exercises

Working With Peter Feuchtwanger

Graham Fitch and former student, Daniel Grimwood both had the privilege of working with Peter Feuchtwanger at various stages of their careers. In this video conversation, they discuss and share anecdotes from their experience in working with Peter. The Exercises of Peter Feuchtwanger We’ve recently published a new video module on the Online Academy in which Graham and Daniel give their take on Peter Feuchtwanger’s unique exercises designed to encourage healthy, natural and relaxed movements at the piano. The module is available is available for once-off purchase here or can be viewed here with an Online Academy subscription. Further links & resources Foundations of Good Technique – Video lecture series on how to teach good pianistic habits and ease of movements from the start, and tackle problems in piano playing caused by lack of flexibility. Click here to view. Developing A Balanced Technique – In this video lecture series, Ilga Pitkevica shares insights into approaches and strategies for achieving “pianistic fitness” based on her experience of the traditions of the Russian School of piano playing. Click here to view. Elementary Technique (Introduction and Basics) – The first module in the Online Academy’s technique library exploring the basics of piano technique, covering seating position, posture, whole-arm and legato touches. Click here to view or click here for more information on other modules. Fundamentals of Scales & Arpeggios – The next module in in the Online Academy’s technique library which follows on from the introduction and basics. Click here to view. A Practical Guide to Forearm Rotation – A step-by-step approach to incorporating forearm rotation in your playing to feel strong, coordinated and tension-free. Click here to view. Mastering Piano Technique – Part 2 of Graham Fitch’s Practising the Piano eBook series provides an overview of different schools and traditions through to an extensive […]

By |November 24th, 2020|Technique|0 Comments

“Everything You Know Is Wrong!”

When I first witnessed international piano guru, Peter Feuchtwanger, demonstrate his exercises in a class I was so shocked by them that I had to leave the room for a short while. They struck me as diametrically opposed to everything I had come to understand about playing the piano, but as I later came to realise, this was exactly the point. The traditional exercises pianists practise aim to solve specific technical issues using muscular or athletic approaches, whereas Peter’s exercises are effectively anti-exercises. Putting the playing into neutral, they rely on flat fingers, hanging hand positions and a completely loose, passive arm that generates most of the motions involved in putting the keys down.  It took a leap of faith to embrace these exercises and, while I did not need to throw out the technical approach I had received from my main teachers, I found I was able to incorporate Peter’s ideas into my playing and into my teaching. They certainly made a significant difference. Having spent some time working on the exercises under Peter’s supervision, I began to feel a significant difference in the amount of effort I needed to use at the piano. Often, I just needed to do much less to get the same, or a better result.  Because I find these exercises very useful in my own playing and my teaching, I decided to include a feature giving my take on them in the Online Academy. To get the best out of the exercises, you would really need to study them with someone who has received them from the source, but I offer them here as a tribute to my work with Peter and to satisfy the curiosity of the many […]

By |November 19th, 2020|Technique|0 Comments

On Technical Exercises

In the nineteenth century there was a widespread belief that hours a day spent practising finger exercises would lead to mastery of the instrument, and many method books were published, filled with exercises and studies. The prevailing opinion was that you needed to separate the study of technique from the study of music – by practising endless drill, you would be able to play the repertoire more easily. Unfortunately, it doesn’t really work that way. Hours spent on exercises and boring studies leads to playing that is fixated on mechanics, to the detriment of artistry or musical merit. It can also lead to a lack of coordination, pain and injury. Not only is this kind of mechanical practice largely a waste of time, it can actually do more harm than good. The word technique comes from the Greek word technikos, meaning “of, or pertaining to art; artistic, skilful”. This should highlight to us the close connection between the technical, and the musical or interpretative. Interpretation and technique are one and the same, since every sound that we strive to produce has to be achieved by physical means. Many modern piano pedagogues discourage their students from separating purely technical work from music for this very reason. And yet, we do need to understand how to meet the demands of the music we play. Is a thorough training in the mechanics or gymnastics of piano playing essential, or can we develop our technique solely through the music? Read about Samuil Feinberg’s ideas on what constitutes an exercise Although practising repetitive mechanical exercises is out of favour amongst many teachers at the moment, I believe that it is very possible, and sometimes preferable, to study a particular aspect of the […]

