Professional Documents
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Rupert Diss Phylosophy
Rupert Diss Phylosophy
Rupert Diss Phylosophy
Presented by
June, 1963
\ 813()60
PREFACE
iv
TABLE OF CONTENTS
PREFACE ....................... ii
CHAPTER I. THE PHYSIOLOGICAL ERRORS AND THE RESHAPING
OF PI&~O.TECHNIQUE BY F. A. STEINHAUS&~:
A .TRANSLATION . .. . . . 1
Section I. General Foreword ...... 2
v
CHAPTER I
THE PHYSIOLOGICAL ERRORS AND THE .RESHAPING
OF PIANO TECHNIQUE BY F. A. STEINHAUSEN:
A TRAJ.~SLATION
SECTION I
GENERAL FOREWORD
younger ge~eraticn.
as generally va:id.
ition. :-:i.s c:rt takes on a ce:.tz.:.::-:.. :Zo::rt! for hio ir:. his bodily
motion~ basis he
This
... 't'
1n~u1 1ve d'1reccness
' b. . , ~' t -F_recucm
~r~nzs w1tn " o~- rnovesen t --ot:
technique--without ~.Verry c~bout its la;s. Nonetheless, it obeys
only of the fingers but also of the hand and forearm, had
~-lready been introduced. The meaning of \veight in the move-
ment of mass was sensed, but nothing had been proposed which
involved more than the forearm. A characteristic statement
by 0. Bie (Das Klavier und seine Heister, Muenchen, 1898,
. .
p. 20) reads, "Piano technique has proceeded slowly from
tapping fingertips to the present suppleness, which involves
the arm up to the elbow." Why not further? On what account
should the boundary of the "present suppleness" be drawn
precisely at L . e elbow?
The fall of the finger or of the hand was grasped as
a physical occurrence, whereas it is really a physiological
occurrence and a swinging movement (64, 69). One can sur-
mise from many revealing examples how difficult it is for
musicians to find their way in the simplest things of natural
science. It is remarkable hm..r often one finds true and false
juxtaposed. Next to appropriate observations one finds the
most elementary lack of knowledge. A good example is the
confusion of swinging power and elasticity by one of the most
recent authors, Breithaupt. On p. 277 of "Claviristica" he
says, "Isn't rather swinging po'tJ'er, elasticity, the source
of all technique." Page 278: "Technique is rather to be com-
prehended as a moment of elasticity, from the standpoint of
a healthy swinging power." Perhaps the' following place vJ'ill
resolve any doubt about his identifying the two forces
(p. 283): "The hand is thrown back freely. It falls of
9
its mvn weight on the key and bounds back like a rubber ball.
The movement is analagous to the swinging motion used by chil-
dren when they bounce a rubber tire. 11 The following sentence
is to be found in one of the latest competent writings
(Zuschneid, Methodischer Leitfaden fuer de~ Klavierunter-
richt. Berlin-Lichterfelde, 1904, p. 3). It may well serve
as a model of lack of clarity. "Mechanical practice reaches
its peak in the complete detachment of the arm and all
participating li:nbs from the playing mechanism."
5. In my opinion help can only come from the physiologist.
It is impossible to clarify this confusion of opinions vJith-
out technical knowledge of physiology. One ccnnot reasonably
expect the physiologist to be more than a mus~cal dilettante;
one can not be a specialist in both fields. Musicians have
displayed great zeal in attempting to achieve their goal--
but in vain. In vie\v of this the wish to help and to steer
all the otherwise futile \vork into the right channel is vigor-
ously stimulated. The path is unmistakably indicated, and
the present work will try to point it out step by step.
6. The physical power and tonal fullness of the attack have
not kept pace with the high perfection of piano manufacture
(14). Until now the school method has not been able to rid
itself of a tradition originating with the predecessors of
the piano, the spinet and the clavichord (see Section II).
In addition, technique suffers even today from the continuing
influence of gymnastics which is based one-sidedly on the
10
not knmv his tools cal}_ not._ .E..Q_~i bl v ~1ak~ E.?P2~ use of them
and still less offer instruction in thei~ ~ In this no
more is demanded of the musician than has always been neces-
sary for painters and sculptors. The pictorial artist needs
anatomical knowledge because he must know the form of the body
to be pictured; the musician needs physiological knowledge
because he must know the movement of his own body.
If the player would know the construction and function
of his arm exactly, then let him be guided in his search by
the physiologist. Let him accept instruction from the phys-
iologist, recognizing the undeniable fact that the musician
is certainly a layman and remains at best a dilettante in
these matters. Specifically in the present work, which at-
tempts to assist the pianist, precise evaluation instead of
premature negative judgment should prevail. No one will be
more grateful than the author for well-founded arguments and
pertinent objections. Unfortunately one cannot expect that
all of the arguments t~ll be factual. Instead, preconceived
opinions and the stubborn complacency of school tradition
will-for a large number of professional musicians--hinder
the quiet consideration which leaves room for doubt--the kind
of consideration which asks if the "new" might really be
right and does not see the mere idle observations of a pale
theoretician. Granted, this requires an intellectual flex-
ibility which does not refuse te~aciously to put itself into
a world of foreign ideas.
14
12. All criticism should have a ncH and better end in vietv.
Therefore, in the final section, the author proposes certain
fundamental -~onns of .9:. 2:-~siolq_gi~~l movem~nt;. o~. _?.t~~~l~.
---------------- ---------------------
SZCTION II
FALSS CO~CZPTIONS ABOUT THE FOX~~TION OF PIANO TONS
states that work output equals the product of the mass and
th .... velocity of the movement. It follmvs that velocity is
the only remaining factor which can alter the strength of the
blow of the hammer on the string. The task of the I(ey-lever
mechanism is to.propel the hammer mass asainst the string.
