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Pages 294 Page size 612 x 791 pts Year 2010
•
iano Handbook
The
Carl Humphries
The Piano Handbook Carl Hampbries
A BACKBEAT BOOK First edition 2002 Published by Backbeat Books 600 Harrison Street, San Francisco, CA 94107, US www.backbeatbooks.com
An imprint of The Music Player Network United Entertainment
Media Inc.
J Published for Backbeat Books by Outline Press LId, 115j Cleveland Street, London W1 T 6PU, England
ISBN 0·87930·727·7
Text and music copyright © 2002 Carl Humphries. Volume copyright © 2002 Balafon. All rights reserved. No part of this book covered by the copyrights hereon may be reproduced or copied in any manner whatsoever without written permission, except in the case of brief quotations embodied
in articles or reviews
where the source should be made clear. For more information contact the publishers.
Art Director: Nigel Osborne Design: Paul Cooper Editorial Director: Tony Bacon Editor: John Morrish Photography Production:
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Miki Slingsby Phil Richardson
by Global Graphics (Czech Republic)
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,
J 0809876
Contents SECTION 1
SECTION 3
UNIT 1
35
SECTION 5
UNIT 7
100
• Freeing-up
• Posture and technique
• Couplets
• Reading
• Phrasing
• Alberti
• Stress • Black-key
• Black-key
scales (2)
• Black-key
arpeggios
• Hand positions
and fingering
• Hands separately
and together
• Classical
175
• The keyboard music
the wrist
UNIT 13 style
• Sonata form
scales (1)
bass (2)
• The passing thumb
UNIT 8
• Scale and triads
• UNIT 2
53
• The black notes • Keys & key signatures • Major
& minor
• •
• Intervals • Major
& minor scales
• Broken
·· ·•
109
Legato pedalling Tone control Repeated
(1)
& gradation
• Rubato
hand staccato
• Legato
Staccato
• Black-key
arpeggios
sca Ies
Chromatic Two-octave
UNIT 15
arpeggios
123
• Jazz, rock, & blues (1) • Jazz chord • Two-hand
progressions voicings
• Chord embellishment (1)
• Legato & staccato
SECTION 4
• Triplets
UNIT 10
• Hand position • Chromatic
changes
SECTION 2 74
• Rhythmic
shaping
• Extended
hand position
• Cantabile
(1)
(2)
81 time
control
Direct
Pedalling
• Melodic
minor
scales
hands together
• Chromatic
scale hands together
scale
chords (1)
90 & improvising
layout Prog.ressions
• Cadences • Melody
& harmony
& variation
Jazz scales and soloing Rhythm
Changes
211 playing
• Wrist staccato • Four-octave
• Ornamentation
UNIT 17
• Left-hand
• 20th century
leaps
up the hands (2) arpeggios
scales & arpeggios
225 piano
(1)
·•· ··• · • • ·
music
• Tonal colour
(1)
• Modern
scales
music
• Irregular
UNIT 12
• Voice-leading • Chord
Development Texture
metres and rhythms
• Contemporary
• Harmony • Keys • Chord
Theme & motive
• Ragtime
145
• Four-octave
UNIT 6 • Composing
harmony
Contrast;
• Hand independence
• Arpeggios
• Mixing
chromatic broken
Chromatic
• Contrapuntal
• Black-key
Espressivo (1) Four-note
voicings
SECTION 6
Tonal balance Two-octave
Left-hand Off-notes
• Finger independence
U IT 5 Compound
Modes
UNIT 16
up the hands (1)
(2)
• Beethoven
arpeggios
Thumb
·• • ·
& improvising
• Espressivo (2)
UNIT 11
• Sca les • One-octave
·• ·· ·•
197
Composing
• Mixing • Rotation
UNIT 4
·•· • ·· ·
133
• Interpretation
scale on D
(3)
scale on A flat & C
• Expression hand position
(2)
scales (3)
• Articulation • Tempo • Extended
pedalling
• Black-key
• Scales & scale theory
• Dynamics
playing
Left hand melodies
UNIT 9 66
189
• Romantic
chords (1)
UNIT 3
U IT 14
160
music
• Scales in 3rds & octaves
Jazz, rock, & blues (2) Syncopation, Rhythmic
grooves
& swing
idioms
UNIT 18
238
• Latin styles
Riffs & licks
• Arranging
Song form
• Reharmonisation
12-bar
blues
• Bebop & modern
Lead sheets & standards
• Ethnic,
Embellishing
• Odd-time
Pentatonic
a tune & blues scales
7th chord fingerings
urban,
jazz
fusion,
crossover
• Free improvisation • Creating
a performance
Reference Section
259
Preface W
elcome
to The Piano Handbook, a new kind of book that aims
to introduce
you to all aspects of the piano, and piano
playing, in a single volume. The piano has emerged as the
most exciting and important
medium
for creative music-making
in Our
Bartok. Meanwhile, experimental
free improvisation
think about new ways of connecting with
other
movement
disciplines studies.
like
will require that you
up musical gesture and performance
physical
theatre
And if you're interested
and
performance
culture. As a result, it has a uniquely rich musical heritage. I've tried to
groove, you'll want co see how sequenced drum-machine
reflect that richness in this book, on several levels.
Afro-American
Firstly, although
The Piano Handbook is primarily
a tutor, to be used
either for self-study or with a teacher, it gives you the world of the piano as a whole. It guides you through the process of learning to play in a wide range of traditional repertoire,
and modern styles. It introduces the piano's enormous
and the vast choice of recordings
available by great players.
drumming
techniques
That doesn't
mean that the book is just a pick'ri'rnix of different
styles, crammed into a single volume. It's nor. It has become fashionable co assume that differem
cultures
have nothing
interactions.
This view has dominated
impact On western
world
the
for your own personal exploration
of this
wonderful instrument. learning
the piano,
over
intended
takes a completely
new approach
music education bur
in the western
its limitarions
have become
concrete
to challenge
historical
that
connecrions
The
languages,
but also by focusing
sirnilariries
between
different
approach,
between
not just by looking
different
musical
cultures
at and
on che deeper organic and structural
kinds of music. All music reflects basic
within the grasp of the individual player - has made it central, not JUStfor
human resources and concerns: nor just how we think and feel, but also
performers
how we hear, how our bodies gec involved in playing and responding,
but for composers.
That's why playing and composing
have
repeatedly come together on the piano to produce exciting approaches that treat playing itself as creative, in live performance as improvisation
and in
the privacy of the composer's studio. In this book, you'll learn to play, compose and improvise
side by side, and you'll see how closely related
and
how our own playing and the music we relate co unfold in time itself. One consequence
of this
is chat in The Piano
Handbook
you're
encouraged to develop musical auiareness by thinking about issues critically for yourself. The aim is not just
CO
see how different styles of music reflect
the same deeper forces, but ro grasp what chat might mean for your own
these aspects really are. Thirdly, this approach means you'll be able to compare and contrast techniques
used by classical masters like Bach and Mozart with those of
jazz and rock greats like Bill Evans or Jerry Lee Lewis. You'll also discover that those techniques are there for you to use in your own way, to help you unlock your own creative and musical potential.
involvement
as a player
recommended
a wide range of books in the reference section, designed co
and
creacive
deepen your critical understanding There's a full-length
individual.
To
help,
I've
of music.
tutorial section, intended for older children and
In other words, you'll
adults who want to move rapidly through the earlier stages of learning the
learn about each different style in a way that take it on its own terms,
piano to a level where they can cake advantage of the rich repertoire of the
giving it the respect it deserves as a culture or genre. That leaves you free
instrument.
to choose the elements
book combines
you wish to take further, as you discover more
about your own strengths
Focusing on laying the foundations
instrumental
and interests.
The approach I've taken in this book reflects my experience over many
designed
learn is generally
interpretation.
to begin with things
you want
reachers force young people ro srruggle
to learn. Too many
with music they can't
relate to, and which offers few obvious opportunities and realising one's creative potential. active
involvement
with
their
for self-expression
It's one reason young people reject
own
musical
heritage,
in favour
of
established
methods
with
of a sound technique,
the latest
thinking
to illustrate
and tackle the major points
There are often pointers
to additional
learning, and exercises to practise, if you want pace.
As you progress,
improvisation, music
the
about
learning. You'll find quite a few of the best-loved classics of
the piano repertoire, alongside newly composed study-pieces
years as a player, composer and teacher. I've found rhat the best way ro modern
you'll
come
CO
and exercises
of technique
and
reiared pieces for
proceed at a more relaxed
across
sections
dealing
with
jazz and other non-classical styles, and the fundamentals
theory and composition.
These
harmony
outcome is a graded course that I hope will be enjoyable and challenging
of popular musical styles that are actually
less creative than the classical music that drove them away in the first place. Perhaps you have experienced something
The piano as an instrument
every style of music seriously: that is, in its own way. In other words, if
types of music.
The
in new and exciting ways.
like this.
By concrast, The Piano Handbook encourages you to approach each and
in various
of
how and why melody,
with watered-down
imitations
and form work differently
explain
Walkmans and computer games. Teachers are left trying to lure them back
finding
uniquely
has always been about individuals
rich ways to realise their potential
could even say that's why the instrument
as musicians.
You
was invented and developed in
you're going to play jazz, you've got to learn about scales, voicings, and
the first place. Ir's certainly
soloing, so you can improvise alongside teal jazz musicians. If you're going
prepare you for. But it also means that the really important
to play classical, you need to master classical technique
experience of piano playing aren't going ro come from this or any book.
and phrasing and
understand created.
J
increasingly apparent to those who work in the field.
- its ability to bring complex music
to reflect its special characteristics.
amazing versatility of the instrument
to
in common:
one another in the
society, with only chaotic and random
last few decades,
I've decided
Secondly, The Piano Handbook
substantial
that the best rhey can hope for is to exist alongside isolated ghettos of our multicultural
broadest possible foundations
or
into exciting
piano textures. It's all here between the covers of The Piano Handbook.
And it directs you to the many books written On more specialised aspects In short, it aims to give you the
break-beats
can be transformed
of the subject. Ir also tells the story of the evolution of the piano and its musical culture.
and
in the latest dance-house
the culture in which great masterpieces of the past were If 20th century music interests you, there's no substitute for
learning to analyse and play challenging
composers such as Schoenberg or
whar I've designed
They will come directly from you.
CARL HUMPHRIES
2002
The Piano Handbook
co
things in your
J
THE ORIGINS OF THE INSTRUMENT The piano could be said to stand at the centre of the traditions
of western music that
have flourished
it epitornises
in the last few centuries.
that technological
sophistication
rich language without like
has played in western music's attempt
the role
to develop a
sacrificing expressive control or creative freedom.
other keyboard
allows an individual unfolding
As an instrument,
instruments player
(such as harpsichords
to create
the complex structures
melody,
and organs),
harmony
the piano
and texture
all at once,
of western music in the process. At the same time,
the piano retains a large element
of the physically
expressive control over sound that
is natural to singing and playing but missing from other keyboard instruments. This
combination
of factors
instrument
of western
improvisers,
and for ordinary
has enabled
music,
both
people making
remains easily the most mechanically The piano
uses small
hammers
the piano
for virtuoso music
complex piece of equipment that strike
- an instrument
stretched
between
zither developed Playing the spinet
moveable
Christina Antonio Somis playing a small octave
by ancient
spinet in the mid-18th cemury. Other members of
tuning
Somis's family play violin and cello.
that dates
the strings
thanks
and bounce
Greeks
in their
and harmony.
Age - in which
board are struck
to the addition
early experi menrs
Sophisticated
or plucked.
of a resonating
strings later
the
chamber
and
with
the mathematics
of zither
still
used
of musical
in use include
the
cimbalom.
The first zithers arrived century
examples
off,
has its origins in early forms of
bridges that could alter the pitch of the note, as on the monochords
Japanese koro and Hungarian
in Europe
as portable
from the Middle
instruments
evolved
instrument by
control
known as a "benrside" type, with strings running obliquely to the keyboard. The insrrumenr was made in London in 1742 by Joseph Mahoon.
first
metal
such strings
to be struck
hammers.
The
of
the
expressive
over volume offered by
the modern
The spinet pictured is a wing-shaped model
these the
became an important
and developed
harpsichord (right) produce their distinctive
the
designed
precursor
sounds by rrfeans of mechanically plucked strings.
-
small
dulcimer
Bentside spinet
From
with
specifically
The spinet (above), the virginal and the
East in the 11th
(psalteries).
dulcimer
4
and
to be found,
inside
back to the Bronze
sticks or over a wooden considerably,
the central
composers,
in their own homes, where it
leaving the strings to vibrate freely. This mechanism zither
to become
performers,
piano.
Taken
up
in the late 17th
Virginal The virginal was an early keyboard instrument. This one was produced in Italy in the 1660s and, given its lavish decoration, was probably made for a wealthy customer.
century
by Panraleon
Hebenstreit,
the exciting possibilities be freely and dramatically Although
a virtuosic
the Greeks are rhoughr
This
instrument
used a wheel
continuous
that
to use a keyboard, was turned
appearing
by hand
form of water-organ
(or organisrrum)
was probably
around the I Oth century.
to stroke
the strings,
making
Clavichord
a
Clavichords were important early keyboard
sound, while simple levers (keys) caused small anvils to press against the
Over the next few centuries, pipes activated
primitive
with
remain
a feature
identifying
letters).
from identical
These eventually
of modern
keyboards:
black
added in the 13th and 14th centuries.
this type of keyboard mechanism
17ch century.
arrangement
with
of the hurdy-gurdy
Known
inscrurnents;
the pitch.
pipe organs were also developed,
by sliders in turn controlled
marked
sustaining
showed
where volume could
to have used a primitive rhe hurdy-gurdy
string at different points along its length, altering
gradually
player, the dulcimer
instrument
varied.
that operated rather like a keyboard, the first stringed
German
of having a struck stringed
with the
its action, or playing mechanism. It employed a
handles (which had ro be
became keys
the pivoted
metal "tangent" at the end of each key to strike
keys that
the string and make it vibrate.
were
A fusion of
the string-based appeared
as che geigenwerck,
in the
it
looked racher like a harpsichord. By the 15 th cenrury, and polychord the larrer
the keyed monochord
had appeared,
that
the clavichord
and it was from most
probably
evolved. The compass of the keyboard on this and other
keyboard
during
instruments
the 16ch century,
process continued through
was significantly
to six-octave
expanded
from two octaves to four-and-a-half.
with the development instruments
of harpsichords,
This
and then pianos,
at the end of the 18th century.
The modern
piano keyboard has a compass of 88 notes, covering a little over seven octaves. Alongside
the clavichord,
whose existence
was first reported
in 1404,
the one pictured below is German
and dates from the early 1800s. Pictured above is
there
5
THE STORY OF THE PIANO a family
emerged
of keyboard
strings:
instruments
the harpsichord,
with
mechanically
and spinet.
mechanism
(the 'jack')
to pluck
them
when
the key was
released. They differ from one another
in shape, size
sophisticated strings
and
then
damp
and arrangement The outside
spinet
popular,
dynamic
contrast,
either
sympathetic
vibration
all the dampers
the dynamic
with real dynamic
away
more resonance through
of strings)
or by keeping
and suitability
the 17th and l Srh centuries,
or even the clavichord.
instrument
tuned to different
to create a crude sense of
by lifting
In spite of its popularity
introduction
to the
them
in contact with the strings as the notes sounded.
throughout not provide
a bigger
as the keys) and with
from the strings at once (producing partially
By contrast
perpendicular
for each note, sometimes
Srops were introduced
though
to produce
running
(in the same direction
several strings
the
to be effective
gatherings.
was expanded
sound, with the strings
octaves.
used a
and virginals,
were roo quiet
of small domestic
the harpsichord keyboard
These
of strings.
clavichord,
extremely
dulcimer
plucked
virginals
control That
control
of individual
meant
remained
for concert
the harpsichord notes
demand
offered
for a concert
unsatisfied,
paving
use
could by the
keyboard
the way for the
of the piano.
Double-manual harpsichord For greater musical versatility, extra
CHRISTOFORI'S BRILLIANT INVENTION
keyboards C'rnanuals") were added co some harpsichords from the 17th century. This two-
By the end of the 17th century,
manual model replicates a 1638 Ruckers original.
organs,
the harpsichord
three types of keyboard
family, and clavichords. contrasts
performers,
such as violinists
of volume
The first instruments Bartolomeo court,
Crisrofori,
at the turn
number
of pianos,
hammers.
players ro achieve the subtle
being
demonstrated
by other
and string orchestras.
recognisable
today as pianos were built by
the keeper of instruments
of the 18th
century.
but brilliantly
posed by an instrument
were in use:
None offered the son of dynamic
response that would allow keyboard expressive
instrument
at the Florentine
He built
only a small
solved the technical
in which
strings
But his results were pracrically
problems
have to be struck
by
ignored by the musicians
of his own time in Italy. A visitor to Cristofori "gravicernbalo
described
the resulting
col piano e forte" (a harpsichord
instrument
as a
with soft and loud),
and it is from this that the modern piano takes its name. (Piano is short
for pianoforte:
forrepianos.)
some
early
instruments
In spite of the lack of interest,
refine his piano action, even developing Playing the harpsichord
that corresponds
A musical scene painted by Edith Hipkins in
direct
1885 shows a woman playing a harpsichord. (The
discovered
instrument at rhe back of her chair is a cirtern.)
strings
to the left-hand
the hammer
as to
the una corda mechanism
pianos. He used a hand stop to used for each note.
He also that the
could
at just one of the two strings
be securely
Crisrofori's
maintained
the case and altering
wooden block that supported
6
are
that longer, thicker strings would produce more tone, providing
strengthening
mechanism,
pedal on modern
known
Crisrofori continued
greatest whereby
stroke
under
a greater
the way the runing
tension.
That
pins were mounted
meant in the
them. of genius
the single downward
was his development movement
of the escapemene
of the key is convened
into
Cristofori action This sequence (below) illustrates the action of a 1726 Cristofori piano. The design is remarkably sophisticated considering it was the first of its type, though Crisrofori went on to improve it.
Cristofori piano This instrument was made by the man who virtually invented the piano, Bartolomeo Cristofori. He made this grand piano in Florence, Italy, in 1722.
two distinct
movements
of the hammer:
back down again so that the string
upwards to hit the string, then immediately
is left free to vibrate.
The trick was to let the
hammer
(and its shank) 'escape' from the rest of the mechanism,
rebound
and fall back down (with gravity)
key remained mechanism
depressed.
controlled
It was no longer
connected
even if the piano
to the part
of the piano
the pianos of Cristofori
bear little resemblance
to the
of today. The sound is much more delicate and projects less than that of
the harpsichord, hammers.
so that it was free to
the string,
by the keys.
