Piano performance as a creative process is possible only if the student is technically ready to reproduce the musical text, to achieve freedom of possession of the material to embody the artistic concept. Therefore, the task of paramount importance for students of any age group is the development and improvement of the technique of owning an instrument, i.e. piano technique.

Work on technical specifications begins with their understanding. This rule should become a law for the performer. Only what is fully known by the mind can become the subject of training. F. Busoni said: “Technical improvement requires less physical exercise, and much more a mentally clear idea of ​​the task - a truth that may not be clear to every piano teacher, but which is known to every pianist who has achieved his goal through self-education and reflections."

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Methods for Overcoming Technical Difficulties in Piano Playing

Piano performance as a creative process is possible only if the student is technically ready to reproduce the musical text, to achieve freedom of possession of the material to embody the artistic concept. Therefore, the task of paramount importance for students of any age group is the development and improvement of the technique of owning an instrument, i.e. piano technique.

Work on technical specifications begins with their understanding. This rule should become a law for the performer. Only what is fully known by the mind can become the subject of training. F. Busoni said: “Technical improvement requires less physical exercise, and much more a mentally clear idea of ​​the task - a truth that may not be clear to every piano teacher, but which is known to every pianist who has achieved his goal through self-education and reflections."

The ability to masterly perform exercises, scales and arpeggios makes it extremely easy to overcome difficulties in works of art and etudes. After all, high-quality performance of musical compositions is one of the main goals of every pianist. Aspiring to this goal and mastering specific performance tasks, the pianist polishes his technique as well.

By playing exercises, especially scales, chords and arpeggios, the pianist trains his fingers to perform the sequences most typical of piano exposition that make up these technical formulas.

It is well known that the work on a piece of music is the basis of learning to play the piano, and, in addition, is a holistic, single and complex process that includes many problems. Undoubtedly, we are talking about the problem of sound, the accuracy of phrasing and rhythm, fingering and pedalization, in general - the expressiveness of the performance, performing technique, that is, the use of a set of tools necessary for the implementation artistic image. All this is unthinkable outside the corresponding game movements, that is, it is closely connected with the development of technology.

It is known that among the main shortcomings in the technical development of a pianist is the tightness and stiffness of the apparatus. One of the reasons for tightness lies in the artificiality of playing techniques that are not linked to musical tasks. And technical heaviness, weak mobility, static and metric often come from the lack of a sense of the horizontal movement of music, its development.

From the first lessons with a novice student, work is carried out on touching the keyboard, feeling the operation of the entire sound extraction mechanism when the fingertip contacts the key, the process of the student's technical development begins.

The word "technique" itself comes from the Greek word techne, which means "art", "skill". Piano technique is an extremely precise and diverse matter, requiring constant auditory-motor control, a process that requires considerable mental effort, especially when wrong skills ("clamps") have already managed to "take root" in the student's subconscious. It can be said that intense auditory-motor control and psychological comfort are two guarantees for the successful mastering of piano technique. A lot of literature has been written about the development of all its types - the so-called fine technique, chord technique, double note technique, and so on. The authors of the best piano etudes and exercises - K. Czerny, Kramer, M. Clementi and others - found generalized, concentrated technical formulas, the development of which helps to master various versions of these formulas in works of art. In the education of technology great importance has a systematic acquisition of skills.

And here the question arises - should a performing musician resort to special exercises to develop technique? This question was answered by teachers in different ways. The remarkable representative of Russian pianism K. Igumnov also spoke about the need for short daily exercises.

“Many people do their morning exercises before going to work. Our fingers should do the same exercise before starting to practice ... ". After all, the exercises, as it were, introduce the student to the correct pianistic state of health and contribute to the development of flexibility, mobility, expressiveness and sensitivity of the pianistic apparatus. IN teaching practice various types of exercises are used.

For application, you can use exercise books, in accordance with the needs of a particular student: for children - from the “Preparatory Exercises for various types piano technique. E. Gnesina, for more advanced students from "160 eight-bar exercises" op. 821 C. Czerny, "New Formula" by V. Safonov, exercises by A. Cortot, M. Long. To expand and update the pedagogical repertoire at the initial stage of education, as well as as additional material to existing schools and manuals, a collection of 50 exercises for finger fluency by T. Simonova “Patters for Piano” was created accessibility, acquaintance with new musical images and technical combinations - characteristic of this collection.

You can not ignore the exercises of S. Ganon. Because they, in turn, contain material of varying difficulty. But how to make something useful and interesting? After all, the paths of development of a pianist in the motor sense, as in all others, are individual. Here the teacher needs to show imagination: you can vary strokes, rhythm (achieving rhythmic accuracy in your chosen figure), do not forget about dynamic nuances (play with different shades, use crescendos and diminuendos), experiment with timbre colors. But at the same time, one should remember the well-known rule of V. Safonov: “Always play in such a way that your fingers go behind your head, and not your head behind your fingers.”

G.G. Neuhaus in the book "On the Art of Piano Playing" gives his own version of the systematics of types of technology:

1. Hitting one note.
2. Two-three-four-five notes in the form of trills.
3. Scales.
4. Arpeggio.
5. Double notes up to octaves.
6. Chords.
7. Transfers and jumps.
8. Polyphony.

Alfred Cortot reduces all piano technique to five basic forms:

1. The uniformity, independence and mobility of the fingers.
2. Inserting the first finger (scales and arpeggios).
3. Double notes and polyphonic playing.
4. Stretching.
5. Hand technique, chord playing.

As for the texture, the following varieties of it are distinguished in modern piano pedagogy:

1. Scale-like consecutive melodic figurations.
2. Arpeggio.
3. Octaves.
4. Chords.
5. Trill, tremolo.
6. Double notes.
7. Horse racing.
8. Melismas.

There are a variety of techniques to develop the technical skills of piano learners. With or without a tool. Warming up the fingers without an instrument is useful, but not the most effective, since there is little sense without direct practice. This technique can be used immediately before a concert or before a game to warm up the device a little. To achieve virtuosity, it is not suitable. As for the practice of the instrument, there are two mainstream opinions on how best to achieve technical perfection. Some believe that it is possible and necessary to work out technical difficulties on works, that is, on virtuoso episodes. And others, that for the development of technology it is better to disconnect from the artistic part of the works and focus on scales and exercises.

One of the main ways to overcome a difficult technical episode is to work it out at a slow pace, while feeling maximum comfort in the hands, strength and flexibility. Achieve stable performance first at a slow pace, then at a medium pace, and finally at a fast pace. Scale and arpeggiated passages are very useful to learn both in one direction and in the other. Some teachers, as an option, offer to teach such a passage with different rhythmic figurations. But such an exercise is not suitable for everyone, because instead of alleviating old difficulties, new ones appear, such as unevenness within the passage.

Fast jump passages should also be practiced at a slow tempo. In this case, the transfer of the hand should be at the original pace, very dexterous and specific. It is also very useful to move your hand quickly, but not to press a chord, but simply aim at the desired keys silently.

For example, A. Cortot, in his editorial edition of F. Chopin's etudes, each of them has an appendix with exercises to overcome the set difficulties with explanations why this particular exercise will help to overcome the obstacles that have arisen in front of the performer. This greatly facilitates the independent search for suitable technical formulas for training.

Much attention in the development of technical freedom is given to the study of scales and arpeggios. They are usually subdivided into two large periods. In the first period, the student is still at school, and playing scales at this time contributes to mastering the skills of primary fluency, knowledge of fingering and adaptation to black and white relief. The second period involves artistic work on technology.

The student must set himself sound, timbre, dynamic, articulation tasks and strive to solve them. Now the goal of the work is not just playing the scale with the right fingers and without mistakes, now the sound, tempo, agogics are important.

Scales need to be taught in different ways: forte, marcato; piano, leggiero; crescendo up, diminuendo down and vice versa; use legatissimo or pocolegato techniques in articulation.

Evenness and fullness of sound are achieved with a constant feeling of support. Cleanliness and evenness are ensured not only by accurate picking of the sound, but also by timely removal of fingers from the keys. As a rule, the main cause of jerks, unevenness of the game is the low mobility of 1 finger. Therefore, it is so necessary to develop its dexterity and lightness, and to lay it imperceptibly, without changing the level of the brush.