Thus the vital power which sets the key in motion determines
the velocity of the hammer and thereby the loudness of sound.
According to Helmholtz the tone color is given to~ .. ~tring
once and for all by the form and elasticity of the mechanism
and the unchanging point of attack. One can not insist upon
this fact strongly enou3h. With this realization all foolish
ideas of influencing the tone-color or piano sound--of tone
formation--fall apart of their own accord. One can scarcely
imagine how many illusions have been indulged in this con-
nection (23).
18. The stroke of the hammer against the string is limited
to a single moment. Once accomplished, further influence on
the string is at an end. One must be clear on this point.
Although the fact in itself is well known, pianists respect
it very little. The consequences arising fromthis situation
are correspondingly distorted. Do we still imagine that the
"tone formation" can be influenced after the moment of attack
by prolonged key pressure, as is reported of l'lendelssohn? 2
that mo22nt he can never enter the lists with other musicians
as regards expression.'' The expressive means offered to the
.
of the strength and the duration of single tones is, therefore,
the only means which the piano puts at the disposal of the
player for musical expression.
23. Since the physical element of attack was not clearly and
definitely separated from the musical element of performance,
there arose inevitably a fundamental confusion of te~s. Tone,
tone formation and attack have been indiscriminately confused
in discussion, as if they all meant approximately the same
thing. In the figurative sense used here, tone means something
quite other than it does in acoustics. The language of music
32
acter of tone formation, are the points which are not cor-
rectly understood. The instrument requires, therefore, a
motion of attack which
1) is adapted to the momentary effect on the key,
whatever the other expressions may be--as the only true one.
All authors are in agreement in so far as they insist they are
building on "fundamental laws," and that they are supported by
a "natural and coherently founded system. 11 All this is more
or less clearly put forth in the preface or introduction.
Afterwards, however, they identify technical movements as
"artificial." They picture these rnovements as different from
the natural ones of beginners--movements which must be sup-
pressed. Has no one become aware of this contradiction? New
"artistic movements" are continually being discovered. Hmv-
'
44
its chan~ed
'-' .position.
other, needs r:o .::ct:_ve control, a:1d can be Zelle'::--:..:~ :.:o sin::
do-v,n once more into tl-:.s subcor:sc::..~.:.s.
.. ..
32. The surn tot&l of t:-.. :s is 1) ~ ..... :. :.:_::-.. c c..:....~~_.~. .,: ;, .L.C
,
in
conscim..:.s112Ss.
and under this threshold
and in the mechanical fa::..~~fulness of the process. It :l.s a
in r~nge~ itsel.: .. . ~~ --
;_, ..-..
__ ; "' f-
'
illusio:1. On nc-
' . fc:c . .
o.s.s:..s ~-::. 0 ~,_- ~~-
place. i:1.spircd
only an ---------
j~:r\_~; t:.=-t_:_:~~-2;i_~ ~
..... v./" .-
')') -~. . ~ :' ......
.J.J.
' "
tl:e ce1:'"':.te::s of
..
ora~nar:..
. 1y
.-
. ...
"'" -:-. .., -~ r, " i,'"
~
-~. --~ -, .""":
~-' ,{.....)
~.,' - - ........ "-<~
L:.s
.
con t r.nua 11 . - ' aoot:!.::
... y :i.nc:orrnea . . every ~-
<::~:... -ce:.:-2 ..
.::::..c,~-: 0:::-
f->OS:LCl.Ol-"1 of-
cc:n-
senses.
2. r~
}.. ..:2 sense of tc~sion in ?.. ~-l 1-< '~ ::",~ ":".. ,
1-.o ~- ,_) ~.: \,....,.. '
etc.
"'SS
S U Cc <.:: 0.;:
J...
.,_he .,..en-,,lat'
'- b ~ J... 0'1
..._ 1 ~.,....d
ca. "O'"nt-....,."-.::
c. -~- ,
'-'-l ~ ' -" - - u,
ited in the "subconscious'' \vhere they can 'be b::o-:...:.;_);:: c1..:t .. ::..n
~ --
at some future time to continue the ada?tatio~ -:~ - - - .........
- - v...
-:""~ ~ c -( ........
. ............. ..,..,
"':"" ....
~-
leap out into full consciot:.snes s at any instant, i.e. , vlh "'':.ever
cedure is broun-ht
0
out of tl1e subconscious into cl2ar conscious-
ness. It is revised and not pe:.:\;:itted to sink do\m agai11 until
the whole detailed procedure has once again been adapted to
the purpose, the "ideal" {32).
35. Only
.i t ho
~
ao~l
u ......
,'-"'\
0~
__..:::::. ~he
~
rov~~~~~
.... .'. ...:..~.._;._~._ .. .._ ~ the intention or purpose,
thereby removing all solid ground from under the feet. Her
whole .system is built up on a sort of nervous over-se~sibility
apparatus shoul.d
technical perception to include the
of vleight, etc. l.S '1,",7~
'lo
~
r~~
...,._ ...........
at a time.