In terms of tonal character, instruments
on hitting
and the touch is extremely
Nevertheless,
considerably
they
light,
do achieve
owing
to the small size of the
a real dynamic
range
while
being
more powerful than the clavichord.
ACCLAIM FOR THE NEW INSTRUMENT In the early decades of the l Sth century a number of instrument France
and
Germany,
independently strings.
of Cristofori,
None
description developing
inspired
by the
experimented
success
instruments
and
with actions that used hammers
of these really took off until
of Crisrofori's
manufacturers
of Hebenstreit
Gottfried
and attempted
Silbermann
in
working to strike
came across a
to recreate
their
design,
his own version of the piano action, known as Prellmechanik.
In 1736 Silbermann the time, Johann
showed his instruments
to the greatest
Sebastian Bach, who was impressed
German
but stated that the action was
heavy and the upper register weak. After many years of refinement again presented
one of his pianos, this time in Potsdam
composer of
Silbermann
at the court of Frederick
once the
7
THE STORY OF THE PIANO Grear (King Frederick II of Prussia), a keen music enrhusiasr This rime rhe insrrumenr Ir is probably
and
highly
exrernporising harpsichord,
Emanue'BACH
SONATAS & RONDOS
reflecred
culrure.
C.P.E. Bach's intensely
adventurous
approach
rhe new penchanr
Alrhough
his music
it laid rhe foundations
composing
and improvising
throughout
the 19rh century and, through who
added
Prellzungenmechanik manufacrurers classical period,
for emorionalism
or 'German
was raken
own action'.
developmenrs
both soughr
to England, to develop
This
and Haydn.
Haydn
and
on which rhis role
(zunge)
became
ro
popular
by Johann produce
with
rhe
German
of a check mechanism)
By contrast,
to
of the
Crisrofor i's later action
influenced
the 'English
forms simply as Srossrnechanik)
action'
to form the
in English piano design.
including
Americus
the possibilities
square piano with a simplified
in
for the
It rerained
up and developed
The Seven Years War, which broke out in Germany manufacrurers
conceived
styles of Mozart,
(with the addition
in its earliest pre-escapemenr
basis of subsequenr
and
(Ernpfindsamkeir)
principally
escapement
(which came to be known as Srosszungemechanik) (known
composing
action in pianos used by many of the grear composers
such as Mozart
the
emotionally
jazz, inro the 20rh century.
acrion his
the elder
role of the piano as the instrument
and was larer modified
become rhe Viennese
dramatic,
mosr fully overlap and inreracr.
Prellmechanik
Srein,
amongsr
keyboard
for the pianisric
as well as for the subsequenr
Silbermanri's
to
was probably
Beethoven,
Andreas
Music by Carl Philip Emmanuel Bach.
playing.
composer
for many years
sons, and the one who did more than anyone else to found
school of keyboard
Bach, the most original
in Porsdam
Emmanuel
numerous
German
Carl Philipp
that the court composer
Bach's
involved,
PLETNEV
no coincidence
was Carl Phillip modern
MIKHAIL
and amareur composer.
was acclaimed.
anion
of Crisrofori's (without
in 1756, drove many piano
Backers and Johannes action. Zumpe
an escapement)
Zumpe,
who
developed
a
that could be built
lumpe square piano Probably invented in Germany in the early 1740s, the square piano rose to fame some 20 years later in England. It was smaller and mare practical rhan the grand piano, with strings at right angles to the keys, and sold in large numbers, paving the way for the piano's coming popularity. The square piano shown here was made in london in 1769 by Johannes Zumpe and Gabriel Bunrebarr.
8
THE STORY OF THE PIANO
.
English single action This system, shown in (he sequence below, was developed action
by Johannes
featured
of two steps
from Crisrofori's
Zurnpe
a jack, or pilot,
around that linked
original
1760. It the key with
rhe hammer.
Beyer square piano contemporary
Almost opposite,
with the example
Adam Beyer in 1777. The footpedal lowered
part of the lid to provide
the instrument's
volume
stops Cleft) allowed
..
pictured
this square piano was made in London
,
by
~
raised and
some control
over
and tone. The brass hand-
various damping
effects.
English double action Zurnpe
It was soon in huge demand
easily at a lower cost than harpsichords. especially after].C. London, featuring
in London,
Bach gave the first acclaimed public recital on the instrument his own works, probably
the instrument.
Zumpe marketed
classes rather
than the aristocracy,
the first to be composed
his instrument
specifically
in
also pioneered
this system,
which was
patented
by Geib in 1786. The action,
sequence
below, introduced
for escapement,
allowing
shown in
an intermediate
rapid repetition
lever
of notes.
for
effectively, aiming it at the middle
and keeping
the casework
simple
with this in
mind. Later models of square piano rended to be more ornate, however. John Broadwood produced
also began to build square pianos around the 1770s, and quickly
an enhanced
above the strings) the modern projection,
piano.
However,
underdamping
(dampers
pedal: two important
as the demand
grew
below rather than
distinguishing for more
tonal
features of power
and
it became necessary to increase the length and tension of the strings. This
eventually
forced
installed
version, fearuring
and a sustaining
Broadwood
to develop
an iron hitch
pin plate
above the sound board. By 1821 his firm had managed
that
could
be
to build the first
...
'''!c.'''_~ .
square piano with such a feature. However, instrument
it was the grand
the square piano eventually upright,
piano
as the 19th century progressed.
rhar
emerged
as the
principal
At the same time, the increasing
led to its replacement
since people wanted smaller instruments
as a domestic
instrument
concert '~~
size of by the
for their homes.
9
-
SUBTLETY OR POWER? Vienna dominated
the musical life of Europe from the late l Srh century through
the early decades
of the 19th century.
patrons of the arts, including
The ruling
Habsburgs
music, and so artists and those with related skills were
drawn to the city. Vienna became another focus for the piano industry, but the sort of instruments they rested on contrasting other the 'English'
that emerged
hammers
on one hand the 'Viennese'
as
action, on the
action.
Stein's improved
are prevented
introduction
like London,
in the two cities were quite different,
types of anion:
Like London, Vienna attracted these adopted
to
were enthusiastic
of checks.
from This
a number
escapement
of German
piano makers, and many of
action (Prellzungenmechanik),
bouncing
back up and restriking
type of action
continued
in which
strings
by the
to be used by numerous
German makers right up to the start of the 20th century. The sound of these Viennese grand pianos is much lighter and more delicate than that of modern intentions
instruments,
and this can sometimes
of the great Viennese By the
composers
1780s,
such as Mozart,
the English
become quite distinct
shed light
Haydn and Beethoven.
and Viennese
as instruments.
and is normally
double-strung.
triple-strung
and has a heavier construction. while the English
the hammers mounted
grand
pianos
had
The former has a lighter
construction
is also lighter,
on the musical
action
The latter is usually The Viennese action is more complex,
with
on a separate hammer rail.
White and black Removed from the Rosenberger piano below, this keyboard and action
English grand action
shows black and white
Devised by Americus Backers and others at
keys reversed, typical
Broadwood in London in rhe 1770s, this action
of many luxury
helped in the development of a more powerful
Viennese
piano with superior rone and dynamic response.
pianos of
the time.
Viennese grand piano Michael Rosenberger made this impressive
instrument
in
Vienna in the early years of the 1800s. By this time the musically flourishing city was established as a leading centre of piano production.
10
Clementi's design The exploded action
view below reveals the keyboard
removed
Clementi's
from the Clementi
instruments
and
piano.
often featured
an unusual
"harmonic swell" system, where an extra length
of string
was brought
create reverberation
into play to
effects.
Clementi grand piano Best known
as a composer
Muzio Clementi "father
of rhe pianoforte"
was closely associated instruments this grand Clementi
whose hammers
would
strike the strings
in England
and
with the
that bore his name, such as piano of 1822. The Italian-born
had come to England
and later his dramatic
Unlike the more powerful English instruments,
and pianist,
was also revered as the
influence
as a child,
piano compositions
the way Beethoven
wrote
for the instrument.
in a direct manner,
the hammers
of the Viennese
the strings as they hit them, producing English
pianos,
impossible without
these instruments
a gentler
instruments
and sweeter sound. But unlike the
were constructed
in such a way that
to adapt them ro satisfy the ever-increasing
sacrificing
the responsiveness
Out of favour as increasing
numbers
tend almost to caress
demand
of the action. This eventually of players
preferred
it was
for more volume, led them to fall
ro use the English
and
French models. At the same time as this shift occurred,
the centre of attention
of musical culture
in Europe was moving from Vienna to Paris.
In England
the success of the square piano during
especially strong demand response.
The new action
conjunction
Here, pianos
leading piano composer manufacturer
and Stodart,
this was developed
big business,
of rhe day in London,
as well. The manufacturing
by Backus,
in
on the basis of the designs of Crisrofori
were already
and pianisr
the late 1760s had led to an
with a richer tone and greater dynamic
that was ro facilitate
with Broadwood
and Silbermann.
production
for an instrument
causing
Clementi,
the
to go into business as a
process became geared
Muzio Clementi
to factory mass-
much more rapidly in Britain than elsewhere.
John Broadwood help him improve
went further the technical
and engaged consistency
the assistance
of scientific
experts to
of his designs. As a result he altered the
11
0752-1832).
THE STORY OF THE PIANO point at which the string is struck,
to improve
the quality
the bridge into two sections. These modifications
of tone. He also divided
enabled him to add half an octave
at the top and bottom of his grand pianos. Such was the success of these improvements expressed his delight
on being presented
be the only instrument increasingly
dramatic
remotely
that the ageing and deaf Beethoven
with a Broadwood
capable
of fulfilling
grand. He believed it to
the taxing
demands
of his
and extreme compositions.
THE ROMANTIC PIANO The French Revolution factories in England. spotted
led to several major piano makers in France leaving ro set up One of the most important
that the market was shifting
to do this was Sebastien Erard, who
away from the square piano and so focused on
the grand piano. Erard's most important
innovation
Beethoven's piano
allows a note to be replayed without
This contemporary illustration, dared
much
1820, shows the Broadwood grand piano
complex mechanism,
rhar was owned by Beerhoven.
speedier
note repetition.
was the double escapement
mechanism,
which
the key having to be fully released, permitting
English
makers
doubted
and made the mistake of ignoring The which
the durability
19rh
century
the Romantic
in European
of this
ir for several decades.
classical
emphasis on emotional
was
movement music,
transported
period
III
emerged
leading
intensity
both works and performances. to see musicians
the
to an
and drama in
Audiences
liked
into stares
of
Kirkman grand piano A very grand piano indeed - rhis one was allegedly owned by King George IV and was kepr for him ar Brighton Pavilion in England. Made in London in 1820, rhe piano features Jacob Kirkman's
"octave stop"
feature rhar added extra harmonic colour by adopting some higher-pirched strings.
l Beethoven's Braadwood piano, srill in use.
12
poetic and emotional
rapture,
it was usually the strings, thickness
and many concerts ended with wrecked pianos. In fact
rather than the action, that presented
(and thus their strength)
framework
of the instrument
was constrained
could suppOrt
the problem:
by the limited
without
warping.
their
tension that the Thicker,
stronger
strings could be used, but to reach the same pitches as thinner strings they had to be put under higher tension, and that meant building Manufacturers
belly rail to which the hitch-pin could bend under pressure. running
and fixed to the hitch-pin owing
withstanding hammers
the number
of more
forces. With
mid-19th
(originally
of braces was
efficient
the increase
fixings
capable
of
in string
tension,
larger
advances paving the way for the modern grand piano in
century,
patented
The musical
with
the
by Chickering)
consequences
introduction
of the
and the development
of these developments
full-iron
frame
of oversrringing.
were enormous.
The increased
dynamic range over a much wider compass, along with the sustaining
pedal, allowed
romantic
composer-performers
unprecedented fireworks
previously
of Romantic
many believed often ability
extravaganrly
and sensual
the
exiled
Polish
the hearts of audiences
haunting
sensuality
a violinist
1808 for Louis, King of the Netherlands, who was Napoleon Bonaparte's brother. Today it is stil l owned by the Dutch royal family.
whom
Liszr encouraged individual.
the piano's images
the
He would people's unique
of Romantic
co note that Chopin,
composer-virtuoso
the tonal
It is interesting
with some other performers
subtlety
of Pleyel
and
still felt by many to
soul of the instrument.
together
Chopin
with the soulful melancholy
of his piano compositions,
the innermost
day, preferred
the
(above) was made by the Erard Brothers in Paris in
its rich variety of textures.
captured encapsulate
talented
he exploited
the complex
through
Meanwhile,
Paganini,
on his own and other
Like Schumann,
to evoke
literature
became
Erard grand piano Another opulent instrument, this grand piano
and dazzling virtuosity.
to be the devil in disguise,
improvise
The piano
technical
soirees, in which the great names of the day would entrance
to see him as a demonically
compositions.
and Liszt to explore an
as well as performing
have been unthinkable.
Like the lean and other-worldly public
Schumann
variety of new moods and textures,
that would
centrepiece
such as Chopin,
audiences with their displays of emotion
---
and Erard both lay
and more robust actions became feasible. Steinway would achieve
the other important the
Eventually
to the advent
greater
was to attach iron braces
on the same plane as the strings,
plate. Broadwood
claim to this development.
the pin block and the
plate is itself fixed, but even these
The solution
above the soundboard,
reduced,
a stronger framework.
began to use iron spacers between
instruments
of the to the Erard's agraffe An important innovation made by the Parisian Erard company was the agraffe, pictured above in early, simple form on a piano of 1818. Strings are threaded through the device, which prevents them moving when struck. It improved che piano's tuning stabiliry and enhanced its rone.
Erard endorsements Erard made the most technically advanced pianos of the time and had factories in London as well as Paris. The company's instruments arrracted leading composers
and musicians; this particular piano
(lefc) was played by Mendelssohn and Liszt,
13
mechanical
sophistication
of Erards, bur also played Broadwoods
as the end of the 19th century,
a few late-Romantic
preferred
the Viennese-scyle
in England.
composers,
As late
notably Mahler, still
piano with its associations
of old
Vienna and the great classical masters. This
period
European Robert
also saw the
school
of piano
Schumann
married
day, Clara Wieck. had groomed Schumann,
the leading
her from birth
for an international
continued
to be felt through
and her own performances by improvised
own compositional
husband's
Pictured
was the leading and raught pictured
better
above left, Clara Schumann female virtuoso
many grear players.
is Wilma
(1819-96)
pianist
understanding
progressive
great
composer
female virtuoso
of the
career. Clara
preludes
talents
of them - a method
recently
were
of her own invention.
were sadly
career, but she encouraged
into the 20th
of works by others eclipsed
her students
around the pieces of music they were learning Clara Schumann
first
brilliant
as she became known, taught many of great pianists,
often proceeded Her
of the
The
Her father was a leading piano teacher who
whose influence century,
foundation
playing.
revived
by her
to improvise
in order to gain a
by some of the most
classical teachers of the present day.
of her day,
(The violinist
Neruda.)
THE EVOLUTION OF THE UPRIGHT The upright
we know today first appeared around 1800, following previous attempts
ro design vertical grand pianos (known as upright smaller, wanted
more economical an instrument
and portable
instrument.
whose sound retained
grands). It was developed However,
to be a
manufacturers
also
as many as possible of the qualities
of
the grand piano. More than one designer grand were redundant,
had independently
realised that the legs of the upright
so the bass strings could go right to the floor. Shortly after
that, Thomas Loud of London proposed
running
the strings diagonally,
so that either
longer strings could be incorporated
or the size of the case could be reduced. Loud
went to America, where he produced
small pianos, while in Europe obliquely
strung
pianos of this kind became known as pianinos. Another
Londoner,
1798, which allowed strings,
adding
William
Southwell,
the hammer
an escapement
had introduced
to be positioned and a check,
the 'sticker'
at the optimum
but it was Robert
Mahler's Gustav
Jules Massenet French composer upright upright
Massener
is seen here playing
piano for a few admiring was perfect
for entertaining
onlookers.
grand Vienna
in smaller
as a
was Mahler's first
made by Conrad
around
instrument
14
was renowned
pictured
piano,
later, Mahler
homes at the turn of the century.
who
and cond UC[Qr. The
instrument
an
The
Wornum
in
on the
Graf piano
Mahler
composer
action
point
1830. Seventy still preferred
when composing.
Graf in years
to use this
transformed Early
the upright
on, Wornum
stringing
piano into the instrurnenr
built
an upright
with the English
double
for the system
anion
used in uprights
today.
check the hammer
CO
further developed
that remains It employs
known,
French
manufacturers
production
wrongly,
was
meet
but
in
demand
action.
The
were mass
artistic
may have suffered.
The upright
piano was a product
also had the prestige the grand
pianos parts
extremely
important
of having evolved from of society.
and more
Size
was
an
issue, since the typical
middle class home in the mid-19th rooms.
that
classes, but it
of the wealthier
arisrocratic
adapted
his most
and his innovation
as the 'French'
could be sold co the middle
smallish
a
so that it cannot
of uprights
successful, to
standards
the basis
in Paris by Playel and Pape, so that it
became
commercially
diagonal
and in the 1830s he
strike more than once. In 1842 he parented advanced version of this anion,
we know today.
combined
action,
went on co develop the tape-check piece of tape
that
The
upright
or disguised
century had
piano
co function
else when not in use. Pianos
was often
as something
could resemble
tables and desks, or even chests of drawers. English especially domestic designs
and French
manufacturers
inventive appeal of Pape,
in
enhancing
were the
ofthe
ins trurnenr , and
though
expensive,
the
inspired
other
makers ro experiment.
Wornum upright piano The London-based maker Robert Wornum contributed a great deal co the development of rhe upright piano, including advances in actions. His "tape check" system prevented a hammer bouncing back and hitting a string, and is still in modified use today. This example ofWornum's crafr (above) was produced in abour 1835.
Sticker action
propels the hammer cowards the string.
This sequence of three steps, pictured above,
Building on Geib's action, it was pioneered by
illusrrares rhe mechanics of the so-called
John Landreth during the 17805 and then by
"sticker" aerion, named for rhe sricker rhac
William Southwell in the early 1800s.
