8/7/2019 Kullak

1/36

r ~ - - - - - - - ~ ~ : - _ _ _ _ _ , _ _~ - - - - - - ." ,I , J , , , . .:--r;::----...'.-..--.~~-~-~I-~t ~, ,: iI

The School of Oc ta ve P la yin g

Theodore Kullak~I1---. .-.

~~--

. . . .

-

-Pa rt I :Preparatory Excercises1 i l i 0 0 i i iiI . . .i _i .

. .-- --

. .- ----. .-

---............-._~"'~-+-.~--

---,~,~ ... /,{ . ., :,\\"" "'. ~ : : . . _ : . -~~i_j~~,..~~~----.----~---~

8/7/2019 Kullak

2/36

Preparatory Exercises.Section I.--. .,,~-

Preliminary Remarks.(1) Dexterity in octave - playing is essentially

dependent on '{he traini ng of the wr ist , the as-sistance of which is r equir ed in two different di-rections:

a. In staccato playing, in order that the riseand fall of the hand required by the separationof the tones, may be executed easily and with-out stiffness.

h. In legato playing, in order to facilitate. therising and falling of the hand, which has to serveas a weight augmenting the pressure required ofthe finger depressing the key, thus facilitating asustained and connected style of execution. Forthis rising- and falling are necessary to prevent 0-verexer tion and exhaustion. In contradistinction

to legato playing, which is based on the simple"finger- stroke from the knu-k le - joint!' we termthis style"legato playing by the aid of the wrist."(.2) In the second place, ,ve must consider thetraining of those fingers which are chiefly employedin octave - playing. The principal finger is the thumb;the fifth and fourth fingers are next in impor v-tance, the third and second being utilized only in avery subordinate capacity. The three principal fingers1, 4 and 5, require special training (particularlyfor the legato execution of successive octaves), forthe reason that they are obliged, by the distance be-tween the lower and higher tones of the octave, toassume positions and perform duties at variancewith those demanded by the simple finger-legato.

I. Staccato Playing.Repeated striking of one and the same key;

fingering 1_5; the simple wrist- stroke.Assuming that the pupil knows the correct

attitude of the body and position of the seat, aswell as the correct angle between the forearm andupper arm, the simple form of the wr ist - stroke re-quires independence of the hand of the arm, whichlatter must strive to retain its normal position.

The up- strokes and down- strokes of the

hand must be executed as evenly as possible. Ac -cents require a higher upvstroke.so that the down-stroke may gain greater power. Each of the fol-lowing exercises is to be repeated several timesin succession in the same manner. The unemployedf ing-ers should assume an easy attitude. Withincreasing facility, the tempo may be acceleratedand various degrees of force (P J f,etc.) maybe taken into account.

1

8/7/2019 Kullak

3/36

(b) rr. 2.(a) (b)1"

(c ) (d)

/I /J

4.

r J . (a)

(b)

e t c., through the entireChromatic sra le.

8/7/2019 Kullak

4/36

Also pract ise with the left hand, th e rightp layi ng the same accompaniment.

II. Lega to Playing.(1) "Touch" is the technical term for "the de-

elopment of tone" on the pianoforte. In teachinguch, three phases are distinguished:a. The preparatory--the up-stroke (lift).

h. The tone-producing-c -fhe dowrr-st roke.c. The tone-sustaining--the clinging pressure

of the finger on the key, corresponding to thetime-value of the note.The height of the up-stroke is determined by

ch n ical and musical requirements. When the fing-r is perceptibly lifted from the key before the down-troke, the hammer- touch (in the stricter sense) re-ults. But if this lift is barely, or not at all, per-eptible, we have what is called thevpressure-touchl'ecause the sensation in the hand is rather one ofressure than of striking. Although this distinctionay be termed more quantitative than specific, longxperience in piano-teaching determ.ines me to treatese two styles of touch as separate and distinct.

Musically considered, the pressure-touch is chief-important by reasonof the greater fullness and

oundness of the cantilena, For technical reasonsbecomes indispensable whenever one finger (e.g.,thumb) alone has to bind successive tones; be-

ause the slightest raising of the finger from theey 'would prevent the legato effect.

