. w. œ œ œ œ. œ œ œ. Five Finger Exercise. Focused Firm Fingertips

Transcription

1 CONTENTS CONTENTS Focused Firm Fingertips Five Finger Exercise Supported Hand Position Warm-Up Patterns in C Maor6 C Maor Scales in Progressive Rhythms 6 Root Position Triads 7 Broken Chord Patterns 7 Blocked Chord Patterns 8 Arpeggio Exercise 8 The Chromatic Scale9 Touches: Slur Groups and Staccato9 Warm-Up Patterns in A Harmonic Minor 0 A Harmonic Minor Scales in Progressive Rhythms 0 Root Position Triads Broken Chord Patterns Blocked Chord Patterns Arpeggio Exercise More about Slurs Siciliano Rhythm Siciliano Study Emphasizing Notes Double Notes Double Thirds Exercise, Wieck Warm-Up Patterns in G Maor6 G Maor Scales in Progressive Rhythms 6 Root Position Triads 7 Broken Chord Patterns 7 Blocked Chord Patterns 8 Arpeggio Exercise 8 Two Parts in One Hand9 Three Voices 9 Warm-Up Patterns in E Harmonic Minor 0 E Harmonic Minor Scales in Progressive Rhythms 0 Root Position Triads Broken Chord Patterns Blocked Chord Patterns Arpeggio Exercise Combining Touches Back and Forth, Norris Imitation Follow Me, Loeschhorn Rotation Rotation Exercise, Sartorio Octave Preparation Warm-Up Patterns in F Maor6 F Maor Scales in Progressive Rhythms6 Root Position Triads 7 Broken Chord Patterns 7 Blocked Chord Patterns 8 Arpeggio Exercise 8 Rotation Plus nd Notes 9 Exercise in F Maor, Czerny9 Warm-Up Patterns in D Harmonic Minor0 D Harmonic Minor Scales in Progressive Rhythms 0 Root Position Triads Broken Chord Patterns Blocked Chord Patterns Arpeggio Exercise Intervals Larger Than an Octave Smooth and Continuous Warm-Up Patterns in Bb Maor Bb Maor Scales in Progressive Rhythms Root Position Triads Broken Chord Patterns Blocked Chord Patterns 6 Arpeggio Exercise 6 Single and Multiple Grace Notes7 Grace Note Etude, Czerny 7 Warm-Up Patterns in G Harmonic Minor8 G Harmonic Minor Scales in Progressive Rhythms 8 Root Position Triads 9 Broken Chord Patterns 9 Blocked Chord Patterns 0 Arpeggio Exercise 0 Independent Fingers Balance on Five and One, Wieck Accents with Alternating Hands Grouping Staccato Notes Skills and Imagination Gavotte, Chaminade Warm-Up Patterns in A Maor A Maor Scales in Progressive Rhythms Root Position Triads Broken Chord Patterns Blocked Chord Patterns 6 Arpeggio Exercise 6 Chord Playing7 Pedaling Triple Meter Dances7 Larger Staccato Groups 8 The Wild Rider, Schumann 8 Singing Melodic Lines9 First Loss, Schumann9 More Imitation0 Do What I Do, Köhler 0 Warm-Up Patterns in D Maor D Maor Scales in Progressive Rhythms Root Position Triads Broken Chord Patterns Blocked Chord Patterns Arpeggio Exercise The Trill Trill Exercise, Mason Repeated Notes Voicing Putting Things Together6

2 Focused Firm Fingertips The fingertip should remain firm at the nail oint to support the hand and arm on the keyboard This Not This Firm nail oints Broken, collapsed nail oints To make nail oints firm: Knock fingertips on the keys until nail oints feel heavy Hang onto the edge of the piano with the nail oint of finger (Pretend you are hanging from the edge of a cliff with only this oint) The muscles of the upper arm must be relaxed Have someone (or with your other hand) shake your upper arm, keeping the nail oint in place Next, hang on with the nail oint of finger, then finger, and then finger Relaxed upper arm muscles with firm nail oint Use firm nail oints in Five Finger Exercise Place fingers over the new position before playing it Five Finger Exercise & w w

3 Supported Hand Position The arch of the hand: The muscles in the palm of the hand support the fingertips on the keys Place the five firm nail oints on the keyboard (or fallboard) Using muscles of fingers and, lift the hand from the palm to make an arch from the knuckle of finger to the knuckle of finger arch of the hand The muscles in the palm of the hand: A muscle that connects fingers and makes those fingers a strong support for the arch Finger has a muscle that connects to the muscle of finger The elbow helps support finger on the keyboard Playing with the muscles in the palm allows knuckle and wrist muscles to be relaxed when playing Using the palm muscles, balance on finger when playing these exercises: RH & LH First, play fingers,, and Next, add finger when playing finger, feeling the connection between fingers and to make a strong arch between fingers and (Knuckles and wrist are relaxed) RH & LH

4 Octave Preparation Allegro in G Maor, p Octave playing has two skills that must work together: the fingertips and the wrist action Practicing the fingertips: First, practice finger alone with no arm weight Use finger on black key octaves if the hand can reach it (Make the octave hand shape while playing finger ) Then, play finger alone with a quiet wrist and octave-shaped hand # 8 () Playing the octaves with finger staccato (plucking motion): Fingertips bounce to the next key with no forearm weight # 8 p () Practicing the wrist action: Make knocking motions on the keys (or fallboard) with a fist, using the above rhythm Rest the fingers on the keys, keeping a firm arch between fingers and with a relaxed wrist Keep arched hand when playing octaves This Not This Keeping the fingers close to the keys, use a knocking motion (from the wrist) to play sixths and octaves: sixths # 8 p octaves ()

5 Warm-Up Patterns in Bb Maor Using a metronome, play the Parallel Motion and Contrary Motion Bb Maor Scales in Progressive Rhythms with the same rich, full tone at all speeds Play the Parallel Motion scale first q one octave, then q q two octaves, then q q q three octaves B b Maor Scales in Progressive Rhythms Parallel Motion & F Play the Contrary Motion scale first q one octave, then q q two octaves Contrary Motion & F Play the Combined Parallel and Contrary Motion scale as written Double the tempo on the repeat Combined Parallel and Contrary Motion & F

6 The Trill March in D Maor, p Trills in the Baroque era usually begin on the upper note (the one above the main note) Practice Trill Exercise with different finger combinations (RH ; ; etc; LH,, etc) and with the LH two octaves lower On the tips of the fingers, with no arm weight, feel a balanced connection between the trilling fingers To help increase speed, slightly shake the hand from the upper arm Trill Exercise & w' w ' ' ' ' ' ' ' ' ' ' William Mason (89 908) Short (four-note) trill: First, play each note with precise finger action Gradually increase speed written: played: & Ÿ Then, play it in one quick shaking motion Combined appoggiatura and short trill: (The appoggiatura delays the beginning of the trill) Ÿ & Repeated Notes With finger action only, use a little more energy on the first note of each group, keeping a relaxed forearm and wrist Play near the edge of the key, feeling it come back up & w w