Playing Double Notes at the Advanced Level

When I was a student, I was struck by the two opposing camps that seemed to exist among my peers. There were those whose teachers expected them to be practising finger exercises and studies religiously each day for at least an hour, and others who were supposed to build up their technique almost exclusively from the repertoire they were learning. Whether you were assigned reams of Pischna, Dohnányi, Czerny and Clementi, or managed to escape this treadmill largely depended on which school of pianism you inherited, and where in the world you received your pianistic education. The concept of a thorough training in the mechanics or gymnastics of piano playing as a separate activity from real music became very popular at the time the conservatories were being founded and is still very much alive today – even though some newer systems of pedagogy challenge the fundamental concept. In the twentieth century, celebrated Juilliard teacher, Adele Marcus (herself a product of the great Russian tradition) required her students to spend ninety minutes daily working on technique, and had a strict regime they had to follow. While many well-known teachers advocate this today, many others do not. Does this system produce better pianists that those who build up technique from repertoire, inventing their own exercises from their pieces to help solve specific problems? Certainly a great pianist will always emerge from any school or tradition of piano playing. I am about to launch a substantial new collection of resources exploring areas of technique on the Online Academy, and this will involve looking at a selected number of exercises and studies. From this you may draw the conclusion that I am a great fan of studies and exercises, but […]

Feeling Comfortable in All Keys

Do you feel comfortable playing in all keys? Are you able to transpose technical exercises without notation? The ability to play by ear in every key is an important musicianly skill, one that cannot be developed soon enough. When we transpose technical exercises not only do we develop our aural awareness but also our keyboard geography as we experience the different black-white terrain under our fingers that each new key offers. This adds enormous value to the gains from any exercises we might be practising, and to our technical development in general. Most of the exercises we find in the various books of technique regimes give the full version of a particular exercise only for one or two keys (usually C major, and if we’re lucky Db) before trailing off with an unhelpful “etc”, or the instruction to “continue through all keys”. The ability to carry on without any further notation relies on two skills: An understanding of the structure behind the given note patterns found in the particular exercise Thorough knowledge of each key (major and minor) Knowledge of the basic chord shapes and qualities – many exercises use mainly major, minor, diminished and dominant 7th chords Pattern Recognition It is far better to memorise the exercises as soon as possible so all your attention can be focussed on the matter at hand. It is infinitely more beneficial that your eyes are directed at the keyboard and that your mind is focussed on the task (not being distracted by having to read from the printed page). The ability to memorise relies on pattern recognition, a skill that improves with practice. Let’s explore this a bit, using the infamous and all-too-familiar note pattern from the first exercise of […]

A Scale Plan

So you know you have to practise your scales but you’re not really that keen, and you find your mind is constantly wandering. You need some sort of plan, and you need a definite way of doing things – or you’ll just aimlessly doodle up and down the scale a few times. Let’s assume you’re advanced enough to be playing your scales 4 octaves, and that you now them all well enough to be able to immediately call up a mental image of how the scale looks and feels on the keyboard. If I suggested E major, you need to be able to see in a flash the pattern the four black keys make with the four white ones (counting the key note twice) and to recall its tactile memory and possibly the sound world (or key colour). If you are still struggling with the notes, I would not suggest following this plan. Practising scales in a variety of different rhythms is a tried and tested method and is not going to be a new concept to any of you. However, when you practise in a rhythm, it is really important to be as precise as possible and to keep the pulse rock steady. If you are playing a dotted rhythm, make sure it really is dotted (and not triplety) by overcompensating and doing it double dotted. When you invert “l-o-n-g/short” to “short/l-o-n-g”, you’ll get much more value out of it if you keep the accent on the first note (i.e. on the “short”) rather than let it happen on the long note (where it will want to go). I have published a series of rhythm charts (including some syncopated ones) in Part 3 of Practising […]

A Practical Theory Lesson

Most of us were probably brought up on the middle C approach to learning the piano, and the first scale we ever learned was C major. We probably got tangled up with the fingering, since there are no black notes there to help us. Chopin taught the B major scale (RH) and D flat major scale (LH) before C major, not only because the fingerings are self-evident, but also because the hand positions are more natural and therefore these scales are the most comfortable. The long fingers (2, 3 and 4) are more suited to the black keys and the short fingers (1 and 5) to the white keys. It is useless to start learning scales on the piano with C major, the easiest to read, and the most difficult for the hand, as it has no pivot. Begin with the one that places the hand at ease with the longer fingers on the black keys, like B major for instance. (Chopin, quoted by Jean-Jacques Eigeldinger) If we begin with B major in the RH and D flat major in the LH, there is virtually no chance of confusion with the fingerings. There are only two white notes in those scales and the thumb takes both of them – there is nowhere else for it to go! While adult minds will want to know the theory behind the construction of the major scale, there is absolutely no need to teach this to a child beginner for them to be able to play their scales. This would be as ludicrous as teaching the rules of grammar to a child who is just learning to speak. We can save theory until later and start teaching the scales using […]

