig alone. A few words may be not un-
acceptable to the student as to the technical purpose aimed
at in these Preludes. Tausig's idea was, that after having
gone through the purely mechanical exercises the pupil
should take up some small and difficult pieces, in which one
and the same passage should be played in different positions,
and with all the various shadings of tone-color, thus com-
bining with mechanical difficulty every variety of touch and
of delivery. His sketches of the fifth and the seventh Pre-
ludes show several variants, after his manner of constantly
speculating and philosophizing concerning technics and
rhythmics, resolving each single passage into its parts, then
from heterogeneous passages combining something entirely
new. He intended that the Preludes should in this way be
very comprehensive, but his untimely death prevented the
completion of the undertaking. The editor can, therefore,
only give some hints as to the ten Preludes which are pub-
lished.
Prelude I. Give to the 1st and 4th sixteenth in every beat
a full and strong accent, yet each time with a different de-
gree of power, so that the higher notes of the double-notes
form a melodic phrase. Especially this :
HOW TO PRACTISE OX THE PIANO.
57
_^_ _- - - _ -^ _ , _ ____. Jf_
should lie well accentuated : the last four measures as for-
ciblv and brilliantly as possible. In the second measure, at
the fingering 1 '2 mav be applied.
Prelude II. It is the aim in this little piece to carry a
melody through constantly ascending and descending chords,
so that it may be heard penetrating through them. The
player should, therefore, endeavor so to accentuate the upper-
most tone of each chord, that the melody
may be clearly heard. The whole Prelude is to be played
in this way; each chord contains in its uppermost note a
part of the melody.
Prelude III. Easy as this piece may at first appear, a good
and distinct performance of it is very difficult. The finger-
ing is often very awkward, and yet cannot be bettered. The
editor considers this little piece as altogether masterly, and
characteristic of Tausisfs faculty of combination.
O v
Prelude IV. This Prelude may be taken in the quickest
tempo ; the accent is always on the double-notes. The hand
is of course to be kept quiet, otherwise the piece could not
be played.
58 HOW TO PRACTISE ON THE PIANO.
Prelude V. The double-notes are to be played in both
hands always-==: ==- ; in the 4th measure a strong cre-
scendo.
Prelude VI. The chords must here be struck off with the
greatest delicacy and in harp-fashion ; at the ff the 4th and
the 5th fingers must strike with marked emphasis.
Prelude VII. To be played very delicately and melodiously,
especially FjOyl J i,and the similar
figure in the 4th measure ; from the 5th measure on, cre-
scendo up to forte : the last 3 measures in accelerated tempo.
Prelude VIII. To be played like the roll of a drum, and
so that the playing of one hand cannot be distinguished from
that of the other.
Prelude IX. The difficulty here introduced is the fruit of
considerable thought. The chief point is, that the fingers
which have the double-notes should be shoved along, not
lifted: this requires a great exertion of strength. The
" Andante sostenuto " applies, strictly speaking, only to the
first study of the piece. If this Prelude can also be played
well in rapid tempo, so much the better.
Prelude X. The melody lies in the 2d sixteenth of every
beat ; it must, therefore, be somewhat accentuated, yet with-
out being held beyond its value. To play this Prelude with
perfect technical correctness, and at the same time with ele-
gance and melodiousness, is by no means an easy task.
As to the exercises which follow these Preludes, the editor
does not deem it necessary to expatiate on them, as on the
exercises in Book II. He who can play this Book III must
HOW TO PRACTISE OX THE PIANO. 59
necessarily be so advanced as not to need any special com-
mentary. The editor will only call attention to what may
interest even the most practised player, namely, the various
wai/s of playing one and the same exercise. For instance, No.
2 has three variants ; first, the sixteenths are played legato,
the accompanying eighths staccato : then the latter legato, the
former staccato : the 3d variant is the perfect legato of all
the notes.
No. 3a was a favorite figure of Tausig's; he made much
account of it, and deemed it very useful.
No. 4 was most likely suggested by Chopin's 1st Etude,
Op. 1 0. Tausig, who had very small hands, invented for him-
self the most difficult stretches, in order to make good, in a
measure, by practice, the defects he had inherited from
nature, otherwise so bountiful to him.
No. 6 will certainly interest every pianist as a witness to
Tausig's untiring study, and his industry in forming all pos-
sible combinations.
No. 7 is an exercise for testing the rapid withdrawal of one
thumb from a key, and the elastic and distinct stroke of the
other immediately after upon the same key. The editor
ventures the suggestion that the end may perhaps be more
immediately attained by conceiving the exercise in the
following manner:
No. 7a is another exercise devised by Tausig for testing
himself, like Nos. 12 and 17b.
60 HOW TO PRACTISE ON THE PIANO.
Nos. 9 and 10 afford excellent practice in changing fingers
on the same keys.
No. 13 to be played both staccato and legato.
No. 16, in the same way.
No. 18. Whoever has heard Tausig play Chopin's e-minor
concerto, and remembers how he played the closing measures
of the Finale, not with both hands in bound triplets but in
alternating octaves in the quickest tempo, and how this
stormy passage always sounded so distinct that each single
note could be plainly heard, will recognize in No. 18 the
preparatory study for those closing measures of the Chopin
Finale. Tausig acted on the principle that the player can
best master a difficult passage, not by attacking it at once,
but by first taking up other exercises containing the same class
of difficulty, but in all possible positions and keys. In this
way, purely mechanical proficiency will have attained such a
pitch, that the player may, when practising the difficult pas-
sage in question, at the same time add all the necessary
minutiae of the delivery. In this way, doubtless, did Tausig
study those last measures of Chopin's concerto. And with
this reminiscence of the great and nobly ambitious artist,
whom death tore from art and from his friends, the editoi
brings this little work to a close.
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