The Pedagogical Writings of Marguerite Long: A Reassessment of Her Impact on the French School of Piano 0253068576, 9780253068576

Table of contents :
Cover
Title Page
Copyright
Contents
Acknowledgments
Author's Note
Part I: Marguerite Long’s Le Piano
1. Long as Pianist and Teacher
2. Pedagogy, Style, and Politics: Germanophilia vs. French Patriotism
3. Analysis of the Content of Le Piano and a Comparison with Cortot’s Principes rationnels
4. English Translation of Le Piano
Part II: La Petite Méthode de piano: An Analysis of Long’s Approach to Teaching Children
1. La Petite Méthode de piano by Marguerite Long (1963): A Forgotten Connection to the French School
2. English Translation of La Petite Méthode de piano
Bibliography
Index
About the Author

Citation preview

THE PEDAGOGICAL WRITINGS OF

MARGUERITE LONG

A Reassessment of Her Impact on the French School of Piano

JOHN ELLIS

THE PEDAGOGICAL WRITINGS OF MARGUERITE LONG

THE PEDAGOGICAL WRITINGS OF

MARGUERITE LONG A Reassessment of Her Impact on the French School of Piano

JOHN ELLIS

INDIANA UNIVERSIT Y PRESS

This book is a publication of

Manufactured in the United States of America

Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA

First printing 2024

iupress.org © 2024 by Indiana University Press All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48–1992. Le Piano Author: Marguerite Marie-Charlotte Long Copyright © 1959 by Editions Salabert English text translation © 2020 by Editions Salabert All Rights Reserved. International Copyright Secured Used by permission of Hal Leonard Europe Srl Impressum © 2020 by IU Press La Petite Méthode de piano Author: Marguerite Marie-Charlotte Long Copyright © 1963 by Editions Salabert English text translation © 2020 by Editions Salabert All Rights Reserved. International Copyright Secured Used by permission of Hal Leonard Europe Srl Impressum © 2020 by IU Press

Library of Congress Cataloging-in-Publication Data Names: Ellis, John Steven, author, translator. | Long, Marguerite. Piano. English. | Long, Marguerite. Petite méthode de piano. English. Title: The pedagogical writings of Marguerite Long : a reassessment of her impact on the French school of piano / John Ellis. Description: Bloomington, Indiana : Indiana University Press, 2024. | Includes bibliographical references and index. Identifiers: LCCN 2023038388 (print) | LCCN 2023038389 (ebook) | ISBN 9780253068576 (hardback) | ISBN 9780253068583 (ebook) Subjects: LCSH: Long, Marguerite. | Long, Marguerite. Piano. | Long, Marguerite. Petite méthode de Piano. | Piano— Instruction and study—France—History— 20th century. | Piano—Instruction and study. | Piano—Methods—Juvenile. | BISAC: MUSIC / Musical Instruments / Piano & Keyboard | MUSIC / Individual Composer & Musician Classification: LCC ML417.L85 E55 2024 (print) | LCC ML417.L85 (ebook) | DDC 786.2/193071044—dc23/eng/20230823 LC record available at https://lccn.loc.gov /2023038388 LC ebook record available at https://lccn.loc .gov/2023038389

Contents



Acknowledgments vii



Author's Note

ix



Part I: Marguerite Long’s Le Piano



1 | Long as Pianist and Teacher

3



2 | Pedagogy, Style, and Politics: Germanophilia vs. French Patriotism

12

3  |  Analysis of the Content of Le Piano and a Comparison with Cortot’s Principes rationnels 21

4 | English Translation of Le Piano 46



Part II: La Petite Méthode de piano: An Analysis of Long’s Approach to Teaching Children



1 | La Petite Méthode de piano by Marguerite Long (1963): A Forgotten Connection to the French School



201

2 | English Translation of La Petite Méthode de piano 217



Bibliography 325



Index 327

Acknowledgments

This book has been an enormous undertaking and would not have been possible without the support, assistance, and expertise of the following people and institutional offices. I am very grateful for the consistent guidance and support offered to this project by Ms. Allison Blair Chaplin of Indiana University Press. She guided the project through the internal and external review processes with patience and persistence. I am also grateful to the external reviewers, Cecilia Dunoyer (Harvard University) and Sylvia Coats (Wichita State University), who provided very cogent suggestions for improvement of the text. I am thankful for the generous support of the following offices at the University of Michigan for providing funding to bring this project to publication: The University of Michigan Office of Research Faculty Grants & Awards: Publication Subvention from the Office of the Vice President for Research. The Office of the Dean of the School of Music, Theatre & Dance of the University of Michigan. The Robert Glasgow Keyboard Faculty & Keyboard Caretakers Fund. I offer my thanks to Prof. Karen Fournier, director of research for the University of Michigan School of Music, Theatre & Dance, for her guidance in acquiring funding for this project. My thanks also go to Dean David Gier and Prof. Christopher Harding, chair of the Piano Department, as well as my colleagues on the piano faculty for their assistance in procuring funding. I have been exceedingly fortunate to consult with my colleague Prof. Jane Fulcher, an expert in the field of French musical life in the twentieth century. She provided advisement at a critical moment in the development of the project, and for that I am grateful. I am also thankful for advice vii

given to me by Prof. Fulcher’s graduate student at the time, Dr. Jessica Grimmer. My thanks go to Hal Leonard Europe Srl, owner of international rights to Salabert, for the permission to reproduce the content in translation and to reproduce all the music and images. Without this agreement, this project would not have gone forward. All photographs and graphic designs are reproduced by kind permission of Hal Leonard Europe Srl obo Editions Salabert. Principes rationnels de la technique pianistique Author: Alfred Cortot Copyright © 1928, 1987 by Editions Salabert All Rights Reserved. International Copyright Secured Used by permission of Hal Leonard Europe Srl Part 2, chapter 1 is based on an article originally published as “La Petite Méthode de piano: A Forgotten Connection to the French School,” American Music Teacher 62, no. 6 (June/July 2013). All musical examples from Long’s La Petite Méthode de piano and Le Piano as well as from Cortot’s Principes rationnels were engraved by David Farrell. I am forever grateful to him for his expertise and attention to detail over many months. I am also thankful to Ms. Paula DurbinWestby for her work on the index. Finally, I am most grateful to my wife, Béatrice Ellis, for reviewing my translations from her perspective as a French pianist and pedagogue. Her love and support over the many years of this project were essential to its completion.

viii | Acknowledgments

Author’s Note

I have attempted to render a translation that preserves the style of Marguerite Long’s writing while making it as useful as possible for teachers, students, and researchers. I have corrected some minor mistakes in the text as well as in the musical examples. My notes on the translation appear in brackets within the text. In the book translations, Mme Long’s footnotes appear within the text in parentheses.

ix

THE PEDAGOGICAL WRITINGS OF MARGUERITE LONG

Part I Marguerite Long’s Le Piano

1 Long as Pianist and Teacher

Introduction Marguerite Long (1874–1966) was renowned as a pianist and teacher in twentieth-century France. Her recordings of Fauré and Ravel hearken back to the style of the French school as transmitted by the great teachers of the Paris Conservatoire. Yet while her list of former students is impressive (including Jacques Février, Samson François, and Philippe Entremont) and her recordings are notable (she made the first recording of Ravel’s G Major Concerto under his supervision), her impact as a pedagogue of the first rank is largely unrecognized in the United States. Due to the wide distribution of English translations of Alfred Cortot’s (1877–1962) Principes rationnels de la technique pianistique1 and of his study edition of Chopin’s études, 2 Cortot’s reputation as a leading purveyor of the values of the French school of piano, at least in the English-speaking world, has outshone that of Marguerite Long. The purpose of this book is not to elevate Long’s technique, pedagogy, or overall accomplishments as a pianist at the expense of Cortot’s or anyone else’s. It is rather to argue for a reappraisal of her pedagogical centrality to the French school in the twentieth century and to demonstrate her pivotal place during a time of musical, social, political, and technological upheaval. More specifically, the purpose of this chapter is to assert the importance of her book on technique, Le Piano.3 Until now, no complete English version has been published; I believe that this is due to a chronic underestimation of Long

3

in the United States that needs to be reassessed. To achieve this, I compare Long’s work with Cortot’s to point out key pianistic and pedagogical differences. I add historical and biographical information to this analysis to show how institutional sexism played a major role in the estimation of her reputation during her life and after her death. My intention is to highlight how much Long’s contribution to the French school of piano deserves to step out from the shadow of Cortot. Cecilia Dunoyer, in her exceptionally valuable biography of Marguerite Long,4 points out key differences in style and technique between Long and Cortot: “Alfred Cortot’s playing was very different from Long’s. Cortot strongly encouraged the use of arms and shoulders. He played abroad much more than Long did, and he performed on Steinway pianos from an early date. Although he had been trained under Diémer and therefore was the product of the same school as Long, Cortot revised his technique to adapt to the heavier pianos. The result was an altogether different style of playing and sound, not to mention temperament. And regardless of personal preferences or allegiances, most would agree that Cortot was not a typical French pianist.”5 While I agree with Dunoyer’s assessment of Cortot’s playing vis-à-vis the French school, Alfred Cortot remains among the early twentiethcentury French pianists of whom Americans are most aware, mainly through his recordings and myriad publications. The works of Marguerite Long, one of his chief rivals, have been mostly consigned to oblivion. The fact that such a highly renowned figure in France during her lifetime can be overshadowed to such a degree after her death is a state of affairs that requires research into several different domains. First, let us review assessments of Long’s and Cortot’s playing.

Marguerite Long as Pianist Marguerite Long had a long and successful career as a performer. This selection of reviews of her playing demonstrates the esteem in which she was held. After the premiere of Le Tombeau de Couperin in 1919, the critic for Le Monde wrote that “the audience, delirious, celebrated the composer and his admirable interpreter, Marguerite Long, in a manner that M. Ravel will certainly never forget.”6 Paul Landormy, reviewing Long’s first all-Fauré recital following his death, wrote in La Victoire on May 26, 1925, that “there is not only the pretty, the graceful, and the elegant Fauré. There is the Fauré impassioned, ardent, dramatic, somber, with strange visions. It is this Fauré that Marguerite Long intended to have us discover the other night. . . . She tried to express certain exalted moments of the Master’s soul with 4  |  Part I: Marguerite Long’s Le Piano

a warmth and intensity which she had never manifested to this degree before. . . . Under her fingers, the Barcarolles took on a grandeur one would never have suspected.”7 When she performed Franck’s Variations Symphoniques early in her career (November 22, 1903), Gabriel Fauré wrote a review for Le Figaro: “To reach perfection, the interpretation of the piano part of the Variations Symphoniques demands the clean, solid, impeccable virtuosity, the musical quality and proper sentiment, that the truly remarkable artist Marguerite Long exhibited yesterday. One could not play with better fingers, with more clarity and good taste, with a more charming and natural simplicity, and, I should add, with greater success.”8 At a solo recital in the Salle Érard in Paris, one critic wrote that it was “one of the most remarkable concerts of the year.”9 The Guide Musical reported that “she is sensitive, she is intelligent. With her, the piano disappears, the soul sings.”10 And the critic for Le Siècle wrote on May 3, 1903, that she gave a “virile performance in its breadth and confidence, but always keeping the charm and delicacy of a feminine virtuosity which ranks Mlle Long among our great performers.”11 This last review, positive though it is, reminds us of the double bind in which female pianists were placed: to project both masculinity and femininity at the same time. Many other stunning reviews from her early career attest to the high esteem in which she was held. Alfred Cortot’s student Éric Heidsieck attended one of Mme Marguerite Long’s last recitals and had this reaction: Although Cortot’s students were perhaps prejudiced against Long, I must say that I remember being very impressed when I heard her play Fauré’s Quartet in C minor at the Salle Gaveau in 1957. . . . I had a stage seat with a clear view of her left hand, and I remember the exceptional quality of her tone, together with the evenness of her fingers. Although people have criticized her and her students for having a “surface-y” approach, I was convinced on that occasion that she was really getting into the keys. . . . This made a strong impression on me because I didn’t think it was characteristic of her style.12

Indeed, many with an open mind could not help but be impressed by the immensely creative and energetic artist who changed the role of women in French pianism and education.