15
THE EVOLUTION OF THE MODERN GRAND The
great
exhibitions
opportunities
and
world
fairs of the
for the major piano manufacturers
public. As a result, American huge impact
19th
century
offered
excellent
to present their new designs to the
piano makers, led by Steinway and Chickering,
in the European
market
many awards at major exhibitions
in the second half of the century.
with their advanced
production
made a
They won
techniques
and
new ideas for design and marketing. The Steinway family (originally the 1848 revolution They produced represent
in Germany,
called Steinweg)
a series of innovations
the last major developments
In the 1850s they introduced cast-iron frame that could support it possible to produce they had produced
instruments
the overstrung
had emigrated
where they had already in the production in the evolution
overstringing
to America after
been producing
of the modern grand piano.
to square pianos,
and developed
Theodor Germany
Sreinway,
a
far greater levels of tension in the strings, making with a much bigger and richer sound. By 1860, grand - the real forerunner
of the modern concert
grand - and had began to make use of a process for machine-felting to achieve a more consistent
pianos.
and design process: these
their hammers
tonal quality.
the only member
of the family to have remained
behind
in
in the 1850s, worked closely with the great 19th century German scientist
Erard grand piano European makers such as Erard were shocked by the influx of American-made instruments in the second half of the 19th century, primarily from Steinway, and the technical innovations they introduced, such as the overstrung grand. Instruments like this Erard grand made in 1866 would soon seem old fashioned.
16
Steinway celebration A Sreinway
trade banquet
1926 (left) underlines booming
worldwide
honour included conductors
of musical
Hermann
Helmholtz,
instruments
who had investigated
and musical
harmony.
1860s, Theodor
Sreinway
taken up by other manufacturers
single-piece During
laminated
introduced
from Sreinway
as well itself.
around
in the
refinements
the world,
that
notably
the
War II under
the
piano rim. factory of Sreinway & Sons was
used to make aircraft parts, wbile tbe German to produce
Steinway
firm acquired
maker,
partly
international
to America
a whole series of technical
World War II the American
by the Nazis
of
the acoustic foundations
After moving
were eventually
success. Guests
eminent musicians,
and their families,
as luminaries
and acoustician
in Berlin in
the company's
dummy
aeroplanes
the reputation
through
factory was taken over and rifle butts.
as the world's
developing
close
premiere
relationships
concert artists, many of whom were inclined
The piano with
to refuse to
perform on any other kind of piano. Apart century three
from Broadwood
& Sons and Steinway
saw the emergence of which
Bosendorfer
stand
Austrian
out
for the
of Vienna and Bechstein
on creating instruments Liszts
of a number
piano
Imperial
also creating
Bosendorfer
of their
the 19th
instruments.
supplied
with additional
themselves
the ferocious onslaught instruments
Court, and remains the leading Austrian
an instrument
that extended
quality
of Berlin both prided
capable of surviving
playing.
& Sons,
of other great piano firms,
of
to the piano firm,
notes at the very bottom
the range down to low C below the A that is normally
the lowest note on modern
pianos. Bechsrein
best of the many other developments
skilfully
integrated
in piano manufacture
the
inro their
grand pianos. Tbe Leipzig-based beauty
firm of Julius Blurhner
of its insrrumenrs,
early 20th
century,
particularly
and production
was admired
for tbe tonal
in the late 19th century was revived
auspices of the East German government.
Bluthner
after World
and
made an important
innovation
in
the form of the aliquot system, in which an extra string is added for each note in the higher register for sympathetic
vibration,
to enhance the singing quality of the tone.
Empress EugEmie Bosendorfer One of the most famous world, designed Makart
by Viennese
PIANOS FOR THE MACHINE AGE of the piano prompted
the instrument
into homes where no one could actually play it. The obvious solution
was to mechanise
manufacturers
to try to think of ways to bring
Phillipe
the instrument.
]7
Eugenic,
Napoleon
Hans in
of stories surround
bur it was certainly
the Empress
The popularity
was'
craftsman
and bui It by Boseridorfer
1867. A number origins,
pianos in the
this ornate instrument
III.
its
owned by
wife of Louis
THE STORY OF THE PIANO Mechanical
instruments
such as music boxes had been popular in Europe since the
14th century, and Mozart even wrote music specifically for them. The earliest system was the barrel mechanism; a lever
a cylinder turned, and nails inserted into it would trigger that
themselves cylinder
then
meant
beginning
to sound
on strings).
the music
then
started
The
(or the circular
automatically
again.
In the
of the street
piano,
nails
would
shape
of the
returned 19th
began to fit barrel mechanisms
the exception
commercial
a note
notes that
and
manufacturers with
caused
pluck
to the
century,
barrel
pianos
This sort of solid barrel had many limitations.
For an auromatic
to gain wide appeal a more sophisticated
music was required.
way of storing
The solution was to use a cylinder with punched
holes instead of raised nails, and the first successful automatic based on this idea was produced
by Giovanni
or 'Pianista'
- a freestanding
Minx Miniature piano
the piano
Around the time of World \1I7arII the Minx
'player piano' refers to an instrument
Minature piano was a great success in Britain.
fitted
Manufactured by Kemble from 1935, it was aimed
so that its mechanical
automatic
at rhe domesric market by virtue of its small size-
information
although as the picture above shows, it was also
it. The advent
piano
viable,
Fourneaux, machine
'fingers'
played
developed
the keys. By contrast
a compact
made
and efficient
continued in production until 1966.
and pedalling
could
Consequently, performance
by a performer.
be adjusted
This possibility
including
invented
in a crude
way of storing
but tempo, volume
way by an operator.
really reproduce
an actual
became available with the development
a system
for encoding
tempo changes, dynamics,
an electric motor to drive the mechanism The
types of
pianos' in the early 20th century. Moreover, in 1904 Edwin Welte of
in Germany
performance,
sometimes
piano players and player pianos couldn't
of 'reproducing Freiburg
already
both
about the pieces of music ro be played.
Most early piano rolls were lacking in expression or dynamics,
successful in ensembles. Remarkably, the Minx
the term
player mechanism
roll in the 1870s
since it offered
for storage. a 'piano player'
that could be wheeled up to
with an automatic
of the piano
piano
Racca. In the 1880s he
a Piano Melodico that used folded cardboard
In the 1860s a Frenchman,
inside
but
had little
success.
instrument
patented
some
to their pianos,
automated
piano
every nuance
and pedalling.
of a pianist's
He also introduced
instead of pedalled bellows.
was the jukebox
of its day.
gramophone,
to its inevitable creative
use
American
later,
by individuals Conlon
as anticipating
computer
the arrival
the jukebox
of the
itself, led
and swift decline. Nevertheless,
composer
regarded
But
and eventually
sequencing
Automated
such
Nancarrow, the
use
its
as the can
be
of modern
techniques.
pianos were popular in cinemas,
and this was part of a broader drive to exploit
Tomasso street piano Italian immigrants to England in rhe late 19rh century brought with them the idea of "barrel" pianos. These were often wheeled around the srreers on carts, like the one shown here. Each "pinned" barrel contained ten tunes and each tune lasted about 45 seconds. This street piano was made in London in about 1885.
18
Steck reproducing
piano
Aeolian took over the New York-based George Steck company in 1904, purring its Duo-Art piano roll reproducing system of 1912 inro Steck uprights (below). Piano rolls (above), invented by Racca Piano Melodico
Edwin Welte in Germany in 1887, quickly
This "melody piano" was patented in 1866
became popular, with many great pianists making
by Giovanni Racca and made in Bologna,
rolls for sale by Aeolian and other companies.
Italy, around 1900. An improvement over the barrel piano, it allowed longer runes to be played by using folded cardboard sheets and a crank-operated mechanism.
the popularity
of the instrumenr
and situations
as possible. Pianos were adapted for use on yachts, and even
by adapting
it co as many social purposes
in the ill-fated airships. The development
of electric pianos,
in which the sound is electrically
altered, and then of electronic pianos, in which the sound is electronically generated,
produced
exploited
alternative
by popular
achieved
success
distinctive
musicians.
and
computer
and
electronic
digital
keyboards,
sounds or simulating
that sound
another
the musical
technology
sophisticated means
significance
Of the former, In popular
allowing
instrument
instrument
that were readily the Fender-Rhodes
culrure industry
circuitry
thanks
to its
has seized upon
to develop
capable of exploring
increasingly
a wide range of
the sound of an acoustic piano. The advent of MIDI
can now be processed
kind of numerical
technology,
data. Acoustic
entirely
in the digital
domain,
as just
pianos have also been fitted with MIDI
them to store information
about an acrual performance
on the
and then replay it 'for real' in the absence of the player.
Ironically, technology
characteristics
sound.
In recent decades,
synthetic
sound
even the most sophisticated has not yet succeeded in matching
'rouch-sensirive'
electronic
keyboard
the extraordinary
sensitivity
to human
touch of an ordinary piano action - one of the fearures whose expressive importance prompted
the invention
of the piano in the first place.
19
THE STORY OF THE PIANO
Modern grand action: 1: At rest
2: Hammer strikes string
3: Hammer in check
A modern grand piano action is shown in this
The jack continues ro move upwards unril its roe
Wirh the key still held, the hammer bounces off
sequence, featuring Sreinway's Accelerated
encounters the see-off burton. The jack flicks off
rhe string and is grabbed by the check. The
Anion. As che key is pressed, rhe caps ran screw
the railer, leaving rbe ham met moving in free
process of the downward movement of rhe
rises, causing the jack to push up on the roller
flight cowards the string. Meanwhile the damper
hammer has caused the repetition lever co
through a slor in the repetitive lever.
has been lifted off the suing by rhe damper wire.
compress rhe repetition spring.
THE MODERN GRAND The
Steinway
Model
D concert
grand
piano (shown here) is the instrument by
most
performance
modern
concert
purposes.
in 1857, although
only after another developed
e
• f)
e
• " e
0
Sreinway
unique
technique
the entire
to the instrument's
between countries,
since some raw materials
the
instruments
have a different
normal for pianos of this calibre to be adjusted
G
(USA),
to the individual
4D
period 16 moulded toe 171eg 18 leg cap 19 bent side 20 heel 21 rim or case 22 short stick 23 prop stick 24 front half, front top 2S top hinge 26 music rest 27 music desk 28 straight side 29 action 30 action standardl hanger
(the
introverted brighten
with
a
that
about
150
(Germany)
and
slight
differences
originating
in
the
two
source. At the same time, it is player, in order
of the action are optimally
suited
user's musical preferences and way of playing.
Some players
Key
from
unique sound.
produced
to suit the individual
to ensure that both the tone and the responsiveness
rim
for
of wood - a feature
traditionally
York
it was
ten years that Sreinway
Model Ds each year in Hamburg New
~
1 balance weights/key leads 2 keys 3 front baize/key bottom 4 front rail S balance rail 6 balance pin 7 back rail 8 cheek 9 lyre post 10 una corda pedal 11 sostenuto pedal 12 damper pedal 13 lyre 14 lyre brace 1S castor
piece
contributes
0
0
G 6)0
its
manufacturing single
for
The first version of this
model appeared ~
used
pianists
like to express a preference
1920s
and
1930s),
which
for Steinways
made in the inter-war
are felt to have a slightly
darker,
more
expressive tonal character. This may well be a reaction to the tendency to the tone of modern
the preferences
whose expectations This characteristic other respects, now started
grand pianos generally,
of the recording
industry
are often influenced is most ptonounced
concert-going
by what they hear on modern
public
recordings.
in Far Eastern pianos (eg, Yamaha, Kawai). In
however, such as the responsiveness to rival the subtlety
to bring them into line with
and of a modern
that
of the piano action,
was once the sole province
these have
of the great
European firms. Tonal purists
may even go Out of their way to obtain one of old 'patent
Bli.ithner grands - instruments
known for their exceptionally
tone - possibly with a view to having it reconditioned. time
when
considered beauty
above
instrument,
20
the manufacturer inadequate all else,
was using
and rather or who
make
However,
only
this can represent an interesting
modest
choice.
action'
and beauty of
These pianos were built at a
a more primitive
unreliable.
subtlety
type of action,
now
for those who value tonal technical
demands
of the
J
THE STORY OF THE PIANO
-
4: Hammer freed
5: Back to rest
6: At rest, dampers raised
As the key is pardy released, rhe hammer is freed
When the key is fully released the hammer falls
When che damper pedal is pressed, a series of
from the check and rises slightly, caused by the
back so that it is JUStclear of the hammer rest.
levers raises the underlever, lifting the dampers.
reperirion spring. This allows rhe jack back under
The toe of rhe jack leaves the set-off button and
Once a string has been played and the pedal
the roller. If the key is played again, rhe hammer
the jack is fully repositioned under the roller and
pressed, a tab prevents rhe damper wire of any
hits rhe string, though less forcefully this rime.
the damper is lowered on to rhe string.
nore being helel from falling back.
Modern grand piano This Sreinway Model D, illustrated in exploded view, has had its full assembly removed. The keyboard and action have then been freed from the casework and partially pulled our ro show the keys and the key bed. The acrion has been lifred from
Key 1 serial number 2 agraffes 3 dampers 4 wrest pins 5 cast-iron frame 6 treble bridge
e e e e
7 duplex bridge 8 sound board 9 bass strings 10 bass bridge 11 hitch pins
f)
o
rhe key assembly.
21
Modern upright action
Hammer strikes string
Hammer in check
Key released
Half blow
This sequence illustrates
Just before the hammer
The hammer is caught by
Now the wippen lowers,
When the half blow (soft)
the action of a Bosendorfer
strikes the string, the roe of
the check, which prevents
freeing the jack from the
pedal is depressed, without
Model 130, which is similar
the jack moves to the set-
rhe hammer from bouncing
check. Then the jack, aided
a key being played, the half
to most modern upright
off burton. The hammer
back and re-striking the
by rhe repetition spring,
blow rail tilts forward, the
actions. Tbis first photo
then strikes the string and
strings. The key is still
relocates in its notch. The
bammer moves closer to
(above) shows the pares of
bounces back, aided by the
held and so the damper
note can be played again,
the string, and the nore
the action at rest.
bridle strap.
remains off the string.
though with less power.
sounds more quietly.
f) f)
f)
e ~
G
Q)
G
fi fD
Art-case piano
@)
This unusual "Ivory Spirit" Stein way upright was designed by New York artist and craftsman
4»
e
Wendell Castle in 1989.
CD
e
0 8 G)
0
e
4D «0
0 ~
22
~
Modern upright piano This Bosendorfer Model 130 is illustrated in exploded
view, revealing
its frame, action,
keyboard and strings. Few companies produce rheir own actions roday, and Bosendorfer is no exception,
conrracting
the work to Louis Renner
GmbH, one of the world's largest manufacturers of piano parrs. Renner and Schwander actions are both considered ro be of the highest quality.
Key 1 key block 2 lock rail 3 toe(s) 4 lock 5 side stick 6 sound board (part) 7 long bridge 8 pedal rocker 9 half-blow (soft) pedal 10 damper pedal 11 key 12 bat (front) pin 13 bass strings 14 short (bass) bridge 15 hitch pins 16 columns 17 balance pin 18 cheek 19 key weights
20 21 22 23 24 25 26 27 28 29 30 31 32 33 34 35 36 37
pilot wire pilot (capstan screw) action standard treble end treble strings action rail agraffes back half wrest pins halftop half-blow rail hammer checks bridle wire hammer rest rail frame hammers bass end half-blow crank
THE MODERN UPRIGHT Modern-day
teachers and performers
that does not preclude
who require a top-quality
home use have often favoured
Model
130 Srudio
(shown
upright
pianos. Most of this instrument
produce. The challenge of the inevitably problem diminished
is that
here) is one of the most highly is hand-crafted,
for a manufacturer
shorter
string
the action
requires
at a price
pianos.
regarded
is to compensate
for the effect
on tonal range and projection.
a shorter
key, which
Another
consequently
offers a
level of responsiveness.
The height of the Model 130 Studio is typical of modern full-size uprights:
..-..
51" (1300m).
However,
names depending (91D-965mm)
smaller sizes are available,
on their height.
A 'spinet'
known in America
uprights
- known
in Britain
also like to refer to instruments
pianos. The smaller types may incorporate
about
by different
piano usually measures about 36-38"
high, while a 'console' piano is about 38-43"
this are 'standard' Americans
Their
of modern
and it takes almost a year to
of uprights
lengths
instrument
Bosendorfer
(965-1100mm).
as 'full-size'
of 43-47"
uprights.
(l100-1200mm)
some alterations
Above Some
as 'studio'
to the action - notably
the use of a 'drop' action.
23
A NEW SOUND AND NEW VOICES By the
end of the
effectively would
19th
completed
continue
engineering,
century,
to be subtle
finish
Instead,
concentrated
improvements
composers
on exploiting
had
After that, there
and manufacturing
but there would be no innovations consequences.
the piano
its evolution.
in
technique,
with real musical and performers
the instrument
as it was
- and still is today. At that point,
however,
the musical culture
the western world received a new stimulus incorporation most parr,
of influences
from Africa. For the
these did not come directly
itself. Instead descendants
they came via America,
was beginning
piano played an important In the last decade
to Europe
where the music of former slaves and their
to be widely heard.
of the 19th century,
began ro develop a popular following:
composed
obsession
for Americans.
by Scott Joplin
Afro-American
musical
did establish
the typical
virtuosic dimension the innovations
It is most
'Jelly Roll' Morton's
24
musical
strongly
associated
ragtime
European
whose rhythmic
patterns
for right-hand
from ragtime
with
it became fashionable
into an essentially
ragtime recordings.
styles
was a syncopated
left-hand
jazz piano. One can hear the transition
to jazz piano, following
of Jelly Roll Morton (below).
and blues. Ragtime
Subsequently
bass note and chord later served as a foundation
and right). Art Tatum (above) brought a
the
songs and marches into something
speed on piano rolls. Although
elements 'stride'
two African-American
ragtime
(1868-1917).
the music played at breakneck The king of ragtime was Scott Joplin (top, left
And almost from the beginning,
parr.
solo piano style that evolved from minstrel national
of
by the
musical
of a
the rags ro hear
incorporates language, alternation
improvisation
it of
in early
ro early jazz piano in some of
THE STORY OF THE PIANO By contrast,
blues was an idiom that displayed
an immediately
compelling
manner,
in black slave songs in the American were flattened African
as a folk-song
South. It used a distinctive
in
genre rooted
scale in which notes
or 'bent' from the normal major scale of European music, to reflect the
feeling for melodies
suffering:
the legacy of African-Americans
since it originated
and to produce
an out-of-tune
feel, expressive
of raw
these were known as 'blue' notes.
