Piano Mastery eBook

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Table of Contents
Section	Page

Start of eBook	1
IGNACE JAN PADEREWSKI	1
Ignace Jan Paderewski	1
PRELUDE	1
PIANO MASTERY	2
I	2
CLEARNESS A MUST PRINCIPLE	4
FINGERING	5
CORRECT MOTION	5
STUDYING EFFECTS	5
INTERPRETATION	5
II	6
THE HAND OF A PIANIST	6
III	8
MAKING THE PIANO A MUSICAL INSTRUMENT	8
IV	11
MIND IN PIANO STUDY	11
NATURAL TECHNIC	12
KEEPING UP A REPERTOIRE	12
FILLING IN A PASSAGE	13
V	13
CONSERVING ENERGY IN PIANO PRACTISE	13
VI	16
AN AUDIENCE IS THE BEST TEACHER	16
VII	19
RELAXATION THE KEYNOTE OF MODERN PIANO PLAYING	19
VIII	22
MASTERING PIANISTIC PROBLEMS	22
IX	24
PROBLEMS OF PIANO TEACHERS	24
FOUNDATIONAL EXERCISES	26
USE OF STUDIES	26
BOOKS THAT ARE HELPFUL	27
IN REGARD TO INTERPRETATION	27
QUESTION OF PERSONALITY	28
X	29
AN ARTIST AT HOME	29
MEMORIZING BY ANALYSIS	30
A PIANO HAND	30
XI	31
FORM, TECHNIC, AND EXPRESSION	31
LOW HAND POSITION	32
AMOUNT OF PRACTISE	32
XII	33
WATCHING THE ARTIST TEACHER AT WORK	33
XIII	37
THE QUESTION OF PIANO TONE	37
VARIETY OF TONE	38
AVOID RESTRICTING RULES	40
THE QUESTION OF VELOCITY	41
OBTAINING POWER	41
XIV	41
TRAINING THE CHILD	41
TRAINING THE CHILD	42
XV	45
THE “MELODY” AND “COLORATURA” HAND	45
PRINCIPLES OF TOUCH	46
MELODY HAND	46
THE TECHNICAL HAND	47
ASSIMILATION OF PRINCIPLES	47
MEMORIZING	47
OCTAVE STUDIES	48
KEEPING UP REPERTOIRE	48
DETAILS OF PRACTISE	48
XVI	49
SOME ESSENTIALS OF PIANO PLAYING	49
TONE PRODUCTION	50
RHYTHM IN PIANO PLAYING	50
ABOUT MEMORIZING	51
KEEPING TECHNIC IN REPAIR	52
AMERICAN VERSUS EUROPEAN CONDITIONS	52
XVII	53
AN ARTIST AT HOME	53
XVIII	54
ANOTHER ARTIST AT HOME	54
LETTING THE HAND FIND ITSELF	55
XIX	56
MORE LIGHT ON LESCHETIZKY’S IDEAS	56
MEMORIZING	57
POWER AND VELOCITY	58
XX	58
HOW THE PIANIST CAN COLOR TONE WITH ACTION AND EMOTION	58
FOUR REQUISITES FOR PIANISTS	59
MAKING CLIMAXES PIANISSIMO	59
WE DO NOT WANT CUT-AND-DRIED PERFORMANCES	60
DISSECTION OF DETAILS	60
XXI	61
EARLY TECHNICAL TRAINING	61
VALUE OF TRANSPOSING	62
XXII	64
TECHNICAL PROBLEMS DISCUSSED	64
OVERHAULING ONE’S TECHNIC	64
MODERN PIANO MUSIC	66
A BRAHMS CONCERTO	66
XXIII	66
AMERICAN AND EUROPEAN TEACHERS	66
POWER WITHOUT EFFORT	68
XXIV	68
THE SCOPE OF PIANO TECHNIC	68
WHAT TECHNIC INCLUDES	69
EACH PUPIL A DIFFERENT PROBLEM	69
HARMONY STUDY	69
ACCORDING TO RULE	70
ON INTERPRETATION	70
MUSICAL CONDITIONS IN AMERICA	71
A GROUP OF QUESTIONS	71
XXV	75
SIMPLICITY IN PIANO TEACHING	75
INSPIRATION FROM AN AMERICAN TEACHER	76
SIMPLICITY	76
FINGER ACTION	77
QUESTIONS OF PEDALING	77
XXVI	78
MODERN TENDENCIES IN PIANO MUSIC	78
XXVII	82
MODERN METHODS IN PIANO STUDY	82
TONE WHICH VIBRATES THROUGH THE WHOLE BODY	83
ON MEMORIZING	84
ABSTRACT TECHNIC	84
XXVIII	85
CHARACTERISTIC TOUCH ON THE PIANO	85
TECHNICAL STUDY	86
VELOCITY	87
POWER	87
MEMORIZING	88
HANS VON BUeLOW AS TEACHER AND INTERPRETER	88
HINTS ON INTERPRETATION FROM TWO AMERICAN TEACHERS	94
WILLIAM H. SHERWOOD	94
DR. WILLIAM MASON	98
VITAL POINTS IN PIANO PLAYING	100
SECTION I	100
ESSENTIALS OF PIANISM	101
THE DESIRE FOR REAL KNOWLEDGE	101
SEARCHING FOR TRUTH	102
SECTION II	102
WHAT TECHNIC INCLUDES	102
HAND POSITION	103
FINGER ACTION	103
ARTISTIC TOUCH	104
MELODY AND COLORATURA HANDS	105
SECTION III	105
THE PIANIST A MECHANIC	106
INVENTING EXERCISES	107
SLOW PRACTISE	107
A FEW EXCEPTIONS	108
SECTION IV	108
ONE YEAR’S MEMORIZING	109
PHRASE BY PHRASE	110
CONSTANT REPAIRS NECESSARY	111
SECTION V	111
THE METRONOME	112
TONE COLOR	112
TONAL VARIETY	112

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Piano Mastery from Project Gutenberg. Public domain.