Criticism of Long as a Pianist The criticism of Long’s playing to which Heidsieck refers in his remarks above can be found in a sampling of opinions excerpted from interviews with Charles Timbrell in his essential book French Pianism: A Historical Perspective.13 Long as Pianist and Teacher  |  5

Nicole Henriot-Schweitzer (student of Long): “But I must say that one thing that Madame Long did not have was a sophisticated idea of pedaling. . . . I don’t really believe in the old French school. I use more weight.”14 Magda Tagliaferro (student of Cortot): “Marguerite Long inherited and passed on that style: fast digital playing that was semi-legato and without much pedal. The sound was thin and uninteresting. Cortot’s conceptions involved much more arm, and also more legato—a really more harmonious approach in every way.”15 Cécile Ousset (student of Marcel Ciampi): “I first played for Ciampi when I was eleven. . . . At the time I was playing a bit in the Marguerite Long way, with high fingers, a rather hard sound, and without much power.”16

Long-Cortot Rivalry Dunoyer speaks to the rivalry referred to in Heidsieck’s interview by citing a letter from Cortot’s second wife, Renée, to Marguerite Long on January 23, 1957. The letter’s stated purpose letter is to express regret at missing a recent party at Long’s home and to invite Long to the Cortots’ home. In so doing, Renée tries to heal their rift: “The two of you, both Elders of an Art which animated your lives with the same love and commitment—that of serving it by making others discover it and love it!—many points in common, many links bring you ever so close and connect you beyond all the divergences of a past where people took pleasure in confusing and misrepresenting many things between you. Human Sordidness. But the truth remains, privilege of all that is Beautiful and Real! I hope, Madame, that you will come and see us in Lausanne? We would both be so happy.”17 While the differences in their playing were likely a contributing factor to their professional conflict, a closer historical examination reveals the musical, personal, sociological, and even political complications of a relationship that was bound to remain distant.

Professional Conflict Rooted in Institutional Sexism To understand the personal conflict between Long and Cortot, one must look carefully at institutional sexism at the Paris Conservatoire relating to the piano faculty and curriculum. Indeed, sexism at the Paris Conservatoire was in the news as recently as 2013, as the following quote from the current director, Bruno Mantovani, reveals: “The profession of a conductor is a profession that is particularly physically testing, sometimes women are discouraged by the very physical aspect—conducting, taking a plane, taking another plane, conducting again. It is quite challenging.

6  |  Part I: Marguerite Long’s Le Piano

. . . A woman who wants to have children will have a hard time having a career as a conductor, which can mean changing tack abruptly overnight for several months. . . . Raising a child at a distance isn’t easy.”18 While a few women taught on the piano faculty at the Conservatoire from its inception, no woman had ever held the post of professor of a classe supérieure (in the US, a college-level class) teaching men. Women had been relegated to classe préparatoire or classe supérieure for women only—classes were segregated by gender until World War I rendered the practice impractical. As Nancy Reich points out, “Women taught in the Paris Conservatoire from its inception but were generally kept in the lower ranks and received lower salaries even within the same rank.”19 Indeed, the entire French classical music industry was deeply rooted in sexism. Musicologist Katharine Ellis, writing in 1997, notes that “the Paris Conservatory barred women from competing in the Prix de Rome until 1903, when government pressure forced the institution to change the rules of eligibility. . . . The question of whether women were capable of mental creativity was crucial in their reception as composers and performers.”20 She points to the rhetorical difficulty that male music critics had when confronted with a female pianist playing repertoire composed by men. Women were pushed into performing primarily preBeethoven repertoire; Beethoven’s works were so gendered as male by the mid-nineteenth century that music critics were conflicted over how to interpret the performances of women pianists, thereby revealing the inherent contradiction of French patriarchal hegemony in the field.21 The Paris Conservatoire led the way in enforcing gender roles in the piano repertoire, and specifically in the music of Beethoven, through its separation of the sexes in piano instruction and through repertoire lists that strictly guided the education of students. Ellis writes, “The idea that women pianists should play different repertory from their male counterparts was institutionalized by the Paris Conservatory throughout the nineteenth century in the works selected for the end-of-year competitions in the men’s and women’s piano classes. The differences are at their starkest in the second half of the century. Beethoven was assigned to the men’s class in 1863 (his first appearance in the repertory lists), 1876, 1880, 1886, and 1897 through 1900. The women’s class was never given Beethoven.”22 Stephen Heller (1813–1888), well known to piano teachers as the composer of many études, lived in Paris for years and commented on a piano recital of a woman named Wilhelmine Szarvády in 1852 in a private letter to his friend Jean-Joseph-Bonaventure Laurens. His critique is a perfect example of the misogyny that was barely beneath the surface of the French music scene in the nineteenth century.

Long as Pianist and Teacher  |  7

She has charming fingers but, whatever her admirers say, she lacks a great deal. In spirit and in naturalness and truth of expression, she plays like a child and like a woman, neither of which will amount to much in matters of art. Among most women musicians there is something precious which they mistake for grace, something affected which they mistake for expression, and a manner of playing specific to them which they mistake for originality. Basically, they prepare, launder, iron, and fold their talent as one would a pretty bonnet, an elegant piece of underwear, or any other piece of clothing; and nearly all the female virtuosos are only more or less competent milliners, who coif and dress and enfeeble poor authors as they please. Really, I can hardly restrain a smile when I hear all the elegant plebs of salon society expounding on the profundity, the originality, the genius of such florists and dressmakers the seams of whose style come apart, whose expression is affected, and who give themselves the airs of an inspired prophetess translating the oracle of such Gods as Beethoven, Mendelssohn, etc.23

Heller’s disdain for more socially progressive members of Parisian society indicates that changes in attitude were beginning to take place. But the underlying misogyny was strong and proved durable. Indeed, as Ellis points out, the entirety of society had been suffused with female subjugation due to the enactment of the Napoleonic Code of 1804, “exhorting them [women] not to think, but only to believe, and denying them rights of individual expression or decision making.”24 With female pianists’ careers determined by men, Marguerite Long’s repeated challenges to the entrenched patriarchal structure were fated to meet with resistance. Her persistence was seen as a negative, unfeminine personality trait and doubtless led to her marginalization after her death. Marguerite Long is celebrated as a pioneering female professor of piano at the Paris Conservatoire, but this legacy gives no indication of her years of struggle to elevate her position in the classe préparatoire to the classe supérieure. When composer Gabriel Fauré, Long’s friend and colleague, ascended to the directorship of the Paris Conservatoire in 1905 with the promise of changing its hidebound policies and practices, Long was given a class in the preparatory division. Although successful in teaching children, she yearned for a classe supérieure. It took until 1920 for this promotion to be realized. In 1907, at the time of Long’s teacher Antonin Marmontel’s death, Fauré declined to name her to the post and instead named Alfred Cortot, much to her dismay. She accepted the decision because of Fauré’s declaration that he would promote her in the future. But in 1913, when Elie Delaborde’s class of women became open after his death, Fauré assigned the position to another man, Victor Staub. This triggered much disappointment on Long’s part, further alienating her from Fauré. He then began to engage Cortot for performances of his

8  |  Part I: Marguerite Long’s Le Piano

works instead of her. The death of Long’s husband, musicologist Joseph de Marliave, on the battlefield early in World War I did not warm the relationship either. The death of Louis Diémer finally led to her appointment in 1920. Fauré retired a few months later. It is easy to speculate that he waited for his own retirement to appoint her. For all Fauré’s merits, his pedagogical modernization of the Conservatoire did not extend to gender equality. When Long was passed over for the Marmontel position in 1907, she felt distressed, believing that her studies with Marmontel put her in the best position of all the candidates to pass on his tradition. Fauré selected Alfred Cortot instead. Fauré’s condescension toward Marguerite Long is palpable in the letter he sent her explaining his decision to hire Cortot. You know how much I dislike being dogmatic . . . but if it is true that during Dubois’s tenure I did not worry about what could happen to the Conservatoire, now that I am in charge and realize how much good one can do here, the interest of this school overrides all other considerations. Hence, I believe it is critical for the Conservatoire that Cortot be appointed at this time and contribute, along with Risler, Chevillard, Capet and yourself to the rejuvenation and strengthening of our teaching. . . . It is touching, but you are deluding yourself to think that no one could perpetuate Marmontel’s principles as well as you could. I loved the man and admired the devotion and passion he brought to his teaching, two qualities we will never find again; but I was far from approving all his methods; and I am sure you would not have continued in his way, judging from the quality of your young pupils. You know how interested I am in your career, you know how I wish to provide you with opportunities that highlight your talent, but you also know—and I believe my life as an artist is a good example—how I prefer things to happen in due time.25

Elsewhere, Fauré wrote to her, “You will find me resolutely in favor of your appointment next time.”26 Yet in 1913, when Elie Delaborde died, Long was passed over in favor of Staub. Lurking behind this choice was the fact that, although women had taught on the Conservatoire piano faculty before, they had only had preparatory classes (as had Long since 1906) or superior classes for women only. World War I provided the tragic impetus for the long-overdue integration of the sexes in piano classes as most young men were sent to battle. Dunoyer recounts Long’s relationship with Fauré from 1903, when Long first played Fauré’s music, through 1910, as Long actively added his music to her repertoire. He wrote his Fourth Impromptu for her. Her all-Fauré recital in March 1909 was emblematic of their closeness.27 Dunoyer feels that it is “disconcerting to see the sudden absence of Fauré performances by Long in the Société Nationale de Musique (SNM),

Long as Pianist and Teacher  |  9

Société Musicale Indépendante (SNI), and other concerts in the years preceding World War I, as well as immediately following the war. Alfred Cortot, who premiered the Seventh Nocturne, was often featured instead, particularly in the premières of chamber works.”28 With Cortot receiving the Marmontel teaching position at the Conservatoire and becoming a favored interpreter of Fauré’s works by the composer himself over Long, one can easily see that many of the seeds of professional resentment between Cortot and Long were planted in the soil of France’s institutional sexism.

Notes 1. Alfred Cortot, Principes rationnels de la technique pianistique (Paris: Editions Maurice Senart, 1928, 1930; trans. Rita Le Roy-Metaxas, Boston: Oliver Ditson, 1959; Paris: Editions Salabert, 1986). 2. Alfred Cortot, 12 Studies Op. 10 / 12 Studies Op. 25 for Piano, trans. M. Parkinson, study edition commented by Alfred Cortot (BMG Ricordi [Paris: Editions Salabert]: 1986). 3. Marguerite Long, Le Piano (Paris: Salabert, 1959). All translations by the author. 4. Cecilia Dunoyer, Marguerite Long: A Life in French Music, 1874–1966 (Bloomington: Indiana University Press, 1993). 5. Ibid., 162. 6. Ibid., 81. Trans. Dunoyer. 7. Ibid., 88. 8. Ibid., 24. 9. Ibid., 24. 10. Ibid., 24. 11. Ibid., 24. 12. Ibid., 162, from an unpublished interview with Charles Timbrell. 13. Charles Timbrell, French Pianism: A Historical Perspective, 1st ed. (United States: Pro/Am Music Resources; Great Britain: Kahn and Averill, 1992); 2nd ed. (Portland, OR: Amadeus Press, 1999). 14. Ibid., 97. 15. Ibid., 103. 16. Ibid., 134. 17. Dunoyer, Marguerite Long, 162. 18. Elizabeth Davis, “Director of Paris Conservatory Declares Conducting Too Demanding for Women,” Classical Music, BBC Music Magazine, October 11, 2013, http://www.classical-music.com/news/director-paris -conservatory-declares-conducting-too-demanding-women. 19. Nancy B. Reich, “Women as Musicians: A Question of Class,” in Musicology and Difference: Gender and Sexuality in Music Scholarship, ed. Ruth A. Solie (Berkeley: University of California Press, 1995), 137. 20. Katharine Ellis, “Female Pianists and Their Male Critics in NineteenthCentury Paris,” Journal of the American Musicological Society 50, no. 2/3 (Summer–Autumn 1997): 353–85; published by University of California Press on behalf of the American Musicological Society, 357–58.