Arpeggio: Also, the main role is played by the evenness and dexterity of the first finger. Therefore, it is necessary to work on its fast and even underlayment. The basis of the execution of each motive is the expansion and the immediate after that “picking up” the fingers. In order to achieve such a performance, it is necessary to reach out at a slow pace by placing the first finger and quickly move the hand to the next position. The elasticity of the hand will allow you to avoid fixing the fingers that interfere with their mobility.

Octaves: The shoulder, forearm, hand, especially fingers, always participate in the game in octaves. The degree of their involvement may vary. Which determines the variety of ways in which octaves are played depending on the musical and sound tasks.

The main danger when playing octaves is tightness and fatigue, so you need to start work with the main thing: the participation of the whole hand (from the shoulder) in taking the octave.

In order to avoid “dirt” and clipping in the octave game, Neuhaus advised to play for a long time at a slow pace and quietly, but very accurately and without any tension, and then gradually approach the written one.

Chords: From the very first exercises for extracting chords, the student must achieve their capture with his fingers without first feeling the keys. The main goal in the performance of chords is the complete simultaneity of sounding, the evenness of all sounds in some cases, and the ability to highlight any sound of the chord in other cases. The hand should be in the shape of a vault, it is necessary to take a chord without bending the metacarpal bones and with a high wrist.

During fast chord changes, it is very important to have time to free your wrist. This is practiced at a slow pace and preferably on the piano, when the pianist, when moving his hand to the next chord, manages to feel a flexible and free wrist.

The question of the correct setting of the hands is much more important than it might seem at first glance. The student must find comfortable, plastic game movements, not only while mastering a new piece of music, but also while working on technique. Many students experience tightness and fatigue of the hands. Playing with tired hands for a long time can lead to their disease, so one of the most challenging tasks facing the teacher - to teach the young musician to work productively and correctly without harm to health.

The correct position of the hands must be sought, tried, experimented, choosing the most comfortable position. Often the musician's hands themselves adapt along the way to various textured patterns and combinations, looking for suitable positions, trying to ease the difficult, simplify the complex, and make the uncomfortable as natural and comfortable as possible. But this part of the work must also be carried out consciously, J. Flier wrote: "It is convenient to play for those who play prudently." So, if each successive playing is subject to self-observation and self-control, success will eventually be ensured.

The second and important factor of a successful and comfortable game is the right fingering.

Fingering must be chosen consciously, which, as a rule, causes difficulties for students. During the analysis at a slow pace, with many different tasks, the learners “do not care” which fingers to play. As a result, incorrect fingering is learned, the inconvenience of which is revealed when moving to a faster, original tempo.

In the practice of a pianist, there are well-known "fingering formulas", according to tradition, which have survived to this day. Mastering such formulas on scales and arpeggios, performers thereby develop certain skills. During classes, appropriate motor stereotypes are formed, which contribute to the automation and consolidation of movements. They help in mastering the "fingering formulas" found in musical works.

Not a little important factor in choosing a fingering is the nature and style of the work. For example, I.S. Bach's fingering is very flexible, you will often find alternating 4-3-4-3 fingers, while in Mozart's music the selection of positional fingering is important.

The role of fingering affects throughout the piece. So, for example, after a quick figuration when stopping on a longer note, it is important to choose a reference fingering that is convenient for moving to the next passage. Successfully found fingering helps to quickly transfer the hand when changing positions, during jumps.

Any purely technical work at the piano bears fruit only if it pursues the goal of bringing the performance of all purely technical exercises and etudes to the highest possible virtuosic brilliance, of course, within the boundaries of the stage of development at which the student is, and depending on the level his gifts.

Work on the exercises is absolutely necessary for the motor-technical development of the student. The game of exercises allows you to develop such pianistic skills as dexterity, accuracy, fluency of movements, performing the simplest colorful tasks, such as smooth sounding, amplification, attenuation, sound contrasts, accentuation, and exercises can also help develop a stable rhythm and master the basic pedaling techniques; through exercise, technical endurance is also developed. Finally, the playing of basic technical formulas, that is, scales, arpeggios, chords, not only advances the technique, but also helps to develop musical and theoretical ideas, free orientation on the keyboard.

The recommended ways to develop technical skills are only a small part of the huge arsenal that exists and is effectively practiced by educators in our time. These methods help students not only master the necessary technique, but also skillfully, competently use fingering, dynamics in the technical elements encountered in pieces of artistic content, as well as establish contact with the instrument, overcome physical and mental difficulties that we talked about earlier.

The pinnacle of mastery can be achieved by a student with the help of the subconscious forces of his psyche, the features of his human personality, his attraction to art.

The choice of work to develop the technical skills of the student is the subject of constant concern of the teacher throughout the entire period of study.

Bibliography

1.A. Alekseev. Piano teaching methodology. - M., 1961.

2.A. Artobolevskaya. Reader of the little pianist / vst. Article - M., 1996.

3. Gat J. Technique of piano playing / J. Gat. - M.: Music, 1967. - 241s.

4. Zemlyansky B. About musical pedagogy / B.Ya. Zemlyansky. - M .: Music,

1987. - 141p.

5.K. Igumnov. My performing and pedagogical principles / Outstanding pianists-teachers about piano art / edited by Y. Milshtein - M., 1966.

6. Kogan G. The work of a pianist / G.M. Kogan. - M .: State. music ed., 1963.

7.Yu. Levin. Daily exercises of a young pianist - M., 1978.

8. Leizerovich G. Piano fingering / G.I. Leizerovich //Education

pianist at the children's music school. - K.: Mystetstvo, 1964. - 215p.

9. Lieberman E. Work on piano technique. / E.Ya. Liberan. – M.:

Music, 1971. - 144p.

It happens that insufficient technical training does not allow the pianist to play what he wants. Therefore, you need to do exercises for the development of technology every day, at least for half an hour. Only then everything complicated is resolved and obtained, and technical freedom appears, allowing you to forget about the difficulties and completely surrender to the embodiment of the musical image.

In this article, we will talk about several effective methods overcoming technical difficulties. First, the key idea. It is this: any complex consists of something simple. And it's not a secret! The main feature of all the methods that will be presented to you will be the work on the decomposition of complex places into simple elements, the study of these elements separately, and then the next connection of simple things together into a whole. Hope you don't get confused!

So, what methods of technical work on the piano will we talk about? Pro method of stops, tempo metamorphoses, change of hands, about the method of accumulation and about playing scales . Now about everything consistently and in detail. We won't discuss single handed game - everything is clear here anyway: it is vital to play the parts of the right and left hands separately.

Stop method

A multi-variant "stopping" exercise is that the passage is divided into several parts (even two). Only it is necessary to divide not haphazardly, but in such a way that it is easy to play each part separately. Usually, the place of division becomes the note on which the first finger is placed or the place where it is required to seriously move the hand (this is called repositioning).

A given number of notes are played at a fast pace, then we stop to check our movements and prepare the next "run". The stop itself frees the hand as much as possible and gives time to concentrate in preparation for the next passage.

Sometimes the stops are chosen according to the rhythmic pattern of the piece of music (for example, every four sixteenths). In this case, after working through individual fragments, they can be glued together - that is, connected in order to stop twice as often (not after 4 notes, but after 8).

Sometimes stops are made for other reasons. For example, a controlling stop in front of a “problem” finger. Let's say some fourth or second finger fuzzy plays its notes in a passage, then we specifically highlight it - we stop in front of it and make its preparation: swing, “auftact”, or simply rehearse (that is, repeat) it several times (“play already, such a dog!").

During classes, extreme concentration is required - you should mentally represent the group (inwardly anticipate) so as not to miss the stop. At the same time, the hand should be free, the sound production should be even, clear and easy. The exercise can be varied, it contributes to the rapid assimilation of the text and fingering. Movements are automated, there is freedom and virtuosity in performance.

When running a passage, it is important not to pinch your hand, not to knock and not to slide superficially on the keys. Each stop should be worked out at least 5 times (this will take a lot of time, but will give the desired result).