arrangement mentioned above. It al~ows ~s to d~v~te cur-
selvas with all of our powers to the art object ~~d to cxecu~e
JO~n
t-
.... This influence cc~:-1. be cl-:.:::ractc:.:_zed c:s S\..:.~_.:.:::1 to the
actions. One would have no effect Hithout t!ie other; that is,
if the hand muscles did not hold the 'l.,n:ist firm in exactly
the right way, the pmler of the finger muscles would be lost
through the lack of steadiness. energy would ~ot succeed
in reaching the fingers themselves. The ess2nti~~ criterion
Perhaps
.. the best-knmvn part
. o:Z oracticinz
.. is the initi.c;.l
~
the limbs, let go, do not hold back o~ fix for the
body left to itself finds its ovm r.?lay and 'l.vith such c-.:.bsolutc
its goal even through distortion and violence. \,k~ a:..-e 1:10t
This happens even when it does not enter into the question,
Such people are sNayed by the fear that their o'i.vn "arb1..trary
with only one hand. It happened that the other h21d, althouzh
not trained, had achieved almost the s&:ne; incre2.Ssd flexibility
as the hand \vhich had practiced. The phencr.1enon that one can
accomplish something later that he could not do earlier, with-
out practicing in the meantime, is, it is true, an ordinary
experience, but it is especially applicable to the inner
maturing process, to the quiet progress in mastering technical
difficulties on a musical instJ..'"U:-Jent.
A phrase in psycho-physiology gives a general formulation
for it: The energy of movement is deteJ..tnined by the intensity
of the conception which unleashes it. The imagin:::d concept
is revealed, as far as possible, in this movement. With an
artist, the intensity of his artistic ideal, of the vital
inner concept of the art object, is transformed into c.:::-ti.E:t::..c
activity. with a musician this r.::eans transfo::-m:d ir:to ti:..::.:
60
..
all by rough Hork such as wood choryuing. '-'
The same 2;02S for
any kind of work, even for fine vmrl< in so fc.r as it is rough-
er than piano playing and thus b~~nss about 2 stroncer mechan-
ical influence on the motive apparatus and its material co~-
64
65
gers. vfuen she demands that the path from the brain should
be thoroughly studied--as if that were possible--vJhere is the
difference between her and the other finger technicians? :iovl
one can unite the conceptions of "free fall 11 and 1'playing with
2H enn~g.
. EinfuehrUng in den Beruf des Xlavierlchrers. Leipzig,
1903.
3Ehrlich. Wie uebt man Klavier? Berlin, 1897, p. 22
68
4 R. du Bo~s-R1 eymond ( it
QE __, p. 245)
69
5 Duchenne
de B<;mlogne. Die P~iolog~ dE;_t: BeHegungen. German
trans. by Wern~cke. Kassei and-Leipz~g, 1885.
6Caland. "Klavierlehrer," 1904, p. 272.
70
that it 11
is our duty to establish 'tvhich muscles we ought to
learn to use consciously, in order that the oti1cr muscles,
which work together with these natu::.ally, prodacc the intended
motion."
I maintain this to be a diiettD.ntish misconcept::..on which
would not have arisen at all with mature consideration, for
the anatomical designation of muscle groups often has very
little to do v;rith the kno-v;rledge of their function. This
designation is largely antiquated, wron~ and confusing. ~2
the other hand, the fingers could not b8 drilled at all unless
they were further isolated and made independent from the up-
per members, hand and arm; thus one could eliminate the hiE.;;hly
disadvantageous influence of the latter. Consequently the
point was reached where: 1) each finger ~vas practiced :..ndi-
vidually; and 2) all the upper parts of the arm T~lere fixed.
What was already said above (45) is conclusive in point-
ing out the worthless character of individual finger exercise.
The final consequence of conceiving all technique as gym-
mastics is that just those muscles are sought out for in-
cessant drill that can only execute the motions of bending
or stretching the fingers.
However, we have already seen that the expectation of
achieving greater rapidity in a succession of motions by the
same finger must come to naught (49).
~~at remains as the achievement of these efforts is the
increase in thickness and strength of the flexor and extensor
muscles. Certain~y, the pianist's forearm becomes more muscu-
lar, but this should not lead him to believe that this rela-
tively slight increase, distributed over each of the approxi-
mately two dozen forearm muscles, has brought him to his high
level of technical skill. Entirely different influences are
responsible.for that.
It seems to be generally accepted--in view of the reign-
the upper arm by means of a book held fast betHeen it and the
ribs, etc. In musical circles still worse procedures were
talked about--tethering of the upper arm and even of the hand.
The "loose" wrist, unavoidable in some forms of attack, v7as
the first interruption in the system of fixation, already a
big step forward. In so far as one is ready to grant f::ecdom
to the forearm, he is decidedly progressing. 1--Io\vever, there
is still much to be done in the step-by-step battle to free
the body from all sorts of fixations--again, higher up to the
shoulder muscles, etc. Truth and falsehood are often fo'..lnd
directly side by side. Plaidy 7 says the elbow must stand free
of the body, and then demands exercises with a stationary ru1d
confined hand. In staccato exercises with hand motion, so
rules H. Riemann, 8 the arm should not participate at all in
the beginning, but may take part in the motion later. As if
this could be so simply decreed and settled without paying
any attention to mechanical laws! Even Calandg demands that
the elbow should be held as close to the body as possible in
the "free controlled fall." .How gravity can then be of any
effect in the "fall" is inexplicable. It is this sa::~e con-
fusion which pervades her whole fixation system. Caland ar-
rived finally at fixation up to the shoulder. With its active
easily seen and felt the shorter and more powerful the finser
motion.
There should be no objection that this is construed on
a purely theoretical basis, that the participation of the
upper limbs is so slight as to be practically meaningless.
Here it really so slight, then flexibility ought at least -;:-;ot
be affected, and the body would not be hindered in the free-
dom and delicacy of its natural arrangement by intentional
opposition. Moreover, these motions are in no way negligible.