The form of the blues consisted itself corresponds infinitum,
to a distinctive
of a repeated
relationship
to the underlying
sometimes
performed
sequence,
style of singing
that has a rhythmically
the rhythms
and inflections
with piano accompaniment, boogie-woogie
country as these developed Barrelhouse
acquired
ad
loose
metre (which is always in 2 or 4 time) and therefore
with
sometimes
of speech.
Blues was
with guitar.
However,
its real influence on popular styles of piano playing emerged through other styles: initially
which
AAB form. This can be repeated and elaborated
often with a declamatory
also a close connection
12-bar harmonic
and barrelhouse,
throughout
its influence on
but also much of jazz, rock and
the 20th century.
its name from the primitive
huts that functioned
as bars in
the lumber camps of the Deep South of the US. There the piano and alcohol formed a close association
in a rough and dangerous
environment,
where a saying like "Don't
shoot the pianist, he's doing his best" may well have been used literally. Boogie-woogie
was also synonymous
associated with drinking the 20th century.
with
establishments
the rough
In this respect, its pounding
rhythms
bass lines - echoing blues and banjo styles - contributed Yancey and Pinetop
Smith
and licentious
lifestyle
in urban America in the first few decades of
were perhaps
and rhythmically
marked
to its significance.
Jimmy
the most infamous
early exponents,
other masters who can be heard on record include Pete Johnson,
and
Meade Lux Lewis
and Albert Ammons. The slower, more bluesy feel of barrelhouse jazz pianists,
who fused it with the other musical
roots of jazz. Jazz emerged performer
improvising
musicians
maintain
bandleader which
around
mix
French)
andlor
Creole,
and musical
black musicians
began
to export
Great 'stride'
pianists
bands with written pianisr-bandleaders
with inventing Latin
arrangements
and
influences
to the
upon a solo while
The pianist
other and
Artur Schnabel was one of the greatest interpreters
jazz,
European
in late
the music
19th
to other
cities,
also took it up. began to emerge,
It was characrerised
used as backing
such as Duke Ellington,
by big
for solos, led by
Earl Hines, Nat 'King'
Cole and Count Basie, or, on a smaller scale, Fats Waller. The 1940s saw the appearance pianists,
of some
notably Art Tatum,
saw the beginnings emergence
phenomenally
gifted
virtuous
solo
Errol! Garner and Oscar Peterson. It also
of a radically
new conception
of jazz with the
of bebop.
CLASSICAL IN THE 20TH CENTURY Meanwhile,
the world of classical
great pianist-composers Schumann,
Chopin,
century
and Liszt had provided
fame and success and a brilliant generations
music continued
of the mid-19th
of virtuoso
players
repertoire, to
tour
to change.
The
like Mendelssohn,
a glamorous encouraging Europe
and
model
of Beethoven's
piano works
during the early 20th century.
In the 1910s and
such as James P. Johnson
and then, in the 1930s, Swing developed.
ptogression,
in the background,
where he lived and worked.
especially Chicago, where white musicians
that contributed
by an emphasis
a chord
is often credited
of Negro,
cultural
century New Orleans, 1920s
a tune
the beat and the harmony
the
idioms
in the 1920s, characrerised
'Jelly Roll' Morton
reflects
(especially
was taken up by many of the early
of
subsequent America,
25
THE STORY OF THE PIANO
leading
pianists at work: Ferruccio Busoni at
the keyboard
exploiting
the mass popularity
the time,
known
Alkan, Gottschalk, By the start
(below); Edwin Fischer and
Walter Geiskeing on record (sleeves, bottom left); and Emil Gilels in concert (bottom
right).
dominate
of the piano as an instrument.
for their dazzling
technique
of the 20th
century,
piano rolls and early gramophone
a number
Thalberg,
although
the degree
Ignace Minister
Pole, Leopold
(1860-1941),
the Romantic Godowsky
who also became Prime his loose tempi
and accompaniment.
(1870-1938),
composer
and
Another
was revered amongst
and tone. Josef Hofmann
testify to the subtlety and
can
to surpass even Liszt in his astounding
famous for his spontaneity pianist
intensity
the most famous of these,
style with
of melody
brilliance
Romanticism,
and expressive
was probably
pianists and considered technical
to
remains steeped
of 19th century
of rubato
Paderewski
desyncronisation
had begun
to modern ears.
of Poland,
epiromizing
personalities
Their style of playing
and drama
sound exaggerated
of
Their legacy would last into the age of
recordings.
in the intensity
26
included
Tausig, von Bulow and Anton Rubinstein.
the world of piano performance.
8uSM.
Other great pianists of
and intensity,
and risk-taking,
and depth
of insight
Sergei
Rachmaninov
(1876-1957)
was
while recordings that the Russian (1873-1943)
brought
to his playing.
0874-1944) Romantic
By contrast,
brought
the Russian
an element
Josef Lhevinne
of classical
restraint
to the
approach.
The Italian
composer-pianist
Ferruccio
best known for his transcriptions Romantic
pianistic
distinctive
decadence.
aesthetic
performance
technique
and far-reaching
at the time
works in a
for achieving
it is now disdained
practice.
is
in music with a Gothic intensity
Valued
of its own,
authentic
(1866-1924)
of Bach's instrumental
idiom, resulting
and Art-Nouveau
Busoni
Quite
intellectual
apart
a
by advocates of
from his phenomenal
engagement,
Busoni was one
of the era's most original composers for piano. His own works had to wait until the last decades of the 20th century to be appreciated. The French pianist perhaps the greatest his day,
Alfred Corrot (1877-1962)
exponent
of Schumann,
became known as
Chopin,
and Debussy of
thanks to his poetic feeling for tone, texture
and mood, as
well as his rigorous intellect. Meanwhile very centre
-
the works of Beethoven, of the classical
exponent
in the Austrian
Schnabel
caprured
Beethoven's pioneered great
the
sonatas
Beethoven
pianist intellectual
piano
unrivalled
reputation
(1895-1956),
imposed
sing
subtlety
Solomon,
distrust
expressively,
who studied
of virtuosity
Fischer
of
he also little
known.
(1886-1960),
The inimitable Glenn Gould, one of the most
Another
distinctive modern players of Bach's music,
whose Bach and
pictured here with leonard Bernstein.
50), whose emotional palette seeking those
of French
music,
achieved
especially
apparently
transcending
an
Debussy.
of tonal detail and his pedalling,
which
the physical
in his playing in a way that has stood the test
with
a pupil
of Clara Schumann,
of pianist artists was the Rumanian
refinement
and sense of proportion,
of tonal colours, bridged to continue
the perceived
who sought Julius
the gap between
inherited
the
Katchen
Dinu Liparti (1917-
combined
with a rich
those early 20th century
excesses of the 19th century
to reintroduce
classical
American
pianist
depriving
the world of a great Brahms interpreter.
rJI~r[DINU
parents,
for its own sake that was part of the legacy of this great teacher.
One of the most spiritual
and
drama but
by the piano action itself. The English pianist Solomon (1902-
88) fused classicism and romanticism of time.
style
unique,
were previously
for the interpretation
the instrument
pianists
emotional
born in France to German
This was thanks to his exceptional
romantic
authoritative (1882-1951).
are imbued with a deep sense of humanity. Gieseking
limitations
and
works, which
their
Schnabel
remains
of the classics was Edwin
Walter
make
like a colossus at the
found
Artur
in a way that
Schubert's
exponent
standing
repertoire,
(1926-69)
values.
Romantic
Like Liparti , the
saw his career cut short
by illness,
LlPATTI
The legendary final recital by Rumanian
Dernier Recital! Last Recital Letzter AuftriH
BcS.1cw;on.1SIX.1950 BACH • MOZART·
(;..I~te'A".1r SCHUBERT·
CHOPIN
ACc:t..I\.lfIUD 1.l:c..OIlOl"OS
~=~I=:,,:~~
O'f 1Hl
••
s se
pianist Dinu lipatti (far left), recorded days
alPlatOII.
1>~ ..~ ~ ,•.... 5.",...l-.,.,
before his death. Glenn Gould's exciting
GOUlD'S EICI11NG DEBUT RECORDING OF 1955
....••
debut recording of Bach (left) from 1955 is
BACH GOLDBERG
considered by many to be the most distinctive piano recording of the century .
VARIATIONS
GOUlDa
P IA N
27
Another intimacy
great Rumanian and purity
was Clara Haskil (1895-1960),
to her interpretations
Mozart) but is still not as widely appreciated great female pianist status
in Britain
working
who brought
of a range of composers
as she deserves. Haskil was not the only
at this time: Myra Hess (1890-1965)
for the expressive
a subtlety,
(most notably
immediacy
and religious
achieved
conviction
iconic
that her
playing displayed. The mid-20th
"1.101 •.. lull ••.••.••.• Jl;i•• · (.
rsfJ±~
...
...
:Ii ill
:~ 5
Exercise 7.4 The right hand calls for couplets just like in Exercise 7.2, so practise lifting and dropping. Here's an exercise to practise shifting the right hand finger position between the black and white notes, in blocks.
Moving 3rd finger Right hand
3
3 2 1
2 1
&iij
7
q,
>
[1'
7
7
q,
>
7
7
~
3 2
1
>
7
~
~
Moving 4th finger 4 3 2
5
4 3 2
&~II~ II'
>
7
I,'
>
7
II'
7 ~
7
7 ~
4 3 2
>
7 ~
Exercise 7.5 Exercise 7.5 shows how to combine the hands by concentrating on the underlying pattern, so you see how the fingerings of the hands link up. Notice how frequently both hands use the same finger at the same time. Start very slowly and speed up gradually. Keep the thumbs light, especially when they play together.
,
,
(J
3
1
>
>
~
3
6
) \
f)
..
-
::0;
::0;
~
~,
-
>
-
>
~ -
>
~
~
>
~
::0;
::0;
3
4
>
>
-
~~
::0;
~
>
>
>
>
-
::0;
~
~,
~
>
-
4
~ -j#-
3
>
>
~
~
>
1
>
>
~
3
5
2
2
>
I
3
>
-
\
(J
~
>
3
>
I'-....!
-....! -....!
,I)
)
)
1
>
>
~ ~
>
~
~
.;,-
>
~ 103
1
>
>
~
::0;
.;,-
~
UNIT]"J Exercise 7.6 Now here's the whole piece. Remember, accidentals affect the note in question for the whole of the rest of the bar, unless cancelled by other ones.
CD: TRACK 24
Vivo 1~
fl
3
->
~3
~
4cJ
f
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5~
~ ~ ~
.~
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~
.~
1 J
1
4 cJ
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=--
~
··
~
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~
#
•
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=--
~
4~
4~
p
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l.-
11
5
f}/"
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40
•
>-
•
#
~
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--
6 flf"'\
r>.
2
5
5
h••
3
4~
-
-
4 J
: f+:
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5 2
>-
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3
4
5
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UNIT 7 Exercise 7.7 'Country Gardens' is a traditional folk tune associated with English Morris dancing. The left hand callsfor coupletsat the start, while the right hand has quite a few changes of hand position within the melody. Getting the hands to lift off on different beats of the bar can be tricky here. Watch out for the change of clef in the left hand in the secondline, and for the unusual chromaticthirds fingering there.
CD: TRACK 25
Allegretto
.~
5
>-
;.
flJ,!
3
3
::::--
4
4
t.J
r~
11if
r.
5
9
4
rJJ,!
1
5
4
I
--
2
4
I
mp
-f"-
r.
~
3~
~
~
~~
~--............. "0
'V
:~
3
011
:::~
2
11
J
tT.~
1
....--. I
17 flJ,!
::::--
-===:
....--. I
1 4
I
2 3
I
1 4
I
I
4
::::--
11if
r.
r~
1
1
1'-.....
1
4
4
---3
-
t)
5
I
4
5
.~::::--
2
-
p flJ,! I!.J
:~1
.~2
>-
3
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4
3
~ --'-
~
~
5
Morris Dancing is a traditional
./
ritard. - - - - - - - -
---
.....mp r.
-
style of English folk dancing,
mainly from the Cotswolds and north-west of England, danced in groups using handkerchiefs, sticks or swords, and with bells attached to knees so the dancers make a rhythmic noise. Each dance has a specific folk tune. Many of these tunes were saved from extinction at the end of the 19th century when Cecil Sharpe and others went into the countryside to record them, since rural traditions were dying out in the face of industrialisation and migration into cities. Some claim that Morris Dancing dates back to primitive pagan times, but there are no records of it before the 15th century. Others claim that this is a myth, and that the participants invented this colourful history for themselves. The name 'Morris' seems to derive from 'Moorish', leading some to suggest North African origins for the dance. Originally all male, the dances are now often performed by women.
105
~~
-f"--:--
/"'--..,
UNIT 7 MAJOR SCALES ON BLACK NOTES Major scales starting
on black notes have a different kind of fingering,
based on the
need to pass the thumb under to a white note after a black note. In B flat major, this means we don't always get the same combination
of fingers (between the hands) on
the same black notes. Also, the second finger is put in at the start of the right hand, and at the top of the left hand.
B flat major
fJ
2
I
40
..
:> 3
2
-
3
2
1
3
4
-
4
:>
3
2
3
1
2
1
1
2
3
4
.•...
...,
3
1
2
1
2
4
3 2
••
:>
2
1
3
2
1
I
.• -
I
:>
-~~!'-~
:>
:>
--';-'" •
legato
4
3
2 1
3
3
4
~.-
I
..
2
:> 3
:>
1
3
2
•.•. -d
:>
J
:>
2
:>
:>
2
3
:>
2
341
2
E-flat major is easier, since the fourth finger is always used when two black notes are played one after the other, but never when there is only one.
E flat major
tJ It)
.2
2
I
2
I
·
-
:>
;;;~!'-~
4
-
3
~!'-~~:F~
:> ••
:>
legato
2
I
3
2
1
4
1
2
...,
3
2
1
3
~!'-~.1
2
2
:>
4.2
:>
2
2
4
3 3
2 4
4_3
:>
I :> 1
3
A-flat major works on similar principles,
1
~~!'-~ 2
121
2
3
1
2
1
2
:>
>-
;;;
:>
2
except that there are two pairs of black
notes, one followed by a single white note and one followed by two.
A flat major
tJ
I
U
2
3
.•.•
legato
:>
2
I
4 -:>
2
3
2
1
3
106
1
..., -,I .•.•.
1
3
2 4
3
2 2
:>
3 1
2 2
-
4
:>
:> •• ~.-
41
:> 3
:>
1 1
2
:>
3
4
2
J
1
....
.-
3
:>
2
3
2
I
3
1
2
:>
3
2
-,I?i-
:> •..•
:>
2-1
3
3
:> 4
1
2
3
:>
Remember
that for every major scale there is a relative
same key signature
but with accidentals
above scales follow the fingering
minor
added. However,
patterns
(see Unit 2) with the
the relative minors for the
for major scales starting
on the same pitch,
rather than for the relative majors. (So G minor follows G major rarher than B flat major, etc.)
G minor I'l
3
4
1
4
1
>
1
3
3
>
legato>
..
> >
->
··
-
> 5
~~~
•• ~~~~~~~
1
4
-
5
••
>loI
;) ~ -,J.• ! -,I
1 u
-
1 >
1
-
4
> 5
>-
>
C minor 1
I
3
.~q.~. ~.
1
4
I'l
I
>
3
>
I
)
40
.••
>
3
4
1
5
3
legato> >
4
.h.~
>
~
v
J
3
1
3
1>
•
~~. >
1
>
4
.?i-
>
>
4
5
>
-
3
I
3
5
>
F minor I'l
4 I
I
4
3
I
I
1
3
4
>
3
4
>
I
) J
~;)~-,J,! • .,.
40
>
legato>
·
.-
> 5
>
>
4 1
- .•~~q~~~ I
3
.. -
>
~~ 3
>
..
.,
•
..:~~ >5
>
3
107
> 1_
-
1
3
4
>
(/
UNIT 7 BROKEN CHORDS WITH BLACK NOTES broken chords can be played even when they include black notes that
Four-note
require thumb
to be used on them at some point. When this situation
approaches,
move the hand further into the black keys, even when actually playing white notes. This can be tricky, especially if you don't have slender fingers, but try to get used to it. Practise hands separately only.
B flat major r.h.
G minor r.h.
~ l.h.
1
2:~11~__ 5
4
2
1
5
108
3
2
1
021~5
1
2
3
5
1
2
45
2
4
5
-
SECTION
3
TONE PRODUCTION It's never enough just co know whac level of loudness you want - you need co know how co produce
it wichoue sacrificing
control over ocher aspeccs of playing.
You'll
find rhar you want co strike the keys harder for more sound, which may make your arms and wrists tense up: they can become sciff and lose the freedom of movement they have when relaxed.
Your muscles
may tire more quickly
and get strained,
leading co injuries. Before you know it, people will say you're 'banging' loudly in an awkward
-
playing
everything
too
and tense way. As a result, you may feel you have to make a
special physical efforc just to play quierly.
Bue chan can jusr increase the underlying
physical tension. So you need to learn how to produce by controlling
different
levels of volume in a relaxed way,
how much of the dead weighc of youe body is released into the keys as
you play them. Make sure you're sitting
up straight,
with relaxed,
loose shoulders.
Close the
piano lid and hold your arms so your hands are some way above the lid, ready to fall and land where the keys would be. Let go complecely
so they drop, noticing
how
hard the impact feels when they hit the lid. Then do it again, bue when your hands reach the lid, keep them resting there for a bit, with the weight still pressing so chat you can feel the lid accually raking when you lean against
something.
your weight
and supporting
down
you, like
Feel the weighc of the upper part of your body
and arms pressing down on the lid through
your hands. Remember
how that feels.
Now open the lid and try the same ching wich each hand in cum, so that you end up holding
down a simple
chord (like the one in Exercise 8.1). Can you feel the
weighc pressing chrough your hands and fingers and into the keys) The next ching is to control how much of your own weight chis by thinking
of different
go of more of the body releases more weight, and working
upwards
For maximum
you release. We do
pares of the body as having their own weight.
to include
starting
Letting
with the hands themselves,
the forearms, whole arms and even the shoulders.
loudness, we tilt forwards co chrow che whole weight of our back into
the piano.
Exercise 8.1 Try playing and holding the chords in just one band, adding more weight with each chord, then gradually taking the weight back up into your body until you are left with just the gentle pressure of the hands and fingers. Then do the same with the other hand, and hands together. Notice how the wrist plays the role of a support throughout, keeping the hand from collapsing under the weight of the arms.
light
----------I~~
5 2
tJ
11
5 3
il
I
5 2 I
------------I~~
19-
1
3 5
19-
~
~
..0...