(2) Legato octave-playing belongs in the spheref the pressure-touch. In this style, a strict binding

of the tones can be effected only when the fing-ers employed press down the k ej-s, wh ile theweight of the hand augments the power of the sup-porting fingers, bearing down on them during therising and falling of the wri st , At the same time,the members of the arm are Likewise affected; theforearm, more particularly, is obliged to partici-

}pate in/ the movements of the hand. Even if thewide octave - stretches admitted of an easy lega-to by means of the "finger-stroke from the knuc-kle-j o intj? only fingers 3, 4 and 5 could fulfilthe requirements of this style of touch, whereasthe thumb, even at the lowest lift from the keys,would immediately destroy the smooth connection,strictly speak ing.

(3) The movements which form the essentialfeatures of legato octave-playing, can best be il-lustrated and learned by pressing down an octaveon the whit e keys wi th thurnb and little finger,and then, without quitting the keys, raising andlowering the hand. The rise and fall should be asnearly equal in height as possible, and in strictrhythm (counted) and even tempo. When thishas been learned, all that has to be done is, toretain these sa me motions wh ile passi ng fromone key to another. After brief study of Exam-ples a, b, c, d, e, and f, choose,

8/7/2019 Kullak

5/36

(4) For the first exerci se, a fragment of the chro-atic scale (I). On the white keys, ta ke fi ngers 1-on the black, fingers 1-4. The black keys beinghig11er, the hand should be low on the white

eys , and high in the air on the black keys, e. g.,on C - depressed,on C # - raised,on D - depressed; etc.

(5) For the second exercise, choose any frag-ent of a diatonic scale having only white keys,C-D-E-F-G; employ alternately the fin-

1-5 and 1-4, lifting the hand each timer the latter, and depressing it for the former. (II).(6) For the third exercise, choose the entire

chromatic scale . No,,"', we have neither an alter-nation of white and black keys ~ as in Ex. 1, nor asuccession of similar keys, as in Ex. 2, but find,between E- F and B-C, two successive keys whichcall for the 10" position. Here the hand must ei-tlu-r be --h i f ted sideways, keeping the hand in thesa me pos i t io n w i t h a stiffer wr ist, or the fingersmus t b~ quiet ly rhanged Otl the first key.

(7) For players whose hands permit of using thethird finger in octave -xt retches , we rem ark, thatthis finger is to be employed like the fourth.

(D indicates depression of hand; R , rai sing;SS, R i d e -shift .)

Practise also with the left hand, the right hand playing the same accompaniment.-

(a) R2 (b) D - -- -- -- -- R1. 2 R4:R4D3 R-4D:1 D1

D/ RI D R

D D D DR(d )

(e) R Normal position of the hand (palm).(f)D

414-1:>14151

RDD RD R4t 51. 41.

-&DD R RD R

ill. ~\y. 5 4 5:1 't-_ .....--, 5 5

5t "15t41D {}D RDRR D

-,

;;1.

D

41 5" I 4t 5-1 51

R R DR DD

, , : ,R R D ID 11 D R D RD D R D R D R nQ R D R MlD side-side - shift Sshift

8/7/2019 Kullak

6/36

III. Training' of the separate fing'ersemployed in Octavevplay ing.

The thumb is the principal f'ing er, because it isemployed for e \ge r}t> octa ve , whether 8tacc ato orlegato; then come the 5tJ t and 4tlt , and finally,for large hands, the a r_d.

The hand can move in four directions: Tpward,downwar d , from right to left, and from left toright; the tw o last are called later al (or side)move mer} ts ,The hand itself, provid ed that at least one fin-ger is actua Ily in contact with the keys , can as-sume f ive positions:

(1 ) The normal position, i.e., parallel w ith thekeyboard below it. To illustrate this.Jay the handflat on f'ive or six white keys, so that t he palmalso touches the kevs , w ith the f ing er s stretched.. .out str aight. Then draw up fi ngers 2 to 5 in surha \'T a}T that thej- assume the shape of little hammers;the fi ngtlr - tips, just next to the nails, resting onthe keys, and the lower edge of the thumb (which. .is slightly curved inward) also pressing its key.Finally, without rel axing the pressure of any fin-ger, draw back the- hand until the palm no longertouches the keys , but stands out hor iz orit al lyfront of the k evbo ar d ,-

In

(2) In the second position of the hand.it is raised

above its normal plane, and stands at all angle tothe keyboard in stead of parallel w ith i t.,\3) In the third position, it is below th e normalplane.