One needs only once to learn to see them and be filled \vith
wonder that he ever overlooked them before. One can actually
feel these motions in himself up to the point described on
the collar bone. The displacement of the collar bone can be
felt through the skin with every strong finger stroke, even
more, of course, with every wrist motion. One should not be
surprised that we are consistent in emphasizing even the
smallest finger motion. It is not a question of the absolute
extent of participation in the nearest joints but rather that
such participation is invariably present. wbether small or
great is in itself a matter of indifference. It is the im-
mutability of natural law that must be respected.
53. This participation is not a mere mechanical necessity
caused by shifting of the center of gravity and a ricocheting
action. From it our organism achieves the highest purposeful-
ness in that it allows the muscles of the shoulder ~~d of the
86
co-operation ~f th~
into piano practice, that of making the fingers the same, so-
called equalization, of systematic leveling-out of the dif-
ferences of strength in the fingers.
According to Germer--to cite one from the rna~ examples
in the literature--the thumb and fingers are to be so equal-
ized that they produce uniform effects in playing. The middle
finger as the strongest should serve as the norm. Besides
finger technique he recognizes the falling weight of hand and
forearm as potential striking por..;rer. There is no mention of
upper-arm motion. Of the new authors Deppe, too, still has
certain notions of equalization. According to the note on
p. 2 (Xlose, Q. ~ht.) the hand position is determine~ with
91
ed. \.Jhere the player lacks the innate strength to play in aca-
demically correct fashion, enforced artificial aids c&~not pro-
vide it. One almost always finds a chapter in the teaching
methods in which artificial technical aids are valued as im-
portant and their help is considered indispensible. At the
13 c:r.
,. 'J
veL. t zmanr:., 9P.
. ....
~2.~., p. 2'~'?
7~. (''G . ' . II J..n
' uJ..ae-maLn d'J...cates
a hand guide used for acquiring feeling for interval Gis-
tances. 11 Guide-8.ne 11 means literally a t'guide for asses 11 or,
idiomatically, the sort of ruled paner used in training
students to write. The translator.)
l4l~'1.orr, Hethod. Lei::::2,c;.e:1 f:L1e-;: :c.av~:.e:::-le:y;:e. Leipzig,
1850, p. 10.
same tir.:1e warnino is usually ,:;:> :\o
~Jriter gives the lil:1i ts of their usc allo~Jable 'LTi thout injury,
seem necessnry.
than to have such ~alf-hc2rted a~vice.
there i11. the literature, but Hhat importance have t~-:.2se :C2v1
95
voices in view of
on the grounds that its use separates t~c ~~s1ca1 2rc~ t~e
sc1)ar<:.t io~1.
music. It is ohysiolo~ically
.. wrc~2 ~o ~tte~nt to lc~1.:::1 l2 .?a to
.__., ....:.;~ ~
-------
'i..7ith the help of noises instead o::: :r~u.sicc.l sound.
ClS
pletely .co,_..e.;r-r'l"\
.1.. .1...o ... ~ intellectual occupation can be undertaken
vJhile practicing and even be recomrnended to students. In
16.21?. .cit., p. 27 5.
97
:-.~r:~ :: ri-
r) ?::~---------
------ -- ---- -------------- -------------- -- -------- ~----
m.
tion. .Lhl.S rr:otio~ r~u~~t
SSCTION V
' . 1
forces occur in the necna::1.sm.-
ing: that the exccller:ce; of at t.:.cl( c:2p2::-lG.s o:;. tl~2 nc.lc:s tici ty::
tr~e yielding
rubber ball or tire 1:7ould make no sense if one did not assume
"" t - , , ' ~ - h . . b~
.l.ClUS s eel, ruoocr, v.rua1e cc:1e .ave cor1s :Leer a le s~rJ...n2~::_:1g
pm.;er; lead and clay, ve::.~y little."
100
turned neither toh.,a:.-ds the left nc:. the riz:.l.t. 11 ::::at is left
over then is "elastic. 11 ~:hat is r:.2ar:t is obviously nothinz
more th::m mental and phvsical
. "'
meaning o~ly in a figu~~t~ve sense.
"'Tl-':.2 hand n1ust be full of life
physical characteristic.
any elastic effect on the key. Lhat elastic pm-:e::s there are
in the arm, hand and finger cannot be v,'lried or applied at
vlill through some chosen forr.~ of movc::;r.1ent. 'ftle are :--:o mo:::-2
able to attack elastically than inelastically. :~ can iG?ute
to no one an inelastic technique~
L, e
Th . ..1-
S1~uatLon
WLtn
, t-
respec~
t o "'
t~e
"'
c~c..s~~c~ty
4-
~oints
,....
muscles is different. .e.ver-J muscJ..e, r:::v;:::::y
~
can see from all this that the in~~te cl~stic forces in mus-
cles, tendons, etc. are designed for the sole pur?oae cf
balancing inner forces. From the outside the el~stic activ-
ity can be appraised only in the regularity and prec~sio~ of
movement. It is distributed in the finely calculated pl~y
'
of antagonistic and synergistic forces. This is excellently
illustrated, although in crude fo~~n, by the co2parison of
muscular elasticity t'lith the similar elasticity of a compressed
air column found in the air chaE1ber of a >;.;ate:: purc:r. t:erc
there no air chamber, with its elastic ar-1d self-ex.-aandin2; air,
the action of the pt:r:lp handle 'tvould force the water out in
spurts. it, w~tcr co~es out in ~n even flow.
62. ~USCle
~. el~cL.-~~~~V
Co...> .....,o..,;,;.._"' ig
- ~ost
,,, -.~~"..ui_~P(l,
.. _.._..
~ - T,J"_.t~.'' br_,_e~_r
1
0U~
- en.Pr-
--
the remnants
weight.