J 3 5
1 2
5
110
light
5
5
3
II
I
~
40
.
I
heavy
~ 1 2
5
~
3 J
I
I
I
~
~
I
3 5
# 1 2
5
~
SECTION
3
SCALES AND SCALE THEORY FOR JAZZ, ROCK, AND BLUES In classical
piano
playing,
scales tend
co be treated
just as technical
warm-up
exercises. Bur if you want co be creative and compose or improvise
your own music,
scale theory. This tells you how differem
kinds of scale are
you'll need co understand organised,
and how they relate co each other, so you can use them to make music for
yourself. Traditional chromatic. provide
classical
By contrast, source
material
music
really
only
uses three
scales:
major,
jazz, rock and blues draw on a wider for chords
and melodies,
and
these
are still
often
understood
in terms of the major-minor
alterations
to the major scale that could be built on the same note, shown using
numbers
to represent
scale-degrees.
distinction.
though
minor
range of scales to
The best way to learn these is as
This will allow you to find the notes of any scale
in any key, providing
you're familiar with the major scale for that key. For example,
the classical harmonic
minor scale can be written
as:
1 2 b3 4 5 b6 7 Within
the seven-note
all musical cultures
major scale is a more basic five-note scale, found in almost
across the world. This is the pentatonic
scale. Notice
how it
misses out the 4th and 7th of the major scale: 12356
,...
2
3
(4)
5
6
(7)
•
(0)
•
•
(0)
•
This means that instead of tones and semitones,
~
it consists of tones and minor 3rds.
Because it's found within the major scale, it's known as the major pentatonic. The equivalent
minor
penraronic
uses the same notes, bur starts a minor
lower. Note that 4th and 7th degrees of the scale are not omitted,
,...
major pentaronic,
~3
4
5
~7
...
•
•
•
Notice how the 7th of the minor penratonic
is already flattened,
the raised 7th of classical major and minor key harmony. 5th, to this scale gives us the blues 3rd, 5th and 7th produce
,...
scale.
Adding
1
~
when compared
a bluesy, our-of-tune
~3
4
~5
...
•
~o
5
q•
to
an extra note, the
This note is also flattened,
and the
sound when the scale is
played over major key harmony:
124
as they are in the
but the 2nd and 6th degrees.
1
flattened
3rd
~7
•
SECTION
4
UNIT 10 INTERPRETATION When
you learn classical
pieces,
you're
presenting
someone else, so you have to make judgements sound. That's what interpretation
music
that
was written
by
about how the music was intended
to
is all about.
In Unit 5 we looked at ways of making a melody sound more expressive by subtly Develop your interpretation
adjusting
Don't just learn the notes first, in the hope of
relation to harmony
working out an interpreracion and then imposing
as we go along, to reflect the structure
of the line and its
and metre. We can also use slight adjustments
the timing of particular
it later on: rhar never sncceeds. Let your interpretacion
the dynamics
notes or chords, to heighten
of tempo,
the listener's
and of
expectations.
There are all SOrtS of ways to pm across the mood, feeling or character of a piece,
develop gradually as part of the
process of mastering the playing, so technique and
but
expression are coordinated from the outset.
interpretative
only
if we've
STYLISTIC:
first
become
aware
of it for ourselves.
To achieve
proper
awareness, think abour these issues as you learn the piece: When was the piece written,
and what were the conventions
for playing
that SOrt of music at the time? (Don't panic: we'll go into this larer.) Who wrote it? Does it belong to a particular EXPRESSIVE:
What sort of mood, emotions
it suggest a personality? DRAMATIC:
genre?
Is it song-like,
What dramatic
or character
dance-like,
features or contrasts
does the piece have? Does
or like a conversation
or a march?
could you bring om? Where does
the climax come? How is it resolved? NARRATIVE: A musical romance
Does the music tell a story? What do you think happens in the srory,
and how does it end?
Robert Schumann (1810- 5 6) was one of the most important composers of the Romantic period,
By now you should be getting
which lasted from towards the beginning of the
imagination.
the message: interpreting
music is creative. It takes
19th century to the beginning of che 20rh. He was also a great pianist, writing a lor of fine music for
Italian
Abbreviation
Explanation
the instrument. He fell in love with and married
forte-piano subito forte subito piano sforzando
fp
loud, then immediately
sf sp sfz
suddenly
Clara Wieck (1819-96), the leading piano teacher .of her day; her students established some of tbe grear schools of piano playing of the last hundred years. The romance between
soft
loud
suddenly soft with a sudden accent
Robert and Clara-
the leading composer and rhe leading pianist of
See the Glossary
for more Italian
musical
terms
and their abbreviations.
the time - was one of the great events of the
advanced level you will also be expected ro know French and German
At an
terms.
German musical world. Legend has it that wbeo Schumann was trying to drown himself in the river some people passed by in a boat and fished
TEST YOUR INTERPRETATIVE SKILLS
him Out of the water. He immediately rhrew
The Schumann
himself back into the water again. Like several
inrerprerative
piece 'First Loss' (opposite) abilities.
offers a perfect chance ro exercise your
With a title like that, it's obvious it's going to be sad. (Like a
Romantic poets, philosophers and composers, he
lot of Romantic
evenrually went mad and ended up iu a mental
expressive piece, so we can do a lot with shaping dynamics
asylum.
the intensity
music,
it's about
dearh.)
melody
It's clearly an
and timing
to bring om
to heighten
musical story or drama. Note how Schumann
and accompaniment
ro form a single
sense of melodic shape and motion at all levels.
134
subject:
of the line, and we can also use speed and timing
overall sense of an unfolding integrates
that forbidden
texture,
the
cleverly
while retaining
a
UNIT 10 Exercise 10.1. 'First Loss' starts with just the right hand, inviting you to focus on the expressive value of each note euen more them usual. Although
the first note is individually
CD: TRACK 28
marked loud
(fp), this is relative to the overall character of the phrase and not aggressive. Hold it for
Precious silence
slightly longer, so it has a chance to die down a little. That way it will connect up with
Rests are as important as notes. Music isn't just
the line. (Note the way the left hand then fills out the harmony with ouerlapping notes:
about hearing sounds in more incense ways than
these produce a sustained
texture
and echo the falling
intervals
you would in everyday life - it's also about
of the melody.) The
learning to hear and appreciate silences.
and really starts to flow from bar 6 down
music only gradually picks up momentum,
tou/ards the cadence in bars 9. Then the expressive return of the opening can coincide with
a slight pulling
alterations
back of tempo,
(D-sharps
and A-sharps)
Not fast (j
5
j,j.
••
I
) 40 l\ ··
so it gets drawn
------
4
out yet again.
should also be highlighted,
"-----
1
4
~
2
..
J
3
2
4
3
2
l r-
:
~ 2 4
I 3
5
135
2 4
1 3
5
4
3
2
~
-""
>-
-
5
)
1
3
>-
4
4
4 I>
;::
4 )
I
··
,
3
I
4
>
=:::L
_.-
J
>
( ) \
4tJ
>
++----- " ""
I
3
3 I ->-
4
•
-
>
5
3
I
I
3
-
>
-.
~.tI..\
>
4
I
A
n.
1
3
>
;;:
=:::
>
I
3
5
3
+t.~
4
IV
5
-
4
>1
I .~;-:
~~f:1~ (q);- •
1
3
•
>1
-
4
I
.~ >
>
I
3
I
4
3
>-
:::.3
I
4
>.u.
-
5
h>:+t----q~(~~~
I
E melodic minor J
1
>-.
,-
5
/).u.
4
>
>
"
,~
-.:.
3
-
D melodic minor 3
1
fI.\>
• ~~#+-;I.+- (q)~~.- • •
->-
>-
4 4 ++. ~h.
.u.>-
1
-
~-,J",.>
·
3
>
142
-
3
J
I
>
>
> 4
1 \"V
\L.j.I-
I
3
>-
>-
;;
>-
I
5
notes
UNIT 10
B melodic minor
J
-
4
Il~
1~
..
-';>
1
2
2
3 4
>
z>
3
•• -p
>
>
3
v
1
5
+t~~~,L
-
•
4
J
>3
> c>
>
4
J
1
~.
•
>
>
t1.\
3
2
3
> 4
1
4
G melodic minor
Il
454 I
3
I
....
-,;
~
)
c melodic I
f
J
(~)~.
··
4
3
4
3 1
1
-
3
I
A >
3
minor
.-
40
~
3 J
->
··
Il
>
> • ~,Lq::=:+t.~.
>-
r
I
4
I
-
4
I
1
>3
5
.I..>:h.~
b
4
>-
3
1
>
1_
>
•
•.•. v
t:
\- /
-
J
4
5
~
>
3
>
4
',L
1 3
~)~.
1 3
4
>1
.? >
>
>-
>
>
>1..
3
1
1 >
4
h.~ v
J
5
3_
~
I
-
>
• >
4
A
11..\
1
5
>
-
3
>
F melodic minor
Il
I
1
.-
4U
>
··
•
3
1
4
5
>
I
1
3 t>
4 I
>1
J
4
>
>
>
~
>
4
I
3
4
> .~q~q~~~~
I
3
(~)~~.
3
\Vj
·W).
1
> •
-
>
3 1
4
143
4
1
-
>
.~ (J
> 5
UNIT 10 ARPEGGIOS TOGETHER the hands
Combining problem
AND
CHROMATIC
for arpeggios
if you've mastered
co join notes smoothly
SCALE -
(in the same direction
them hands separately;
when stretching
HANDS
only) will not be a
bur be careful, it's easy co forget
under or over into the next Octave when both
hands are playing. Slow them down co stare with. It's time co try playing directions
(contrary
the chromatic
motion)
scale hands
together:
then in the same direction
first in opposite
(similar
motion).
Start
with one octave, then extend it co a second octave with the same fingering. Note
how in contrary
between
motion
we get matching
hands when we start on D or A-flat,
fingering
around which black and white notes form a symmerrical
,
ar the same time
since these are the only two notes pattern.
fl
I
~F~r~~
Written:
Played:
r
~
A trill is a rapid alcemation
between rhe main noce and the note a scep higher. Trills
begin on the upper note in Baroque music (eg, ].S. Bach or Handel) immediacely Haydn,
by chis same nore, but as the Classical
Beethoven)
(unless preceded
chis practice
150
shifted
period
(Mozart, note
by the upper note as a grace note), Because (he tri ll normally
ends
for the melodic resolution
co starting
developed
on rhe written
with a turn (in preparation
gradually
unless preceded
that follows, if the latter is not
already anticipated
melodically),
the later style requires
inclusion
of a triplet
to fit
all notes into time. (The last two notes of the turn often appear as grace notes before the resolution
note.) Trills were employed
arias, coinciding not continue
with a final resolution
through
to round off cadenzas in concertos or vocal
of dominant
the entire duration
music become single alternations,
harmony
to the tonic, and may
of the note. Trills on short notes in fast
turns, or a combination
of the two.
Written:
Played (fast Baroque):
F Played (slow Baroque):
Played (Classical):
Written:
Played (fast Baroque):
tr
tr
$=f~l1~~F~~r~ Played (Classical):
Played (slow Baroque):
~
Mordents
evolved Out of trills on short, fast notes (,Schneller'
later came to consist of a single alternation
in German).
They
with the note above or below (like upper
or lower auxiliary notes).
Written:
Played:
r
J
•
Written:
J
~ Played:
#
J Note
how the small
chromatic
alteration
accidentals
~
placed
r
~
above or below
of the note above or below the written
ornament
signs
~
signify
note.
151
UNIT 11 Exercise 11.3 The Classical period ornaments in this theme from Haydn's A major Sonata should
CD: TRACK32
reflect the relaxed character of the music. Watch out for the difference acciaccaturas (bars 2, 4, 8, 10 and 12) and appoggiaturas Grace notes before the final appoggiatura
bar tell you to finish
between
(bars 5-6 and 13-14.)
the trill with a turn, while the
in the last bar takes two counts, resolving only on the final
beat.
Practise the melody without ornaments first, then hear how decorations embellish the line without distorting its underlying character and shape. The repeat marks means that in performance you could play each section first without, then with ornaments.
TEMA
Tempo di Menuetto cantabile '}.j.I
+!
-
tJ
--====
mf
:
~-~
3
•
-
:::::==--
~
6
tJ
,I,j.
-
4
+!
I
{
'--=
40 fl,l,j.
. .L...eOo_--'fI'--_----'fI'--_----'fI
9
I')J.I,
----
40
UNIT12,
~o.~.",.,·
build up your own personal repertoire elaborations.
of licks, riffs and other right-hand
Many of these will interweave
fragments
arpeggio chords with added notes or extensions, fingerings
the 7th chords whose
are shown below. These playa more important
improvisations, principal
of different scales and
including
and practising
structures
role in chord-based
jazz
them will help you familiarise yourself with the
of Jazz across the full range of keys. Tryout
keys as well, and note that fingering
may vary depending
fingerings
for other
on the size of your hands.
7TH CHORD FINGERINGS Root position
7th chords on white
1234, passing
thumb
notes follow a simple
logic for fingering:
use
under for the next octave and 5th at the top. (This works for
all chord rypes.) However if the chord begins on a black note, begin in the middle of the pattern fingering
Enharmonic equivalents with the tuning fixed to be the
same in all keys, enharmonic equivalents really only serve to ind- icate harmonic
function,
appears on the first white note, as below, adjusting
and we
can comprom ise rhis in practice to avoid unnecessary accidenrals. (It's common to see
2
1
the
the first stretch under. (Don't worry about inversions just yet.)
'~II~
BD7
Because the piano is tuned to equal temperament,
so that thumb to minimise
2
3
4
1
2
3
4
3
2
1
4
3
2
1
2
diminished 7ths written more freely, as they often function ambiguously in rerms of key, since any nore can be the roor when they're all equally spaced.) Bur be careful wriring or arranging for stringed instruments or voice, where
'~II~ '~II~
enharmonically equivalent nores produce real
23123412321432132
differences of tuning.
BDm7DS
23123412321432132
4
4
Practise all of these 7th chords as arpeggios and broken chords, through with the appropriate practised
fingering;
diminished
7ths and dominant
7ths should also be
hands together as classical arpeggios.
Watch out for. enharmonic would be an F), but it's written Likewise a diminished
equivalents:
F-flat is the same as E, (and E-sharp
this way to show it's the flattened
5th of the chord.
7th on B-flat should strictly include an A double
(written
as two flat signs next to each other), which is a G
double
sharp
174
all keys,
sm the piano.
flat (Note that a
is written as an x, not as two sharp signs. God knows whyl)
SECTION
5
UNIT 13 CLASSICAL STYLE The late l Srh century composition.
saw the emergence
('Classical
music'
of what is known as the classical style of
is a much broader
music as a whole, not just music written style emphasises
during
clarity of form and naturalness
of unfolding.
into phrases that follow a question-and-answer balanced structural leading composers in instrumental
divisions.
Technical
art-
The classical
The music is divided
while also forming
carefully
as a major art form,
melody as the focus for drama and expression,
improvements
restrained
and delicate,
as the principal
allowed composers with dynamic
a clear distinction
(accompaniment).
the pieces mentioned
the harpsichord
its musical possibilities.
later styles. It also requires background
to European
even
music.
and Haydn to start exploring is generally
pattern,
By this time opera had emerged
to emphasise
It was now that the piano replaced instrument.
term, referring
this 'classical period")
such as Clementi,
Mozart
The classical style of playing
contrasts between
less pronounced foreground
than in
(melody)
and
To get a sense of how this works, get hold of some of
in the Repertoire
guide at the back of this book.
The key concept in playing classical period music is that of phrasing. to how we present
keyboard
various elements
create the sense of an unfolding
This refers
of the music so that they combine
series of ideas. Phrasing
together
to
includes:
l
shaping of line wi th dynamics; maintaining stressing
line with legato and singing tone;
rhythmically
creating breaks/gaps
important
notes, in line with metre;
between phrases (often by shortening
A good pianist will be aware of how particular fingers affect severa! of these elements as it is often responsible dramatic
sound. Staccato articulation in scale passages
relaxed control
of arm, wrist, hand or
and the lightening
Arm weight is only used in rare moments
the music in respect to lightness especially
movements
last note of phrases).
at once. The wrist must be especially flexible,
for both the accentuation
that mark phrase divisions.
and shortening for a full and
must be carefully judged to fit the character of
and shortness,
and arpeggio
which can only be achieved
forcing the hands. Sustaining
and real evenness of tone is necessary,
patterns.
All of this requires
by careful practice,
a state of
and never through
pedal is rarely used, if at all. (Note: phrase markings
may not be given in the music - or may have been added by editors.)
Muzio Clementi (1752-1832) was an important figure in the evolution of the European piano tradition.
Clementi arrived
on the scene as the more powerful English piano was being developed. He developed a style of writing for the instrument that features richer and more dramatic textures than anything Mozart or Haydn had dared to write. Clementi made more use of the powerful lower registers, with thicker chords, unusual modulations, octave doublings and sudden changes of mood. He had an almost symphonic approach to sonata movements, in which the unfolding of a work is anticipated in an introduction that recurs later as a dramatic recall. In this respect, and in his development of specifically pianistic techniques and textures, he provided an important model that was taken much further by Beethoven, who also prescribed Clementi's sonatas as daily practice when he was teaching his nephew.
176
l
UNIT 13 Exercise 13.1. Muzio Clementi
-
was one of the first composers to develop a style of writing
for the piano. In later life he turned Musically,
he was influenced
illustrates
the concise, logical form
admired
CD: TRACK 49
to manufacturing and selling the instruments.
by Mozart.
This movement
from
and clarity of phrase
his Sonatina
structure
in G
that Beethoven
in his works. The opening theme captures both the singing character of the
upper register of the piano
and its capacity for detailed
phrasing
legato and staccato. The left hand provides a smooth and flowing can be softened by overlapping with
specifically
keys. Rotation
notes within
helps the right hand
and contrasts of
accompaniment
each chord and keeping fingers in bars 13-14 and 50/52,
that
in contact
while
louder
passages in the middle section call f01" a lively staccato touch to set off quavers against the semiquauers,
which must be played legato. Watch for couplets and phrase endings
that need lifting from the wrist to lighten and shorten notes.
~.
Allegro 1
I .••
{
4 )
mp
• • •
1
1~2
-
-
.
>
~(~)~~~
-4
2
1
1
2
'V
(~)~ .•
l~
>
>
3
I
2
3
1
>-
>
MORE BLACK-KEY ARPEGGIOS The arpeggio
of D-flat
major is like A-flat and E-flat majors. Only the 3rd of the
chord is a white note, so 2nd and 4th fingers come together flats, with thumbs However,
on the D-flats and A-
together on the Fs between (see Unit 11).