Playing scales in all keys and types

Scales are learned in pairs - minor and major are parallel and are played at any tempo in an octave, third, sixth and decimal. Together with scales, short and long arpeggios, double notes and seventh chords with inversions are studied.

Let's tell you a secret: scales for a pianist are everything! Here you have fluency, here you have strength, here you have endurance, clarity, evenness, and many more useful features. So just love working on scales - it's really enjoyable. Imagine that this is a massage for your fingers. And do you love them? Play one scale in all types daily, and everything will be great! The emphasis is on, in which the works that are present in the program at the moment are written.

Hands during the performance of scales should not be clamped (they should never be clamped at all), the sound is strong (but musical), the synchrony is ideal. The shoulders are not raised, the elbows are not pressed to the body (these are signals of tightness and technical errors).

In playing arpeggios, one should not allow “excessive” body movements. The fact is that these same movements of the body are substituted for the true and necessary movements of the hands. Why move the body? Because they are trying to move around the keyboard, from a small octave to the fourth, with their elbows pressed to the body. So it doesn't fit! It is not the body that should move, the arms should move. While playing the arpeggio, the movement of your hand should resemble the movement of a violinist at the moment when he smoothly leads the bow (only the trajectory of the movement of the violinist's hand is diagonal, and your trajectory will be horizontal, so it's probably better to peep these movements even from non-violinists, a y ).

Increasing and Decreasing Tempo

The one who can think fast can play fast! This is a simple truth and the key to such skill. If you want to play a complex piece of virtuosity at a fast pace without any "accidents", then you need to learn how to play it even faster than required, while respecting the phrasing, pedaling, dynamics and everything else. The main goal of applying this method is to learn how to control the process of playing at a fast pace.

You can play the whole piece at a higher tempo, or you can work out only individual complex passages in the same way. However, there is one condition and rule. Harmony and order should reign in the "kitchen" of your classes. It is unacceptable to play only fast or only slowly. The rule is this: how many times we play a piece quickly, we play it slowly the same number of times!

We all know about the slow game, but for some reason we sometimes neglect it when it seems to us that everything works out that way. Remember: slow play is smart play. And if you can't play a memorized piece in slow motion, then you haven't learned it properly! Many tasks are solved at a slow pace - both synchronization, and pedalization, and intonation, and fingering, and control, and hearing. Choose one direction and follow it in slow motion.

Exchange between hands

If in the left hand (for example) there is a technically inconvenient drawing, it is advisable to play it an octave higher than the right, in order to focus on this phrase. Another option is to completely change hands (but this is not suitable for every piece). That is, the part of the right hand is learned with the left and vice versa - the fingering, of course, changes. The exercise is quite difficult and requires a lot of patience. As a result, not only the technical "impossibility" is destroyed, but also auditory differentiation arises - the ear almost automatically separates the melody from the accompaniment, preventing them from oppressing each other.

Accumulation method

We have already said a few words about the accumulation method when we discussed the game with stops. It consists in the fact that the passage is not played all at once, but gradually - first 2-3 notes, then the rest are added to them one at a time until the entire passage is played with separate hands and together. Fingering, dynamics and strokes are strictly the same (author's or editorial).

By the way, you can accumulate not only from the beginning of the passage, but also from its end. In general, it is useful to learn the ends of passages separately. Well, if you have worked through a difficult place by the method of accumulation from left to right and from right to left, then you will not stumble, even if you want to stumble.

Vasilyeva Marina Leonidovna
additional education teacher

Teaching aid
The foundation of the pianist's technique.
Cultivating a sense of contact with the keyboard

Center creative development And liberal education
"On Vasilyevsky"

Saint Petersburg
2012

The foundation of modern technology is the so-called contact with the keyboard. By contact with the keyboard, one should understand the feeling of a continuous connection of a freely controlled hand through the end of the finger with the key. This is the ability to direct the weight of the hand into the key, the ability to use the weight of the free hand when making sound.
Keyboard contact varies with the nature of the music, tempo, dynamics and texture. In the cantilena it will be one, in the scale passage it will be another, in chords it will be the third. In technical terms, various artistic and sound tasks facing the pianist are carried out by changing the interaction between the weight of the hand and the activity of its constituent parts (fingers, hand, forearm and shoulder).
The modification of this interaction is the variety of piano playing techniques.
Education of the main gaming sensation - the feeling of reliance on the keyboard, contact with the keyboard.
It is this task that the initial non legato exercises generally accepted in Soviet piano pedagogy and the desire to achieve melodiousness of sound from the very beginning are devoted to. Which is impossible without relying on the keyboard.
The reasons for the lack of contact with the keyboard may be different. This may be due to the inability of the teacher or his inattention to this issue. It often happens that a child, alive and active, sitting down at the piano, turns (against the desire of his teacher) into a mannequin. Not knowing how to use the weight of his hand when making sound and feeling the weakness of his fingers, which are not yet strong, he tries to overcome it by squeezing his hand. It seems to him that this will make his hand stronger. The more complex the pieces he learns, the more sound they require, the more he is clamped down, thus falling into a vicious circle and "adapting" to the wrong playing.
Initially established contact with the keyboard is sometimes broken during the period when intensive work begins on the activation of the finger strike. It is known that in order to activate a finger strike, it is necessary to practice at a slow pace, raising your fingers high and lowering them strongly onto the keys. The exercise involves the movement of the finger, produced almost entirely by its own muscular energy. The role of the hand in the exercises is reduced to a minimum, which threatens to lose contact with the keyboard. It is not possible to refuse a finger exerciser. Therefore, piano players must learn to combine an active finger strike with the support of a pianistically free hand on the keyboard. Mastering this combination is not always easy and painless. This requires pedagogical skill and perseverance. If, however, the student’s game reveals a lack of contact with the keyboard, work on establishing it should begin immediately.
There are different paths here. A series of interrelated exercises to be played in one session (in class or at home). It is advisable to conduct such exercises on different musical material. It is best to use fast monophonic sequences, cantilena melodies and chords. The order of exercises may vary depending on individual qualities student.
Before proceeding to the consideration of the proposed exercises, it is necessary to recall one fundamentally important condition for any piano exercises: the player's auditory attention should never be turned off, indifferently. The sound result is the highest criterion for the correctness of a pianistic technique. To master the initial contour outline of the technique, visual control is also very important. However, its virtuoso polishing, adaptation to a specific artistic task is a function of hearing. Usually a good sound is inextricably linked with a skillfully performed technique, which gives the player a muscular feeling of comfort and lightness. The existence of one without the other is possible only in the form of rare exceptions and is extremely short-lived.
Keyboard Contact Exercises
The exercises proposed below do not pose any complex musical and sound tasks, but even here auditory control should be on the alert.
Exercise One
An etude or a passage from a piece is played with one hand. The pace is very slow (♪=40-60).

Each sound is taken in the following way: before pressing the key, the finger is in contact with it; the brush is lowered at this time; (just below the keyboard) ; the shoulder hangs freely along the body. The sound is taken by an energetic, short push of the whole arm from the shoulder joint: the hand goes up; a finger that withstands a large load at the moment of push, without producing a visible independent movement, nevertheless, as it were, "grabs" the key (see Fig. 2).
The latter circumstance provides a certain sound, even solid, but devoid of unpleasant harshness. Rumor is bound to follow this. Then the hand quickly returns to its original position, preparing to take the next sound.
The exercise can be played legato and non legato. You should start with the legato game. This must be done very carefully. With such a “lever-like” reception of sound production, it is impossible to pinch the hand (in the forearm, for example). At the same time, the student should feel: the whole hand, as it were, "enters" the key. In this exercise, the hand learns to rely on the fingers with its entire mass. Contact with the keyboard is formed in its simplest, more primitive form. This is the point of the exercise. With a certain amount of attention, it is not difficult to master them. Another, passing side of the reception is that with a quick push of the hand, the fingers withstand a large load, which leads to their strengthening.
It is clear, however, that this way of playing is suitable only for a very slow pace. How do you keep the feeling of leaning on the keyboard in moving and fast tempos, in piano and so on? How is the feeling of support combined with mobility and lightness of the fingers, with finger fluency?
The feeling of leaning on the keyboard changes in different tempos and sonorities from significant to almost imperceptible. The faster the tempo and the more transparent the sound, the “easier” the immersion of the hand and, accordingly, the more independent movement of the fingers (in some cases caused by artistic necessity, the pianist resorts to playing without any support at all). The second and third exercises serve to acquire this more complex sensation.