64. The first step towards getting rid of mere muscular action
was the attempt to strike the key with the help of the ''free
fall 11 of the fingers. This finger fall had already been de-
manded by A. Kullak. 2 The finger fall presumes a previous
finger lift and thus provides no opportunity to get rid of
the old finger technique. The fall of ha11d and forearm could
mean progress, but only the swing of the whole arm could lead
to full realization of the goal. Deppe and Caland would have
reached this goal if they had not fallen into the idea of fix-
ation of the whole arm. In contradiction to Depp2s fundamental
teaching Caland 3 maintains that it only appears that the finger
falls on the key and that tone production results from an "ap-
parently" free fall. Is it then a question of fall or only
its appearance? It is regrettable that the intrinsically
fruitful idea of the free fall was robbed of its further de-
velopment by the addin3 on of all sorts of fixation, tension
and pronation. Soechting, in the second chapter o~ his bro-
chure,4 gives a treatis~ . motion--a short, popul&r ?hysiology,
, 1
tnat are correcc as as mucn
;'! .., .., ,
.
t.h at ~s r.vrong. T'ne extensJ.. b"). 1J. ty, tne
' e_as
1 "'".
l.~C:l. c 1~g-
ty or.- t"h
besides the 'tveight of the arm and h,:n:d, a tone forrning factor
in the weight of the fingers. A slight lowering of the fin3er
52 ~
~., p. 19
109
the lift of the same finger actively, the spn. n;l.r:z, propelling
effect is immediately lessened or even ceases. elasticity
and muscle contraction \, ork inti:nately tor;ether; they cannot
7
8zuschneid, cit., p. 4.
114
output. 'A'a S s )
.L i so+-
"- l. ~n
..i- .. r-r--"on
LVL. ...:_ ... ce:... . tain ve:loci.ty, repre-
velocity. If the force be f, the mass ~' the velocity ~' then
force i:.~icre.::..ses
. ,.
1.:: rJ o~- v o:: l."C
by a change in v (17).
"'! .. _, ,
the arm is alvJays rJoved. t~le. ca1.: t:evcr set a separat:e and
stiff.
in a mechanical-physiological s2nse i..: t-"e h:-'-c: a:lo:?ed the
body to be free, ollov1in3 natu:.:-c.i_ lmls. The v7~-:ole arm
Hould then
acquired.
.
pany1ng . t.lens
assoc1a .
w~:~
J '
athlet:_cs.
ing motion.
69. cnat one:
.
occas~onnlLY
1 -
!~nas
1 1 expressions
t1e
throw and svrLnz in the lite::..-ature, but it can probably be said
for~ of motion is un-
known. Only T. an
time span.
According to the la\v of inertia the moving mass con-
tinues in motion as long as it is ~ot ~~Deded or i~hibited
lead-
.c .1
~ng .Lrom ::ae elbow to the base of the hand. It is not a ques-
tion of ~,;hether the rotation move;:-:~ent is more or less exactly
described but solely a qt:estion of ~.;:-:ether the motion is
grasped in its physiological importance, l) as motion from
.,_ and
th, e e 1 bY.'l JO~nL., r. \
LJ .::s <cne
'
mosc' ,
L~g
h' 1
. c.!.y S\vinging motion
or~ a 1'L 'ooul
.:1"1 y movemenL.s.
A-
Genner mentions the turnin3 notion
and th2 rotation joint of the forearm. The latter is not
supposed to lie in the elbow joint, hm-vever, for Gc:.:r:-:1.er re-
serves this for flexing and extendin~ the forearr:1 (p. 7).
On p. 23 this raising and lowering is designated as a 11
vcr-
tical motion." On p. 24 he says: the radius and cubitus
participate in turning the wrist; this produces a shaking back
and forth of the hand. Although Ge1~1er knows far oore about
forearm rotation than most other authors, he is not clear,
however, about the relationship of this motion with t~e ~~~w
120
joint--anatomically the
Breithaupt and
:::--a tions, p. 13. Cal and employs the '1 sl-:aking motion 11 only
for certain passages. -r=1
...__ x'"'d
c ' pronate:d arm and hand posi-
tion rules out general use of the rr:otion. :.:::eneral use should,
71.
~
,..
speciric ,nan d pos:t.tio:-1
. \.1over1.ng
. over t he .<.eys--:t.nc,J.ca
1 . ,. t'l.VC o f
the pedantic penchant for rules and precepts which has ah1ays
reigned. ;!.::-dght playir:.(;s muscular relaxation, must have; bcc;n
1
expressed at t hat
t~r:-e
4." ~~
...... t 1.~_,_s h~nd
- 1u o.~i~~o~.,
~ ---- . . un~
h ~ on
three
fingers.
vJi tn the use
position.
The development of recent piano technique proves \vi thout
doubt that rotation and exclusive.
No'~ a trace of rotation is to be found in the older -oure kinds
the extensors and flexors and with only the slight extension
demanded by the distances on the keys. In fact, the velocity
of such a succession of tones is never eve~ a~proxisntcly
the limb.
4. freedom from dull, rnech~n~c _ excrc~sc,
isolated ---------
finger ----------
technique. The __
and naturalness of the
---- unitv ---- __...{_. -~------
ac~-i.J.2\7 2S rl:LE";
2. Zero weighting.
Place the fingers in the same position so that they just
touch the support (table top or keys).
Between these two extremes of 'tveighting there is an in-
finitely great number of intermediate levels. Of these, the
one mentioned above is of particular interest.