B-flat minor (the relative minor) is different,
since here the white note
is the 5th of the chord. Note: the left hand follows the fingering
B flat minor
tJ
2
J
3
I
I
)
4!J
-.;-" >
3
By contrast,
arpeggios
...
2
1
2
J
3
2
I
~
>
for B-flat major.
3
...,
2
" -d >
>
..
legato>
-
3
2
>
rtL- ••
'0./"
I
>
1
2
1
2
3
-
1
>
2
of G-flat major and E-flat minor have only black notes, so
we finger them as if they were white notes. G-flat major has 3rd finger on the second note in the left, whereas E-flat minor has 4th finger as the gap from the first note is smaller. Aim for rounded
fingers, playing
1
>3
1
-
1.-!-.-, 3
3
~.•~(~/::h.~.
3
2
I
2~>
I
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fingers often can't do this because the same hand is also involved in playing parts of changes
5~J
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LEGATO PEDALLING IN ROMANTIC MUSIC sustained
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3-
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C sharp minor (harmonic)
,
2
tl .loI ++
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G-sharp minor doesn't,
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but note the F double sharp (equivalent
1
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to G natural).
G sharp minor (harmonic) tl.lol
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2 3 1
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UNIT 14
C sharp minor (melodic) 4
fl ~ +t
2 3
4
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1
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G-sharp minor melodic isn't affected in the right hand, since the raised sixth is an E sharp, which is still a white note (equivalent fingering F-sharp,
to an F natural); however the left hand
must alter on the way down, since F double sharp is lowered to an ordinary which is a black note. (Notice
how we write the accidental
cancelling
the
double sharp to a single sharp.)
G sharp minor (melodic)
fl ~
1
-1
-
1
231
-
_ .k~_
I
I 4
3
4
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>:.~ 14
u.>-
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:;:
THREE MORE BLACK-KEY ARPEGGIOS Arpeggios
of C-sharp minor and G-sharp minor follow the same fingering
patterns
as D-flat major and A-flat major, since the 3rd is still a white note when flattened, F-sharp minor follows the same principle,
so it's different from G-flat major. In each
case the notes will be the l st, 3rd and 5th of the equivalent
196
minor scale.
~
SECTION
5
THE INTERPLAY OF LINE AND HARMONY In this unit we're going to look at the way harmony, in the freer kinds of jazz improvisation, used in composition. shadings
of harmonic
improvised
Jazz improvising structures
melody, form and tenure
works by turning
direcdy
line in the first instance
the subtle
is just the way it expresses
notes foreign to it, or by deliberately another,
sounding.
bur also pulling
colours
into melody. So what's important
suggesting
It's the interplay
a different
as
either by adding
harmony
of line and harmony
and
about the
the harmony
melody. On top of this, the line can also work against the harmony, that is actually
work
and at how this relates to similar techniques
from the one
- expressing
one
against one another - that gives jazz its musical subrlery.
MODES Because jazz melody expresses and explores harmony, are created more as particular of notes sounding extensions
This is a logical extension
of the technique
of treating
such as the 7th, 9th, l l rh or 13th as part of the chord, since that means, notes.
material
chord changes
kinds of melodic resource than as precise combinations
together.
in effecr, that practically harmony
the underlying
all the notes of the diatonic
So it's simpler
just to think
it gives rise to. This corresponds
scale are included
of the chord
in terms
to what we get by playing
the music is based on over the roor of the chord in question:
as potential of the scale the scale that
notes of the scale are
ro that root, rather than ro the normal starting
then heard in terms of their relation
note of the scale, the tonic. When we treat a scale as starring
on a different
note from
normal, even though its actual notes are the same, we call it a mode. Here are the modes created when we play the notes of a C major scale, starting not just on C but on each of the scale's sequence degrees
of
tone and semi tone steps,
of each mode (indicated
relative ro a major scale starring modes independently
Each mode has its own
and thus its own character.
by Arabic
numerals)
are flattened
Learn which or sharpened
on the same note. That way you will be able to use
of the underlying
intervals in each mode correspond
notes in turn.
key when you wish to. Observe also that the
to those in a chord built on the same starting
note
(the Roman numerals show this).
, , , ,
Ionian - I 1
2
3
5
6
7
8
()
«)
0
0
)
4
5
6
~7
8
0
0
0
,
()
4
5
~6
~7
4
*
-e-
0
0
,
~
Dorian - II (VI) 1 0
2 0
~-3 « )
)
~
Phrygian - III 1
~2
~3
* 0
I)
0
I)
0
8 (1
0
()
5
6
7
8
0
I)
0
Lydian - IV (I)
198
1 «)
2 0
3 II
#4 0
(
)
~
Mixolydian - V 2 1
t t t
3 0
I)
0
* I)
177
6
5
4
,
0
8 0
0
)
~
Aeolian - VI 173
2
1
.. )
0
(t
..
0
)
~3
*
()
0
()
with
dissonance
the implied
in non-classical
at prominent
177
0
0
~S
~,6
0
0
4
The notes marked with an asterisk are considered clashing
176
8 -e-
~
Locrian - VII 172 1 0
5
4
root
P
-e-
dissonant
of the chord
8
..0...
- that is, they're heard as
(we looked
at the treatment
of
music in Unit 9). We therefore tend to avoid using them
points in the line or at the same moment
gets struck. In these cases, we would substitute
that the chord itself actually
a raised (sharpened)
note instead.
For example, a I chord in a major key gives us the Ionian mode (which happens to be the same as the major scale itself), and here it's the 4th degree of the mode that's problematic.
So we JUSt sharpen the 4th to make it less dissonant.
However,
do this enough
times in the solo and you start to hear the sharpened
4th itself as part of the mode. So it can sometimes Lydian
mode (which
already
contains
be simpler
the sharpened
just to think
4th) as providing
of the
the scale
material
for soloing over chord I, rather than the Ionian. (Parallel to this, Dorian can
function
as VI, but sharpening
dissonant
notes in other modes, such as over II itself,
gives rise to more advanced jazz modes that have to be derived from the jazz minor scale rather than from modes of the major scale. See Unit 18.) Which way you think of this is up to you: seeing it as a change of the actual mode used on the chord is really just a kind of shortcut
to getting
it's handy if you generally prefer to avoid dissonant
scale degrees in favour of a cooler
or sweeter
sound,
but not if you like to maintain
melody and harmony. exception working
---
rather
a continuing
than
the norm,
harmonic
structure. is to see how alterations
as we move away from Ionian (as chord 1), ascending
So when jazz progressions of VI-II-V-1),
between
since this keeps you aware of how the line is
The best way to grasp how modes relate to one another
(think
tension
In the latter case it's better to still treat the raised notes as the
both with and against the underlying
accumulate
the right alterations:
have the root descending
the resulting
the major scale of the underlying
modes gradually
the circle of 5ths.
in 5ths, as they frequently
do
converge with Ionian, which is
key:
CHORD:
MODE:
ALTERATIONS
FROM MAJOR
VII
Locrian
b2
b3
b6
b7
III
Phrygian
~
~
M
~
VI
Aeolian
b6
II (& VI)
Dorian
b3 b3
V
Mixolydian
b7 b7 b7
I
Ionian
IV (& I)
Lydian
b5
#4
199
UNIT 15 OFF-NOTES Take another
look at the notes with asterisks in Ex.lS .1. Note that different modes
have different dissonance twelve-note these
dissonant
notes to be avoided.
works in relation chromatic
are called
harmony
But there's
another
scale, this leaves a set of five unused
off-notes,
used when
and sound "out-of-tune".
now from blues.) When
aspect
to how
to modes. Because each mode uses seven notes of the we want
notes for each mode:
to deliberately
go against
the
(That's a concept you should be familiar with by
you're familiar
with each mode as a set of alterations
the major scale on the same note, try learning
the off-notes
from
for each mode in the
same way.
Improvising
CHORD:
MODE:
OFF-NOTES
Greeks
VII
Locrian
2
3
S
6
7
The scales and harmony of western music
III
Phrygian
2
3
6
7
originated from modes just like those used in
VI
Aeolian
6
7
Dorian
European church music (eg, liturgical plainchant)
Mixolydian
during the Dark Ages and medieval times.
I
Ionian
Byzantine culture centred on Constantinople-
IV
Lydian
b6 b6 b6 b6
7
V
b2 b2 b2 b2 b2
3
II
bS bS bS b5 b5
j32Z.The Ancient Greeks used modes, as did Byzantine culture, which influenced early
3
b3 b3 b3
4
7
b7 b7
now called Istanbul. It had been the Eastern part of the Roman Empire, surviving the destruction of the rest of the Empire, and keeping a rich library of classical manuscripts daring back to Ancient Greek rimes. Because of its location it was heavily
LEFT-HAND VOICINGS
influenced by Arabic as well as Ancient Greek
Voicing
culture: in the Middle Ages the Arabs had by fat
right hand to solo over them, so it's handy to have a way to voice chords entirely in
the most sophisticated musical and literary culture
the left hand. We do this by omitting
in rhe world. When Constantinople fell to the
chords between
the hands (as shown in Unit 9) limits
player in a jazz ensemble,
Orromans in 1492, the scholars fled west ro
the freedom of your
the root, which is often provided
and even if it isn't, is heard as implied
by the functional
Europe, bringing with them their knowledge of
character of the chord. Left hand voicings have the same voice-leading
Ancienr Greek and Roman traditions, and giving
as the II-V-I progressions
rise to the Renaissance Crebirrh') from which
but
modern western culture has developed. Ir was only
distinguished
then char the major-minor tonal system - the basis of diatonic harmony - emerged, when musicians in Florence believed that rhe Greeks had
also include
the
we've already looked at (ie, alternate
13th
by whether
for the V chord.
pattern
descents),
are two voicing
parrerns,
5th finger plays the 3rd - 7th - 3rd or 7th - 3rd
- 7th at
but the choice of voicing
also depends on the key you're in, since this affects where the voicing lies in
improvised over chords, and tried to do rhe same.
relation
produce different
refer to rheir origins in different regions of
generally move to the position
Ancient Greece. The Renaissance also took from
just played. These voicings
decoration and colour in the arts. You can hear
characteristics
stepwise
the bottom of the chords. Chord voicings are colouristic,
We still use the Greek names for modes, which
Byzantine and Arabic culture a new feeling for
There
by the bass
to the middle
register of the piano. Note the variations
degrees of harmonic
Evans and Wynton
resolution.
Outside
on chord I, which
of II-V-I progressions,
emerged
in [he 1950s, associated
with players like Bill
Kelly, and were widely used in the 1960s. (Note that the chord
this in the music of Monteverdi, but it remains
symbols
above the music here only specify the type of 7th chord,
central to all western music that focuses on colour
added notes, as in classical music or ordinary popular
and decoration, whether it's Chopin or j32Z.
7th chord is enough
to give the chord function
but added notes that are chromatically Dm?
we
for the next left hand voicing nearest to the one we've
rather
than all
music. In jazz, indicating
for standard
unaltered
[he
progressions,
altered would be specified.)
G?
Dm7
G?
eM?
~,~/ib ill
I
v
5th finger
I
T
5th finger
These voicings are too dense to use lower down in the left hand register, want fuller sonorites go for the pared-down like Bud Powell: these are two-note
200
voicings of earlier 1950s bebop
or three-note
root position voicings.
so if you players
IUNIT15
Gm?
FM7
C7
FM7
Exercise 15.1 Take all of these left-hand voicings through all keys in descending 5tbs, major 2nds and semitones, just like we did with the two-hand voicings. Then try playing the appropriate mode for each chord of the Il-V-I progression in the right hand at the same time. Hear how each mode expresses the harmonic flavour of the corresponding chord, in melodic terms. Then try improuising figures over the left hand voicings with the modes.
CHROMATIC HARMONY Classical Chromaticism
is a major feature of jazz, but your appreciation
of it will be far richer
if you're also aware of how ir works in classical music. Make sure you take the time to play through
each of the following
carefully
to the voice leading.
classical
music
harmony
for colourisric
Baroque
period
was the gradual
(quoted
introduction
surprises
with J.S.Bach,
highly chromatic.
examples
whose harmonies composer
listening
of the development
of ever more
chromatic
This started
often anticipate
Look at this famous harrnonisation
emerges naturally
several times,
and expressive contrasts.
later by the 20th century
chromaticism
musical
One of the main fearures
of
forms
of
back in the
jazz and can be
of the chorale 'Es ist Genug'
Alban Berg in his VioLin Concerto). The
our of the melodic voice-leading
of individual
parrs,
partly results from his unique approach to composing,
which
bur still gives rise to strange chords with an 'other worldly' feel:
Es ist genug;
Bach's chromaticism emphasises unfolding
the horizontal simultaneously)
or polyphonic
aspect
and the vertical
(the relationship
or harmonic
between
lines
aspecr with equal force, so
neither can be reduced to the other. (You can see this in the Fugues from the 'ForryEight'.
See the Reperroire
Guide.)
Before Bach, composers
harmony
dominate;
after Bach, music
between
individual
melody
lines and harmony,
prevent
composers
ronal system and introducing
chromatic
However,
this didn't
became
let either polyphony
more focussed at least until
from expanding harmonies.
or
on the relationship the 20th
century.
the range of chords in the
Let's look at some of the ways
they did this.
201
.
UNIT 15 relations, so a chord can be treated as a
Classical harmony centres on tonic-dominant tonic even when it isn't one by introducing modulated passing
to that key for a moment.
modulation.)
into the harmony
that don't
I
.J
alterations
of the dominant',
I
IV
~
1
I
I
v
VofV
V of II
Note how V of V introduces in the dominant chromatically unaltered,
or cross relation, Augmented
I
I
I
~I
~ I
v
II
upwards
nore comes just after a chord
these are normally
of
I
the raised 4th of the scale, which is the leading tone
key, and so can resolve
altered
1
:;1
~
c.
notes
key of the passage, and are
I
~ I
they inttoduce
shown as V of V.)
~'I
'~
it had
it's called a
of the scale. (The most important
I
I
as though
happens
dominants:
belong to the underlying
as chromatic
these is the 'dominant
~ 40
this actually
These are called secondary
tben heard melodically
~
its own dominant,
(When
chromatically. with
(\1Vhere the
the same scale degree
both placed in the same part to avoid a false relation
though there are cases where these are allowed.) 6th chords
also produce chromatic
with the raised 4th over the flattened
movement
on to the dominant,
6th of the minor key scale. The name refers to
the interval between these two notes. Technically, the chord can be analysed either as altered lIc (with sharpened 3rd and flattened 5th, omitting or including root or flattened 9th) or as a ivb chord (with chromatically raised roor)
a chromatically originating
from stepwise contrapuntal
It comes in three forms that all resolve on to V. (Note how the last one avoids parallel 5ths by moving to Vc). Italian sixth
tl
French sixth
*
lJ .
German sixth
*
40
-
~
~~
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---.-
IL>-
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ffr-. ......,
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112.
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r-. ql!'
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4
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=
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5 3 2
5 4
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q~ 1\
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4
4
5
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up.
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l
l 218
BEETHOVEN The German composer Ludwig van Beethoven changed and
irreversibly
Napoleon,
unprecedented
the face of European
he asserted disregard
his
uncompromising
sensitive
personality
originality,
while the deafness
increasingly
introverted.
was a titanic genius who
transmitted
by the French revolution
artistic
for both social and musical
profoundly
(Tur Elise') in Unit
(1770-1827)
music. Inspired
conventions.
itself directly
that eventually
individuality
isolated
with
His fiery yet
into music of startling
him from others
left him
We've already looked at one of his most famous melodies
5. The evolution
of his compositional
style divides into three
phases, known as the early, middle and late periods. The early Haydn),
period
reflects
the priorities
but with a more intensely
development
dramatic
approach,
with
opening
especially
with
where thematic
the
Symphony
No.3
('Eroica'),
the
In his late period
for composers of the Romantic
Beerhoven
retreated
rediscovering
transcend
classical and Romantic
and transfiguring
earlier
new formal possibilities
with deeper forms of structural could not understand
works, which
into something
such as fugal
improvisatory
unity, anticipating
more details in the Repertoire
yet intellectual
and
period that followed.
unique,
writing
while
freedom and decoration
20th century they blamed
music. Audiences on the composer's
he'd gone mad. His 32 sonatas are technically
works that reflect his dramatic
shows
dramatic
The late piano sonatas and
tendencies
techniques
combining
these strange
deafness. Some thought
Beethoven's
period
more and more into his inner world,
affected by his deafness and other tragic circumstances. string quartets
middle
up classical forms into a much more expansively
lyrical idiom, the inspiration
exploring
style (he studied
is concerned.
Beginning Beethoven
of the classical
demanding
approach to the instrument.
There are
Guide.
pupil Carl Czerny taught Liszt, who then caught many great players
of the late 19th century,
some of whom were still around when the first recordings
were made. So if you take the time to hear and learn from them,
you'll be a step
closer
his works.
to knowing
Listening
how Beethoven
himself
might
have played
Guide at the back of the book has recommendations
The
on recordings.
Beethoven became ill and died because he was so poor that he had to travel home from a performance of his music in the back of an open cart, in the cold and rain. Legend has it that his last gesture was to shake his fist in defiance at his fate. His late works only began to be appreciated much later, when composers like Wagner rediscovered them. He was constantly frustrated by the limitations of the pianos of his day, which he often wrecked. A piano was made especially for him by the English maker, John Broadwood, whose instruments can still be bought today.
219
Exercise 16.4 CD: TRACK
This Scherzo, No.2 from the Bagatelles (Op.33) is probably an early composition that
57
Beethoven re-used. Notice the sudden leaps of register and contrasts of loud and soft, both of which anticipate You'll
need to practise
combination
the fragmented, the physical
disjointed
movements
character of modern music.
across the keyboard
to get the
of speed and control needed to land in the right place at the right time.
Notice the sudden switches between legato and staccato as well. Kick in with wrist and forearm for the louder staccato crotchets, with a light and springy hand staccato for the softer repeated chords. Make the final
chords short to the point of dryness
(with clenched-hand staccato) to compensate for the greater resonance of the lower register.
Allegro fl
2
sf
40
p
marcato
f) 4U
CD: TRACK 60
3
4
5
3
4
6 2
(r.h. over)
>.====== 2
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4
2
3
1 5
4
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2 3
1 4
2 3
5
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.
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-
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-===:
f
:>
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1
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cresco malta
r-i
dim.