Exercise two
The same etude or passage is played as before separately by each hand. The pace is getting faster. (= 46-56) The essence of the exercise is that a small group of sounds (four - five) is taken with a single movement of the hand. The hand no longer rests on each finger individually, but on the entire group in total:

Before starting the exercise, the student should concentrate, sit, not play for a while. The exercise begins with a small plastic swing, which is necessary to acquire the "inertia" of the movement. A wave, immersion of hands in the keyboard for several sounds, removal - all this the student must feel as a single process of a pianistic action previously prepared in the mind.
At the same time, the fingers play in the same way as in the first exercise - without lifting. Their independence is "concentrated" in the tips, in the actions of the last phalanx.
The support of the hand on the fingers (not on the hand!) Is significant, although less than in the first exercise; the sound is softer and the legato becomes longer. This technique in its simplest form (take-off) is common when working with beginners:

This is how beginners are taught the primary skills of playing legato.
With an increase in the number of notes, it is much more difficult to perform such a movement well. Here one must show perseverance, since the ability to play a four- or five-sound motif on a single movement of the hand is the most important condition for the entire subsequent development of the pianist's technique.

Exercise three
The same groups of notes following one after another (see example 3) are played at a fast tempo (=96 and even more agile). The exercise is performed in the same way as the previous one: a group of sounds is taken on one movement of the hand. The difference from the second exercise lies in the degree of immersion of the hand into the keyboard: the faster the tempo, the less the “switched on” weight (in works of art, the “switched on” weight depends not only on the tempo, but also on the sound design)
Unlike slow, at a fast pace, the fingers acquire a visible independence of movement (from the metacarpus). Everyone probably had to "drum" their fingers on the table. This is how, easily, effortlessly, fingers play in this exercise. However, the feeling of light support on the keyboard must be preserved.
As you master the second and third exercises, the number of sounds in the group increases:

The extended groups need not be multiples of the original; depending on the structure of the passage, it is necessary to find the most appropriate grouping.
Elongated groups also need to be played in one movement, having previously imagined all the sounds included in the passage as a single whole. Gradually learned passages become longer. The sound acquires sonority, friability. We emphasize that in each group it is necessary to find an intonational dynamic center, most often expressed by two or three sounds, and a center of physical pressure corresponding to it. Usually musical (intonation) and motor expediency coincide. Very often, these centers (circled by a dotted line here and below) fall on the "upper" (3rd, 4th, 5th) fingers:

In instructive etudes (and sometimes in plays), with various textural difficulties, at times one has to resort to physical “pressure”, dictated more by technical than by musical expediency:

Such work leads, as a rule, to good results: students master the skill of playing with the whole hand; their attitude to the piano becomes natural, unconstrained; the sound of passages acquires fullness, fatigue disappears.
It is very important to choose the right musical material for classes. The set goal is best suited to individual short passages, as well as constructions consisting of a number of similar links.
As already mentioned, the ability to play with the whole hand (contact with the keyboard) is brought up not only on such etudes, but at the same time on cantilena and chord pieces. In the aspect under consideration, the work on the cantilena is especially useful: an expressive melody evokes a natural emotional desire to "sing" on the piano. The combination of such a desire with a rational attitude to the way of playing (reception) usually gives the best results.
The structure of the melody chosen for the development of a given skill must correspond to the set technical goal. One of the best examples is Tchaikovsky's cis-moll nocturne:

The technique of the game here is fundamentally the same as in the second exercise, only the fingers are even more extended. The melodic group is taken in one movement, I would like to say, "in one breath of the hand." The musical sensation of the dynamic center of the motive must correspond to the physical sensation of weight pressure on the same center. Moreover, as is most often the case in melodies of a similar warehouse, in this motive the dynamic center consists of several sounds (in the first measure of the example, E is D-sharp). Accordingly, the center of pressing the hand on the keyboard falls on the same sounds.
Playing chords is very helpful in getting the feeling of contact with the keyboard. Good material Give students the following exercise:

The work is divided into two stages. At the first stage, the sound extraction method is the same as in the first exercise. First, fingers with a low brush touch the keys; the chord is taken with a short energetic push of the whole hand; the brush at this time goes up, and the fingers, as it were, “grab” the keys. Unlike the first exercise, the hand comes off the keyboard. Then the next capture is prepared - the fingers “lay down” on the keys of the next chord and so on. The pace of the exercise is from ♪=46 to ♪=84.
The second stage is more difficult. You can move on to it only after fully mastering the previous technique. The chords are taken from above, without first touching the keys. From the first stage, there should be a feeling of immersing the weight of the hand into the keyboard and, which is also very important, finger grip, tenacity of the fingers at the moment of taking a chord. Chords with this sound production are compact, strong, but not at all sharp. It is also necessary to start the game with a “top” technique at a slow pace.
In conclusion, let us recall that mastering the desired feeling of contact with the keyboard is most easily achieved by simultaneously working on all the sections of technique described above: fast monophonic sequences, cantilena and chords. For example, the cantilena technique, which is always associated with nuance, is extremely conducive to mastering the technique of taking a group of sounds on a single movement of the hand in passages. If we think of the passages melodically, then it is easier to find the mentioned centers of intonation-dynamic and physical pressures. Mastering the skill of covering a group of sounds with a single movement of the hand is very important for all piano students. Therefore, we will give one more, very successful characterization of it: “Stringing finger blows on the rod of larger movements” - this is how S.E. Feinberg in the book "Pianism as an Art" (19, p. 211).
One should not be afraid to devote some, perhaps even a long time, to establishing contact with the keyboard, considering this work as the main task of a certain stage of learning (we are talking, of course, about those students who, for some reason, do not possess this skill).

Development of the physical capabilities of the fingers

It has long been known that "strong" fingers are needed when playing the piano. Active, strong fingers are the basis for acquiring the whole variety of pianist technique. It is the finger stroke that lends clarity and brilliance to the rapid sequences found in countless piano pieces. Finger, or, as it is called, "fine" technique, is perhaps the most time-consuming type of piano technique. It is impossible to acquire it without many years of finger training.
At one time, finger training, being almost the only type of technical work, overshadowed all its other directions. The mechanical cramming recommended by the old theory, in addition to motor limitations, carried with it other disadvantages - it gave rise to the habit of playing without auditory control and dulled a lively attitude to music. Fortunately, the performance practice, which took advantage of the positive part of the doctrine of the weight game, did not follow their insistence and proved the possibility and necessity of combining the participation of the whole arm and shoulder girdle with active finger movements in the game process.
Progressive for its time criticism of the finger exerciser, especially its “excesses”, is still felt today. Undoubtedly, correct ideas about the subordination of technique to the musical task, about the participation of the whole hand in the game; mockery of the outdated technical "method" ("independence of the fingers from each other and all of them from the head," said L. V. Nikolaev) - all this taken together gave rise to an attitude of "shameful non-interference" in questions of finger training among some teachers.
Finger exercise is gymnastics, a premise of playing the piano, not the game itself. How to work on the development of strength and independence of the fingers?
There is one unconditional principle of any physical training: exercises aimed at developing certain muscles or muscle groups should consist in the fact that these muscles are loaded with work. It is they, and not some neighbors! Therefore, in order to strengthen the fingers, it is necessary to play with the fingers.
The first condition of the exercise is to control that the blow of the finger is not replaced by any side movement of the hand. The fingers act independently - the hand remains free. “Exercise the speed of a finger strike when complete freedom”, - wrote N.K. Medtner in " daily work pianist and composer. The requirement for freedom of the hand limits the force with which the finger strikes the key. The choice of the intensity of a finger strike depends on the hand, its development and its inherent muscle tone - this special ability of our psychomotor mechanism to one or another energy of action. As strong as possible, but independently and freely - this is a prerequisite for such an exercise.
At the beginning of training, the student is greatly benefited by such a technique. The arm (up to the elbow) is placed on the table. Then you need to raise the second finger and quickly hit it on the table with an independent movement from the metacarpus. Then the same thing is done with other fingers. The piano should be practiced in the same way. However, it is much more difficult to maintain freedom of the hand when the finger moves independently on the piano, since the pianist is forced to keep his hand on weight. Sometimes, as a temporary educational measure, it is possible to recommend the student to "support" the hand of the playing hand with his free hand. Then the support is removed.
You need to exercise at a very slow pace (♪ = 48 - 60). First, separately with each hand. The material can be scales, etudes, as well as fast sections of pieces. It is better to start such exercises relatively quietly. In the future, the impact force should increase.
The second indispensable condition of the exercise is the following requirement: the finger to be played is raised simultaneously with the previous sound. No repeated raising of the finger before the game is allowed. Do not be afraid if others rise along with the right finger. There is no need to fight with nature and prevent these "conjugated" ups and downs.
It is very useful to repeat neighboring sounds, as shown in the example:

Such slow trills are convenient for practicing the simultaneity of hitting one finger and preparing the other; fingers "replace" each other, one goes down, the other up.
The third condition of the exercise is a significant rise of the finger before playing, and its exact direction to the center of the key. The last requirement is not always feasible and even expedient in view of various features keyboard topography. And yet, you need to get used to aiming at the center of the key, as this reduces the possibility of “daubing”, misses. Finger swing depends on the individual capabilities of the hand, which (always remember this!) Must remain free.
Exercise can lead to fatigue, and therefore unwavering vigilance must be exercised. If the hand begins to get tired, then you can not continue the exercise. It is necessary to find out the causes of fatigue and eliminate them. Most often, they are hidden in inattention. The first condition is not observed - control over the freedom of hands. Other reasons may be a hasty pace (lack of rest between taking sounds), an exaggerated finger lift for these hands and the force of its impact.
The described slow exercises adjoin in their purpose the method of playing “trills”, which has already been mentioned, and the method “with dots”. The latter has its supporters and opponents. The objections of opponents of rhythmic variants boil down to the thought: “why play unevenly what then will have to be played evenly?” Consciously allowed irregularities are easily and simply eliminated at the right time. Their advantages are manifold. The method "with dots" is useful not only for activating the fingers, but also as a causative agent of muscle tone in general; it is also useful for psycho-technical training, since stopping contributes to the concentration of attention necessary for the subsequent volitional throw. A short sound should be light, not strong, and a long sound should be as strong as possible.

At the moment of taking a long sound, the hand should instantly take a free, calm position. Then, on the “and” count, the desired fingers are prepared, “thrown up”, after which the next pair of notes is immediately taken; the hand at the same time immediately assumes a calm position. The ability to instantly free hands where possible is a very important psychotechnical skill and another incidental advantage of the “dotted” method of playing. And, finally, when stops and accents are shifted to weak beats, according to S. I. Savshinsky, “one hears and comprehends what may have eluded attention before.”
You need to exercise in this way the more, the weaker the muscle tone and fingers of the student.
Usually, students, having worked out for some time at a slow pace or “with dots”, are eager to “try” the passages they are learning at a fast pace - does it work or not? After slow, high-lifting exercises, you can’t immediately play at a fast pace. You need to move to a fast pace gradually and skillfully.
During the school years, several more specific technical problems must be solved. Nature, when creating man, did not provide everything for playing the piano. So, at least it seems, as long as the pianist is not able to fit his physical data to the music he performs. It is known that the real or imaginary shortcomings of the hands have always been the weakness of children's fingers (especially the 4th and 5th) and the inability of the 1st finger to play the piano. Unfortunately, we have to state that this work is often accompanied by the acquisition of the “disease” of shaking the hand (hand) with each stroke of the finger in legato playing. Among school teachers, this style of play received the contemptuous name of "shaking". Most often it occurs in small and weak; however, having originated in school, it often remains uneradicated among older, grown up and physically strengthened students of schools and music colleges.
In order to fight this bad manner, it is necessary, as always, to understand the cause of its occurrence. Toddlers (and not only them) begin to shake their hands, in particular, because they do not feel the strength and independent capabilities in their fingers, which are not yet strong. Meanwhile, this is a psychological delusion, since even the weakest hands are able to extract sounds from the piano without resorting to “shaking”.
Correcting this “skill” can be difficult because its harmfulness becomes tangible and obvious to the student only when he grows up to difficult, fast paced works. Indeed, try playing a passage quickly, shaking your hand as you strike each finger. This is unthinkable!
The task is to feel the possibility of an independent, albeit very weak at first, finger strike. To do this, you can apply the following exercise. Any passage is played slowly, with one hand; the other hand supports the playing hand in the hand, preventing any movements. Before taking the next sound, the finger rises slightly and quietly, very quietly, but independently strikes the key. The sound is quiet. It's not scary. Moreover, a quiet stroke is a sine qua non at the beginning of such work. Having practiced this way for some time (a week or two), students begin to feel the independence of their fingers. When it turns out quietly, you must first remove the support of the second hand, and then gradually increase the force of the finger strike. In the future, you should add the pace. With attentive, calm work, students get rid of this most harmful
"diseases" for several (3-5) months. After "healing" you need to move on to the game, which also involves the weight of the hand. Note that piano exercises, as described above, are useful not only in the presence of "shaking". Quiet, clear and independent sound production can be a true ally of strong playing, as it helps to increase the sensitivity of the fingers and inspires confidence in one's physical abilities.
WITH early age the most serious attention should be paid to the 5th finger, which plays the upper sounds of the chords. Very often one has to face the inability to “separate” them from the general sound mass. At best, the top sound differs from the rest only slightly. Meanwhile, piano literature is replete with examples where the upper sound should “dominate” the rest of the sonority in both piano and forte?

Students often do not hear, and teachers sometimes put up with the faded sound of the "tops". The striving and habit for the bright sound of the upper sound in chords should be brought up at school, even in its lower grades. When students draw attention to this shortcoming, they usually refer to the physical weakness of their 5 fingers. Sometimes, even often, this is true. Often this is due to musical and auditory undemanding. The proof of this is the fact that the same students are not able to distinguish the upper sound in a chord played with the left hand, that is, with the 1st finger. Undemanding, inactivity really leads, on the one hand, to the physical underdevelopment of the 5th finger, and on the other hand, to the passivity of the nail phalanx and the inability to help it with an expedient tilt of the hand.
You need to try, and then the 5th finger will perform its musical functions perfectly. It is on the clarity of musical representations that the greater or lesser activity of different fingers in a chord depends. There are cases when it is necessary that some middle voice sound the strongest (Schumann has many such examples). In these cases, the corresponding finger takes on the role of "protagonist". There are cases of complete equality in a chord.
There are almost no special exercises here. It is recommended to play like this:

Or like this:

The main thing is to always follow the sound of the 5th finger in the works that are being studied. And this must be done from an early age. As a result of such attention, the 5th finger will get stronger.
And, finally, the 1st finger should become the subject of special care in the course of the student's classes. In its own way physical nature it is meant to be a "counterbalance" to the rest. It is necessary to overcome the disadvantages of the 1st finger, specific to playing the piano. And he has two of them: inability to independently strike down and heaviness. Both of these shortcomings are closely related: the heaviness of the 1st finger is due to its lack of independence, due to the fact that its action is replaced rotational movement forearm. The hands of students with a pianistically undeveloped 1st finger "get stuck" on it; to achieve speed, agility is impossible.
Paying attention to the actions of the 1st finger should be from the very beginning of learning, in particular, in connection with playing scales and arpeggios. In order for the finger to play, it is necessary to play with the finger, without replacing its work with the actions of other muscles. You can work on the development of the 1st finger on any material where it is often found. It is very useful to play the etudes being learned in this form:

Correct and rather long work leads to the fact that the 1st finger ceases to be inactive, acquires lightness, becomes a movable hinge on which all the passage technique rotates; sharply increases the dexterity of the hand, its ability to cover the keyboard.