It is not to
tri buted to the other :-n'-!scles in the forearr:1 and hand so that
'
eacth muse 1 e nee d ex.er t on.Ly t"ne .
m::..r~lmum
, e:r,.. r:or
,- t requl.. re d ....t.O
carry the load. Part of the burden of the hand and finger
skeleton is carried in the hand. The finger joints are dis-
posed, slightly curved, to each other so that one leans on
the other, similar to .:m arch ':Jhe:re one stone carries the
other. Concernin:::; the do'lrll.wm::-d pull o:c the load, it has an
effect on the tendons and muscles on the extensor side of
the hand and fin9:ers as ;:.;rell as on the flexor side that is,
~ '
the supporti~3 effort is distributed equally to the flexors
and extenso;,:-s. This sort of distribution over many
139
to this kind
1n1.s
..........,, "'
~s
~
as t..onJ..snl.ng enougn ana:1 can
1 .. ., ~
or~1.y
b a exp l a::..nec
. ' by
the fact that our conscious senses cannot perceive this slight
muscular activity, let alone ev<.:luc:.te it to any extent.
- - s'n ou ld e r ~censJ..on
T'ne
lS ,.. ~ ' ...~o procuce
reLC ' a Slmllar ~ ' -
snJ..ZCJ..ng
of v7eight from the f:_~:._:J:ers up to the shoulder. One can e2.sily
convince himself o:E tr:is by ma:(ing the experiment. The ' 1m.::::<.-
.
J..ng ot- t'ne 'aanc' ~l~~~t: . ' as a reatner ,.. - ~~ ( ~aLana)
/""' 1 ' .
J..s a~ error J..n
the chain tensed and fixed from one link to the next. On the
other hand, to demand looseness during the pov1erful sv1ing ~-.rould
2
rlavierlehrer, 1904.
147
as
an incomparably greater musical e.2fec::. The s:i..ngi<:g, full-
bocied quality of the playing is ac~ieved by greater tonal
intensity and oore gradation of
this intensity. Besides, an is~~oved, ~echanically favo~ed
.
l ega t o :t.s ac h.
L:t.evea. ,oy ~
~ne of
One of the most difficult proble~s o~ physiological
mechanics is to determine composite r::otions o Z the limb made
up of many stages and infinitely varied in respect to energy
The COn ti!1UOUS ::10 tion, the j Oi':1in[; 0 f c:1.e CU:CV2S, t.:J.~(CS
on the -v;heel formed by the five fingers (72), throu~h the fall
from one finger to the next. The "supporting fingers 11 take
on a considerably different and more extensive kinetic import-
ance than before; they become typical rotating fingers or axis
fingers on which the arm mass momentarily rests and then swings
along further. The passive relaxed condition provides that,
in the continuous motion of the swing, a slitht impulse on
the labile arm mass suffices to throH the hand with a rolling
action from one finger to the next. The -----
active passing
- under
of the thumb becorr~cs not only superfluous, it is to be elirni-
nated as a disturbing muscle action. The sup()orting fingers
keep the key depressed for legato and tenuto with the slightest
tension conceivable. They are ready at any moment to change
from supporting fingers to rotating fi~gers. It can be said,
to sum up, that no curve is possible wit~out rotation.
90. Thus forearm rotation is the keystone, as it were, of
a system of motion constructed on physiologica~-- principles.
Always used unconsciously by good players, since no co-ordinated
motion of attack is conceivable without it, rotation is in a
position to suppress the unnatural technique vJhich trains fin-
gers to be individual hammers and to free the weak musculature
of the hand from enforced over-exertion, if only it is con-
sciously and systematically used and correctly taught. Prob-
ably the sharpest contrast to former opinion lies just in this
158
It is here
!~ere 1s no 1n~errup~1on,
~
no stands till, no 11
holding 11 in the a1.r.
.. ,.. .... i- ,
even 1r ~emporary, ~enas toward slug0ishness and implies a
cessation of motion. It is reprehensible to deceive students
about the essence of piano technique, about swinging, con-
tinuous motion by showin3 them static pictures and illustra-
tions of poses and positions. The only possible sethod of
representa tic:.-~ ':;o:1ld be: t~~e use of motion pictures.
91. T'ne
.... 7-:--:
T, c ,_
\ ..., - u \...) has nothing
more to this continuous motion than to adapt to the
current need. For individual types of attack, chiefly stac-
cato, hand mass has been used by many as a swung, tossed
weight, and correspondingly correctly taught. The transfer
of swinging motion also to the hand is more difficult than
the rotating motion, fo:= t:1e rcasor~s given above (72). ?or
some tasks of technique, ~owever, it is indispensable. Active
'l r/b
. ~ rat~n.:; mo t~ons, , ''
r:;an~ea oy a~ elevated and character-
:tstic musical effect, fo:.. .::; a small but i::1?ortant part of the
motions in technique . .J .Z:-:o~-r~1 fo::- 2 long time in musical
continually to t-'
wl~n
. , ,
pltlaote, you th -
ful beginners! If all the above elements of erroneous tech-
nique, \1:-:ich hang li:~e a lead \Jeigl':t on art as 1..Jell .:.~ on the
cont::~ b-wte
.. "'t "I
iological principles ';.'JJ..l..l.. co:1.siderably to frighten-
166
167
natural that this should be the C2.S2. r~:-:.e old st::::::_ctu::ces and
accepted principles obviously required a thorough overhauling,
and, as is often true in cases ., J
L~~e
. ,
~nLs,
sweep~ng ou t the
Old l llu.J-
m;t e; 11C,.,., e.;
......, ,,, - ..Lo ..ce~'">'1
J l..i. ....... J.. P~. cen
.W\.....o.J '
II as S ::cd.r:hausen says, is pref-
It is regrettable that
Steinhause:1 Has in no position musically to suggest a construe-
tive and practical approach to the problem. For this he offers
his 0~1 apologies (see above, p. 16). The musician reading
his book is apt to return. to the old methods merely because
Steinhausen offers him so little to do and so much to avoid.