(4:) In the fourth position, assuming that a sup-porting finger is already resting on its key, thehand is set obliquely to the keyboard, and, on de-pr ess ing the next key", makes a movement fromleft to right~

(5) In the fifth position, this movement (still as-suming at least ( W . 1 e suppor ting finger) is mad efrom right to left .

The stroke of a finger in the normal positionof the hand, or a stroke in the Db) iqu e position(comp. 4 and t)), can be eff'er ted without makingthe arm (the forearm, in par ticular is meant) leaveit s own no rm al p ositio n: it rna)" remain quite pas-shoe. (Stroke after the hand has bepn set obliquely!the side - stroke.) This side - str oke is of special im-portance in arpeggio'd octaves (see Appendix).

Remark. The oblique turn of the hand affectsthe arm to a ('(--'rtain extent, by turning it slightlyon its axis, bu t without changing its place .

A. Training' of the Thumb.(a) For staccato playing.

0) Without supporting finger.For

8/7/2019 Kullak

7/36

(2) With at least one supp or t ing finger.In this case the side-stroke is employed; i.e .,

he hand is lifted obliquely before the stroke, thei ne formed by the knuckles bei ng no longer hor-zontal. .The best supporting finger is the fifth,ecause the hand can then be raised highest on

the thumb- side. Although this sid e - stroke isnot empl oyed in free octave - pl aying, this modeof practising the fo llowi ng exercises is of util-ity to thi s branch of technic , because the thumbgains in cer tainty and skill.

(b) For legato playing.The sa me exercises, with the differenre, that

o break in the smooth legato must occur, theacqu iring an unassisted legato. It can exe-

ute such a legato by employi ng only the pres-

sure - touch without any down-stroke proper, and bygliding smoothly from one white key to the next,or from a black key to a white one (g11ssando).

Practical Exercises for the Thumb- stroke.Practise in three ways i(1 ) Staccato, without supporting finger; up-troke and down - stroke from the wrist.(2 ) Staccato with supporting finger;_side-stroke.

Right hand.1 . 5 2.

(3 ) Legato.In the staccato, accented tones require a higherup - stroke and more vigorous down-stroke, in thelegato, a firmer pressure on the key.

t~---------~V

111111t l I I 1I t_---3. 6

4 I-5 5

1----& .

I-

5.

r5 -

Left hand.6.

ft 7.

8/7/2019 Kullak

8/36

8.

J .5 5

t. .-_....:.:..__

- - - .~ ~ - - - - - - - - - - - - - - - - - - ~ ~11. Right hand. 12. 13.14. 15. 16.

17. 18. 19.

20. 21.

22. Left hand. 23.

2 4 . 25.Itt 11111 26.llII

~7;t t t t t. t 28. 29.

30. 31.

8/7/2019 Kullak

9/36

B. Training of the Fifth and Fourth Fingers(also of the Third).

(a) For staccato playing.

1 ) Without supporting finger. First practise thelowing exercises without a supporting finger,

d with each of the three fingers 5, 4, and S quiteone. The finger employed may be slightly stretch-, so that in the down-stroke nearly the ","holeshy finger-tip touches the key. Keep the thumbthe distance of an octave from the practisingger. In accelerated tempo, only the wrist-stroken be employed. In comparatively slow playing (theroke from the finger-joint is forbidden!),the strokeom the elbow-joint, and also the combined form

the simultaneous elbow- and wrisf -stroke, canpractised.

(2) With (at least one) supporting finger. As intraining the thumb, only the side-stroke can be em-ployed. The best supporting finger is the thumb,because it permits the highest up -stroke of theslit and 4tJ.t (or 3tj) finger. Each exercise is to beplayed with one finger only at a time (the 3t:.d on-ly when the hand is suitably conformed.) We rec-ommend these studies, and in part those under N91,like the side-stroke of the thumb, because the gen-eral strengthening of the fingers is very helpful inoctave -playing, although this particular form is notdirectly employed in the latter.

(b) For legato playing.

