3 CONTENTS CONTENTS Arches in the Hand 4 Arches Exercise 4 Five-Finger Review 5 Little Pischna No. 1 5 Little Pischna No. 3 6 Voicing: The Divided Hand 7 Voicing Exercise 7 Trills and Mordents 8 The Short Trill 8 The Mordent 8 Common Articulations (Touches) in Baroque and Classical Styles 8 Warm-Up Patterns in C 9 C Major Scales in Progressive Rhythms 9 Chord Progression and Variations in C 10 Dominant Seventh Chords in C (Broken and Blocked) 10 Broken Chords and Inversions 11 Arpeggio Prep 11 Arpeggio Exercise in C 11 Hearing Two Voices 12 Rotation Exercise (Right Hand), Czerny 12 Rotation Exercise (Left Hand), Czerny 12 Scale Forms in C Minor 13 C Minor Scales (Natural, Harmonic, and Melodic) 13 Voicing: Imitation 14 Voicing: Multiple Voices 14 Warm-Up Patterns in G 15 G Major Scales in Progressive Rhythms 15 Chord Progression and Variations in G 16 Dominant Seventh Chords in G (Broken and Blocked) 16 Broken Chords and Inversions 17 Arpeggio Prep 17 Arpeggio Exercise in G 17 Cantabile (“Singing”) Melodies 18 Crossing Over the Left-Hand Thumb 18 Arpeggio Etude (Excerpt), Duvernoy 18 Scale Forms in G Minor 19 G Minor Scales (Natural, Harmonic, and Melodic) 19 Imitation: Cantabile (“Singing”) Motives 20 Follow Me (Excerpt), Bertini, Arr Bachus 20 Velocity (Speed) in G Major 21 Speeding in G Major (Excerpt), Gurlitt 21 Warm-Up Patterns in D 22 D Major Scales in Progressive Rhythms 22 Chord Progression and Variations in D 23 Dominant Seventh Chords in D (Broken and Blocked) 23 Broken Chords and Inversions 24 Arpeggio Prep 24 Arpeggio Exercise in D 24 Moving Smoothly in D Major 25 Racing in D Major, Duvernoy 25 Scale Forms in D Minor 26 D Minor Scales (Natural, Harmonic, and Melodic). . 26 Alternating Touches 27 Allegretto in D Minor, Sartorio, Arr Bachus 27 Balancing Melody and Repeated Chords 28 Expressive Etude (Excerpt), Gurlitt 28 Arpeggios Divided between the Hands 29 Arpeggio Etude, Gurlitt 29 Voicing: Four Voices 30 Etude in Four Voices, Duvernoy 30 Warm-Up Patterns in A 32 A Major Scales in Progressive Rhythms 32 Chord Progression and Variations in A 33 Dominant Seventh Chords in A (Broken and Blocked) 33 Broken Chords and Inversions 34 Arpeggio Prep 34 Arpeggio Exercise in A 34 Compound Meter 35 Velocity Etude in A Major, Sartorio 35 The Outer Fingers (3-4-5) 36 Voicing Etude in A Major, Sartorio 36 Scale Forms in A Minor 37 A Minor Scales (Natural, Harmonic, and Melodic) . . 37 Melody and Repeated Chords (One Hand) 38 Divided Hand Etude, Streabbog 38 Warm-Up Patterns in F 39 F Major Scales in Progressive Rhythms 39 Chord Progression and Variations in F 40 Dominant Seventh Chords in F (Broken and Blocked) 40 Broken Chords and Inversions 41 Arpeggio Prep 41 Arpeggio Exercise in F 41 Alberti Bass Plus 42 Etude in F Major (Excerpt), Czerny 42 Warm-Up Patterns in B-flat 43 B-flat Major Scale in Progressive Rhythms 43 Chord Progression and Variations in B-flat ....... 43 Dominant Seventh Chords in B-flat (Broken and Blocked) 44 Broken Chords and Inversions 44 Arpeggio Exercise in B-flat 44 Melodious (Legato) Style 45 Etude in B-flat Major (Excerpt), Czerny 45 More about Alternating Touches 46 Warm-Up Patterns in E-flat 47 E-flat Major Scale in Progressive Rhythms 47 Chord Progression and Variation in E-flat....... 47 Velocity (Speed) in E-flat Major 48 Etude in E-flat Major, Czerny 48 Warm-Up Patterns in E 49 E Major Scales in Progressive Rhythms 49 Chord Progression and Variations in E 50 Dominant Seventh Chords in E (Broken and Blocked) 50 Broken Chords and Inversions 51 Arpeggio Prep 51 Arpeggio Exercise in E 51 Closed and Open Hand 52 Divided Hand 52 Etude in E Major, Czerny 52 Scale Forms in E Minor 53 E Minor Scales (Natural, Harmonic, and Melodic) . . 53 Left-Hand Velocity 54 Left-Hand Etude, Köhler 54 More Voicing: Four Parts 55 Running with Four Voices (Excerpt), Czerny, Arr Bachus ................. 55 Grouping Staccatos 56 Scherzando, Gurlitt 56
9
Embed
CONTENTSCONTENTS · 7 Voicing: The Divided Hand Voicing in piano music refers to the way lines are balanced.In orchestras and choirs, different instruments or singers are given various
This document is posted to help you gain knowledge. Please leave a comment to let me know what you think about it! Share it to your friends and learn new things together.