Keyboard contact and finger activity

How to avoid the danger of losing contact with the keyboard?
It must be understood that a high rise of the fingers, a strong blow are necessary in preparatory exercises aimed at activating the fingers. It is only advisable to play this way at a slow pace. In mobile and fast tempos, a high lift of the fingers is harmful, as it takes a lot of excess energy and prevents fluency. Loss of natural weight sensation, hand fatigue occurs when the skills of slow and strong playing are mechanically transferred to fast tempos.
Therefore, having practiced as recommended above, you must immediately proceed to the game without raising your fingers and with the inclusion of the weight of the hand (exercises second and third). Thus, two types of exercises - slow with a high lift of the fingers and more mobile without lifting or with an economical lift - are a counterbalance to one another.
The time that students devote to working on an etude (or technical piece) should, as a rule, be divided accordingly. For a while, learn slowly and firmly, with dots; then - more mobile, economical movements of the fingers. The second part of the work should begin with a slow pace, and then, if the text is learned, move on to moving and, in the future, to a fast pace.
Working at a fast pace should not be confused with prematurely playing at a fast pace. The latter often leads to "chattering", work - never, as it is carried out on small passages, under unrelenting auditory control. The worker is attentive. He listens to the passage. Repeats when something seems unsatisfactory to him. Rumor requires a good game from the hands.
Thus, it is necessary to learn individual passages at a fast pace, but it is impossible to “spoof” the whole.
The ratio of the amount of exercise time at a slow pace (with a high lift of the fingers) and at a mobile pace (without lifting or with an economical lift) is individual. It is important that the student feels the usefulness of the combination of these two methods. The result of such exercises should be the assertion of a natural, free manner of playing, an organic part of which is an active, but economical finger strike.
Keyboard contact, combined with active and precise finger strikes, is the foundation of piano technique.

References:
1. E. Lieberman "Work on piano technique".
2. N. A. Lyubomudrova "Methods of teaching to play the piano."

Introduction.

Piano technique. "Techniques of sound extraction" (touche)

True art is inconceivable without professional skill. The development of technical skills in practice cannot be separated from musical-piano training. The concept of "piano technique" is widely practiced, including not only motor qualities, but also the ability to play the instrument freely and naturally. “Technique is touch, fingering, knowledge of the rules of phrasing,” wrote the French pianist Marguerite Long. Accurate natural phrasing helps to overcome difficulties, bad - hinders the development of fluency, because. leads to incorrect and unnecessary movements. The development of technology is wide and multifaceted. Versatile training in the specialty provides for constant work on technology. Consider 3 questions:

On what material is the technical development of the student based?

Communication of technical work with musical and technical training.

Basic requirements when working on etudes.

At the end of the first - the beginning of the second year of study, plays of a mobile nature appear in the student's repertoire. Gradually, their modest technical tasks become more difficult, and some compositions aim to develop a certain technical skill (for example, “Joke” and “Toccatina” by Kabalevsky - third, fourth grade at school). In the repertoire of students of the fifth - sixth grade, etudes A - dur and F - dur op. 27 Kabalevsky, Prokofiev's Tarantella. At the end of our schooling, we learn Kabalevsky's preludes, Arensky's etudes, which contain significant technical difficulties. Throughout the training, work on the development of technology is directly related to works of art. For some pianists, with the good development of some elements of technique, others suffer greatly. In some cases, this is a lack of data. But more often - in unwillingness to bother yourself and in ignorance of the correct system and method of work. Modern piano pedagogy considers exercises as one of the most important means of formation and development of performance technique. When working on exercises, it is necessary to consider piano technique in the broadest sense. At the same time, the focus is on mastering various methods of sound production, mastering all types of touches. Successful mastering of the exercises can only be subject to constant tactile, auditory and motor control. Below is a description of the different types of touches - the main colors of a multi-color sound palette, and how to reproduce them.

It is important, having carefully read the description of external movements and muscle sensations in the gaming machine, which provide contact with the instrument, the nature of the stroke, the force of impact, control of the freedom of the arm, hand, etc., to check them on your own experience.

The process of technical training at a higher level seems to be basically the following:

Simultaneous and sequential practice of all elements in short exercises, allowing for constant tactile control necessary during serious exercises.

Simultaneous development of technique in the study of musically valuable repertory works that are technically useful for a given student.

If necessary, additional work on a limited number of studies, carefully selected to finally overcome the difficulties. Usually used sketches, as a rule, are not of great artistic value. In most cases, they are unnecessarily long, not convenient for assimilation, often meaningless, designed primarily for the development of one type of technology.

Only work on short exercises allows you to focus on the rhythmic side of the game, the right sensations and movements, sound quality and touch. Therefore, the study of exercises from the point of view of technical training is much more rational than the surface playing of etudes.

About freedom.

The main condition for good sound production and technique is the absolute freedom of the hand, wrist and the whole body in general. Only the fingers and knuckles of the hand should be more or less fixed if necessary. Therefore, the primary concern of every pianist should be the desire to achieve absolute freedom and preserve it to the fullest.

Exercises:

a) we raise our hands to the side of the body and voluntarily lower them, consciously focusing on the complete passivity of their fall.

b) swing the arms along the body and continue their passive oscillation until they stop.

c) with sweeping movements we rotate with outstretched arms around the body and above the head with a feeling of absolute freedom of the shoulder joints.

d) We raise the shoulders and suddenly lower them easily and involuntarily.

a) resting the elbow on the palm of the other hand, move the forearms up and down, in one movement, without stopping at the extreme points.

b) we describe circles with the forearm, resting the elbow on the palm of the other hand.

c) hang the brush, leaning with three middle outstretched fingers on the edge of the table. The arm weighs limply with a feeling of heaviness in the elbow. We will take it away from the body (the fingers remain on the table, after which we will suddenly lower it and let it oscillate on its own until it stops completely).

d) freely and easily put the hand up to the wrist on the edge of the table (the joints of the hand are slightly bent). The other hand firmly grabs the first one above the elbow from below and pulls it forward. At the same time, the wrist passively and gently rises up, the hand will tip over and lie on the back surface of the fingers, thereby we train the passivity of the wrists. We remain in this position for a moment, and then let the whole arm fall freely under its own weight back.

e) resting the third finger on the edge of the table, easily move the brush in the wrist without interruption up and down. The movements alternate with circular movements of the wrist.

e) lightly wave the brush at the wrist.

Principles of movement of the hands and arms.

principles of naturalness.

Try to ensure that the positions of the arms and body do not include unnatural elements, which for the most part complicate the game and increase fatigue.

The principle of economy.

We perform all movements sparingly: alternating muscle tension and relaxation, we monitor the isolation of muscle tension. For perfect movement, it is necessary that the muscles not associated with the movement remain free. The distribution of muscle tension: most movements are performed due to the coordinated action of several muscles of the same function. You should strive to ensure that the strongest muscles carry the main load, and the weakest muscles are loaded the least.

The principle of expediency.

All motor activity during the game should make sense and not turn into a formal pattern.

Strengthening fingers.

Only after making sure that the hand and wrist are absolutely free and the hands are disciplined, you can proceed to further development - strengthening the fingers.

We develop finger stability on sounds from 2, d 2, e 2, f 2 from the second to the fifth finger. We strike the keys alternately with the right, then with the left hand, approximately ten times in a row without tension.

On “one”, we weakly strike the sound “fa” of a small octave with the second finger of the left hand. On “two”, we press the key silently, but very strongly and tangibly: with the help of triceps, after which we immediately stop pressing. And, making sure of the freedom of the hand, at the same time we slowly push it forward. With this movement of the hand, the wrist smoothly, easily and, most importantly, automatically reaches a higher position.