It is better to do something, thin~~s the musician, than to
be paralyzed with endless prohibitions.
It is beyond question that Steinhausen's work and the
work of his contemporaries stimulated a totally net<.r examina-
tion of the very foundation of piano pedagogy. Reactions were
many but \vere now always accompanied by more-or-less scientific
verification. Some of these new approaches will be mentioned
in the following chapter. Gone 1.-vere the days of unsupported
theories--theories accepted and put into practice by countless
generations of pia~ists.
On
wori( is that he recog~izcci,
~:ecesSJ...L.Y,
,.,_
aric .c.e pu t s
~ ~
in Pi~r:() fc rtc~
169
. '
In answer to the first question r:nere can be no doubt
as to where Steinhausen stands. :-le is against isolated fin-
the most obvious use of weight a11.d the one usually thought
of 'tvhen the subject of 'tveight playing is mentioned. Volume
levels would depend, in this case, purely on the extent of
the drop; a higher arm at the beginning of the drop would
produce a louder sound and vice versa. In the simplest fonn
of such vJeight use this technique would demand that the arm
be lifted from the keys for each stroke. A more refined use
182
II a svnnc;l.ng
...... mo r ._..,.;;;.; v: o le
... l.on or,.. ,.._'!-:~ n' ~~S
r:lct::. 0.(:
... t-".;""~.(~
- _ .::1'"'.._
~ ..... .-,...,.,, f'~Offi
... th()>-
192
193
is not a sufficient
stone has not understood the 11
"\:ei.ght 11 sehool, or has only cho-
6J A
'"l.. ' ~~one,
J Ol1...1S T'ne nr
At 0 f
(London, n.d.), p.~26.-_--
196
7Aesthetics
197
quil. Only the finger used is called upon to move, the others
remaining quietly on the surface of the keys. This is a de-
parture, and probably a good one, from the concentrated atten-
tion focused on the high finger action of the old school.
However, one is at a loss to see where the necessary force
is obtained for anything more than a Q!anissimo volume level.
Deppe expected that the student would be able to play scales
and arpeggios without extension of the thumb or turning of
the wrist, since the hand was already turned in to such an
extreme degree.. In practice, however, scales and arpeggios
are impossible to play in this position if the elbow is held
close to the side. In addition, the oblique position of the
fingers across the keys is patently absurd.
The controlled free fall is the most important point in
Deppe's system and the one which has led later writers to
consider him the first to introduce weight playing. What is
meant by this term, "controlled free fall," can only be in-
ferred from the system as recorded by Miss Caland. The low
210
elbow rules out any use of the weight of the upper arm and
shoulder. Since Deppe discouraged high finger action but en-
couraged what he called the fall of the finger, it can only
be supposed that this fall really meant the fall of the fore-
arm. If it is not brought into play, it is difficult to see
where the necessary force would originate. (See above, p. 197.)
As Miss Caland says,
"Naturally it is not possible to produce a tone having
much volume when the mind and will are entirely absorbed
in the effort to make each movement of the fingers in
exactly the right manner, and at the same time to govern
the operation of the muscles from shoulder to fingertips.
But, after the precise position of the hand has been
acquired, and the working of the muscular mechanism has
been mastered both physically and mentally, then the
tone 'tvill ever grow in beauty and in sonority, and will
be so spontaneous, so expressive, so instinct with life,
that the player's wondering joy and s3 isfaction will
likewise increase as the days go by." 0
Could it be that the student gradually learned surreptitiously
to bring the forearm into play, balancing it so well that no
outward motion was visible? This could be an explanation for
what otherwise appears highly unlikely. The tendency of the
writer, Miss Caland, toward optimism as a substitute for ex-
planation is readily apparent in this passage.
In chord playing Deppe definitely recommended the use
of weight in connection with "muscular synergy," i.e., a co-
operation of all the muscles of the arm and back. An ener-
getic contraction of these muscles combined with the weight
211
the Steinhausen. The second part of the work, Die Schule des
GewichtsRiels, is a method in the true sense of the word.
Whereas Steinhausen argues against existing methods and gives
only a general suggestion for the basic form of attacking mo-
tion, Breithaupt makes specific suggestions and gives exer-
cises and concrete applications to the piano literature. This
is yet another reason why Breithaupt has had a much greater
influence than Steinhausen.
Breithaupt is mainly concerned with bringing the weight
of shoulder, upper-arm, forearm and hand into active partici-
pation during performance. Any suggestion of tension, fixation
or muscular action that would in any way inhibit the free use
of this weight is strongly opposed. Like Steinhausen, then,
Breithaupt objects greatly to independent finger action, fin-
ger exercises in the usual sense, or any fixation. This does
not mean, however, that he thinks that the strengthening of
fingers should be neglected. Such strengthening exercises
are performed in the following manner: the full weight of the
arm is allowed to rest on the fingertips (for the purpose of
the exercise, curved), and the wrist is then raised and low-
ered. There is no active finger motion. The efficacy of the
exercise is in the passive support given by the fingers to
the weight of the arm. In general, the use of fingers in
the Breithaupt method is restricted to transmitting and sup-
porting weight.
213
weight onto the next key with legato connection. This is,
however, a refinement of the swing and drop and not an es-
sential part of them. Breithaupt is, therefore, correct in
his appraisal of ~-legato as the basis of weight technique.