Voicing in piano music refers to the way lines are balanced. In orchestras and choirs, different instruments or singers are given various parts while pianists must show the separate lines (or voices) through contrast in dynamics and tone colors.
Voicing requires that individual fingers of the same hand perform separate tasks, such as one finger holding down a key while other fingers play.
g It may be helpful to think of each hand as having an outer hand (fingers 3-4-5) and an inner hand (fingers 1-2-3).
g Finger 3 helps direct the weight to either side of the hand.
Voicing Exercise
&
?
44
44˙13
Lento
˙JœF ‰ Œ Jœ ‰ Œ
Jœœ15
‰ Œ Jœœ ‰ Œ
w14
Jœ ‰ Œ Ó
Jœœ ‰ Œ Ó
˙ ˙Jœ ‰ Œ Jœ ‰ Œ
Jœœ ‰ Œ Jœœ ‰ Œ
w13
Jœ ‰ Œ Ó
Jœœ ‰ Œ Ó
&?
5
˙2
˙˙ Jœ ‰ ŒJœœ ‰ Œ J
œœ ‰ Œ˙24
˙Jœ ‰ Œ ˙
Jœœ ‰ Œ Jœœ ‰ Œ
˙13
˙Jœ ‰ Œ ˙
Jœœ ‰ Œ Jœœ#
24
‰ ŒwJœ ‰ Œ Ójœœ ‰ Œ Ó
˙3
˙˙ ˙
Jœœ ‰ Œ Jœœ ‰ Œ
w15
Jœ ‰ Œ Ó
Jœœ ‰ Œ Ó
&?
11
˙ ˙Jœ ‰ Œ Jœ ‰ Œ
Jœœ ‰ Œ J
œœ ‰ Œw24
Jœ ‰ Œ Ó
Jœœ ‰ Œ Ó
˙ ˙˙ Jœ ‰ ŒJœœ ‰ Œ J
œœ ‰ Œ˙ ˙2
5
Jœ ‰ Œ Jœ ‰ Œ
Jœœ ‰ Œ Jœœ ‰ Œ
˙ ˙Jœ ‰ Œ Jœ ‰ Œ
Jœœ ‰ Œ jœœ ‰ Œ
w2
Jœœ12
‰ Œ Ó
Play the top voice as legato as possible and the other voices detached. Direct weight to the RH outer hand.
Finger 3 weighting the inner hand (fingers 1-2-3)
Finger 3 weighting the outer hand (fingers 3-4-5)
24
&?
##
##
86
86
..
..
..
..
..
..
..
..œ1
Fœ2 œ3 œ
1 œ2( )‰.œœ1Major:
Minor:
œ2
œ34
œ1
œ2( )
‰.œœ œ œ3 œ1 œ œ3
œ1
œ2
œ34
œ1
œ œ
.˙5
.5̇
&?
##
##
43
43
..
..œ1
F
shape
œ2 œ3
œ5
shape
Major:Minor:
œ34
œ2
œ1 œ œ
œ1
œ34
œ
œ5 œ œ
œ1
œ œ43
œ1 œ3 œ
œ1
œ œ34
œ1
œ œ3 œ1 œ œ
œ5
œ34
œ œ1
œ34
œ
œ5 œ œ œ1 œ3 œœ œ œ
34
œ1
œ œ34
.˙1
.5̇
&
?
##
##
44
44
..