»if
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3
r-.
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4
5
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228
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1 3
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L..-J
5
5
4!'
-==== .If
pp
p'
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k~
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e
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dim.
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cresco malta
r-1
2
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ppp
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p-====== l.h.
3-4
ppp .----3 ----,
3
1
2
-=== ===-
l.h.
r-.
q
~3~
mit sehr zartem Ausdruck
genau im Tala
wie ein Hauch
[with the most delicate feeling]
[strictly in time]
[like a breath]
pppp~ [Jz'reO
231
---'J]
UNIT 17
Arnold Schoenberg (1874-1951) was the most controversial and radical composer and theorist of classical music in its modern phase. Coming from a Slovakian family, but based in Vienna, he dominated
Austro-German
music
until the rise of Hitler forced him to flee to California, where he then exerted an influence on American musical life. In his early works, Schoenberg pursued Romantic music's tendency towards increasing extremes of chromaticism,
rhapsodic comlexity, and richness of
texture. He took it beyond anything that had appeared even in the works of such composers as Wagner, Wolf, Mahler or Richard Strauss. This led to increasing levels of tension and dissonance, and to the suspension of tonality At the same time, he reintroduced
(the sense of key) in music.
stricter formal techniques associated with Brahms
and the classical masters. In this way he reintegrated Austro-German
the two opposing sides of the
musical legacy (which at the time were identified
with Wagner and
Brahms respectively), but under extreme circumstances. Schoenberg's move into atonal music reflected his sympathy for expressionism in art (he was also a painter), and led him to develop the 12-tone technique, composers worked throughout
which continued to influence the way modern
the 20th century.
His work Pierrot Lunaire, for female voice and chamber ensemble, introduced speaking, half-singing
style of declamation
a half-
called Sprechstimme. Later, when the
composer returned to his Jewish roots, he composed an opera, Moses und Aaron, which explores the conflict between the truth of ideas and the eloquence of earthly communication.
This reflected his conception of music as an art that should remain true
to its inner formal and expressive principles - its ideas rather than its surface style. This has made him a figurehead
for classical composers and musicians throughout
the 20th century who seek to distance themselves from the growing
influence of
popular culture and commercialism on western society. Schoenberg was an important teacher, who developed important should be understood
theoretical
rhythm shapes, and illuminating repertoire
232
unifying
melodic and
the workings of tonal harmony and traditional
While many composers influenced challenging
concepts relating to how classical music
and analysed, emphasising underlying
forms.
by him have seen their music accepted into the
after initial protests, Schoenberg's own works remain difficult to this day. What do you think that tells you about them?
and
IRREGULAR METRES AND RHYTHMS The music
of the 20th
signatures:
these can make it hard to judge the timing
intuitive
century
often makes
use of irregular
and shifting
time
of the music in the normal
way.
Irregular obviously
metres
have an odd number
regular groupings.
(jazz players know rhese as 'odd time' - see Unit
This means feeling every equal subdivision larger groupings: rhythmic
of beats to a bar, so these don't fall into
it is called additive
18).
in its own right instead of as divisions of
rhythm,
which is also a feature of complex
systems such as those of classical Indian music (see Unit
five, seven or eleven beats in a bar are irrational,
18). Notice
but nine is just compound
how triple
time. In some cases there is a regular division into unequal groupings.
Irrational
3+2
2+3
3+4
4+3
rhythms
different
number
signature).
We've
alternative
divisions
We normally correct
are also a feature of modern music. These divide the beat into a
of equal subdivisions already is tuplets,
triplets.
of subdivisions
necessary to calculate
judging
into the available
the exact relationship
European
term
for these
the speed required
time-span,
to fit the
but occasionally
subdivisions,
it's
to achieve the
divisions are superimposed.
QUINTUPLET: 5 in the time of 4
TRIPLET: 3 in the time of 2
The Hungarian
general
as ratios in modern music.
ro normal
that result when normal and irrational
by the metre (ie, the time
The
which are often indicated
learn to feel them by intuitively
number
cross-rhythms
from that implied
encountered
Bela Bartok (1881-1945)
was possibly
composer of the first half of the 20th century.
the folk music of countries such as Hungary music draws on the unusual
features
and Bulgaria,
he discovered,
the most important
Eastern
Bart6k spent time studying and of the gypsies, and his
especially
the use of irregular
metres and modal scales quite different from those of western classical music. He was also a virtuoso techniques
concert pianist,
that influenced
and developed
later generations mathematical
many original
of composers
use of special 'Golden
Section'
which larger structures
of melody and harmony evolve.
formal compositional
across Europe, such as the
ratios and tiny chromatic
cells from
233
CD: TRACK 62
Allegro pesante 3 1
()
5
iI
5 1
1
II
•
U
• •• •
• •
,....,
l
f
\'(Ialtzes, ·Sonata in D-f/at (D.567), ·"Sonata No. 13 in A (D.664), ·"Momems Musicattx (D.780), Impromptm (D.899), •··4 lmpromptns (D.935)
···4
Classical Italian Early European Anrhologies of early Durch, French, German, lralian and Spanish keyboard music
Clementi «Sonatinas Diabelli Sonatinas
Romantic Baroque English Arne Sonatas Purcell Suites
Modern Mexican
Baroque French
Jimenez Pastels (PS)
Couperin • Pieces de Cla·vecin
American
Gottschalk Bamboula (Op.2), Le Banjo, le Bananier, La Savane, La Scintilla, etc. MacDowell Modern Suites, Fancies, Poems, 10 Woodland Sketches (Op.51), 8 Sea Pieces (Op.55), 6 Fireside Tales (Op.6l), 10 New England Idylls (Op.62)
275
REPERTOIRE: CLASSICAL Romantic
Argentine
minor,
0.20 in C minor, 0.15 in D-flar, in G minor (Op.15 No.3), ••• Funeral March from Sonata ill B-f/at minor (Op.35 No 2) Moszkowski 20 Melodic Studies (Op.91) Tansman Mod£YI/ Studies 011 Polish Folk Songs (20 Easy Pieces)
Romantic Russian
(Fujihara Music), To Hirosbige's Cat (Op.336) (Fujihara Music), Sonata (Op.346) (Fujihara Music) Nancarrow Stndy No.3 (Soundings Press) Persiehecci Parable for Piano (Op.124) Sehikele 3 Piano Sonatinas (EV) V.Thompson Suites (GS), 10 Btudes for Piano (CF) Yardumian Chromatic Sonata (EV)
Kuhlau Cinq Valses
Gedike Pieces (Book 2) (Op.36) Gliere Sketches (Op.l7), Preludes (Op.30) Medcner •• Romantic Sketches for the Young (Op.54) Mussorgsky In the Country Tchaikowsky '12 Pieces (Op.40), Dumka (Op.59) Tcherepnin Polka, Rondo a la Russe, Sonatinas, Slavonic Transcriptions (Heu)
J.J.Casrro 5 Tangos (PIC) W.Castro 4 Pieces on Children's Themes (PIC) Fieher 5 Songs Withollt Words (Op.l) (Rie), 3 Dances (PIC), Sonatas (EAM) Garcfa-Morillo Tres Piezas (Op.2) (Rie), «Conjuros (Op.3) (ECIC), Sonata de! Sur (Op.4) (EAM)
Romantic English
Romantic Spanish
Elgar 2 Piano Pieces
Albeniz 'Navarra, Alhambra Suite, Songs of Spain, Espana, Travel Impressions, Spanish Dances, Spanish Suite Espl: La Pajara Pinta (UME), Lyrica Espanola (UME) De Falla 'The Three Cornered Hat (transcription for solo piano) aWC), Homenaje aWC), Life is Short (UME), Pieces Espagnoles (Dur/TP), 2 Spanish Dances: No.1 (TP) Granados Stories for the Young (Op.I), Spallish Dances (Vols.1-4) Infante Gitanerias (Sal), Pocbades AndaloliSes (Gregh), EI Vito (Sal) Jonas Spanish Concert Waltz (CF) Turina Suite Piuoresqne-Seuilla (Op.2) (Schon), Sonata Romantica (Op.3) (ESC), Coins de Seville (Op.5) (Schorr), Traoel lmpressions (Op.l5) (IMClKlUME), Femmes d'Espagne (Mlljeres Espaiiolas) (Op.l7 (Sal), Cuentos de Espalla (Op.20) (Sal), Danzas Fantdsticas (Imaginary Dances) (Op.22) (UME), SanUcar de Barrameda (Sonata) (Op.24), EI Bania de Santa Cmz (Op.33) (Sal), Silhouettes (Op.70) (Sa!), Preludes (Op.80) (Heu), Danzas Gitanas, Set II (Op.84) (SallGS), Femmes de Seville (Op.89) (Sal/G )
Aguirre Huella (Ric), Argentine National Airs: VoU iTristes), Vol.2 tCanciones) (Rie)
Noctnrne
Romantic Czech Dvorak 13 Poetic Tone Pictures (Op.85), 8 Hronoresqnes (Op.10l) Nowak Sonatinas Pecyrek 24 Ukrainian Folk Songs, 6 Grotesque P iano P ieces, 6 Greee Rhapsodies Smetana «Souoenir (Op.4 No.3), 'Polkas, 3 \'(/edding Scenes, 6 Bohemian Dances, Czech Dances (Vols.1-2) Vornacka Intermezzi, Sonata Vyrpalek En passant
Romantic
Danish
Romantic French Chabrier 10 Pieces P ittoresques Chausson P aysage, Quelques Danses D'Indy Tableaux de Voyage (Op.33) Dukas Sonata Faure • Barcarolle No.4 in A-flat (Op.44) Franck Pieces from COrganiste Grovlez L'Almanacb atrx Images, 3 Pieces, 3 Romantic \flaltzes. Fancies Sainr-Saens ·6 Studies for Left Hand
Romantic Finnish Palmgren Finnish Lullaby, 5 Sketches from Finland, The Sea, Pieces
Romantic German (and Austrian) Brahrns e s Waltzes (Op.39) Bruch 6 PiaTIO Pieces (Op.12) Henselr Spring Song (Op.15), Toccatina (Op.25), Lost lllusions (Op.34) Mendessohn • "Songs Without Words: Op.30, Op.38, Op.53, Op.62, Op.67, Op.85, Op.102 Schumann ••• Kinderscenen (Op.l5), ••• Waldscmen (Op.82), ••• Warmn (from 3 Fantasy Pieces) (Op.12 No.3)
Romantic Venezuelan Carreno Selected Works (De Capo)
Romantic Hungarian Liszr »Consolations, Piano Pieces
Modern American
• Valse Dubliie No.1, 4 Small
Romantic Irish Field »Nocinrne No.4 in A, «Noanrne NO.16;,/
F
Romantic Norwegian Grieg "L)'ric Pieces (Op.7l) Sinding Rust/es of Spring (Op.32 No.3)
Romantic Polish Chopin "'Mazurkas: in B-flat (Op.7 No.1), in A minor (Op.17 No.4), in G minor (Op.24 No.1), in B minor (Op.33/4), in F (Op.68 No.3), ••• Waltzes: in E-flar (Op.18), in A minor (Op.34 0.2), in C-sharp minor (Op.64 No.2), in A-flat (Op.69 0.1), •• ·Pdllldes (Op.28): No.7 in A, No.6 in B
Barber Excursions (GS), Souvenirs (GS) Copland Piano Alblllll (B&H), DowII a Country Lane (B&H), Fanfare for the Common Man (B&H), EI SalOn Mexico (B&H), Fantasia Mexicana (B&H) Cowell Amerind Suite (Shawness Press), Piano Works (Vol 1) (AMP), 6 lngs (AMP) Harris American Ballads (CF), Little Suite for Piano (GS), Streets of Laredo (CF), Suite for Piano (Mills) Harrison Reel - Hommage to Henry Cowell (AlF) Hovhaness 2 Ghazals (Op.36) (PE), Mazert Nmall Rebani (Op.38) (PE), Haikm (Op.113) (PE), Sonatina (Op.120), Madras Sonata (Op.176) (PE), Shalimar (Op.l77) (PE), Bardo Sonata (Op.192) (PE), Komacbi (Op.240) (PE), Ananda Sonata (Op.303)
276
Modern Argentine
Gianneo Sonatas (CF/Rie), Sonatina (PIC) Ginastera Estancia (B&H), Tribrae to Aaron Copland (CF), Argentine Dances (Op.2) (Dur/TP), Tres Piezas (Op.6), Malambo (Op.7) (Rie), '12 American Preludes (Op.12) (CF), Suite de Danzas Criollas (Op.15) (B&H) Guastavino 10 Preludes (Rie), 3 Sonatinas (Rie) Paz 10 Pieces 011 a 12-Tone Row (Op.30) (Ediciones Musicales Polironia), At the Coast of Parand (CF), Canciones y Balaclas (Rio de Janeiro) Villoud Tres Piezas (Rie)
Modern Australia Sculthorpe i\>lountains (Faber), Night Pieces (Faber), Sonatina (leeds)
Modern Bolivian Mendozo-Nava (Rongwen)
Gitana (BB), 3 Bolivian Dances
Modern Brazilian Bosmans Lusitanas (Irmaos Vitale) Carvalho Brazilian Dancing Tune (Ric) Correa Contrasting Variatiom on a Popnla» Theme (Ric), Variations on Theme of Cana-Fita (Rie) Fernandez 3 Brazilian Suites (Ie) Guarneri Ponteios (Vols 1-5 ) (Rie), Dances (A..i\1P/Rie), lmprouiso 1 (Rie), Ltmd,t (Rie), Sonatinas (AMP/Rie), Toada (K) laeerda Brasilianas (Vitale), Ponteios (Ric), Suite Miniatllra (Rie) Mahle Sonatina (Ric) Mignone Congada (EBM/Rie), Lenda Brasiliera (EBM), 6 Preludes (Rie), 4 Sonatinas (Rie), Brasilian Tango (EBM) Nazareth 25 Brazilian Tangos (EAMC), Ciclos Nordestinos (Vitale) Nogueira 9 Brasilian Dances (Rie) Peixe Tropical Preludes (Vitale), Sonatinas (SDM) Pineo Negro Dance (GS) Santoro 2 Brasilian Dances (PIC), Frevo (Rie), 7 Sao Paolo Dances (Vitale), Sonatas (Rie) Vianna 7 Miniatures on Brasilien Themes (Vitale) Villa-lobos Choros No.5 (ESCIEMBITP), Amazonas (ESC), As Tris Matias (CF), Bachianas Brasilieras No.4 (Consolidated Music), The Broeen Little MIlSic Box (Consolidated Music), Carnaua! das Crianias Brasilieras (Napoleao), Cicio Brasiliero
REPERTOIRE: CLASSICAL (Consolidated Music), Cirandas (Napoleao), Guia Pratico (Consolidated/ESCIMerl Southern), A Lenda do Caboda (Napoleao), Poema Singelo (Consolidated Music), Prole do Bib{, Series I (The Baby's Dolls) (EBM/ESC/K), hole do BiM, Series II (The Little Animals) (ESC), Brazilian Forest Memories (ESClTP), Suite Floral (Op.97) (Consolidated Music) Widmer Ludtts Brasiliensis (Op.37) Vols.3-5 (Ric)
Modern English/British
Modern Icelandic
BenjaminJamaican Rumba (B&H) Bridge 3 Impro-visations for Left Hand Howells Sonatina Ireland Greenioays, Sonatina, Decorations, London Pieces Rawsrhorne 4 Romantic Pieces Richardson Sonatina in F Ridout Dance Bagatelles (Thames) Roxburgh Les Miroirs de Mira (UMP) Warlock Folk-song Preludes Williamson Travel Diaries
Helgason Rondo lslanda (Edition Gigjan), Sonatas (Edition Gigjan)
Modern Iranian Tjeknavorian Annenian Miniatllres Amlenian Sketches (Nov)
(Ramsey),
Modern Israeli Ben-Haim Sonatina (Op.3S) (MCA) Feigin Toccata (IMI) Haim 6 Israeli Dances (Leeds Music)
Modern Chilean Allende 12 Tonadas (Sal) Lavin Suite Andine (ESC) Orrego-Salas Variations and Fugue on a Street Cry (Hargail) Riesco Semblenzas Cbileiias (PIC) Santa Cruz lmagenes lnfantiles (PIC), 5 Tragic Poems (Casa Amarilla), 4 Vinetas (Casa Amarilla)
Modern Chinese Lam U ncle Suite (Op, 5) (VP AD Corp.) Sheng My Song (GS)
Modern Columbian Escobar Sonatme (P A U)
Modern Cuban Carurla Dos Danzas Cubanas (Sal), La Ntlmero 3 (Arrow Pr., Havana) Cervantes »Danzas Cubanas (Hansen), 6 Cuban Dances (GS), 3 Dances aWC), 2 Dances aWC) Farinas Sones Sencillos (Tones) Lecuona • Malagflena (Marks/GS), 19th Century Cuban Dances (EBM), Danzas Afro-Cuban«: (EBM/GS), Andalucia Snite (Marks/GS), Granada (Marks) Nin-Culmell 3 Impressions (Sal), 12 Cuban Dances (TP)
Modern Finnish
Modern Italian
Rauravaara leans (Ikonit) (Frazer), FiddleslFolk MlISiciam tPelimannit) (Frazer)
Casella Ommagio a Clementi (Op.35) (Ric)
Modern Jamaican Modern French
Russell 3 Jamaican
Dances (Herin)
Absil Humoresqnes (Op.126) Debussy The Little Negro (Dur), Pour Le Piano (Dur), Claire de Lune (Suite Bergamasque) (Dur), ••• Children's Corner (Dur), •• «Deux Arabesques (Dur), • ··La Pille aux Cbeuenx de Lin, Des Pas sur la Niige, La Cathedrale Engloraie, Minstrels, (Preludes, Book 1) (Dur), ••• Bruyeres (Preilldes, Book 2) (Dur), Ibere Petite Suite Milhaud The Globetrotter Suite, La Libertadora (Ahn & Sirnrock), 4 Sketches (Mere) Poulenc Mouvements Perpeinels, Suite pottr Piano Ravel··Le Tombean de Couperin, ···Sonatine Sarie ···3 Gymnopedies (Sal),·6 Gnossiennes (Sal), Sports et Divertissements (Sal), Pieces in the Form of a Pear (Sal)
Asakua Piano-Sonaro (Erernal]FC) Hirai Sakltra-SaklIra (Fantasy for Piano) (EAMC) Koyama Kagome Variations (Zen-On) Kusagawa 9 Pieces aFC) Marsudaira Etudes Pour Piano d'Apres Modes Japonais (Zen-On) Nakada Time (Ongaku-No- Tomo-Sha) Okumura Dance lmpromptn (Zen-On), OdorilSonatine (Ongaku-No-Tomo-Sha), Prelude to Three Flowers (Zen-On) Tsukitani SakuYa Sakltra, Edo Komoriuta, etc. (6 Pieces) (CPE) Yuasa Chant pour 'Do' (Zen-On) Yuyama Sunday Sonatina (Ongaku-No-Tomo-Sha)
Modern German (and Austrian)
Modern Mexican
Bloch Enfantines Hindernich L"dus Tonalis (Schorr) Krenek 12 Short Piano Pieces (Op.S3), George Washington Variations (PIC) Reger Traume am Kamin (Op.143) Schoenberg Little Pieces (Op.19) (UE)
Chavez Eariy Piano Pieces (Carlan ita/GS), 7 Pieces for Piano (NME), 10 Preludes (GS), Waltzes and Other Dances for Piano (Carianira/GS) Galindo-Dimas.Siete Piezas (Ediciones Mexicanas) Hernandez-Moncada Cinco Piezas Bailables (PIC), Costeiia (PIC) Ponce Elegia de la Ausencia (PIC), 4 Mexican Dances (PIC), Tema Mexicano Va,-iado (PIC)
···6
Modern Cypriot
Modern Greek
Fuleihan Cyprian« (PIC), From The Aegean (PIC), Sonatinas (MCA)
Consranrinidis
Greek Miniatures
(Vois 1-2)
(Rongwen)
Modern Japanese
Skalkorras MlISic for Piano Solo (UE)
Modern Czech ] anacek ••• On an Overgrown Path (Books 1 & 2) (Arria), ·12 Moravian Dances (Ric) Kodaly Pieces (Op.ll) Marti IlU Spring in the Garden, Etlldes & Polkas (B&H), Braterflies and Birds of Paradise (Ars Polona), Borovd: 7 Czech Dances (leduc), 2 Dances (Artia)
Modern Danish Bentzen 7 Small Piano Piem (Op.3) Olsen 6 Small Piano Pieces (Op.5) Rasmussen My Spring Diary (Vol.l, Duets; Vo1.2, Solo Pieces) Riisager A Cbeerful Trumpet and Other Piano Pieces
Modern Dutch De Leeuw Men Go Their Ways (Don) Pijper Sonatine No.3 (OUP)
Modern New Zealand Modern Guatemalan Herrarte 3 Dances (PAU), 6 Sketches (EV) Ley Danza Exotica (PIC), Danza Fdntastica (EBM) Marroquin Chapiniana (PIC)
Modern Hungarian Bartok •• ·Mikrokosmos, Vols.5-6 (B&H), ··6 Rumanian Folk Dances (B&H), 14 Bagatelles (Op.6) (KlDover), 2 Elegies (Op.S) (Schorr/KlB&H), 4 Dirges (Op.9), 3 Hungarian Folk Tunes (B&H), 15 Hungarian Peasant Songs and Dances (UE/B&H), lmprouisations on Hungarian Folk Tunes (Op.20) (B&H), 3 Popular Hungarian Songs (K), 3 Rondos on Folk Tunes (UE/B&H) Kadosa 55 Small Piano Pieces (EMB/B&H) Kodaly 9 Pieces (MCA/K) Sugar Baroque Sonatina (EMB) Takacs Sonatina (Dob)
Whirehead
Voices of Tane (Price Milburn)
Modern Norwegian Egge Drall1nkvede Sonate (EMH), Gltkkoslatten (Lyche) Kvandal Tre Slarrerfancasier (Op.31) (NMF) Saeverud Tide Rhythm (NMF)
Modern Panamanian Cordero Sonatina Ritmica (PIC)
Modern Peruvian Holzmann Cuarta Pequeii« Suite (ECIC), Sonatina sabre Motivos clef Folklore Peruuiano (PS) Sas Aim y Demzas indios del Peril (Lemoine), Arrulo y Tondero (Op.39) (EV), Himno )' Danza (GS), Melodia y Aire Va1'iado (PIC), Preludio y Toccata (PIC), Suite Peruana (A la Flute de Pan)
277
REPERTOIRE: CLASSICAL OVERVIEW OF CONCERT REPERTOIRE
Modern Polish Baird Sonatinas (PWM) Luroslawski Bncolics (PWM), Folk Melodie5 lor Piano (PWM) Maciejewski 4 Mazllrkas (PWM) Szymanowski -Krakowiak (PWM), 20 Mazurkas (Op.50) (UE/PWM/EAMC)
Classical Italian
These are grouped by period, and within char by geographical area.