Pressure-touch. In order that no break mayoc-r, there must be no lift from the key, the fingerployed clinging constantly with its tip to they. Raise the hand on black keys, tlepress it onhite keys. Fingers 5, 4 (and 3) mus t alternate asuch as possible. On black keys, the 4t1! (or 3~)ould be used. For two successive keys requiringe same position of the hand, either the side-shift,r the quiet change of finger on one and the sameey, or the gliseando from a black key to a white

one, is to be employed. Both the irregular pas~ingof the 4t.!t (or 3~) finger over the 5ttt, and the ir-regular passing of the 5 t . b under the others, re-quires special attention and training. As a supple-mentary exercise, the studies may be practised'with the "hammer'!" touch, but legato; for largehands can employ this style with good results e-ven in legato playing.

8/7/2019 Kullak

10/36

Practical Exercisesfor training the 5tp, 4tp and 3r_d fingers.Practise in three ,vays:(a) Staccato, without supporting finger. Up-stroke

d down- stroke from the wrist. Each exercise topractised with one and the same finger quite a-(b ) Staccato, with supporting finger. Side- stroke.

ld fingering: (1) For each exercise one and theRight hand. -4 .}

same finger, i.e., either the 5tp or 4t,!1 (or 3~d,whensuitable); (2 ) Using the fingers required by legatoplaying, as marked above the notes.

(c) Lega to, with and without supporting finger.N.B. Exerr ises more than an octave in extent, can,of course, not be executed with a supporting finger.

2 .

o~ 4~ , . . .).)

5 . 4

7. r,454:154 :1 r, 4 :1":;44 8.5_4....5_.4

~

4 : 4 - 4:> 4

4 r, 4

. . ..) 4 9 .4 5 t\

etc. etc.

14.

a I " . .~ :;

. .4 .)45

18. ,. ,.)

-- - - - - - - - - - - -

4:;4

Itl. -.1! I - : , 4"" " .. . ""i ., I'k __ ~

8/7/2019 Kullak

11/36

20. Left hand..Q-

21 . 22.

r,.,_.." . ,ir)

26.

29.

27.

:32..b , 1

IV. Both functions of the wrist combined.For the hammer-touch, an up-stroke and down.

stroke are employed; for the pressure-touch, the lift-ing and depressing of the hand with a supportingfinger. By the latter, as already seen, we obtainthe legato effect in octave-playing. But this liftingand depressing of the hand may Likewise be effect-ively employed for staccato octaves, in simultaneouscombination, especially for the execution of long andrap id octave-passages (e. g., Schubert's "Erlkonig'"Lisz t's Hungarian Rhapsody in D~-B~). Thoughstrict rules cannot be formulated, some practicaihi nts may be offered.(1) On black keys, generally hold the hand high,using the 4th (or 3rd) finger, though the 5th is byno means forbidden.(2) O n white keys, generally hold the hand 10"-,

and use the 5th finger, though the other fingers10

are by no means forbidden.(3) With notes of equal t ime cva lue , when thesame key (or a similar key) is struck repeatedly,

let the lift a nd depression alternate as even ly aspossible, i. !~.,take each group of 2, 3, 4 or moresuccessive strokes w ith the hand in the same po-sition (either high or 1ow),

The skilful and wel l c consider ed utilization,and the greatest possible regularity in al ter na-nation, of lift and depression, is one of the bestmeans of av o id ing wear iness and stiffness inthe hand and arm during long octave - pas-sages. A too ar bitr a ry alternation in the posi-tion of the hand is- apt to render the playingunquiet and uncertain.

The tollowing exercises require no fur-thercommentary.

8/7/2019 Kullak

12/36

Practical Exercises.R indicates the raising (high position) of the hand; Exercises I (a) (b ) ( c ) (d) (e) are to be practised in

D, depression. succession without change of tempo.I(a ) (b ) (0 )D R D R D R D RD R D R

(d ) (8 ) 8

D R D R D R D R

II(a) 5t 4 -t

5t

I---,------. -

t5 t4 - tr; t4

~----

11

8/7/2019 Kullak

13/36

(a ) .. .

D . R. D . R .

IV . (a ) t 5 - 4 4I J I 5 5 " 4:I I I 1544:> 54 4 51 1 I I I I I ,I_--

: > 4I I ) 4 5 4 5 4 -1 I I I I J 454I 1 I54.:;I f I---I .------~- ------~-

'1.(a) 55445544-I I I 111 1 I4 4-I 'I- 4 III I----_

II 5 51 I 1 II 545I I 1 I 4 5 4 5l l 'i I5 4 5 5I I 1 1_.-- .