He does little, however, to correct the impression that non-
legato is a necessary result of weight technique. It is ob-
viously true that legato is the musical goal most often re-
quired in melody playing. If weight playing were really op-
posed to such a legato, then it would have to be rejected for
such passages. That such an opposition does not really exist,
however, is evident in the light of the possible refinements
indicated above. Steinhausen recommends weight transfer for
legato playing. This is not really adequate, however, because
of the lack of dynamic control and the disadvantages of passive
weighting. Breithaupt suggests that the non-~egato inherent
in weight shifting (or swing) can be modified if accompanied
by inward or outward rotation of the upper-arm. Experiment
will show this to be true. It is a technique known as shoulder
guidance and is discussed more fully by Abby Whiteside.32
The remaining features of Breithaupt's system have to do
with the role of fingers. The hand position is derived in
the following manner. The arm is laid flat and outstretched
on a table top. The fingers are then drawn in, very slightly
curved, and the whole weight of the arm is transferred to the
32A. Whiteside, The Pianist's Mechanis~ (New York, 1929), pp. 40ff.
216
said, "Bad tone and lack of control over tone arises when the
key is jerked down by a too suddenly applied impulse. 1141 On
the other hand, Matthay recognized that the tone could not
be altered after it had been produced. This led him to his
theory of cessation of weight or muscular effort immediately
after tone production. For Matthay this did not mean the point
at which the key hits the key-bed. Furthermore, the sound
of the key hitting the bed was an undesirable percussive noise.
Matthay claimed that the complete elimination of contact with
the key-bed would be the result of a perfect technique. 42
In addition the key descent had to accelerate in the space
from the key surface to the point at which tone is produced.
This meant that the finger muscles had to be exerted in addi-
tion to other forces.
The difficulty in Matthay's fundamental theory of key
attack is that the three elements listed above (prepared at-
tack, avoidance of key-bed contact, and acceleration toward
the point of tone production) are not physically compatible.
The distance of key fall is too short for these actions to
take place. Matthay requires that the finger be in contact
with the key at the moment of attack, that the key descent
be accelerated, and that the key-bed be avoided--all this in
a space of less than three-eighths of an inch. The attempt
43An amusing example of what can be done with this theory can
be found in Schultz, The Riddle of the Pianist's Finger (Chicago,
1936), pp. 26lff. Schultz sees Matthay's theory of controlled
key descent as correct. Matthay was incorrect, he thinks, in
using weight as the basis of the attack. Since Schultz is in
favor of fixation as the base against which the fingers act,
he completely perverts Matthay's whole emphasis on relaxation
to make Matthay's theory agree with his own.
44The Act of Touch, p. 49.
45The Riddle of the Pianist's Fing~, pp. 244ff.
221
47~ Conunentar;_*!_~ , p. 1.
48_Thid.' p. 47.
223
.the notes then group themselves in the larger motion and are
not thought of as separate units. This is a point which all
advocates of pure finger technique should consider. It is
an unquestionable fact that all pianists who rely exclusively
on finger technique lack the larger conceptions of musical
phrase, momentum and line. This is probably the most signifi-
cant argument in favor of the employment of the larger muscles
as the source of power and position. As to the fingers, Miss
tfuiteside says, "The fingers in themselves have no power of
co-ordination. The boc!Y must be taught and the fingers will
find their way under the guidance of this central control.u57
She says further, "Most technical difficulties which persist
are the result of reaching with the fingers for key position.n 58
Miss Whiteside makes no attempt to achieve ~egato in rapid
scales and arpeggios. She does not think that such legato
connection is possible or desirable and believes that the at-
tempt to achieve it results in tonal unevenness.59 The point
emphasized more strongly than any other is the initiation of
all movement by the upper-arm, usually serving as a guide and
fulcrum for a series of finger actions. The stress is on co-
ordinated activity, not on muscular isolation. "The muscle
power of the fingers is totally inadequate for producing a
57rndispensables , p. 9.
58indispensables , p. 76.
59Pianist's Mechanism, pp. 15 and 1~ and Indispensables
p.l15.
. . .'
227
761!?!.., p. 217.
77tbid., p. 235.
232
79The Riddle . , p. 9.
80rbid., p. 21.
Blrbid., PP 23ff.
82Jbid.' p. 27.
234
83
~.' p. 174.
a4ibid., P 62.
235
the very rapidity with which the tones follow each other
serves to connect them."85 Secondly, Schultz thinks that
fingers which are isolated (as much as possible) from the
rest of the mechanism through joint fixation offer greater
control, since only a limited number of muscles need be used.
As Steinhausen points out many times, however, the finger mus-
cles are by nature unequal, and no amount of training can ever
make them even remotely the same. On the other hand, if weight
is used as a base, the force remains constant if rotated prop-
erly to balance finger action, as Matthay suggests. Desired
dynamic gradations can be obtained by greater finger effort
or by an increase in the amount of released weight. In contra-
fixation movement, little dynamic intensity can be achieved.
As Schultz says, "While its range of intensity with the small-
er playing units is less than that of the other two types, its
force is nevertheless adequate for the playing of most piano
music.n 86 This is a questionable view. Teachers know that
the musical problem of most students is the inability to pro-
ject, to excite in the listener the response which corresponds
to their own emotional reaction to the printed page. The tech-
nical problem is the limited range of dynamics, the inadequate
magnification of the expressive power of widely differentiated
tonal intensities. Any touch, such as contra-fixation, which
85Ibid., p. 90.
86ibid., p. 81.
236
BOOKS
239
BIBLIOGRAPHY (Continued)
OTHER REFERENCES
240