Anton J. Benjamin / Simrock
INTRODUCTION TO THIS PIANO TUTORIAL
Why Duets?
The pupil watches and listens to the teacher play, and then imitates him—not blindly, unthinkingly, but spontaneously, for the fun of the thing. That is how one should begin. Then, as the pupil proceeds from one study to the next, he can become more and more independent. The main purpose of studying the piano by means of duets such as these is to give the beginner his proper share of responsibility in what is a joint enterprise.
Why start with D and G sharp?
D and G sharp are the two starting-points from which the arrangement of the keys proceeds symmetrically to the right and to the left. (This can be demonstrated with a mirror.) Our hands are also symmetrical in relation to one another. Whether right- or left-handed, every pianist must, so far as possible, develop an equal degree of skill in both hands, and when the movements required are symmetrical, the "clumsier" hand can imitate the other so as to acquire the same feeling in the muscles (tension and relaxation), the same tonal quality, the same degree of dexterity. Some forty years ago, Emil Frey's Bewusst gewordenes Klavierspiel (Hug & Co., 1933) drew the author's attention to the advantages of basing one's teaching on the symmetry of the keyboard. Frey's work was not, however, intended for beginners.
How should one study DUETS RIGHT FROM THE START?
In order not to overburden the memory, study only a few movements at a time—at the most only as far as the next bracket—until they have been mastered. Having practised each band separately—beginning with the "good" hand—, do not make the mistake of thinking that the two hands can now be played together without further ado! This is task on its own, which has to be mastered patiently and attentively: as each position of the hands in relation to one another (coup de mains) is learned, care must be taken to ensure that the resulting sound really corresponds to that desired. The same care must be taken whether the position of the hands changes or not—in the first study, for example, where the same two keys are struck from bar 19 on, and in the ninth study, where there are seven different positions of the hands (indicated by dotted lines) in bar 3 (A) and nine in bar 8 (B). "Work makes muscle"; say the physiologists. The exercises should be performed by the fingers with as much energy as possible, relaxing the muscles at frequent intervals in order to avoid overstrain. All the publications known to the author on the subject of piano-playing speak of the need to make the fingers and the hands "independent" of one another. In practice, however, the independence achieved is only specious: what is arrived at by constant repetition is an interdependence of arms, hands and fingers, an interdependence which gradually becomes unconscious as its disturbing effects are less perceived. On the other hand, a conscious study of the coups de mains—the simultaneous positions, often quite complex, of the two hands (later the use of the pedals will be added)—teaches us right from the beginning to make the best and most efficient use of our muscular apparatus in the performance of musical compositions. Fundamentally, the manner of studying and practising Duets Right from the Start is no different from that which is valid elsewhere.
Loudness of tone
Loudness of tone is determined not by the force but by the rapidity with which a key is struck—although, of course, when a key is struck rapidly force, among other things, must be used. The greater the speed with which the hammer is thrown against the strings, the more the strings vibrate and the greater the tone they produce. The determining factor is, in fact, the speed attained by the key two-thirds of its way down to the key-bed (József Gàt, Die Technik des Klavierspiels, Bärenreiter, 1965). Whether or not one is to avoid the so und of the finger striking the key or that of the key against the key-bed must be a matter of deliberate decision. Speed and amplitude of attack—whether the movement in attacking the keys is to be greater or smaller, the touch rapid or deliberately slow—are matters which will have to be studied and which will enhance the player’s interest and pleasure. Wherever, in these studies the dynamics are not indicated, care should be taken that the performer plays more softly than the other. In order not to disturb the pupil, particularly in those studies with trickier rhythms, it is advisable that the teacher plays more softly, but when the pupil is sure of himself it may well be the other way around: since he is no longer likely to become confused, he can follow attentively not only his teacher's playing but also his part in addition to his own (whence the parallel arrangement of the two parts, unusual for duets). In any case, the degree of loudness should never be so great as to jeopardize the flexion of the fingers. Avoid all stiffness!
Leggiero
This term (still spelt by musicians in the old way instead of the modern leggero) does not refer here, of course, to the performance of rapid runs, and might well be applied to each of these sixteen studies. Both hand and arm must be kept light while playing. Later, in the thirteenth and fifteenth studies for example, it will be relatively easy to learn how to apply the additional weight of the arm and even of the body-transmitted through stiffened arms-once the finger muscles are strong enough and other technical difficulties have been mastered.
In what tempo should one practise?
Every movement must allow of the proper control-visual, aural and muscular. Later, with closed eyes, even greater concentration becomes possible. Everything that has been played rapidly should be gone over again slowly in order to avoid careless playing. The object of practising is not to be able to play so well that one need no longer attend to what one is playing, but to study one's task, and one's task, and one's performance, ever more habitually and thoroughly. Everything else is a harmful and discouraging waste of time, for the teacher as well as for the pupil.
How long does it take to learn DUETS RIGHT FROM THE START?
The average pupil—if such a thing exists!—will, according to age and degree of interest (sheer unimaginative industry is not what we have in mind), master this series of sixteen studies in twelve to eighteen months of painstaking application if he aims at a musicianly performance of every one of them. It should not be necessary to point out how essential a careful, unhurried study of the musical text is as a condition for mastering the piano: indeed, the pursuit of this activity makes up a large part of the study of the instrument. Naturally, it is for the teacher to choose from the piano repertoire compositions which are suited, not only to the "great leap forward" contained in each study, but also to the personality of his pupil.