10  |  Part I: Marguerite Long’s Le Piano

21. Ibid., 362. 22. Ibid., 363. 23. Ibid., 370–71. 24. Ibid., 361. 25. Dunoyer, Marguerite Long, 39–40. 26. Ibid., 40. 27. Ibid., 41. 28. Ibid., 41.

Long as Pianist and Teacher  |  11

2 Pedagogy, Style, and Politics Germanophilia vs. French Patriotism

Pedagogical differences between Long and Cortot were proffered by Cortot’s students as evidence of the putative superiority of his teaching. Some of these differences sprang from divergent approaches to posture and hand position, as noted by Cortot student Magda Tagliaferro in an interview with Karen Taylor. He sat up quite straight, his torso [inclined] neither forward nor back. His movements were restrained, his bearing always dignified and sober. Some have the impression that this position was the norm in France then, but it most certainly was not. . . . Under the influence of Planté and Diémer many French school performers hunched over, backs curved and noses almost touching the keys, elbows bent and arms hugging their sides. The Marmontels [Antoine and his son, Antonin] and Diémer had also established the tradition, later perpetuated by Marguerite Long, of overly curved fingers that were to be raised high above the keys and projected with great force and precision onto the keyboard. Cortot detested the dry, brittle non-legato sound this approach often produced.1

Tagliaferro felt it necessary to praise Cortot at the expense of Long through derisive exaggeration. As we shall see in Le Piano, Long goes to great pains to describe her hand position accurately, and it does not resemble Tagliaferro’s caricature. In her introduction to chapter I, Long writes a footnote to ensure clarity of her thought: “Remember that articulation does not mean the tension of the nail joints in the fingers. Crooked fingers are not fingers that articulate. It is from the hand that articulation must come and it is its musculature that gives the freedom of the finger.”2 12

Long’s La Petite Méthode de piano for children addresses good posture and hand position in its opening pages, accompanied with a photograph for demonstration purposes.3 Former Cortot student Marthe Morhange-Motchane made similar comments regarding Cortot’s approach in her interview with Taylor: “‘No shallow (superficielle), anemic sonority!’ was one of his most frequent admonitions. He was adamantly against articulating with over-curved fingers pulled back high off the keys à la [Marguerite] Long.”4 Another difference between Long and Cortot lay in Cortot’s foregrounding of historical and theoretical knowledge while learning a piece. This approach was so unique to him at the Paris Conservatoire that he was able to practice it only at the school he was instrumental in starting, the famed École Normale de Musique. Reine Gianoli reminisced about her studies with Cortot in his monthly class as part of the École Normale’s Licence de Concert course in October 1931: “For the Licence classes, as well as in the main cours d’interpetation, Cortot made the students prepare analytical reports—‘notices’ as they were called—on the pieces they were going to perform. What he expected above all was an imaginative and interpretive commentary. Some arrived with harmonic analyses, formal analyses. . . . But what he wanted above all . . . were insights into the poetic context, the character, the meaning the work had for one’s personal imagination and sensibility.”5 For Long, interpretation chiefly revolved around fidelity to the text, with historical and theoretical knowledge informing the pianist as to the appropriate style. Being a faithful, sympathetic conduit of the composer’s intentions made her a favorite of contemporary composers, as we have seen. Yet her approach was far from detached and old fashioned. In fact, it put her in contact with the latest trends in composition in Paris. Her relationship with Debussy is particularly instructive in this regard. Having watched Marguerite Long play much contemporary music, Debussy approached her at a concert: “So, I guess you have made up your mind and you simply do not like my music, is that right?”6 She protested that she loved his music but that it was too difficult for her. Debussy replied, “Too difficult! Not for you, considering all that you play.”7 He set about coaching her, and the result was the development of a strong musical and personal bond between Long, Debussy, and his wife, Emma Bardac. Long’s husband, Joseph de Marliave, in a letter to Long’s sister Claire, described Long’s organization of a benefit concert featuring French music: “It was Madame Debussy who asked Debussy to participate in this concert; when she had his consent, she called Marguerite and, after giving her the good news, told her bluntly: ‘Now, you know, you will have to play his piano music. . . . He has no performers with whom he is happy; male pianists do not understand a thing about his music. We went to Pedagogy, Style, and Politics  |  13

hear you recently: you are the only one who could play it well.’”8 The letter then describes an example of Long’s deep respect for understanding a composer’s intentions before performing. De Marliave recounted Long’s response to Emma Bardac and her concern that she would not be able to live up to Debussy’s own performances: “Then Mme. Debussy said: ‘Well, you will come and work with him: you are too great an artist and too intelligent not to accept all the observations he will make about his music: just come over, without timidity or false modesty.’”9 Indeed, Debussy found in Long an ideal interpreter. As Dunoyer notes, Debussy was often quoted as saying, “A faithful interpreter is all I need.”10 Long worked hard to adapt her technique to Debussy’s music. Far from being rigid, her pianism and faithfulness were precisely attuned to the revolution that Debussy had brought to music. She approached his music with the full force of the tradition she had inherited. Long’s approach to interpretation is best expressed in Le Piano. The interpreter’s mission is not just a reading and a translation, however meticulous they may be. To express the work of a grand master, the interpreter must bring it back to life, to somehow recreate it. The interpretation is not the result of a superior combination, a “montage,” it is ultimately the act of a living, spontaneous, inspired artist. As such, it is a work of art too. The modesty of his ambitions, his submission to the masterwork that he translates does not keep us from being able to speak about the style of the interpreter. But here, no advice can be given. The style of the pianist, if he has one, is his taste, his soul; it is his own nature, all the better liberated, all the more eloquent, because he serves the text of the masters more scrupulously.11

Pianism and Taste The transmission of Cortot’s pedagogical approach after World War II involved apologetics from his students for his inaccurate playing, often at the expense of Marguerite Long’s playing and teaching style. While it is normal for students of an eminent teacher to deify their master, the tearing down of another major pedagogue to seek advantage for the memory of one’s own master seems excessive. I believe it goes beyond the natural competition between piano faculty colleagues and beyond an understandable reaction to Long’s well-known brusqueness (mostly directed at her own students and répétitrices). Cortot’s pianism was admired by many, but his lapses were notable. As Tagliaferro noted, Cortot created his own personal technique, suited to his particular hand and physical means. He had a difficult hand—very large, with long fingers and a solid bridge, but rather stiff, rather knotty. When I 14  |  Part I: Marguerite Long’s Le Piano

met him he was almost thirty and already formed, mature. But I know that when he was young his hands were frailer, more awkward; he was always saying so. . . . I think that quite a number of the exercises in the Principes rationnels and in Cortot’s editions were devised by him for his own use. He had to search for, and invent exercises because of his problematic hand.12

Cortot admirer Giorgio Graziosi noted that his pianistic faults were “of sufficient quantity and variety . . . to make even a pianist of modest stature blush.”13 Cortot was, as his student Yvonne Lefébure once quipped, “‘aussi inégal qu’inégalable’ (‘as inconsistent as he was incomparable’).”14 We are left with the impression of an artist trying to make his own technique from various sources, including those outside the French tradition. Thus, while we find some similarities between Long and Cortot, the differences are marked. Cortot was a sui generis pianist, possessed of an enormous imagination occasionally undercut by inconsistent technique. Would Cortot’s persistent sloppiness in concerts and recordings have been tolerated in a female pianist? I think not. In that era, women had to be impeccable at all times to be taken seriously. Marguerite Long devoted herself to developing her technique so that it would be reliable under all circumstances. None of her critics ever mentioned sloppiness as a fault. It was left to his students and admirers to turn Cortot’s pianistic flaws into signs of genius. Yvonne Lefébure said that “‘They are the wrong notes of a God,’ adding, for good measure, ‘Cortot’s wrong notes were so much better than other pianists’ right ones.’”15 Bryce Morrison writes that Cortot “is an icon of icons, his unique character recalled and confirmed in countless reissues of his many recordings. Every note—even every wrong note—is collected and treasured like so much gold dust. For Philippe Entremont, Cortot’s playing of the Chopin Études took wing in a way that held him mesmerised (causing him in his trance-like state to miss his plane).”16 Metaphorical mesmerism evolves into the invocation of a drug-like effect by Daniel Barenboim: “I think Cortot looked for the opium in music. You know, he looked for anything that was extraordinary. He always looked for something not sickly but something abnormal, something . . . totally removed from reality and anything that distinctly could even be construed to be smelling of normality.”17 Gyorgy Sandor, speaking in the same video, said, “Cortot was a real poet. Everything he did was absolutely . . . I wouldn’t say unexpected but surprising and profound and colorful and improvised. . . . And I would suggest one should not listen to the wrong notes because he could play the right notes too if he needed to but he just didn’t bother too much.”18 Mere advocacy is not enough for Morrison, who derides critiques of Cortot for being addicted to artifice: “His rubato, his Viennese lift in the principal subject of the Op. 34 Waltz in A flat is pure Cortot, and Pedagogy, Style, and Politics  |  15

even when in Ravel’s Concerto for the Left Hand he becomes confused to the point of chaos, little can dim the glory of his art. Today’s students may laugh knowingly at Cortot’s less focused moments but they miss the point, increasingly addicted as they are to a more artificially contrived musical world.”19

Cortot, Long, and the Vichy Regime One reason for this assertive advocacy for Cortot may be found in Cortot’s collaboration with the Nazi-backed Vichy regime. Cortot’s reputation in France plunged right after the liberation of France at the end of World War II because he had served as a high official for the arts for the Vichy government. He was arrested and later tried by a “purge” committee, where he was found guilty of collaboration with the enemy and disallowed from playing concerts for one year. He was booed at his first postwar concert in Paris, and the orchestra musicians with whom he was supposed to play a concerto refused to perform with him. The Irish Times reported on the spectacle on January 27, 1947. An unnamed critic recounted the event. Last Saturday I had an excellent seat for the Cortot concert, which turned out to be such a riot. I went along at 10am to the general rehearsal. This is always public and, according to Parisians, often more frequented by the musical elite than the afternoon performances. The Champs Elysées Theatre—and it is a very big one—was almost full. Everything started off quietly with André Cluytens conducting Bach’s 1st Suite. That over, the conductor retired and the magnificent piano was placed in position for the next item—Schumann’s concerto for piano and orchestra. A few moments later a medium-sized, rather yellow-faced man, with thin, greying hair, walked diffidently towards the front of the stage, bowed and sat down at the piano. Immediately there was the sound of applause, mingled with hissing and booing. Cries of “Vive la Liberté,” “Vive la France,” “Vous avez la memoire courte,” filled the air. Cortot began to play. The orchestra-players sat, instruments abandoned. People continued to call out. For the first few minutes not one note of what was being played could be heard. The pianist’s hands moved over the keyboard to cries of “taisez-vous” and “sortez” being bandied about between those who wanted to hear, and those who disapproved.20

This kind of public shaming resonated internationally; on his death fifteen years later, the New York Times’ obituary headline read “ALFRED CORTOT, PIANIST, IS DEAD; Soloist and Conductor, 84 Backed Vichy Regime.”21 After reviewing the esteem in which his playing and teaching was held earlier in his life, the unnamed New York Times journalist continued.