The History of Piano Technique: Studies and Exercises

There has been much feedback and lively debate on last week’s post about Czerny and his legacy of studies and exercises. It seems some piano teachers firmly believe in assigning them, whereas others are dead against them. Some take the middle path and may use them (and studies by other composers) when necessary. When discussing this controversial subject, I feel there are certain things that need to be clarified. Let’s first of all distinguish between an exercise and and a study, since these two are certainly not the same thing: Exercise Often short – a contraption for practising and mastering a specific mechanical or technical goal Not usually very complex, with just one basic pattern (usually repeated several times) Easy to memorise No pretensions toward artistic merit Study A more extended composition with elements of musical form and structure  For practising and mastering a specific mechanical or technical goal May be satisfying for the player, not usually so for the listener! Concert Study  The artistic content is of sufficient quality that it can stand alone as a piece of music The listener can appreciate it as a work of art without the need to know anything of the demands it makes on the player One thing that strikes me a vital in all discussion on this subject, that should be emblazoned above the door on all practice rooms: HOW we do a study or exercise matters more than WHAT we do When I studied Peter Feuchtwanger’s exercises with him back in the early 90s, I quickly came to appreciate this truth. The exercises themselves would look simplistic on paper and actually cannot really be taught from the printed page. Proper realisation of them relies on demonstration […]

Inventing Exercises

One thing I can say for certain is that we are all different. When it comes down to rituals in practising, there is nothing more personal than what we do to warm up. I have some colleagues who feel driven to go through their lengthy warm-up regime before they will touch a note of music, others who (provided they are in shape from regular playing), are comfortable going straight into their practising just by starting with something slow and gentle to get back to where they were, muscularly, the day before. I want to distinguish between exercises that might warm up muscles and those which build technique in the first place – I find there is confusion about this because they can overlap. And just because a pianist has a fully developed technique, this does not mean they will not face technical problems, or have to figure out specific technical challenges in certain pieces. Not at all. In my teaching, I use specific exercises for specific skills. I assign these sparingly and only when needed, expecting top concentration in the practising thereof. The last thing I want is for a student to squander valuable practice time on reams of exercises for the sake of it. One thing I do very much believe in is inventing exercises from a specific piece. You make up exercises based on passages to make them harder or even more challenging than the original, so that when you to back to playing the original, it feels easier. Here are some examples. The second subject of Beethoven’s Pathétique Sonata, op. 13 begins with a passage where the RH has to hop from treble to bass registers while the LH provides a rhythmic accompaniment. […]

By |September 17th, 2011|Practising|2 Comments

On Double Notes (Part One)

Technikos: “of, or pertaining to art, artistic, skilful” But there is no difference between interpretation and technique. Every dynamic and nuance must be produced simultaneously by a technical means (Walter Gieseking) The next few posts will be on practising exercises, and I decided to start with double notes. This week I will give some background, and next week some practical advice. I recommend doing some double notes every day, in the form of a scale or two, or an exercise, or indeed a study. It is the act of doing this that is more important than what you practise, and any book of exercises worth its salt will have some patterns of double notes. I favour exercises that transpose or use patterns of white and black keys – playing on just white keys is very limiting (how many pieces do you know, even elementary ones, that avoid black notes?). Playing double notes is, mechanically speaking, one of the most difficult activities at the piano, and one that requires superfine coordination. The pair of fingers need to sound dead together and, in order to do this in a controlled way, have to be played from the surface of the keyboard. The weaker outer fingers need to be as strong and agile as the others – stronger, actually, in the right hand since the top notes will need to be projected more.   “Nothing by finger without arm; nothing by arm without finger” (Leonid Nikolaev) I imagine a seesaw where one end represents “ARM” and the other “FINGER”. Because of the unhelpful assumption that we play the piano with our fingers, I am always trying to push activities of the finger as far as possible in the […]