-~--

I). R . D. R .

1 I 1 ,I I 1 1 I 1 '. I 1 I I 1 155445544554-1: 5 . 544~------~~ -_. . . . . . _ ._- - ---_ . _. .& .. .- J _

l I 1 1 1 I I I I 1 I I I I J I545454545.4- 545454

t .. I I I 1 -I 1 I - I I 1 I I I I54 {) 5454554 I> 54540- - --_. ----_.

12

8/7/2019 Kullak

14/36

Section n.--. . . .~-Preliminary Remarks.

When the hands and fingers have been so trainedthe foregoing exercises, that they can fulfil allctions demanded by octave - playing, the Secondction, containing octave - passages inmanifold com-ation, may be taken up. In order the better to ob-

a systematic view, the exercises are arrangedder the following heads:(1) All the scales, including th e chromatic.

(2) Octaves in progressive intervals.(3) Passages in broken chords.(4) O ctaves mingled with full or partial chords.(ti) Interrupted (simulated) octaves.(6) Overlapping octaves, the hands alternating.(7) Exercises on the Tremolo, Trill, Appoggiatura

and Glissato.

I. Scales.(a) The scales, like everything else that one would

must , of course, be played very slowly andly at first. As to the fingering, all octaves maystruck, in staccato playing, with the l~t and 5f!1

gers, whether on black or on white keys, so longthe elbow maintains its position unchanged. Someebrated pianists, like Alexander Dreyschock, havesed this simplest of fingerings to the dignity of a

however, Iconsider it practical to apply thegering required in legato playing _ taking notewhat was said on this point in the preliminary re -rks _ to the staccato style. Therefore, practisescales.

(1) Legato.(2) staccato with the legato fingering; and(3) Staccatowith th e l s J and St!t f ingers throughout.(b) It is unnecessary to explain, that tempo, tone -

power, rhythm, certain characteristic colorings (suchas maestoso, pompoeo , t empesto8o, appassionato , gr~. .ioso, cares.ando, 8Cner$080, etc.) are essential in de -termining the height of the up-stroke and down-stroke,and of the raising and depression of the hand.As soonas the first mechanical study i s a ccompl is hed.neve r l os esight of the principle, that for special artistic purposesdeviations from the hard - and - fast rules of the schoolare allowed.

- - 4 5 , . . .J- .......+...............,.--

8/7/2019 Kullak

15/36

~I I I f 6 4I 1 ~I 1 I 1 -I--- _ ---.,.__",.- - _- - - = - - ..1') 4 6 4 5 4 5 4

III4II44 3 4 6~ 4 - D 54 , " 4 5 4s5.

4 5 4 5 14114III 5.. .o44 IiI) 4

() 4- 8 - - - " - -- - ~ . - . - - -- - - . -- - -- - - .- - - -- - -- - ~ - 4 I) - 4 1 > ~nI~ - - 3 5 6- 5 I- - - 4 0 5 4 11 " ' 6II - - - 4 .. -4 5 4 4- 4 . . . . 5 4 - r;- 5 Ii Ii 0 5 5 5 4-- r; 4 (;I 4 - 4 ;54 4 [)4o

( ; 4 - D 4 -o 4 0 4 -

IIIII143 -4

4 - " 5 6;; " 4 I)o 14II 5" 5III 4 5

Remark The fingering given here is by no meansexhaust ive , although it is applicable both to the strict-est and the less strict legato playing. Not only thestretching= p owcr and other peculiarities of the handsmust be carefully considered, but also the tempo andthe accent. Consequently, hardly more than the gen-era! points (a) and (b), and the special points (c)'(d), (e)and (f) can be add uc ed .(a) In the strict 11~L;{il(j, always t ry" to alternate) or

to glide:

(b) In the 1es sst ric t Ili/.:a/o, t a ke (11 1 whit eke : y s \vith14

the {S_t and 5 t ! t , occasional black keys with the 4 t p fin-ger, and alternate where several of the same kind f01-I O " T in succession.(c) On white keys, it is immaterial whether )~OU change

from 4 to 5, or from 5 to 4 :.. .t. ;"') .\ ~;) " ... \ ::. .,, .. \. ~l .. .. ... a , a J "~ ._ ~

E ~ f : = $ _ ; - = L _ t 3 - or M ~1~~! . ](d)When a wh ite key is followed by a black one lthe latter is almost invar iably to be taken with the 4t!lfinger.