16  |  Part I: Marguerite Long’s Le Piano

Less praise, however, greeted other aspects of Mr. Cortot’s public life. .  .  . During the German occupation of France during World War  II, M. Cortot became active in the collaborationist Vichy Government’s cultural affairs. He also conducted the orchestra of Radio Paris, then in Nazi hands, arousing criticism from supporters of the Resistance. . . . Late in 1944 he was arrested on collaboration charges, but he was released soon afterward. In 1946 when he attempted public appearances in Paris, there was a storm of protest. Thereafter, except for occasional appearances and the 1952 tour, he spent most of his time at home in Lausanne.22

Marguerite Long’s wartime record does not indicate any significant collaborationist activities, and she was never brought before a purge committee. Having lost her husband in World War I and chosen to resign from the Paris Conservatoire in 1940 rather than serve a collaborationist, government-run institution, 23 she managed to enact her French patriotism more purely than Cortot, whose Germanophilia was always overt. Indeed, the Marguerite Long-Jacques Thibaud Competition (founded in 1943 with Long’s friend, violinist Jacques Thibaud) was an international magnet. Far from forgotten, her illustrious career was celebrated by the government of the Fourth Republic in June 1956 with a concert in honor of the fiftieth anniversary of her appointment to the Paris Conservatoire preparatory faculty. It took place at the Sorbonne; she performed Fauré’s Ballade, Op. 19 with the Orchestre National de France under the baton of Charles Munch. In addition, eight French composers were commissioned to collaborate on a set of orchestral variations based on her name to be premiered at the gala concert. Claude Rostand, writing in Carrefour, noted that “ministers, ambassadors, old and young pupils, high- and low-ranking government officials, friends, enemies, those who loved and admired her, those who were consumed by jealousy toward her and came anyway, those for whom she was everything. . . . In short there was a whole world . . . all that world that Marguerite Long created around her throughout a life which has spanned 82 youthful years.”24 Famed Les Six composer Darius Milhaud, a Jew who had been forced into exile during the Occupation and who had been one of the eight French composers commissioned to write a piece in her honor for the concert, wrote a tribute to Long for the program. Marguerite Long is not only the admirable performer we are celebrating today, but also the artist who has devoted herself to the cause of French music and played the works of Debussy, Ravel and Fauré with ardor, and finally a teacher with prodigious energy who, for half a century, has communicated a passion for music to her innumerable students. In this passion, she always included contemporary composers, and this is why today, with a deep feeling of gratitude, using the letters of her name,

Pedagogy, Style, and Politics  |  17

we have braided—Auric, Dutilleux, Françaix, Lesure, Poulenc, Rivier, Sauget and myself—this garland of homage with all our hearts.25

Cortot’s collaboration with the Vichy regime lasted the entire duration of the Occupation. On October 11, 1940, Cortot read a speech by Maréchal Pétain addressed to the youth of France. Jane Fulcher, in her in-depth book Renegotiating French Identity: Musical Culture and Creativity in France during Vichy and the German Occupation, 26 notes how the speech was “declaimed inspirationally by Alfred Cortot, now a ‘chargé de mission’ (appointed by Lamirand) for cultural questions concerning youth.”27 In May 1942, Cortot performed in a concert celebrating an exposition of the works of Hitler’s favorite sculptor, Arno Brecker. Jane Fulcher asserts that by then, Cortot’s collaboration with the Vichy regime had made him powerful and successful: “Cortot’s prestige was at its height, and he now publicly brought the luster of his name to such propagandistic events, for he not only was well known in Germany but was also becoming one of the most recorded artists in France. Moreover, between 1941 and 1944 Cortot gave no less than 150 concerts, 60 of which were in Paris, even as he continued to teach at the École Normale.”28 In contrast, Marguerite Long taught in her private school, played occasional concerts, and started her competition. As stated previously, she had nothing to atone for in front of the purge committees and was increasingly celebrated until her death in 1966, making her current neglect all the more difficult to defend.

Le Piano Compared to Principes rationnels Before presenting Le Piano in detail, we will examine the motivating factors behind its production as well as those behind Cortot’s Principes rationnels. It seems that Cortot and Long had different goals when writing their technique tracts and completed them at different times in their lives. Cortot’s Principes rationnels was written in 1928, when he was forty-one years old, in his prime as a pedagogue and performer. Long’s Le Piano was written in 1959, when she was eighty-five, and thus emanates the wisdom of a seven-decade career and a life well lived. Her reflections and advice for young pianists are insightful and heartfelt, not to mention still relevant today. Cortot was determined to categorize all imaginable technical difficulties and to provide the pianist with a systematic, indeed daily, approach to solving them. The preface to Le Piano is over twenty pages long, while that of the Principes rationnels is only one page. Long’s preface reads like a detailed philosophy of piano with a focus on connecting the modern young pianist to the treasured past; Cortot’s is a brief statement of his reasoning for

18  |  Part I: Marguerite Long’s Le Piano

the complex practice structure that, after six months, gives the pianist a strong, complete technique. While Le Piano is a confident journey through the French school, Cortot’s Principes rationnels betrays a complex approach to the formation of technique, possibly arising from the lack of sufficiently articulate teaching on the part of his master, Louis Diémer. Former Diémer student Alfredo Casella noted that “when a piece did not go well, he never knew how to explain the cause, but told the student only to study it again and to practice many exercises, especially scales. . . . His technical instruction was thus negative. He was no more interesting in matters of interpretation, where his remarks were colorless and banal.”29 Joseph Morpain, a friend of Cortot’s from their days in the preparatory division, wrote that “Cortot himself is still considered the student of Diémer, who had a magnificent class but never gave a single piece of advice, not one suggestion, about anything at all.”30 So the Principes rationnels can be viewed as a guidebook to Cortot’s self-constructed technique. Le Piano, on the other hand, presents ways to build a solid technique from which to draw selectively, based on many factors including the size of the hand, the style of the music, and whether fatigue occurs while playing. Her book is a compendium of exercises, including some from well-known authors (Czerny, Hanon, Bériot, etc.), organized into broad technical categories. She gives tips on how to play the exercises that generally avoid the use of rhythmic alterations, expanded five-finger positions, and persistent transposition, as found in Cortot’s Principes rationnels. In order to understand how her approach differs from Cortot’s, we will explore the specific contents of Le Piano.

Notes 1. Karen M. Taylor, “Alfred Cortot: His Interpretive Art and Teachings” (Doctor of Music in Piano Pedagogy and Literature diss., Indiana University, May 1988), 232. 2. Long, Le Piano, 4. 3. Marguerite Long, La Petite Méthode de piano (Paris: Salabert, 1963), v. All translations by author. 4. Taylor, “Alfred Cortot,” 391. 5. Ibid., 479–80. 6. Dunoyer, Marguerite Long, 58. 7. Ibid., 58. 8. Ibid., 59. Emphasis mine. 9. Ibid., 59. 10. Ibid., 70. 11. Long, Le Piano, xviii. 12. Taylor, “Alfred Cortot,” 224. 13. Ibid., 220.

Pedagogy, Style, and Politics  |  19

14. Ibid., 220. 15. Bryce Morrison, “Alfred Cortot Plays Chopin,” Gramophone 91, no. 1106 (Feb. 2014), quote of Yvonne Lefébure, accessed June 17, 2023, https:// www.gramophone.co.uk/review/alfred-cortot-plays-chopin. 16. Ibid. 17. Donald Sturrock, director, Pierre-Olivier Bardet and Stephen Wright, producers, The Art of Piano (Kultur Video, 2011), DVD; Barenboim interview: 55:39–56:11. 18. Ibid., Gyorgy Sandor interview: 55:02–55:38. 19. Morrison, “Alfred Cortot.” 20. Irish Times, January 27, 1947. 21. New York Times, “ALFRED CORTOT, PIANIST, IS DEAD; Soloist and Conductor, 84 Backed Vichy Regime,” June 16, 1962, 14. 22. Ibid. 23. Dunoyer, Marguerite Long, 120. 24. Ibid.,186. 25. Cited in Dunoyer, Marguerite Long, 186, Program of the concerts at the Sorbonne, June 4, 1956. Long Archives, BMGM, Paris. 26. Jane Fulcher, Renegotiating French Identity: Musical Culture and Creativity in France during Vichy and the German Occupation (New York: Oxford University Press 2018). 27. Ibid., 133. 28. Ibid., 58. 29. Cited in Taylor, “Alfred Cortot,” 80. 30. Letter to Clara Haskill, quoted in Taylor, “Alfred Cortot,” 95.

20  |  Part I: Marguerite Long’s Le Piano

3 Analysis of the Content of Le Piano and a Comparison with Cortot’s Principes rationnels

Avant-Propos of Le Piano In an artistic education, the most important part escapes any codification. It would be childish, indeed, to consider musical education as a collection of recipes, as a collection of secrets, processes, expedients, tricks, stratagems of which skillful specialists hold the privilege and that they transmit intact to their apprentices. And it is very imprudent to want to reduce a pedagogical career into axioms and infallible formulas, because teaching must be flexible, so as to take into account particular cases. What is true for one hand, for one nature, is not always true for another hand or another temperament. The judgment of a master counts more than his theories.1

Long begins by deriding works that sell themselves as the answer to all problems because of her strong belief in the importance of the teacher’s flexibility to respond to each individual student. She questions the very idea of a method: “I do not blindly believe in pianistic dogmatism and even as some doctors declare: ‘There is no medicine, there are only patients,’ we would be tempted to say ‘There is no method, there are only pupils.’ And yet . . . , if there is no absolute method, it would be paradoxical to claim that there is none at all. There are some basic truths that are good to repeat; there are some routines or certain modes of teaching that are useful to fight against.”2 She clarifies the belief in her own truth: “And then if in the matter of piano technique, as in everything else, no one can

21

flatter himself with holding the absolute truth, it remains however that everyone, in his profession, must confess his own truth, that is to say all the principles with which he never ceases to agree. It is in this spirit that I allow myself to present my stone today to the eternally unfinished edifice, under the vaults of which artists of all ages strive to perpetuate the cult of the masterworks.”3

A Certain Idea of France A significant part of Long’s truth is revealed in the subsequent discussion of the “Frenchness” of her approach to playing. Much like General de Gaulle had a “certain idea of France,” Long has a certain idea of French pianism.4 Cortot does not enter into the discussion of any particular school in the Principes rationnels, presenting rather a putatively rational approach above such earthly considerations as national styles. Long feels that national patrimony is one of the most significant aspects of one’s musical style and, consequently, honors it: “I obey at the same time, another secret impulse of my conscience. I wanted to publicly pay homage to the art and science of ‘French’ pianism. Let no one accuse me of sacrificing to an artistic chauvinism. I do not have the silly pretension of placing our teachers and interpreters above their foreign colleagues. But, while claiming the privilege of universality to which the masterpieces of art must be entitled, I believe that every country, every nation, every race, every culture, instinctively honors them in its own way. We adhere at birth to a mysterious and unformed ideal that marks us forever.”5 Her philosophy attempts to strike a balance between pride in her own heritage and belief in the universality of art, with each notion enhancing the other. Her description of French pianistic heritage is specific and self-aware: “French playing is lucid, precise, agile. If it sometimes delights in grace rather than strength, while maintaining its balance and sense of proportion, it does not yield to any other in relation to inner power, depth, and emotion.”6 Though this description may seem somewhat contradictory (i.e., “lucid, precise . . . inner power, depth, and emotion”), her following reference to French literature and painting allows us to understand its power: “If France is the country of Descartes, and in painting, Jean Fouquet, it is also that of Racine, Baudelaire, Verlaine, that of Chardin, Delacroix, the Impressionist school. If all these great artists had the same concern for elegant logic, do we not see that this logic never extinguishes the flames of inspiration, any more than the nuances of sensibility in them.”7 Her conviction that the fingers and wrists can produce the wide variety of colors and nuances demanded by French compositions is reflected in the following passage.

