LESCHETIZKY`S FUNDAMENTAL PRINCIPLES OF PIANO TECHNIQUE
BY MARIE PRENTNER

PAGES: 96
PUBLISHER: DOVER PUBLICATIONS
SERIES: DOVER BOOKS ON MUSIC: PIANO
PUBLICATION DATE: 6TH MAY 2005
TRIM SIZE: 8.37 X 11 IN
FORMAT: PAPERBACK
BISACS:
MUSIC / INSTRUCTION & STUDY / TECHNIQUES
MUSIC / MUSICAL INSTRUMENTS / PIANO & KEYBOARD
MUSIC / PRINTED MUSIC / PIANO & KEYBOARD REPERTOIRE
MUSIC / GENRES & STYLES / CLASSICAL
MUSIC / INSTRUCTION & STUDY / EXERCISES

DESCRIPTION:
-POLISH-BORN PRODIGY THEODOR LESCHETIZKY (1830-1915) STUDIED WITH CARL CZERNY AND WENT ON TO AN INTERNATIONAL CAREER AS BOTH A PIANIST AND CONDUCTOR. HIS GREATEST FAME LIES IN HIS TEACHING METHOD: THE MOST CELEBRATED PIANO INSTRUCTOR OF HIS ERA, HE TAUGHT AT THE ST. PETERSBURG CONSERVATORY AND LATER IN VIENNA. HIS STUDENTS INCLUDED SUCH LUMINARIES AS IGNACY PADEREWSKI AND ARTUR SCHNABEL.

-ANOTHER OF THE GREAT TEACHER’S PRIZE STUDENTS, MARIE PRENTNER, RECORDED THE PRINCIPLES AND TECHNIQUES OF THE CELEBRATED LESCHETIZKY METHOD. AUTHENTIC AND COMPLETE IN ITS PRESENTATION, PRENTER`S GUIDE FEATURES NUMEROUS ILLUSTRATIONS, EXERCISES, AND EXAMPLES FROM PIANO LITERATURE. THE TWO-PART TREATMENT BEGINS WITH EXPLANATIONS OF HAND AND FINGER POSITIONS AND PROCEEDS TO DISCUSSIONS OF THE PIANIST’S TOUCH, COVERING SUCH TOPICS AS DIATONIC AND CHROMATIC SCALES; TRILLS, CHORDS, AND ARPEGGIOS; DOUBLE NOTES, THIRDS, AND SIXTHS; AND OCTAVES. THE SECOND PART FOCUSES ON MUSICAL PERFORMANCE, OFFERING ADVICE ON PLAYING BACH AND HANDEL, AND EXPLAINING THE FUNDAMENTALS OF RHYTHM, PEDALING, MELODY, PRACTICE TECHNIQUES, AND MUSICAL CULTURE.

-DIFFICULT TO LOCATE IN THE PAST, THIS LEGENDARY MANUAL PROMISES TO ASSIST AND ENLIGHTEN A NEW GENERATION OF STUDENTS AND TEACHERS.

-REPRINT OF THE MODERN PIANIST, THEO. PRESSER, PHILADELPHIA, 1903.

CONTENTS:
-PART FIRST: MEANS FOR ACQUIRING A MODERN TECHNIQUE
-CHAPTER I. POSITION OF THE HAND AND FINGERS
-CHAPTER II. THE TOUCH
-A. LEGATO
-B. NON-LEGATO
-C. FINGERSTACCATO
-D.-E. STACCATO FROM THE WRIST
-F. PORTAMENTO
-CHAPTER III. THE DIATONIC SCALE
-1. THE ASCENDING SCALE
-A. PASSING THE THUMB UNDER THE FINGERS
-B. CONNECTION OF EXERCISES EMBRACING ONLY A PORTION OF THE SCALE
-C. PRELIMINARY STUDIES FOR THE ASCENDING SCALE
-2. THE DESCENDING SCALE
-A. PASSING THE FINGERS OVER THE THUMB
-B. CONNECTION OF EXERCISES EMBRACING ONLY A PORTION OF THE SCALE
-C. PRELIMINARY STUDIES FOR THE PROGRESSION OF THE DESCENDING SCALE
-3. PRELIMINARY STUDIES FOR VELOCITY IN SCALE-PLAYING
-CHAPTER IV. THE CHROMATIC SCALE
-CHAPTER V. THE TRILL
-CHAPTER VI. THE CHORD
-CHAPTER VII. ARPEGGIOS
-1. THE ASCENDING ARPEGGIO
-A. PASSING THE THUMB UNDER THE HAND
-B. CONNECTION OF THE PARTS OF THE ARPEGGIO
-C. THE ASCENDING ARPEGGIO
-2. THE DESCENDING ARPEGGIO
-A. PASSING THE FINGERS OVER THE THUMB
-B. CONNECTION OF THE PARTS OF THE ARPEGGIO
-C. THE DESCENDING ARPEGGIO
-3. PRELIMINARY STUDIES FOR THE EQUILIZATION AND VELOCITY IN PLAYING THE ARPEGGIO
-CHAPTER VIII. DOUBLE NOTES, THIRDS AND SIXTHS
-CHAPTER IX. TO STRETCH A SMALL HAND
-CHAPTER X. OCTAVES
-PART SECOND: ADVICE FOR MUSICAL PERFORMANCE
-CHAPTER I. THE STUDY OF THE COMPOSITIONS OF BACH AND HANDEL, WITH REGARD TO TECHNIQUE AND -EXECUTION
-CHAPTER II. RHYTHM
-CHAPTER III. PEDALING
-CHAPTER IV. MELODY AND ITS RULES
-CHAPTER V. HOW TO PRACTICE
-CHAPTER VI. THE DEEPENING OF MUSICAL CULTURE
-CONCLUDING REMARKS.