8/7/2019 Kullak

16/36

: r - :4 { ) 4 IS3 44/Zi4 5 4 I)

4

4, 5 5 45 554,1!'4 5 Ii 0I4II-41113

Ii44 - _ 6 45 3 4

Ii 4 5 4

4 ... 541)4

111- - S 4 -III4 31&5...0 t 54 55 4 6 5644 6 ... ... & 5

I4II-_ 4 6I1I- - : : 4J3 -4 - - -

6 54~ !!'u 0 r; 4 ~544 0

44 6 4o ~ 0IS4 5o " &4

~ - - - - - - i i - - - - - - - - - - :3 4 ... a4 0 4 ~!4

o~ 4-o Ii 44 I)

(e) When a white key follows a black one, the latteris always taken with the 4t.!I finger:.. .(.)

(f) On two successive black keys, the change is op-tional.

A fingering employing the a f_ ? finger is often the15

404

handiest, but unfortunately, as already observed, notall hands can use it.

As no normal fingering, like that for the simple scales,can be adopted, it will be an excellent plan for the pupilto try, with the aid of the remarks under (a),(b),(c),(d) and(e), to concoct a fingering for himself, and then to com-pare i t with the one which I have marked ~

8/7/2019 Kullak

17/36

3Ii 4 -I) 4 IS s"

(; 4. 54 .. 6 4o - - - - - --.-._ _ -

3. . .

I)4 :4 J) 4

4 Ii " Ii Ii

5 " 5 5

&4" .. 5 " 545

4 I) 4 " " "& .

5 I; "" " 4r;

485 4-5 8 & 4 -5 8

II I 3 ~ gII 4 I! 4I4 u

Ii 4 -4 64 I i

3

& 8Ii

8 4 IS" & & "

8/7/2019 Kullak

18/36

I) 4 -o I), 4 a4 .. 4 4 44 4.

4 5 445-_ I) 46434 54 -- -

5. 6 45 4-- [ ) 4 . .& 4 :5 4 -4: t J 4 : 4

5 4 :43

3 ,. 4 >4 I), 541)".-

544 : 6 4 '" I) & .

3 4 :4 - Ii 4 --_- ~ - - - - .

I; 4 56 4 63 4

8/7/2019 Kullak

19/36

" 54,5 - -54 :

-- 3~4 44 - 5III5II5I5 --5(;

I) 4 0 4 5 4 4 - 54 64

5 34 55)5

8/7/2019 Kullak

20/36

II. Octaves in Progressive Intervals.The succeeding exercises can be played only in anapproximate legato; for the change of fingers in-dicated by the figures can be effected only in mod..erate tempo.

In staccato playing, all these exercises will bexecuted with the 1 8 _ t and 5t! 1 ; wrist-movement as

the scales. With regard to the legato, E X 9 1 of-rs no difficulties. In Exercises 2-8 the 4tlt fin-

be much bent, the 5t!l striking rather flat.1 .

4 5 4 0

2.

5 4 5 4

:J45 4 :4 : 5 5

etc.

8/7/2019 Kullak

21/36

7.5 . 3 6. 8.

...-12;;4

5 53 5. . . . _ . . etc.~5210.~ !r, 4"........- L_--!!!!!~~L_9. 53

if" t U ~ etc...

etc. 53._. - - -- . . . . . . . . .--513.-~__""---5-2---""~55~12.

t2. . . . . . . . ,etc.etc. 1etc ..- -- -- - -- --15.14-_ 1 ! . ~52 1.2 t

17.

20

8/7/2019 Kullak

22/36

18.

etc.

19._.....,..,

etc.

20. ~~

~tc.\

..

-')4. . . . . , .

etc.

25. 4 . - 4 4 4 -

4 - 27.

etc.

26.

etc.

28.

etc.

8/7/2019 Kullak

23/36

III.Passages in Broken Chor ds.w2. 3... 4 5.\ . ,1.