..œ1F
Major:Minor:
œ2
œ3 œ5 œ
1
œ2
œ4 œ
œ5
œ34
œ2
œ1
œ5
œ4
œ2
œ1
œ1
œ2
œ4 œ5 œ
1
œ2
œ3 œ5
œ5
œ3
œ2
œ1
œ5
œ34
œ2
œ1
œ œ œ œ5 œ4
œ œ œ5
œ œ œ œ1
œ2
œ3
œ œ1
œ4 œ œ œ5 œ3 œ œœ2
œ4
œ œ1
œ2
œ34
œ
Arpeggio Prep
Not This
This
Forearm moving horizontally (LH)
Wrist is turned (LH)
g Move the forearm in a smooth horizontal motion as finger 1 crosses under the hand.
g Do not turn the wrist as finger 1 crosses under the hand.
g Keeping the hand shape, use a continuous forearm motion, without turning the wrist.
g First play hands separately in q rhythm. Repeat as written in q–––
q rhythm.
g Align the forearm with finger 3 to begin. Lightly touch the elbow (with other hand) to keep it stationery, allowing the wrist to pivot as the forearm aligns with the finger that is playing.
Arpeggio Exercise in D
Broken Chords and Inversions
Repeat in minor by lowering all F’s a half step.
28
Balancing Melody and Repeated Chords
Repeated notes and chords require careful listening on the piano because there will be a crescendo created by the repetition. Begin repeated notes softly and listen for dynamic control.
When repeated notes are in an inner voice, keep the weight constant on the outer notes. Use finger substitution to make a continuous legato.
Voicing Warm-Up (from Op. 141, No. 8, Cornelius Gurlitt)
Cornelius Gurlitt (1820–1901) Op. 51, No. 3
&
?
##
##
84
84
..
..
œœœ.
135
Andante con espressione
πœœœ.
œœœ.
œœœ.
œœœ.
œœœ.
œœœ.
œœœ.
Œ ‰ Jœ2
Œ ‰ jœ2LH
œœœ245
œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œ Œ
œ œ Œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Œ ‰ Jœ.
Œ ‰ jœ2œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœœ œ Œ
œ œ Œœœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ
Œ ‰ Jœn1
&
?
##
##
..
..
6 Óœœ œœ œœ œœ œœ œœ œœ œœœ œb
3
Œ œ125
œœ œœ œœ œœ œœn œœ œœ œœœ1
œ#2
œb 124
œ125
œœ œœ œœ œœ œœbn œœ œœ œœœn15
œ#2
˙
œ# 124
œn 125
œœn œœ œœ œœ œœb œœ œœ#12
œœœn1
œ25
œ œ
œœœ#π
œœœ œœœ œœœ œœœ œœœ œœœ œœœU
jœ5
‰ ‰ JœU
Expressive Etude (Excerpt)
&
&
42
42....
˙3Moderato
p‰ œ œ œ
5̇
˙5‰ œ œ œ
2̇
˙4‰ œ œ œ
3̇
˙3–4
‰ œ œ œ
1̇
˙3‰ œ œ œ
2̇–1
˙2–4
‰ œ œ œ
5̇
˙3p‰
œ œ œ
˙̇12
˙̇
˙̇
g Blend the repeated chords into a murmuring background for the LH motives. Allow the keys to push the fingers up, to ride the keys up and down.
g Keep the left upper arm and elbow relaxed when crossing over.
Miniature, p. 22
36
Arnoldo Sartorio (1853–1936)
Voicing Etude in A Major
The Outer Fingers (3-4-5)
The outer fingers (especially fingers 4 and 5) in each hand provide major support in piano playing. Finger 5 has its own muscle in the palm of the hand that must be activated and connected with the arms.
ThisNot This
Finding the muscle for finger 5:
g With your palm facing upward, point finger 5 to the ceiling, watching and feeling the muscle work.
g Keeping that muscle activated, balance finger 5 on a key (supported by the forearm and triceps.)
g Then relax the knuckle of finger 5, keeping the nail joint firm. Adjust the arms until comfortable.
g In Voicing Etude in A Major, balance on finger 5 (support finger), which allows the other fingers to move freely.
g In the double notes such as in RH, m. 5 and LH, m. 6, first play the outer fingers alone. Keep the weight on the outer fingers when adding the inner voice. Play the four eighth notes in one motion of the arm.