22  |  Part I: Marguerite Long’s Le Piano

These musicians, from Couperin to Ravel, have singularly developed the meaning of color and timbre in pianistic art. Composers like Gabriel Fauré and Debussy have revealed subtle and precious secrets in the search for voluptuous harmonic resonance. Following Chopin, they, like Maurice Ravel following Liszt, enlarged and organized the conquests of their illustrious elders. Their compatriots were bound to benefit when they studied their works. French pianism, at the same time vigorous and mellow, brilliant and delicate (Debussy characterized it as claiming softness in strength and strength in softness) therefore has an easily recognizable personality. It is to the defense and illustration of this national tradition, which is so important to preserve, that I have devoted this work.8

After this introduction to French piano music, of which she is an ardent advocate, Long examines how the physical mechanism brings the musical style to life. For her, it all starts with students and their hands: “The exploration of an instrument, and the training of an interpreter are missions of singular nobility. What a moving spectacle is that of an ignorant hand that stretches towards beauty, which feels the mystery and bravely bends to all the disciplines and constraints in order to triumph over the resistances of the keyboard and the inertia of the material!”9 Long has a great belief in the power of the sense of touch and its ability to guide our playing. To make her case, she invokes the words of two distinguished Frenchmen. First, she quotes the renowned writer Paul Valéry (1871–1945), who wrote: “The hand of the Artist equal and rival of his thought: ‘one would be nothing without the other.’”10 Second, she cites the great cofounder of French neurosurgery Thierry de Martel (1875–1940): “There are many things that our hands understand before our brains, and those who use their hands while thinking find more than those who think without using their hands.” Elsewhere, he stated, “I am convinced that, contrary to what is generally admitted, it is not our minds that mobilize our fingers, but our fingers and their almost unconscious movements that stir our minds.”11 The quotes of these two men from the vantage points of other disciplines assert a deep, kinesthetic source to all learning. Oberlin Conservatory professor of music theory Arnie Cox makes this case with a convincing combination of musical and scientific rigor in his book Music and Embodied Cognition.12 It argues for starting all piano teaching with an emphasis on touch and its association with sound and musical meaning. Therefore, Long’s assertion of the primacy of finger technique in piano pedagogy is artistically sensible. But she feels the need to defend it further: “This profession of faith is not useless at a time when one often speaks with disdain of ‘digital’ [translator’s note: “fingery”] performances, and [at a time when] the blindness of certain schools has too often delayed or

Analysis of the Content and a Comparison  |  23

paralyzed young careers so that it does not seem necessary to say, even if it takes courage, ‘it is not bad at all to play the piano with one’s fingers.’”13 The trend of overlooking the primacy of the finger in piano teaching and playing fed Long’s skepticism about the use of arm weight, in vogue during her lifetime and to which Cortot subscribes. Her scolding statements can be seen as a swipe at Cortot’s Principes rationnels. In fact, too often, artists in possession of a strong craft forget the wise principles by which they acquired it. The desire to innovate, a modernism of doubtful worth, or the blindness of a philosophical mind inclined to look for “Systems” leads them naturally in their teaching to reverse the hierarchy of the work elements, which is harmful for their students. These students end up spending much more time on their technique than is necessary, and they accumulate disordered, and contradictory work processes, the practical result of which is very often dubious. Simple exercises, elementary, rational, and fixed by the tradition, along with their indispensable complement, études, in the first rank of which (without forgetting so many excellent modern works), those of Czerny, this master of technique, such are the necessary steps a pianist must follow. If he did not follow this path from the beginning, he will have to go back to it later regretting the time lost.14

One other implied objection to Cortot’s method found in the preface refers to the technical exercises found in his chapter on the category of “Extensions.” Even outside of the “Extensions” chapter, Cortot has a transferable table of five-finger positions that stretch the hand beyond the normal range of space between neighboring fingers. I practiced these as a student but never assigned them as a teacher due to the intense level of supervision required to avoid injury. Modern students work on their own and without supervision more than students did in Cortot’s time, giving these exercises an added danger. Long’s statement about the hand reinforces my concern about assigning these exercises to students: “The study of the piano requires lengthy efforts. But these efforts do not consist of fighting against nature. A normal hand is made to play piano and any pianist that does not share this belief is unworthy of his art.”15 Following is an example of the positions in the transferable table that one would apply systematically in the practice of the held-note exercises, potentially endangering the health of the hand. Figure 1:16 Cortot Transferable Table no. 3 from Principes rationnels: Exercise on 3 notes & œœœ

on 4 notes & œœœœ b œœœœ b b œœœœ b b œœœœ n # œœœœ

b œœœ b b œœœ b b œœœ n # œœœ

on 5 notes & œœœœœ b œœœœœ b b b œœœœœ n # n # œœœœœ

œœœœœ œœœœœ œœœœœ œœœœœ

24  |  Part I: Marguerite Long’s Le Piano

œœœ b œœœœ n œœœœ œœœœ n œœœ œœ œ œ œ œœ

n œœœ œ

œœœ œ

œœ œœ

œœœœ œœœœ b œœœœ n œœœœ # œœœœ œ bœ b œ b œ n œ

The Structure and Function of the Hand: Doing No Violence to the Hand So important to Long is a clear understanding of the physiology of the hand that she spends several paragraphs on it. I have extracted some excerpts. A superficial observation sees many defects in the hand; we understand on second thought that these apparent defects are real qualities. If the thumb were as long as the other fingers or more exactly, if its axis of articulation were in the same plane as the others, how would one realize its passage [translator’s note: i.e., the movement of the thumb under the hand] which allows all the movements along the keyboard? If the index finger were otherwise arranged, could it be at the same time a driver, the governor of the four fingers which depend on the palm of the hand, and at the same time a moving intermediary between the axial thumb and the whole active fan that the rest of the hand represents. Even if the ring finger were freed from the aponeuroses which seem to paralyze it between the middle and fifth fingers, the whole external part of the hand (and consequently the fifth finger, so important in the attack of the chords, in the determination of the positions and in the enhancement of the melodic line) would it have the necessary stability and strength? We know the case of Schumann who wanting at all costs “to force” his fourth finger only succeeded in paralyzing it for life. It is necessary to quote the curious reflection of Chopin in the margin of a method of Moschelès: “For a long time we have acted against nature by trying to give equal strength to all the fingers. However, their forms being different, it would be better to study the touch of each of them, rather than to demolish it.”17

She quotes Chopin’s writings in the margins of a method by Moschelès and then summarizes this discussion: “To tell the truth, Liszt’s hand reveals a third finger that greatly dominates the second. But Chopin’s pianism and the use he makes of the second finger seem to me to restore it in fact to primacy. For my part, I consider it the real rudder of the hand and one cannot ‘work’ too much on its precision and firmness.”18 This section on the structure and function of the pianist’s hand ends with an admonition: “Let then no violence be done to one’s hand, but use it with intelligence, without compromising its natural dispositions by improper attempts. I am speaking here mainly to teachers.”19 Almost immediately, adherence to this admonition is challenged, as we shall see.

The Technique of Extensions: Blame the Student, the Teacher, or the Method Writer? While Long makes no explicit reference to Cortot’s category of extensions, a reading of the preface to his chapter IV, “The Technique of Analysis of the Content and a Comparison  |  25

Extension,” shows key differences between their methods. After discussing changes in stretches between adjacent fingers required by baroque music on the harpsichord, Cortot notes how both the piano and the music written for it require larger stretches: “The natural technical consequence of adopting a more widely spaced writing, such as the resounding faculties of the pianoforte invite, is the distension of the fingers, for their part is no longer limited to the rendering of traditional cadences.”20 His response to this contemporary challenge is that “we may assume today, that every pianist is obliged to have a stretch between two neighbouring fingers, at his disposal, whose angle exceeds the normal physical disposition.”21 One can see how Cortot’s beliefs conflict with Long’s conviction that a “normal hand is made to play piano and any pianist that does not share this belief is unworthy of his art.”22 Cortot’s approach may be one way of doing “violence to the hand.” He goes further by giving his preference as to how this should be done: “With the idea of correcting this limitation of the natural functions, which the needs of execution have by degrees changed, into a positive defect, many systems of stretching have been adopted, both by exercise on the keyboard, and by the most diverse mechanical devices. We need hardly add that the former of these are alone likely to give satisfactory results.”23 So while Cortot is opposed to the use of the infamous contraptions common in the nineteenth century, he does believe in stretching exercises for the student: “But although they are less dangerous than the brutal distortions to which certain pianists are imprudent enough to subject their fingers, thanks to more or less complicated machinery, it does not follow that they can be recommended indiscriminately. It is here that the teacher must take the conformation of his pupil’s hand into consideration and direct his studies according to whether he belongs to the category of pianists with long or short fingers.”24 Knowing that these exercises can be perilous, he adds a final statement essentially blaming bad teaching, or overwork on the part of the student, if injury occurs: “With this fact in view we have divided each series of exercises in this chapter, into two distinct sections, to suit each case respectively. We consider that, by conforming with this arrangement, recommended not by prudence alone, but it seems to us, also by logic, it may be confidently asserted that all such consequences as muscular fatigue or heavy execution will be avoided. These drawbacks are the usual results of thoughtless or too prolonged study of the technique of extensions.”25 This statement blames everyone in the learning chain except the author of the exercises. Long is much more careful in her approach to extensions, as will be seen.

26  |  Part I: Marguerite Long’s Le Piano

Reconciling Relaxation and Finger Independence Early in her preface, Long gives the following advice: “First of all, it is advisable while working to preserve natural movements to avoid tension and contractions by looking for the firmness necessary for the attack. To have free fingers, one must have a free arm and shoulder, that is to say, ‘relaxed.’”26 However, in a footnote, she distinguishes her concept of “relaxation” from that of other pedagogues of her time: “The horrible word! I use it with regret, but sometimes you have to use the jargon of your time to make yourself understood, and when I was young, my teachers would say to me: ‘Play soft’—and if we go back further, Chopin kept repeating to his students: ‘Easily! Easily!’ That all means the same thing.”27 Focusing on her version of relaxation provides context for what is today a controversial statement: “The static education of the five fingers seems to me the key that opens all the doors of technique; we cannot attach too much importance to it. What failings come from the ‘lack of fingers!’ It is necessary to unify the vigor and the elasticity of the weak fingers and the strong fingers, to force them to overcome the same obstacles, to create a gear of flexible and docile articulation, accomplishing a firm and precise working of the fingers. In a word, it is necessary to obtain the independence of the fingers.”28 Long’s assertion of the importance of finger independence and decrying of the failings that come from “lack of fingers” indicate that a modern American reader of this volume needs to fully understand her recommendations for the pedagogy of the “static education of the fingers,” maintaining a balance between “natural movements to avoid tension” and “firmness necessary for the attack.”29 She begins her discussion of how to maintain this balance with the following statement: “[T]he pianist will have to wisely alternate between the proper exercises for the five fingers and the exercises with held notes. Hands naturally loosened, but lacking stability or firmness will profitably insist on the exercises of ‘held notes’ that position the hand. In addition, the held notes accustom each finger to pass in turn from a slight effort of continuous and controlled pressure, to an attacking effort. This practice bends the fingers to the collective discipline that provides the equality of the mechanism.”30 Let us look to her method to see how she presents these exercises in five fingers and held notes.