On “three”, the hand will tip over so that the fingers will lie on the back surface of the phalanges, while the elbow is weighted and freely lowered. On "four" under the weight of the hand, the hand automatically drops to the lowest point. On “five” it hangs freely, holding the key with a playing finger, on “six” it returns to its initial position with a calm movement. These movements are designed to release the hand from tension. The main thing is that the wrist should be really passive, so that it arises automatically, as a result of moving the hand forward. The main work of every pianist is to preserve the freedom of the hand in the process of strengthening the fingers, and especially not to strain the muscles of the forearm.

An important condition for a stronger game with finger pressure is the participation of large muscles of the hand. Especially dangerous is the tension of the small muscles of the forearm. Their constant and excessive fixation can lead to the so-called overplaying of the hand.

Legato tricks.

In finger technique, we distinguish the following legato techniques.

pressing fingers.

with a blow of the fingers.

Legato writing techniques (the finger lies in front of the sound extraction on the key)

a) legato strict

b) legato sonorous

c) legato passive

d) legato with rebound

Receiving legato with a blow (the finger is raised above the key before sound extraction).

Legato top.

When playing the cantilena, we use the legato technique by pressing:

a) espressivo with support

b) espressivo with the weight of the free hand

c) legatissimo espressivo.

Legato techniques by pressing occupy a leading place in piano technique. They make possible a perfect connection of tones, melodiousness, smoothness of sound.

Legato by pressing is indispensable, for example, in expressive passages found in compositions more often than one might think.

Sound extraction by impact, on the contrary, is best used in purely technical passages that require sound brilliance, elasticity and lightness.

Legato is strict.

This form of "legato" is usually rarely used. Basically, it is used at a slow tempo (when playing endings in a phrase () on one note).

An essential requirement in the game is the tendency to play by touch. This means not consciously lifting your fingers and not hitting. The most important condition is that the finger must retain in its fleshy tip the constant sensitivity necessary for “creative” and sensitive pressing. This specific sensuality is associated with a feeling of light heaviness emanating from the direct support of the fingers - the joints of the hand. A stronger touch requires, of course, the support of a larger source of strength - the arm and shoulder. Fingers before sound extraction lie on the keys. After sound extraction, the finger does not rise above the key, but only releases it and remains lying on it. The key should be released immediately, strictly at the moment the next finger is pressed. Otherwise, overtones will appear, the keys may be overexposed.

Legato sonorous.

As we have already noted, there are two types of passages - expressive and brilliant. We encounter expressive technique very often: in the works of Beethoven, Schubert, Chopin, Schumann, Brahms, in the works of the Impressionists. The passages of these composers for the most part are distinguished by a very serious musical content, a rich melodic and harmonic structure, and in themselves express a certain meaning. For their realization, they require a more melodious technique, more capable of flexible changes, than sound production by a blow. Legato on top is a way designed for shine and effect. In our country, unfortunately, in the finger technique it is used too often and where it is not necessary.

We find typical brilliant technique most often in Mendelssohn, Weber, Liszt. This technique requires an elastic impact. In a legato sound, the hand retains a natural look. Slightly bent fingers are very sensitive "creating". The keys are released strictly, but they rise above them not consciously, but involuntarily, and only so much that the finger is ready to press the key to extract the next sound. The name itself suggests that the pressure, unlike other types of touches, is reinforced. This can cause tension in unnecessary muscles. We apply the weight of the arm and large muscles. Weight is transferred from key to key by the rotational movement of the wrist and hand. There should be a feeling of free heaviness in the hand, a feeling of support or immersion in the key in the fingers. The hand with the wrist describes a continuous circle or semicircles (,).

Exercises:

In addition to transferring the weight of the hand, the technique of weighting the weight in certain areas or accented sounds () is also practiced.

To release the hand, it is enough to change the technique at only one sound, for example, at the highest when playing passages up and down: with an elastic, but light push (ricochet), we will push off, but we will not move away from the highest key (with the help of a springy rise of the elbow and simultaneous support on little finger or other finger). The hand will acquire a different, inclined position in relation to the fingers, and with this movement it is enough to free itself. Then, when playing a descending scale, it returns with the elbow to its normal position. The brush should be especially flexible and pliable. Another element used to release the brush is vibration.

Beethoven. Sonata (cis-moll) op.27 №2.

F. List. Etude "Wandering Lights".

In the example of lateral vibration (1) we take the first sound by turning the brush to the left, the second by turning the brush to the right, and so on in a swaying motion. In the vertical vibration (2) we take the first interval by moving down, the second - by moving up. At a fast pace, movements are reduced to the so-called. small tremor.

Legato is passive.

Passive legato is the weakest, most tender touch, without which we cannot create airy, impreonistic and poetic images. The name of the touch indicates that the hand, hand and fingers should be absolutely free, light, elastic. The hand should not maintain a convex position, the fingers do not deliberately rise above the keys, but press them with the light weight of the hand, but in no case with an active action (pressing or striking). The fingers touch only with a soft pad, not with the tip. In order to “apply” the weight of the hand to the key as gently and easily as possible, the wrist should be held slightly higher than usual, so that the hand seems to be suspended on it. A single passive reception of sound extraction is a kind of "stroking". The most difficult is the execution of a long passage with a change of position, placing and shifting fingers. Here we cannot avoid a combination of techniques. That. the use of a consistent and typical passive legato is limited to individual sounds or a group of sounds without changing positions. It is used mainly on weak dynamics (p, pp).

C. Debussy. Etude in A flat major. "Arpeggio".

The passive legato is a typical improsynistic touch. However, it does not correspond to the Mozart style and others like it, where pianissimo, even the most fragile, should not be fragile and foggy, but clear and expressive. In such cases, we use a carcass on the pp, in which we will moderately fix the fingers.

Legato with rebound.

With legato pressing, there may be a danger of holding the key, and, consequently, prolonging the sound. Therefore, not only legato from above, but also in the methods of pressing should develop the elasticity and lightness of the fingers. To achieve this, during practice, legato with a rebound should be used, in which the finger, at the moment the next finger is pressed, very lightly, resiliently, and consciously bounces off the keys. Reception of a rebound, first of all, the pliability of the joints of the hand is developed. Legato with a rebound is primarily a training technique. However, it is also used in performance, mainly in jewelry, if they should sound especially expressive and penetrating. The movement of the fingers comes directly from the joints of the hand.

We will train the elastic rebound on the graceful version. In order for the grace note to sound especially strong and juicy, a confidently fixed finger must bounce off the key very quickly, its tip rushes under the brush (palm), as if gouging out the sound from the key.

The graceful option simultaneously brings up several important components.

a) pliability of the joints of the hand

b) mobility and lightness of fingers during rebound

c) the strength of the fingers playing the main accented sounds. At the same time, freedom of the hand and wrist when performing an accent.

Legato on top.

In legato from above, the knuckles of the hand form an arch, the fingers are slightly raised above the keys. Hit them with the tips right from above with a very light and elastic push. Simultaneously with the impact of the next finger, the previous one also easily and elastically returns to the previous position above the keys. Excessive bending and even twisting of the fingers leads to muscle tension in the forearm and hand fatigue. The little finger is especially prone to this habit. Excessive lifting of the fingers is just as dangerous, causing even more tension in the muscles of the forearm, which can lead to overplaying of the hand. Therefore, we will raise our fingers only slightly. All the more so, we will follow their push, elastic fall and immediate rebound after sound extraction, but in no case by force or a push of the fingers from a considerable height. When playing at a slow pace, a common mistake is to slowly lower your fingers to the keys. Learn the difference between slow playing and slow movements.

(F. Liszt. Rhapsody No. 11. Mendelssohn. Concerto No. 1 (I I I part)).

Legatissimo legatissimo.

In performance, this technique is rarely used. It's more of a learning experience. Exercises in two ways: either dragging out one sound after another and holding everything so long until the fingers are forced to regroup (1) into a new position (the so-called full legatissimo), or by holding the sound for half their duration and only then release the previous finger (the so-called half legatissimo) (2). While practicing legatissimo, we use an expressive technique by pressing a support (support). However, the fingers in this case are more mistaken than when playing the cantilena, when they are almost extended. At this reception, we actively train the strength of the fingers. However, care must be taken that the large muscles involved in the work, after sound extraction, immediately stop the intense pressing of the fingers and that the hand and arm remain free.