Similarly in G and F.~

I)4. 8""--...--...-~..----..----..----~ 5 . 4 -4 6I)

7 . 8. ~ ...- - ~ - - - ~ - - - - - - - - - - - - - - ~ Similarlyin A andE.

9. 5 10. 5

8-----~------: , 13.

15.440 44~44 554t400 45"40540

16.~ . . . . . . , 544 -18. 19. ~ - - ~ - . - - - - - . - - - - - - - - - ~ . - - - - ~ ~ - - . ~

.,.._........Similarly in A b an d E~.4 4 -

20. 4 21. 4 22.

46Remark. For playing these passages legfl/fl, it nor-

l fingering is as impracticable as for the scales, as inth cases too much depends on the peculiarities of the

player s band, the tempo, and even the expression. Fi-nally, all possible phases of the legato cannot be pro-vided for in advance; for instance,

5 ~

this

8/7/2019 Kullak

24/36

23. 24.Sirnilar ly in D and A.

26

27. 8 - - - - - - - - - ~ ~ - - A - - - - . .I!! 4- !4D I 28.

30. . . 4 :6429.4&40

The above exercises must also be practised in contrary motion; for instance,31. 8--------------..-....,-..~----..-------~I

3 2. 8--..-.......----------: 33. The same forD major.

404I)4 - 55

34.

o 6 444 45 4

3

36. 37. ~ - - . - - - - - - - - - - - ~ . - - - - - - - ..:

4 I) 46 4 6 434538. 5 ~.-.- ....---.--- ..--------:4,04 404 :

"_--rI ~"""'-----+-_____''''''''----1 ....-+--+--~ P-+---+--~t----+-____, ~1---+---+---'1 ,...__ The sam e for~~-...j B~ and F.

39.

8/7/2019 Kullak

25/36

40.

4- fI'!.1 4. ...,42. 43.

44.

I! & :15 ~

47.

4 - 5 .\ r; 4 4 - 5 48.

IV. Octaves mingled with full or partial chords.The interspersed chords must not be taken byiking, but with the "pressure-touch." After the

essure, the hand must rise swiftly, so that thefollowing empty octaves may be played, as before,with a light hand- rnoverne nt .

1. 5_.........I I 1 I I1

4 - . f ' ! ' \ .5.

8/7/2019 Kullak

26/36

--e- Qe- ~~ ~ --- - . . . . . . .- - - - - - - - \.:.,I. . . . . . _ _ - ~7. .-- - . . . . . . . . . _~ - - - - - - - - - - - - - - - _ _ . - -

11 .

13. "A/\

16.

17. 18.

19.- - - _- - _

A . 8 _.._-._- _.__ .. __~.-.. -.. - " A ~ J\" A J\'

25

8/7/2019 Kullak

27/36

\T . Interrupted (simulated) Octaves.These are success ions of octaves alternating withgle tones. When played very rapidly, the effectsome of the examples below i~ like all uninter-ted succession of octaves.

In thp~.p exercises nearly all the fingers, and more-speciu ll v th e 2n_ d, a re employed. Those which canbt~ p la ved legato are marked accordingly with slurs... .

1. Hi ht hand. 2.

6. ( ' f - - - - - - - - - - - - - - -

~ _ . , ~ . _ . 6 .~~~

7 .

1 . 2 1 2 1f). . . . . .2 1 2I1.II1 212'1121

- - - - - - - - ----2 11 2 1 2 1 .1

9. 10.

) 1 2 1 ~1. . . 12.12121211. 8-...-..-..- - - - - - ' - '4 . . - - ~~

2 I 2. I

etc~ etc.~I15. 16. 17.

8/7/2019 Kullak

28/36

18. 19. 20.

1 2

22. 23.

1.21 .2 o I2 -I N24. 25. 26.

121 22 I 21

28~

:1 129. 30.

Left hand.1 . 1 2 1 . 2

4.2 t 2 1

6.

8/7/2019 Kullak

29/36

8. 2 1 2 ..

10. 2

12. .. 2 Ietr-.

13.

2: I 9. 1 2 1 2 .. 2 I 2

11 . 1 2 I ~ 1 2I ~

1

19.

28

15.

20.18.

22.21. 1 2 I223.