Held Notes: Confronting the Dangers “Held notes are useful for obtaining independence and muscular control of the fingers, the frankness and depth of touch, the tranquility and the setting of the hand. One must work on them with prudence, because, badly practiced, they can engender a fatal rigidity. One must not use held

Analysis of the Content and a Comparison  |  27

note exercises to work on hand extensions. Therefore, little hands should abstain, at least at the beginning, from held notes with spaced intervals.”31 Note how Long recognizes the dangers of held-note exercises. Her insistence on prudence and tranquility are noteworthy, as is her admonition for those with small hands to abstain from held notes with spaced intervals.32 And again, we see her abhorrence of hand extensions through not only her text but also her exercises, which expand to an octave and do not require internal extensions of the hand of more than a third between adjacent fingers. What remains to be explained is precisely how to avoid tension and “fatal rigidity” in these positions. Her advice for exercise no. 1 attempts to provide a solution. “(1) HELD NOTES IN CLOSED POSITION Exercise No. 1 _ Attack the note with precision without stiffness. Raise the finger while avoiding any contraction, the thumb must lower itself and then raise up vertically like its neighbors without any movement of the hand. For the sound always and exclusively comes from the finger. Work forte, mezzo-forte and piano. Repeat at least four times for each measure. Do not surpass the metronome mark indicated.”33 Figure 2:34 Held-note exercise in closed position from M. Long Le Piano: www www www www www & c w œ Œ œ Œ .. .. w Rœ ≈ ‰ Œ œR ≈ ‰ Œ .. .. w œ œ œ œ .. .. w œ œ œ œ ’’ .. .. w . . M.M. q = 69 1

A

1

B

C

D

C

w ww ww ? c wwwwœ œ ww Œ Œ .. .. wwœ ≈ ‰ Œ œ ≈ ‰ Œ .. .. wwœ œ œ œ .. .. wwœ œ œ œ ’’ .. .. www R R . . 5

2

2

? c wwwwœ

Œ

œ

www œ &c w

Œ

œ

Œ

œ

4

4

? c wwww œ 2

Œ

4

4

2

etc.

Œ

œ 3

Œ

? c wwww œ

Œ

œ

Œ

www œ &c w

Œ

3

Œ Œ

3

5

etc.

? c wwww œ 1

Œ

3

œ 5

œ 1

wwww

wwww w

B

wwww

A

wwww w

wwww

5

“Work thus each finger. Ex.” www ww œ &c w œ Œ œ Œ & c ww

wwww

etc.

Œ Œ

etc.

Her statements are clear: the finger must attack the note without stiffness, avoiding any contraction while raised. This approach would naturally involve refinement and much oversight by the teacher to ensure correct application of the instructions. The terms Long uses evoke Taubman’s concept of healthy movement being within the midrange of motion. But 28  |  Part I: Marguerite Long’s Le Piano

Long insists on this as a basis for all technique: “For the sound always and exclusively comes from the finger.”35

Long on Extensions: A Possible Contradiction Explained One then finds a possible contradiction regarding Long’s concept of extensions. “EXERCISE No. 5 _ After working on the preceding exercise, execute this one without held notes, with accents and lightly. This exercise is very profitable for extension.”36 Figure 3:37 Exercise no. 5 for extensions from M. Long Le Piano: >

> > > > > > > b œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ bœ œœœ œœœ œœœœœœœ bœ #œ œ œœœ œœœ œœœ œœœ 1

&c

2

3

6 6 6 6 6 6 6 6 > ? c œ œ # œ b œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ b œ # œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ 6

2

>

& nœ

6

6

6

6

6

6

6

1

3

œ œ bœ #œ

>

> > œ œ œ œ œ œ œœœ œœœ œœ œœ œœ œ

> œ #œ bœ

> > > œœœ œœœ œœœ œ œ œ œœ œœ œœ œœœ

6 6 6 6 6 6 > > 6 > 6 ? # œ b œ œ œ # œ œ œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ # >œ œ œ b œ # œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ 6

6

6

6

6

6

6

6

etc.

Even though a span of a third is not exceeded between adjacent fingers, Long nevertheless sees a profit in extensions she previously dismissed— “one must not use held note exercises to work on hand extensions.”38 She sees a benefit to working on extensions absent the added stress of the held note. As seen in Cortot’s Principes rationnels, playing in extended positions with held notes is integral to his approach to gaining finger independence.

Long’s Five-Finger Exercises: “Untying” the Fingers While Ensuring Relaxation From the stabilizing of the hand through held-note exercises, Long moves to the loosening of the fingers through five-finger exercises: “Just as with the exercises using held notes, exercises with the five fingers must be executed from the fingers and from the fingers alone. It’s about ‘untying’ them and giving them a clean and safe attack. It is therefore necessary to control with great care the voluble and precise autonomy of each of the fingers including the thumb which must be doing the same rigorous work as the other fingers. In so doing, one must ensure the constant ‘relaxation’ of the arm, forearm and wrist.”39 Analysis of the Content and a Comparison  |  29

Through untying the fingers comes clarity and safety as well as relaxation of the arm, forearm, and wrist.40 Long’s “static education of the five fingers,” so fundamental to her pedagogy, may seem antithetical to relaxation to twenty-first-century American piano teachers. Yet she wishes to focus both teacher and student on the safe and flexible rise and fall of the finger. If this is done well, she believes that the foundation of a healthy and musical technique is assured.

A Warning to Those with Larger Hands Long goes on to warn those with large hands of a potential problem with five-finger patterns before launching into chromatic scale exercises based on those of Tausig: “As much as we warn small hands against the danger of exercises with great spreads, so we advise for large hands exercises with close intervals such as the following:”41 Figure 4:42 Exercise no. 1 from M. Long Le Piano after Tausig, Preparation: &

.. œ #œ œ #œ œ bœ nœ bœ

RH 1

2

3

4

5

5

4

3

2

1

LH

œ œbœ œ#œnœ#œnœ#œ œbœnœ#œ œbœ œ #œ œ#œ œ#œ nœ#œ œ œnœ#œ œ œ#œ#œ œnœ#œ œnœ#œ nœ#œ 1

5

5

1

1

œ œ bœ œ bœ œ bœ nœ bœ œ œ nœ bœ œ œ bœ bœ œ nœ bœ œ nœ bœ nœ bœ œ œ #œ œ bœ nœ bœ nœ bœ œ #œ nœ bœ œ & nœ #œ nœ #œ 5 5

4 3

2 1

etc.

5

5

etc.

nœ bœ œ bœ œ w

Figure 5:43 Exercise no. 2 from M. Long Le Piano after Tausig: & œ #œ œ #œ œ œ nœ #œ #œ œ #œ œ œ œ œ nœ œ #œ œ œ #œ nœ œ #œ #œ œ œ #œ œ œ nœ œ œ œ #œ œ #œ nœ œ nœ œ #œ œ #œ œ œ nœ œ #œ œ #œ 1

5

5

1

2

1

4

5

œ#œ nœ #œnœ œ œ bœ œ bœ nœ œ nœ œ bœ œ bœ œ nœ bœ bœ œ bœ & œ nœ#œ œ œ bœ nœ bœ nœ œ bœ œ bœ œ œ nœ œ

etc.

etc.

œ bœ œ bœ œ œ nœ bœ w

The exercises on page 11 (see Long’s pagination) are based on Tausig’s focus on fluid, rapid chromatic scales.

A Brahms Exercise: More Ambivalence Regarding Held Notes Another example of Mme Long’s mixed feelings regarding extension can be found in the title of this subsection of chapter I. “EXERCISE OF BRAHMS FOR EXTENSION OF THE HAND WITH A SINGLE HELD NOTE Work slowly and mezzo-forte, legato and marking the accents, then with dynamic shading from pp to mf in a faster tempo.”44 Figure 6:45 Brahms held-note exercise for hand extension in M. Long Le Piano: 30  |  Part I: Marguerite Long’s Le Piano

œw . 3 œw . > > > >œ > > >>œ > œ œœ œ œ œ œ œ œw . œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 2 œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 4

3

4

A

B

3 4

C

œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ >œœ ? 32 œw . œ >œ >œ œ >œ# >œ œ >œ >œ œ>> œ œ œ œ œ œw . œ œ œ œ œ œ œ œ œ œ œ œw . œ œ œ # œ œ œ œ œ œ œ œ &

œw .

3

3 4

4

3 4

E œ œ œ œ œ œ œ œ œw . œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ D

œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ ? œw . œ b œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œw . # œ œ œ # œ œ œ œ œ œ œ œ & œw . œ # œ œ œ œ œ œ œGœ œ œ œ œ œ œ œ œ œw . œ œ œ œ œ œ œ œ Hœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œw . œw .

G

œw . # œ œ œ œ œFœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œw . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

F

E

D

C

B

.. œœ Œ ∑ œ œ .. œœ Œ ∑

“When one has this exercise learned one can play it lightly and quickly without the held note.”46 While she recommends removing the held note at a faster speed, lessening tension in the hand, the title of the section with the word “extension” reveals more ambivalence about her stance in the preface and earlier in chapter I.

Repeated Notes and Trills Long presents repeated notes as well as trills with terminations in the same chapter. Interestingly, she also includes double-note trills but writes in a footnote that while “it is normal to classify trills in double notes after simple trills. . . . but, in reality, the following exercise is a complement to the Chapter on double notes.”47 This note suggests Long’s awareness of the hybrid nature of this technical demand, alerting the student to avoid playing in a fixed, rigid position.48 Figure 7:49 M. Long Le Piano trills with terminations and doublenote trills: 1

5

4

3

4

œ & 42 .. œœ œ œ œ œœ 4

1

5

2

3

3

2

œ œ ? 42 .. œœ œ œ œ œ 2

5

4

2

5

5

œœœœœœ & .. ˙ 4

2

1

1

5

œ œ ? .. œœ œ œ œ œ 5

4 5

.. .. œœ œ œ œ œ œ œ œ œ 7

œœœœœœœœ .. .. œ œ 7

5

4 5

9

.. .. œœ œ œ œ œ œ œ œ œ œ œ 9

œœœœœœœœœœ .. .. œ œ 5

5

# .. .. # # # # # # œœ œ œ œ œ œ œ 4

5

1

œœœœœœ .. .. # # # # # # # œ œ 2

5

4

5

.. .. œ˙ œ œ œ œ œ œ œ

.. .. œ˙ œ œ œ œ œ œ œ œ œ

# .. .. # # # # # # œ˙ œ œ œ œ œ

œ œ œ œ œ œ œ œœ .. .. œ

œ œ œ œ œ œ œ œ œ œœ .. .. œ

œ œ œ œ œ œœ .. .. # # # # # # # œ

4

7

7

4

9

9

4

5

.. .. œœ œ

7

œœ .. .. œ

7

.. etc.

5

..

etc.

1

4 2 3 1

œœ

œœ œœ œœ

œœ b b œœ œœ œœ

œœ b b œœ œœ

œ &c œ 4

&c

5 1 4 2

5 1

œœ 3 2

œœ

b œ b œœ &c œ 2

etc.

œœ

# # œœ # œœ œœ œœ &c 5

etc.

œœ

5 2

3 1

3 2

5 1

b œœ b œœ œœ # # œœ # œœ œœ

# # œœ œœ œœ œœ &c

# # œœ œœ œœ

# # œœ # œœ œœ œœ &c

# # œœ # œœ œœ

3

etc.

6

etc.

3 2

3 2

5 1

4 1

Cortot’s Five-Finger Patterns with Held Notes In Cortot’s chapter I, “Equality, Independence and Mobility of the Fingers (Without Passing under of the Thumb),” the held-note exercises look simple on the page and somewhat similar to Long’s; Cortot’s patterns, however, are more complex. The most notable difference is the application of the transferable table. His text is similar in spirit, but given the vast extensions required by the transferable table, more explanation is necessary to avoid injury. Figure 8:50 Cortot’s exercise for four fingers with one finger held (see figure 1 for transferable table positions. NB: The encircled H and R before each exercise indicate that they are to be played with the harmonic and rhythmic patterns found in the transferable table): Exercise No. 2a. (Fingers held: r.h. thumb; l.h. 5th .) H R

& c œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w w w

& œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

Exercise No. 2b. (Fingers held: r.h. 2nd ; l.h. 4th .) H R

& c w œ œ œ œ œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

Exercise No. 2c. (Fingers held: r.h. 3rd ; l.h. 3rd .) H R

& c wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

& wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ..

32  |  Part I: Marguerite Long’s Le Piano

etc.

etc.

