It is somewhat questionable that Lebert and Stark developed the more rigid technique they did when, even with the advancements of the piano, performers like Chopin and Liszt were incorporating a free and flexible arm technique into their playing. Haake states “percussion touch was, as an entity, of more definite substance and form than a vague pressure playing, and method will always thrive on that that can be definitely projected and prescribed.” Perhaps, teaching a more percussive technique is conceptually easier, but part of the art in teaching comes from being able to describe the means necessary to produce specific tones by more subtle actions. It is hard to get into our bodies and find a specific word or image that allows a certain sound to be produced. If piano playing were something that could be taught by definite descriptions, then everyone would play the piano. It is the slight differences and variances in each individuals playing that makes them a unique artist.
At this point it seems that pedagogues are trying to compensate for the increasing demands of the instrument by increasing the force of playing. Creating gymnastic exercises has its benefit in the sense of making an aspect of playing harder than a passage in the pieces you are working on so that those passages then become easier. However, to solely practice these types of exercises seems debilitating to the pianist. The emphasis of time seems to be placed upon exercises rather than actual literature.
I enjoyed reading Mason’s account of discovering looseness in the whole arm and the ability to rest while playing. I think this is the first written statement thus far of such technique. He also describes hanging the arms at the side while standing or sitting, and shaking the arms rapidly and loosely. This is something pianists are often seen doing before playing in an attempt to loosen the arms.
The exercises in Mason’s Touch and Technic, Vol. 1 seem to be very practical, and while many of the other exercises seem practical as well, these are very applicable to the note combinations found throughout the literature. While strengthening the fingers, these exercises also provide gains in the repertoire being studied.
I appreciate Mason’s description of three specific touches at the piano. However, I believe these are very basic and fundamental, but still respectable as it is probably impossible to describe very specific and individual touches.
There is a certain intimacy with the piano that is beginning to come forth at this point. Keys are no longer stricken, but depressed with pressure of the fingertips. As Adolph Kullak states in The Aesthetics of Piano Playing, ‘One should press the key as one grasps the hand of a friend, with warmth, with feeling…” This is a wonderful sentiment, and puts the piano in a similar place of our hearts as our family and friends.
Kullak’s suggestion for practicing scales to ensure the correct pressure of the fingers is commendable and also a good exercise for suppleness of the wrist. The various combinations of rising and sinking the wrists while practicing scales sounds to be very productive for obtaining both correct finger pressure and a supple wrist.
Deppe’s most interesting idea is to create exercises for strengthening the shoulder and arm muscles. He addresses the idea of tone being produced from pressure rather than striking, but the power behind the arm weight would come from the arms and shoulders. This would probably divert tension away from the wrist and create a more desirable tone. Deppe also does not teach one solution to every student, and I think it is important that he states to play in such a way that is most comfortable to the student. It also seems as though he is the first person to suggest that technique and conception are identical. This idea and the ability to clearly describe the mechanism is important in learning a fine technique.
Wow. Deppe’s requirement before beginning a lesson is reassuring of my own training. One had to be able to shake his hand with the lightest touch so that he could move their arm in any direction, but their arm was not to be dead weight. This is something that is a constant aspect of my training, and really emphasizes the importance of the shoulder and back muscles that are used to hold the arms. Another concept enforced in my training similar to Deppe’s suggestion is practicing in front of a mirror away from the piano, and then bringing these same movements to the piano when playing.
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