8/7/2019 Kullak

30/36

i)4. . . . . . . . . 25.

t 22 a~ 26.1 2 1 2 I ~

127.

~ 1

-----,

28.2 ,I 29.2 'I 0~I- I 2 I

31. 212 I ~ 1

32. - .- _ _ _ _ _-~-34.l

5 4: !-!. 4 :u 5 "35.

3 5 3

36. 37.

4: 5 4 -5 4 :38. 39.

4

41. 42.

8/7/2019 Kullak

31/36

VI. Overlapping Octaves, the hands alternating.These octaves are so termed, because the hands

overlap each other (i. e., the thumbs). Whe n rap-idly executed, they are remarkably effective, andsound, like the interrupted octaves, as if doubleoctaves were being played. Here the most im-portant fingers are the two thumbs, which playthe real connecting thread of the passage; theymust, therefore, strike very confidently, and so ev-enly that the basic figure (the thread) is distinctly

1.

recognizable. In the first examples, both the bas-ic figure, and the part which each hand h as toplay, is gi'1"en in small notes. It is a good idea,first of all, to analyze the figure, so as to findthe "thread" and the intervals through which eachhand has to pass. Of course, all octaves, exceptthose bearing a principal accent, are to be playedevenly w ith both hands.

4.

G.5.

8/7/2019 Kullak

32/36

7.

tcon 8---~-A - - --- --------- --- --- ... ----~-- -----.--~-.---.------------~~

9. 10. 11.

-- _ _ - - .

12. 13.

---

14.

~-----.-.-.----.. .I . . ----15. ----_._.--~-------. . ... I I ."~,,_,__..-....-~. ." .

8/7/2019 Kullak

33/36

_---- - ----~-.-

16. 17.

19.

21.

8/7/2019 Kullak

34/36

8/7/2019 Kullak

35/36

- . .. __ ~- ___. ................ - ..... ---- ........--_..._ ... - ....... --.... - or , .._. __ _., ----........... ~_. __ ~ .......... _ _...,.....,___ _____.__,.__.,. ~_. __... ~ ... _.~ -. - _.. --- -_. - .- -----..-_-------~ .. _---- - ~.. ---.--------..........._.-~--------...._.~~~.~ ....-.......- . . . . . .---- - .--~----.-......._._----- .. -- _ . _ . _ . _ . _ - . __ .. ._-4

In the appoggiatura-exercises 1- 6 , the 1 9 _ t and5t!t fingers are drawn lightly from the black to I the white keys.

~~ ~ ~ ~ ~ ~ ~ ~ " '~ ~. ~ r rr ~~ !.~~.. .rI-' - .. - ru -u -u ,-" ' " " . . , . , ",J . .~ ~ _ u . .. "iI ~"1 ~ I.'-'1:1 _ItJ . . . . . . . . . . , . . . . . , . . . . . . . , ......." T '- ' . . . . . . . . , '-' v5I 0 L - . I ~ ~ ~~ ~ . . ~ 5 (;t V t I~~- - - . . . . . . . _ . . ~ ~ ~ , . . _ _.~

. . .M . . . . 1 ~~

. . . . . . . . . .~

.. .' 1 " , , - . , - , " - ' - - ' - ~- , , - ~ - - ~ ,. .1 I " I " r ~1 I 1. _l I t , I I) 'wi' '-'""-.! I I >. . . . . . . . . . .

K nI I"-..:

5 r ;t I'-...,.:

The glissato in octaves is best performed by strik-ing the first octave vigorously, and then glidinglightly (without pressure) over the keys..upwards

(right hand) w ith the little finger much bent;downwards with the bent thumb resting: almoston the nail.

5 ~= : - - - - - - - - - - . . _ _ _ _t - - : = = = = = ; ; ; : _

"i

34

8/7/2019 Kullak

36/36

Appendix.

Within the domain of Octave- studies we may al-so include passages based on octaves.which howev-er, are not in the form of "solid" octaves.but of a

So many such passages occur in early and re -cent piano-compositions (Beetho"en, Op. 22, firstmovement; Schumann, Finale of the G minor So _nata, Op. 22; Lisat, Ballade in B minor), thatmost text _books take them into account, and ex-plain their execution. (A n excellent exa m pIe inClementi 's "Gradus ad Parnassum.' N