Passing the Thumb: Cortot versus Long Marguerite Long’s chapter II is devoted exclusively to double notes. Cortot addresses double notes in his chapter III, having introduced finger independence in five-finger patterns in chapter I and scales and arpeggios in chapter II. Long’s Petite Méthode for children advocates developing stability of the hand in the five-finger position before putting the thumb under: “One would never insist too much for the pupil to give the greatest care to the good position of the hand and to a perfectly correct playing of the five fingers before starting the scales, which intentionally figure rather late in this work.”51 Indeed, putting the thumb under improperly is seen as the origin of many future difficulties, as she states in the preface to Le Piano. It is as soon as these elementary qualities will have been acquired that one will be able to begin the study of scales and to demand of the thumb, now well in possession of its job of striking vertically like the other fingers (which is not very natural for it, do not forget) to realize its great natural function of passing under. I do say: “natural function,” because why make a scarecrow of the passing under of the thumb? If one wants the depth of my thought on this: we should not worry about the passing under of the thumb. Indeed, if one is sure of the independence, the equality and the firmness of the five fingers (including the thumb), it will pass very easily under a hand accustomed to a solid grip of the keyboard and which, definitively balanced, has nothing to fear from a shifting movement. That is why I have never put the study of scales at the beginning of piano training and that I resolutely rule out in the first exercises any opportunity to pass the thumb under. That is why too, when I see a clumsy pianist practicing scales or arpeggios, I do not advise him to do special exercises of passing the thumb under, but rather to develop the firmness and equal agility of the ten fingers, especially the index.52

Compare Long’s statement on the passing of the thumb to the following exercises from pages 24–28 of Cortot’s Principes rationnels, which at times show the extension of the thumb under the complete width of the palm.53 Figure 9:54 Cortot exercises for mobility of the thumb under the hand: EXERCISE No. 1a. (lateral and detached movements of thumb with the hand remaining motionless and the finger held.) (same fingering for both hands) j j ‰ j‰ j ‰ j‰ j‰ œj ‰ j ‰ œj ‰ w j‰ œj ‰ j ‰ œj ‰ .. w j‰ œ ‰ j ‰ œ ‰ .. C & c œ w wœj œ œ œ œ œ œ œ œ 1

1

1

1

1

j j & w œ ‰ œj ‰ œ ‰ œj ‰ 2

1

1

1

1

1

3

1

1

1

1

1

1

1

1

1

5

4

j j wœ ‰ œj ‰ œ ‰ œj ‰ 1

1

1

3

2

1

1

(for long-fingered hands only)

j‰ j ‰ j ‰ j ‰ . j ‰ j œ j ‰ œ ‰ j ‰ .. . wœ wœ œ œ œ œ 1

4

1

1

1

1

1

1

1

5

(for long-fingered hands only)

Analysis of the Content and a Comparison  |  33

EXERCISE No. 1b. (idem. with several fingers held.)

j j & c www j ‰ œ ‰ j ‰ œ ‰ œ œ 4 3 2

C

1

1

j j b wwwœj ‰ œ ‰ œj ‰ œ ‰

1

1

2 3 4

j œ ‰

& n n wwwœj ‰ 5 3 2 2 3 5

j œ ‰

j ‰ œ

1

1

j œ ‰

www j ‰ œ

1

1

1

3 1 2

1

1

j œ ‰

.. w j ‰ wœ

1

1

1

1

j œ ‰

j ‰ œ

1

1

j‰ j ‰ b b wwwœ b œ

j ‰ œ 1

1

2 3 1

j œ ‰

j ‰ œ

1

j œ ‰ 1

1

EXERCISE No. 1c. (idem. legato movements of the thumb.) C

3 & 2 ww .. œ œ œ œ œ œ œ œ œ œ .. ww ..œ œ œ œ œ œ œ œ œ œ .. ww .. œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ 1

4 2

1

1

1

1

1

1

4 2

2 4

1

1

1

1

2 4

1

1

1

1

1

4 2

1

1

2 4

1

1

1

1

1

1

EXERCISE No. 1d.

C

.. & 32 w . œ œ œ œ œ œ œ œ œ œ œ œ œ œ wœ . œ œ œ œ œ œ œ œ œ œ wœ . œ œ œ œ œ œ œ œ œ œ 3

2

1

1

1

1

1

1

1

1

4

1

1

1

1

1

1

1

1

1

1

1

1

1

(same fingering for both hands)

EXERCISE No. 2a. (idem. hand in motion with finger held.) œ œ œœ œ œ œ œ œœ œ œ œ bœ œ. &c œ œœ œ œ œ œ b œœ œ œ œœ œ œ œ œ œ œœ œ œ b œœ œ b œ œœ œ œ œ œ œ œœ œ œ . œœœ œœœ œ bœ 2

2

1

1

2

1

1

1

1

1

1

2

1

1

1

2

1

1

1

1

2 1

1

EXERCISE No. 2b. (idem.) &c

œ œœœ œœœ œ œ bœ œ œ œ œ œ œ b œ œ œ œ œ .. œœ œ œ œœ œ œ œ œœ b œœ œ œ œœ œ œ œ œœ b œœ b œ œ œœ œ œ œ œœ œ œ œ œ œ bœ 1

1

1

1

1

1

1

1

2

2

EXERCISE No. 3a. (idem.) & 43 œ˙ . œ œ œ œ œ

˙œ . œ œ œ œ œ 2

2

C

1

1

1

1

1

1

1

œ˙ . œ 1

2

œ

œ

œ

œ

˙œ . œ 2

œ

œ

œ

(same fingering for both hands)

œ

..

EXERCISE No. 3b. (idem. two fingers held.) œ œœ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ bœ œ œ œ & c œœœ œ œ œ œœœ œ œœ œ œœœ œ b œœœ œ œ œ œœœ œ œœ œ œœœ œ b b œœœ œ œ œ œœœ œ b œœ œ œœœ œ .. 3 2

H C

1

2 3

1

3 2

4 2

1

1

1

2 4

1

1

1

2 3

1

1

1

1

simile

4 2

1

2 4

1

1

1

34  |  Part I: Marguerite Long’s Le Piano

..

EXERCISE No. 3c. (chromatic progression.) C

& c ww œ 4 2

œ

1

2 4 1

bœ

nœ

1

1

1

1

bœ

nœ

1

1

bœ

bœ

nœ

n wwœ

bœ

bœ

œ

œ

..

bœ

bœ

EXERCISE No. 4. (for the lightness in thumb transmission.) r.h. œ œ bœ œ bœ œ 3 .. c œ œ # œ œ œ œ œ œ œ œ œ .. &4 œ œ œ œ œ b œ b œ œ bœ bœ œœ ‰ . œ œ œ Rœ ‰ . œ œ œ œ œ R ‰. R ‰. r.h. l.h. R 1

3

C H

1

1

3

2

1

l.h.

1

1

4

2

1

3

1

3

4

3

1

4

1

1

1

2

1

3

1

4

5

1

1

2

1

3 1

3

1

5

3

1

3

1

4

5

3

1

3

1

4

1

5

2

1 5

3

1

4

3

3

1

3

1

1

3

1

3

4

1 3

1

3

2

1

3

1

3

4

EXERCISE No. 7a. (preparation for the attack of the thumb: practice each hand separately.) & 43 œ œ œ œœ œ œ b œ œ œ œœ œ œ b œ b œ œ œœ œ œ .. b œœ œ œœ œœ œœ œ b œœ b œ œœ œœ œœ œ ∫ œœ œ œœ œœ œœ œ .. œ ≈ ≈ œ ≈ ≈ œ ≈ ≈ œ ≈ ≈ œ ≈ ≈ œ ≈ ≈ r.h.

C H

2

3

2

3

2

3

2

1

1

3

2

3

2

3

2

1

1

3

2

3

2

4 2

3

1

1

3

4 2

etc.

3

1

1

1

1

1

1

≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ? 43 œœ œ œ œœ œ œ b œœ œ œ œœ œ œ œœ b œ œ œœ œ œ .. b œœœ œ œœ œœ œœ œ b œœœ b œ œœ œœ œœ œ ∫ œœœ œ œœ œœ œœ œ .. 1

1

1

1

1

1

1

1

1

1

1

1

l.h.

3

2

3

2

3

2

3

2

3

2

3

2

2 3

3 2

2 3

3 2

3 2

2 3

3

2 4

2 4

3

etc.

EXERCISE No. 7b. (displacement of the hand the thumb remaining motionless.)

œ œ œ œ œ ˙œ œ b œ œ œ œ ˙ œ b œ œ œ ˙œ œ b œ œ œ œ . b œ œ œ œ œ ˙œ . & c ˙œ œ œ œ œ œ ˙ œ œ œ 1

C H R

1

3

2

1

1

2

1

4

3

2

3

2

1 4

1 2 3

4

3

1

4

3

4

3

1

4

3

2

4

1

1

œœœœœœ ˙œ œ œ 3

2

3

3

1

2

3

2

1

2

3

1

4

3

1

4

4

1

4

3

2

4

1

1

3

2

2

2

œœœœœœ ˙œ ∫ œ b œ 3

4

1

4

4

˙œ b œ bœ œ œ œ œ 2

4

2

2

3

œ & ˙ œ œ œ œ œ œ œ œ ˙œ 1

1

3

2

3

3

1

2

3

2

˙œ b œ bœ œ œ œ œ 1

2

2

3

1

4

2

4

4

bœ ∫œ œ œ œ œ .. 3

3

4

2

3

3

3

Anyone familiar with Dorothy Taubman’s approach to piano teaching will recognize that these thumb-under exercises run afoul of her principle that the thumb should not go under beyond the midrange of motion. Indeed, Edna Golandsky, a leading Taubman teacher, writes how rotation and in-and-out motions are needed because “when the fingers alone are called upon to do all these jobs, problems result. They just can’t do it.”55 Golandsky also posted a YouTube video on November 22, 2013, in which she states, “Clearly we don’t isolate it. And the way we don’t isolate it is to move with the forearm.”56 She demonstrates a forearm rotation, bringing the thumb to the key. And in her video on the B major scale, Golandsky demonstrates how the thumb rotates to the note rather than passing under the hand.57 In short, minimal passing of the thumb under Analysis of the Content and a Comparison  |  35

the palm is recommended in the Taubman approach to avoid cramping the hand and causing tension in the other fingers. In my article on La Petite Méthode de piano,58 a revised version of which appears in part II of this book, two excerpts are cited from Golandsky and Tabuman regarding the thumb. They are as relevant here, in the adult pedagogy context, as in the context of teaching beginners. In the ascending scale, when the thumb plays rotated in its direction, it is moved directionally back away from the hand, behind the second finger. . . . Although the rotational movements assist in bringing the thumb behind the fingers, they do not eliminate thumb flexion but minimize it. . . . The whole training of the thumb under when we play scales, when we’re told to put the thumb right under, can be very injurious because when you put the thumb under like this, you’re flexing. When you play down, you’re extending. So you’re creating dual muscular pulls that are incredible as you go fast in scales and arpeggios.59

A look at Long’s thumb-under exercises in Le Piano reveals a much less stressful approach. For scales, she introduces exercises that progressively pass the thumb under the second, third, fourth, AND fifth fingers. While going past the second or third fingers would not be considered advisable in the Taubman technique, these exercises are less likely than Cortot’s to stress the hand. Figure 10:60 M. Long Le Piano exercises on preparation for scales: EXERCISE No. 1. We remind you that, according to the same principle, we give only the right hand of the following exercises, the left hand playing an octave below, the upper fingerings are those of the right hand, the lower fingerings those of the left hand. ? 68 œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & 1 2 1 2 1 2 1 2 1 2 1 2

1 2 1 2 1 2 1 2 1 2 1 2

1 2

1 2 1 2 1 2

1 2

1 2 1 2 1 2 1 2 1 2 1 2

1 2 1 2 1 2

œ œœœœœ œœœœœœœ œ œ œœœ œ œœœ œœœ

√ œ œœœœœ œœœœœœœ œœœ œ œ œœœœœœœœœœœœ œœœœœœœ & œœœ œœœ 1 2 1 2

1 2

1 2 1 2 1 2

1 2 1 2

etc.