I. Shalgo "Birch".

F. Chopin. Sonata in B minor. II hour

Free fall sound extraction techniques.

Free fall with the whole arm.

The common term "free fall" is not entirely accurate. It would be more correct to say "directed, restrained lowering of the hand." The free fall of the hand is usually used when it is transferred to a remote position, mainly in bravura playing that requires a lot of swing, where courage is required, and where careful playing with fingers carefully prepared before touching would be inappropriate. The free fall of the hands is done as follows: we smoothly raise the hand from the shoulder to the horizontal position and, with a single continuous, rounded movement to the side, let it fall on the keys to a distant position. The elbow naturally and naturally moves away from the body. When moving, the forearm hangs at the elbow, somewhat lowered and naturally turned towards the body. The hand hangs passively from the wrist. The hand at its vertical position should gradually move to the horizontal, most naturally, this will happen at the highest point: on the border of the rise and fall of the hand. In this position, the hand is lowered until the outstretched fingers gently rest on the keys.

A free fall would no doubt result in the fingers hitting the keys too hard. Sound quality would naturally suffer. This can be avoided if you manage to "guide" or somewhat slow down the fall of the hand. Therefore, we must hit the keys from a small height with the massive part of the outstretched finger, but in no case with the tip. One must imagine that they do not fall on a solid tree, but as if “plunging” into a pliable material. After sound extraction, the hand does not stop, but continues to fall until the hand pulls it up, in preparation for the next fall. Free fall is used not only in a wide-ranging bravura and in lyrical parts, with very weak dynamics, when performing a soft expressive touch, or the first sound by removing it.

Main task: - sound quality. There is no need to worry about this if the hand is free, we will direct the fall accordingly and immerse the outstretched fingers sensitively in the keys.

Exercises:

Easy and elastic rebound and falling of keys on fingers.

Free fall from the elbow.

With a free fall from the elbow, we play intervals, chords and individual sounds, most often in strong dynamics, if they express decisive or pathetic content.

Execution:

the forearm is raised from the elbow, the arm with a heavy elbow is freely lowered, the hand hangs completely freely from the highly raised wrist, the fingers are directed to the keys. They are absolutely free and therefore naturally elongated. Only in strong dynamics the fingers are somewhat fixed in the joints of the hand.

The fingers reach the keys from an insignificant height, with a slightly restrained free fall. The carcass with the collected fingertips is the most elastic. Simultaneously with the extraction of sound, the brush with the wrist springs up and down.

Can't push. Directional pressure applied.

F. List. Concerto in E flat major.

Staccato finger from the key.

The hand and wrist and hand are absolutely free, the prepared fingers lie on the keys. After a weak, light and short blow, the finger immediately rebounds, almost without moving away from the key, the staccato of the fingers from the key (in weak dynamics) polishes a short and light touch and develops, like a passive legato, sensitivity and tenderness in the fingertips.

L.V. Beethoven. Sonata in A major. Op. 2. No. 2 I I - part.

Largo appassionato.

It is one of the most effective techniques for developing the hardness of the fingers, especially their nail phalanges. In performance, it is used when an exceptionally sharp, abrupt, hard sound is required. A prepared, fixed finger bounces or slides sharply across the key (key edge) towards the palm, as if "gouging".

The fixation of the fingers and joints of the hand, which is necessary at the time of sound production, must be immediately broken. The finger returns to its original position, and the hand, wrist and arm remain free.

Prokofiev. Sarcasm #2.

Staccato finger (top) push.

With the help of the digital staccato from above, first of all, the pliability of the joints of the hand, easy mobility and springiness of the fingers are developed.

Playing fingers before sound production are slightly raised. The key is pressed as lightly as possible, straight from the top and extremely springy. Lightning-fast push and rebound. Simultaneously with touching the keys, the fingers just as quickly and easily return to their original position.

Staccato finger is used when playing at a fast pace or if there is a held voice above them under staccato sounds.

Exercises:

Staccato toss.

The hand and wrist are absolutely free and supple. Non-playing fingers are slightly raised, playing (in accordance with the dynamics) are more or less fixed and prepared on the keys. They are struck shortly, simultaneously with the blow, the hand with the forearm, with the participation of the hand, easily jumps over the keys and in one continuous, smooth and directed movement falls back to prepare the next blow. Repeat: the movement starts from the elbow with the participation of the hand.

They are used, as a rule, in slow episodes, with isolated sounds, intervals or chords, where it is possible to prepare the fingers before using the technique.

The same staccato is very often used at the end of passages in bravura playing based on wide movements. In this case, the main method of sound extraction is a jerky blow. In strong dynamics, one should very sharply discard or push away the hand at the end of a virtuoso passage, and in weak dynamics, push it as lightly and airily as possible. Sometimes the arm is tossed straight up, sometimes to the side.

Chopin. Scherzo in B minor. Presto con fuaco.

Staccato ricochet.

The hand and fingers are fixed. With a strong, sharp and short blow, the hand, driven by the wrist, is pushed away towards the cover of the instrument. The hand performing this technique is quickly extended, the hand hangs from the wrist, the fingers are compressed, as if “curling” into a fist. Almost simultaneously with sound production, the tension in the hand is relieved, the hand relaxes and is released to its original position, the fingers are preparing for a new blow. When performing a staccato ricochet, a significant role belongs to the entire upper body, which at the moment of the ricochet with the arm forward deviates back.

This strong and sharp technique is used in sketches with a pronounced climax, with pathetic accents.

F. List. Etude "Wild Hunt".

Elbow staccato.

The arm with the weighted elbow is freely lowered, the forearm is raised. From the highly raised wrist, the hand hangs down freely, the fingers are directed to the keys. They are completely relaxed and calmly extended. In strong dynamics, the fingers are somewhat fixed together with the joints of the hand, in which they are securely fastened.

The sound is extracted by free fall of the fingers on the keys from a height of several centimeters, freely calmly held, but inactive impact of the fingertips - very light, inelastic. The muscles of the forearm should not be tense. Elbow as if oiled.

Elbow staccato is used much more often and more widely than other types of staccato. It is used in the fastest and fastest tempos, equally in strong and weak dynamics.

Mozart. Sonata in B flat major. K 570 - I I I part.

Mozart. Sonata in A major. K 331 - I I I part.

Carpal staccato (pp).

Carpal staccato is used only when performing light vibrato in very fast etudes, when it is necessary to play abrupt sounds and intervals in weak dynamics.

The whole arm and especially the wrist are completely free, elastic, pliable, light. The fingers hang freely from the joints to the hand, which, even when raised, retains its convex position. The faster the vibration, the less vibration, while the fingers almost do not move away from the key.

The hand rises easily and directly in the wrist and falls as resiliently and easily as possible onto the keys. The fingers are fixed with a feeling of sharpness in the tips so as to surely hit the key. The rebound is made only by the movement of the wrist, without the participation of the fingers. It should be warned against the use of this technique in strong dynamics and from excessive, convulsive lifting of the brush.

Conclusion.

In conclusion, I would like to say that with all this work on the technical side, we must not forget about the main goal - the artistic transmission of the author's intention, the disclosure of the image.

Technique is not a goal, but a means to convey the idea. In pianistic practice, of course, there may be certain changes, liberties, combinations and techniques of movements. To express a specific content, peculiar deviations from the school way of playing with “figurative movements” are often required. If the interpreter understands and correctly feels the content of a work or phrase, all external manifestations will arise on their own, reflexively.

A motor reaction to an inner experience is often impossible to overcome. After all, it is natural and understood. The interpreter, especially with a lively temperament, must, however, constantly control himself in order to tame his ardor, which manifests itself in exaggerated movements. Our main task is to educate a competent pianist with technical erudition, who understands that technique is only a means to achieve perfection, which, however, true art cannot but need.

D
DEPARTMENT OF CULTURE AND ART OF THE TULA REGION

NOVOMOSKOVSK MUSICAL SCHOOL

on methodology, pedagogy and psychology

topic: "Artistic technique of a pianist"

IV-year students Anna Merkulova

teacher-consultant: Khadzhieva M.V.

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