Romantic Early English
Carnpos-Parsi Sonata G (PAU)
Works by Blow, Bull, Byrd, Clarke, Croft, Farnaby, Gibbons, Greene, Locke, Morley The Fitzwilliam Virginal Book, Mllsick's Handmaid I (1663) and Mllsick's Hand-maid II (l689)
Modern Rumanian
Early French
Mihalovici Chanson, Pastorale el Danse (Sal), 4 Caprices (ESC)
Works by Chambonnieres, Clerambault, Daquin, D'Angleberr, Dagincourr, Dumont, Marchand
Modern Puerto-Rican
Modern Russian Works by Frohberger,
Early Italian
Danish
Romantic English Delius 3 Preludes, 5 Pieces
Baroque English
Romantic
Purcell Toccatas
Alkan Symphony, Etlldes: Op. 35 & Op.39 Chaminade Toccata D'Indy Fantarsie Dukas Sonata Faure 3 Romances sans Paroles (Op.l7), BaLlade (Op.l9), Mazurka (Op.32), Theme & VariatiollS (Op.73), Improvisations (Op.84), 9 PreLudes (Op.103), «Nocturnes, »Barcarolles, Franck -PriLude, Aria & Final, "PriLude, Choral & Fllgm Godard Etude5: Op.42, Op.107, Op.l49 Koechlin L'Ancienne Maison de Campagne Roussel Sonatine, Rustiqnes, 3 Pieces Saint-Saens Etltde5 (Op.52) Severac The Song 0/ the Earth, On Holiday
Baroque French Couperin Harpsichord Snites, Books l-4 (Ordres l-27) Rameau Us Indes Gedantes, Piices de Clavecin, Nouvelle Suites de Piices de CLavecin, Harpsichord Suites, 5 Pieces, La Daupbine
Modern Spanish
Baroque German ].S. Bach - - -48Preludes & Fugnes (Das Wohltemperierte CLavier), - - «Goldberg Vat'iatiotls, Italian Concerto, Chromatic Fantasia & Fugue in 0 minor, The Art Fllgue, Toccatas C.P.E. Bach -"Sonatas, ---Rondos Handel - - Keyboard Suites
Baroque
0/
Italian
Frescobaldi «Toccatas D. Scarlatti - »Sonatas
Baroque
Spanish
Soler Sonatas
Karkoff Oriental Pictures (Geh)
Classical Czech Dussek «Sonatas
Hazel Score Caribbean Fete
Classical English Modern Turkish
Pinto «Sonat«:
Saygun «Sonatina (Op.l5) , -Andolll'dall (Op.25), - From Anatolia, 12 Preludes 011 Aksak Rhythms
German (& Austrian) Classical Haydn -39 Sonatas, - Variations in Fminor Mozarr - "18 Sonatas, _ •• Fantasias, Rondos Beethoven -"32 Sonatas, Eroica Variations (Op.35), DiabeLli VariatiotlJ (Op.120) Schuberr ---21 Sonatas, -IVanderer Fantasy (D.760)
Modern Venezuelan Aretz de Ram6n y Rivera Sonata (PAU) Plaza Sonatina Venezolana (GS)
Czech
von Dohnanyi Rhapsodies (Op.Ll ), Hmnoresques (Op.17), - - VariatiollS on a Hungarian Theme (Roszaoolgyi} (Op.29) Dvorak Slavonic Dances (Vols.l-2) (Op.46), Slavonic Dal1CeJ(Vols.l-2) (Op.72) Nowacek Concert Pieces Nowak Sonatinas Smetana Concert Study on the Seashore Tomasek «Pieces
Works by Pasquini, Rossi, Zipoli
Gerhard Dances from Don Quixote (B&H) Mompou «Impresiones Intimas (UME), Cancidnes y Danzas (UME/GS), Charmes (ESC), Pessebres (UME), Suburbis (Sal) Monrsalvatge 3 Divertimentos (PIC) Nin Cadena de Valm (ESe), Canto de Cuna para Hller/tmos d'Espana (ESC), Iberian Dance (ESC), Message it Clallde Debussy (ESC), 3 Spanish Dances (ESC) Rodrigo Bagatela (Sal), 4 Pieces (ESC) Serenata (Sal), Serenata Espanola (EAMC) Surinach 3 Spanish Songs and Dances (PIC)
Pedrell A Orillas del Duero (ESC) Tosar Errecart Danza Criollas (BB)
Romantic
Etlldes
Gade Foraarstoner (Op.2), 4 Fantasy Pieces (Op.4l), Nye AkwareLLer (Op.5 7) Nielsen »Cbaconne, 3 Pieces
Works by Sweelinck
Tajcevic 7 Balkan Dances (Scbott/EAMC)
Modern U raguayan
4 Sonatas,
Romantic
Kuhnau, Scheidt
Early Dutch
Modern Serbian (and former Yugoslavian)
Modern Trinidadian
American
MacDowell
Early German
Kabalevsky -24 Preludes Khaccbarurian Two PieCeJ(MCA/PE/K), Pictures 0/ Childhood Liadov »Prelude in the Dorian Mode (Op.11 No.2), Preludes, -Birioulki Prokofiev Sarcasms (Op.17), - - - Visions Fngitiues (Op.22) (B&H), Tales 0/ an Old Grandmother (Op.31) (B&H) Rachmaninoff »Preludes: in C-sharp minor (Op.3 0.2), in F (Op.32 No.7), in G-sharp minor (Op.32 0.l2) Scriabin Poeme it/ F-sharp (Op.32 no.l) (INT) Shosrakovirch Dances 0/ the Dolls, 24 Preludes (Op.34)
Modern Swedish
Cirnarosa 32 Sonatas Clementi Sonatas
Classical Hungarian Hummel Sonatas, Bagatelles
278
Romantic
French
Finnish
Sibelius Kylliki (Op.4l), 10 Pieces (Op.58), 3 Sonatinas (Op.63), 5 Sketches (Op.ll4)
Romantic
German (and Austrian)
Brahms Piano Sonatas: No.1 in C (Op.l ), No.2 in F-sharp minor (Op.2), -"No.3 in F minor (Op.5), Variations on a Theme cf Schumann (Op.9),4 Ballades (Op.lO), -Variations & Fugne on a Theme of Handel (Op.24), - Variations 011 a Theme 0/ Paganini (Op.35), -\Valtzes (Op.39), «Pieces (Op.76), -2 Rhapsodies (Op.79), «Hungarian Dances, - Fantasias (Op, 1l6), - - - Intermezzi (Op.lI7), - •• 6 Pieces (Op.118), Pieces (Op.119) Jensen Sonata (01'.25), Etudes (Op.32), Erotieon (Op.44)
---4
Korngold Fairy Pictures (Op.3), Sonatas Kreisler Transcriptions (of violin works) Mendelssobn »Fantasia in F-sharp minor (Op.28), Andante & Rondo Capriaioso, - - Variatio1lS Serieuses (Op.54) Raff Suites Schumann "Papillons (Op.2), - -Davidsb1ttldlertiinze (Op.6), --CarnavaL
REPERTOIRE: CLASSICAL (Op.9), --Phantasiestiicke (Op.12), ---Etlldes Sympboniqnes (Op.13), ---Kreisleriana (Op.16), ---Fantasy in C (Op.17), "Arabesqlle(Op.18), --3 Sonatas R.Strauss Sonata Tausig Hungarian Gypsy Melodies, Transcriptions Weber 4 Sonatas, Rondo Brillant i11Eb, Invitation to the Dance
Romantic Hungarian Liszr ···Sonata
---2
in B minor, ···Dante
Sonata,
Concert Studies, - --Hungarian Rbapsiodies, - - - Annees de Pelerinege, Harmonies Poetiques et Religieuses, 6 Paganini Etudes, 3 Lieberstrdume, Valses 01lbliees, Totentanz, Etudes d'Execution Transcendentale, -Mephisto Waltz, «Transcriptions, »Bagatelle withollt Tonality Moscheles Studies: Op.70, Op.95, Op.lll, Preludes (Op.73)
Irish
Modern Danish Holmboe Rumanian
Romantic
Modern Dutch Schar Anathema
Norwegian
Grieg »Lyric Pieces: Op.12, Op.38, OpA3, Op.47, Op.54, Op.57, Op.62, Op.65, Op.68, Op.71, Sonata (Op.7), Album Leaves (Op.28), »Nonoegian Dances (Op.35), - Holberg Suite (OpAO), «Nonuegian Folkdances (Op.66), ---Norwegian Peasant Dances (Op.72), Moods (Op.73) Sinding Pieces, Tone Pictures
Romantic
Polish
Chopin Sonatas: No.1 in C minor (OpA), ---No.2 in B-flar minor (Op.35), 0.3 in B minor (Op. 58), ---Noctumes: Op.9, Op.15, Op.32, Op.37, OpA8, Op.55, Op.62, ---Mazurkas: Op. 6-7, Op.17, Op.24, Op.30, Op.33, os-n, Op.50, Op.56, Op.59, Op.63, - --Etudes: Op.lO & Op.25, ••• \"(1altzes; ••• Polonaises, •• -4 Ballades,
- - -4 Scherzi, - - -4 Impromptus, - - - 24 Preludes (Op.2S), - - - Fantasia in F minor (OpA9), - - - Barcarolle (Op.60), - - - FantasieImpromptu Godowsky Renaissance (Early music transcriptions), Miniatures Paderewsky Chants dll Voyagellr
Bax Sonatas Bowen Sonata Bridge Sonata Holst Toccata, Christmas Day in the Morning Ireland Rhapsody, Sonata, The Darkened Valley Lambert Sonata McCabe Variations (Op.22) (Nov) Rubbra Prelude & Fugue on a Theme by Cyril Scott (Op.69) (Legnick) Sorabji Sonatas Tipperr 4 Piano Sonatas (Schorr) Williamson Hai/a Wlatercololtrs (EBM)
Swedish
Srenharnmer Nights of Late Summer (Op.33)
Romantic Russian Arensky - -Sketches on Forgotten Rhythms Balakirev - -Islamey, Sonata, All jardi11, Noctnrne Borodin Au Conoent Borrikievich Six Pensees Lyriques (Op.Ll ) Glazunov Petite Valse (Op.36), Sonatas Grerchaninov Pastels (Op.6l), [,1 the Meadows (Op.99), 2 Sonatinas (Op.llO), 3 Pieces (Op.116) Liadov Variatiom on a Theme of Gline« (Op.35), Barcarolle (Op.44) Liapounov Etudes (Op.Ll ) Medtner -14 Sonatas, Pieces: Op.20, Op.51, Op.58, Forgotten Melodies, Set o/Variations, Fairy Tales Moszkowski Caprice Espagnole, Pieces: Op.52, Op.56-8, Op.81, Op.83, 010.86
Modern American Barber "'Piano Sonata (GS)
Modern French
Copland «Piano Variatiom (B&H), Sonata (B&H) Cowell The Banshee, Rhythmicana (AMP) R.Crawford Preludes (NME) Gershwin - - - 3 Preludes Johnson Sonata (Mere) Ives - «First Sonata (PIC), - --Piano Sonata No.2 ('Concord') (AM PIGS), Three Page Sonata (Mere), The Ami-Abolitionist Riots (TP), Varied Ai,. & Variatiom, Three Protests (NME), Study No. 20: Even Durations Unevenly Divided (Merion), Study No.21: Some Southpaw Pitching (TP), Study No.22 Joplin Rags Ruggles «Eoocasions: 4 Chants for Piano (AME) Sessions 3 Sonatas, From My Diary, 5 Pieces Slonimsky 51 Minitudes lor Piano Travis African Sonata (Univ. of California Press)
Modern Argentine Ficher Sonatas (EAM) Ginastera «Danzas Argentinas (Dur/TP), Suite de Danzas Criollas (B&H), 3 Sonatas (B&H) Guastavino Sonata (Ric)
Modern Belgian Foneyn Le Gong (PIC) Modern Brazilian Guarneri Choro Torturado (AMP) Peixe Suite II ordestina (Ric), Suite 11Paulista (Ric) Prado Primiiiuo (Ric) Villa-Lobos Rudepoem« (ESC)
Modern Cuban Ardevol Sonatas (Sourhern) Cacurla Comparsa (New Mmic 10/3) Lecuona Danzas Cubanas (EBM/GS)
(010.19) (Don.)
Modern English/British
Field - Nocturnes, Sonatas
Romantic
Sltite (Viking)
Spanish
Albeniz --Iberia (12 Pieces). Malagllena, Sonatas, Tangos, Seguidillas, etc. Arriaga Estudios de Falla - Andaillsian Serenade (JWC), Andalusian Fantasy (JWC) Granados "Goyescas (Vols.l & 2), 6 Pieces on Spanish Folk Songs (UME) Infante Sevillana (Sa I) Irurbi Peqseii« Danza Espaiio!« (GS) Turina 3 Andalusia» Dances (Op.8), Shoes 0/ a Toreador (Schorr)
Romantic Romantic
Mists (Hudebni Matice) Kodaly 7 Pieces .Dnnces 0/ Maroszek (UE) Marrinu Esquisses de Dances (Schorr), 3 Czech Dances (ESC)
Mussorgsky - - - P ictures at an Exhibition Rubinstein Etudes (010.23), Theme & Variations (010.88) Tchaikowsky Sonata, Pieces: Op.19, Op.21, Op.37, Op.72, -Dumka Tcherepnin Bagatelles
Alain MythologiesJaponaises, Togo, Little Rhapsody, Auric Petite Suite Debussy -"Priludes, Books 1 & 2 (Dur), ---Esta1llpes, - "L'Islejoyeme, - - -Images (Books 1 & 2), - Etudes, «Suite Bergamasqne Dutilleux Sonata Emmanuel Sonatina I 0.4 Honegger - 7 Short Pieces (Eschig), 3 Pieces, Toccata & Variatiom Jolivet Mana, Ritual Dances, SOllatas (Heu) Messiaen Vingt regards sur L'Enfant jes/lS (Dur), «Caialognes d'oiseaux, Callt