1 2

1 2 1 2 1 2

?

œœœœœœœœœœœœ

etc.

˙. 1

1

EXERCISE No. 2

œ œœœœœ ? 68 œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1 2 3 1 3 2 1 2 3 1 3 2

1 3 2 1 2 3 1 3 2 1 2 3

1

3 1

1 3

2 1

3 1

2

1 3 2 1

1

1

1 3

3 1 3 2

√ œœœœœœœœœœœ œœœœœœœœœœœœ œœœ œœœœ œ œ œœœœ œœœœœœœ & 1

1 3

3 2

3

1

1

1

3

3

2

1 3 2 1

1 2 3 1

3 1 3

2 1 2 3 1 3

1 3

1 2

1 3

1 3 2 1

36  |  Part I: Marguerite Long’s Le Piano

1 3

1

etc.

?

œœœœœœœœœ œœ œ ˙. 1 3

1

3 2

etc.

EXERCISE No. 3

œ ? 2 œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & 4 1 4

1

1

1 4

4 1 4

4 1 4

1

œ œœœ œœœœ œœœ œœœ

1 4

4

1 4

4

1 4

4 1

1

œœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœ &œ œ 4

1

1

4

4

1

2

4

1

4

4

1

1

4

4

4

1

2

4

1

1

?

1

etc.

œœœœœœœœ ˙ 1

1

etc.

4

4

1

2

1

4

4

1

EXERCISE No. 4

œ ? 3 œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 1

2

1

2

1

5

1

5

5

4

1

5

4

5

œœœœœœ œœœœœœ

œ œœœ &œ œ 1

3

1

5

5

1

5

1

2

4

3

1

5

2

1

5

1

2

4

3

1

2

1

5

1

5

4

3

1

5

5

4

5

5

1

5

1

1

5

4

5

5

œœœœ œœ œœ œœœœ œœœœ œœ œœœœœ 1

5

5

2

1

5

5

5

4

1

2

5

1

1

3

5

2

5

1

1

5

?

1 5 1

etc.

etc.

1

1

œœœœœœ 1 5 1 5

1 2

œ œ œ œ œ œ ˙. 5

1

5 1 5

Figure 11:61 M. Long Le Piano exercises on arpeggios: The following exercises are exceptionally written in triplets in order to ensure the position of the hand in alternating the accent on the thumb and the fifth finger. ? 44 >œ

1 RH LH

œ

2

œ

1

3

3

>œ

3

5

œ3

1

œ 2

2

œ

>œ 1

3

œ

œ3

>œ 1

œ

> 3 œ œ > œ œ œ œ œ œ œ œ œ œ 5

5

1

&

1

1

1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. w & œ œ œ œ œ œ œ? œ 2

4

5

4

5

1

5

1

5

2

4

First Inversion

2

œ œ œ œ œ œ ? 44 œ œ œ 5

4

2

1

1

1

5

5

1

&œ 1

œ œ

œ œ 4

5

etc.

Second Inversion

1

3

œ œ œ œ œ œ œ ?4 œ œ œ œ 4 &œ 4

2

1

3

5

2

œ œ

5

1

1

5

1

5

etc.

1

1

Then work on the middle fingers, so important for the rich sonority of the chords. Ex: In root position, do the same work on the inversions. ? 43 œ œ œ œ œ œ œ œ œ & œœœ œœœœœœœœ œ 3 3 1

5

2

3

4

3

2

2

4

3

2

2

4

3

2

2

4

3

2

1

1

4

√ œœœ œœœœœœœœœ œ œ œœ 3

2

etc.

2

2

4

3

2

5

1

3

2

2

4

3

2

1

1

3

2

etc.

?

œ œ œ w 2

3

2

4

2

4

1 5

In Long’s concept of technique, once the fingers are properly loosened through five-finger exercises and the thumb has an awareness of its vertical attack, there should be no problem putting the thumb under: Analysis of the Content and a Comparison  |  37

“The good execution of a scale depends above all upon the firmness of the finger that precedes the thumb and that which follows it. Under these conditions, a hand sufficiently loosened by five finger exercises will not encounter any difficulty for the passage of the thumb.”62 Long then comments on the sequencing of scale study: “This is why we recommend that you do not approach scales prematurely with a beginner. Moreover, the study of the chromatic scale, with its smaller intervals and more frequent use of the thumb, seems to me to require that it precede that of the diatonic scale.”63 To achieve a greater level of virtuosity with scales, “one must have practice ‘flowing’ them lightly and closely from the fingertips, with a pretty sound. One must know all the keys impeccably and only play the scales at the third, at the sixth and at the tenth when one has done them perfectly at the octave.”64 Long then advocates for “launched scales and arpeggios” (gammes et arpèges lancées) to bring all of the advances made in her previous scale exercises to fruition. Figure 12:65 M. Long Le Piano launched scales exercise: Count aloud by going strictly in tempo and respecting the exact value of the rests. Pay attention to the left hand _ So that it will be as fast as the right hand, it must be the hand that leads. In the execution, to end more brilliantly, one can use the third finger on the last note of the right hand at the treble _ To be worked on in all keys and in all dynamics brilliantly or very soft. >œ >œ ? > œ œ œ œ œ œ œ œ œ œ J ‰ ? >œ œ œ œ œ œ œ ? c >œ œ œ œ œ œ œ œJ ‰ >œ œ œ œ œ œ œ & œ œ œ ‰ œ œ œ œ œ œ J & œœœœ & œ œœœ œ 1

4 5

3 1

> 7 œ > j‰ œ œ œ œJ ‰ œ œ œ œ œ œ œ œ & œ œ œ œ œ œJ ‰ ? œ œ œ œ œ œ œ œ œ œœ œ œ œ œœ > œ œœœ œ œ œœ œ œœœ œ œ œ œœ > > > > √ √> >œ œ œ >œ œ œ > œœœœœ œ œ œ œ œ œ œ œ œ œJ œœœœ> œœœœœœœœœœœ> œ œ œœ œ œ œ œ œ œ ‰ ‰ ‰ œ & œœœœ J J œ >œ œ œ >œ œ œ >œ œ œ œ >œ œ œ œ œ >œ œœœœœ œœœœ ? œœœœœœœ œœœœœ J ‰ œ ‰ ‰ œ œ œ œ j & œœœœ œ œ J œ œœ œ > √> œ œ œœœ œ œ œœœ œ œœœœœ œœ œœœ œœ œ œœœœœ œœœ œ œ œj ‰ & œœœœ j ‰ œœœœ? œ > > > œ œ œœœœœ œœœœœ œœœœœ ? œ œ œj ‰ & œ œ œœœ œœ œœœ & œ œ œ œœœœ? œ œ œ œ œ œj ‰ œ > > 7

?c

7

7

1 3

1

5

5 3

5

1 3

1

38  |  Part I: Marguerite Long’s Le Piano

1

5

Figure 13:66 M. Long Le Piano launched arpeggios exercise: Same remark as for the scales. Count aloud in strict tempo. Work first hands separately, then hands together. We give our example in C major root position, do the same work in inversions and in all keys.

>œ >œ œ œ œ RÔ ® ® ? œ œ >œ ® ® ? œ œ œ ? 4 >œ œ œ RÔ ® ® >œ œ œ œ œ œ œ 16 & œ œ R & œ œ & œ œ Ô œ œ œ 5

1

√

2

3

1

2

3

1

2

1

1

2

2

3

4

2

5

1

√> √> > >œ >œ œœ œœ œœ œ œ œ K œ œR œœ> œœœœœ> œ œ œ œ œœ ? œ œ œr ® ® œ ®® œ ®® œ œ Kr ® ® Ô ®® &œ œ œœ œ RÔ RÔ > 5

4

5

4

5

3

1

2

2

4

1

5

This light but firm approach to teaching rapid scales and arpeggios is the pathway to teaching the famed jeu perlé (pearly playing). And at this time in Long’s life, she was noticing a slackening in devotion to teaching scales and arpeggios: “Generally speaking, pianists of the young generation do not do enough scales. They are completely wrong.”67 While Cortot emphasizes scales and arpeggios in his method as well, the requirement to stretch the thumb beyond its normal range of motion tenses the hand and focuses the pianist on the stretching action as opposed to the light attack of each finger. Long’s approach seems a logical middle ground between Taubman and Cortot and fully reflects the French pianistic aesthetic. Indeed, one could conceivably integrate the rotation motion into Long’s exercises. She discusses wrist technique in staccato playing, octaves, chords, and skips in chapter IV, completing the chapter and exercise portion of her book with tremolo and glissando work.

Rhythms in Practice: A Key Difference One particularly stark difference between the methods of Long and Cortot is the use of rhythms in technique study. For Cortot, the employment of different rhythmic patterns while practicing a passage is a foundational learning technique. Long is adamantly opposed to them. While Cortot directs the student to use them daily, in a systematic manner, there is no detailed discussion of how to apply them or why they are beneficial. Long makes the following statement regarding the pedagogical proliferation of practicing in rhythms. Before finishing with this view, alas briefly, of different aspects of the study of the mechanism, I would like to say some words on the subject of a certain working process with an apparent seductiveness and shortterm efficiency which has spread among young pianists in a way that is too abusive. I refer to the so-called broken rhythms study. I believe it is my duty to warn against its careless use. As much as one can, without danger and even with benefit, work with symmetrical accents moved

Analysis of the Content and a Comparison  |  39

successively with respect to the bar line and distributed on binary note values, [but beware that] the indiscriminate use of dotted rhythms offers serious drawbacks. Not only can these jerky shocks fail to bring to the hand any appreciable benefit, but also they can dislocate and disrupt the harmonious equilibrium that the hand must conserve through these annoying shakes. 68

Figure 14:69 Cortot transferable table rhythms: 4. Table of the different rhythms to be used in the study of the exercises preceded by the letter R.

3 5 3 3 3 3 œ . œ œ . œ œ œ . œ œ . œ œ œ œ œ œ œœœœ œ œ œœœ œœœœ œœœœœ œœœœ œœœœ œ œ œ3 œ œ œ3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ œœœœ œœœ

Model of rhythmic combinations for the study of the example taken from exercise No. 1b (Series B. Chapter 1). & œ. œ. œ œ. œ œ. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3

5

3

3

3

3

3

Long clearly sees dangerous potential for the use of dotted rhythms to shock the hand without any appreciable benefit. Establishing equilibrium in the hand is central to allowing the fingers to attain her goal of a jeu perlé. She asserts that overlaying dotted rhythm patterns onto exercises has other deleterious effects: “The important thing, in fact, is not to multiply the rhythms, but to have rhythm, which is not at all the same thing. In addition, the rhythmic breakage destroys the legato, can lead to dry playing and distort the sensitivity of the ear.”70 The inner sense of rhythm, legato, and the sensitivity of the ear itself are imperiled by this practice. True to her general antidogmatic stance, Long does find some value in using dotted rhythmic patterns in technical work: “For certain passages, this means of working, like all the others, can be useful, but we must condemn its repetitive practice. It is a fad and an anti-musical fad, one does not find it in use by any great author of technique.”71 She follows this, quite naturally, with a further appeal to teachers to treat each student individually: “Once again, I want to repeat that in the domain of technique, there is no rigid method. There are only specific cases. We must take into account the psychological and physiological individuality of the pianist. Certain gifted natures that are capable of rapid assimilation but tire more quickly than others, would be very wrong to use all of their force on prolonged exercises at the expense of the study of the masters.”72 To Long, the importance of nondogmatic, individualized teaching is also a matter of wellness: “What is suitable for one hand can be harmful to another and one must always adapt technique to its particular characteristics, its anatomical conformation, its structure, its size, its force, 40  |  Part I: Marguerite Long’s Le Piano

and its natural spans. It is not through violence, it is not by persisting on notes held too far apart, it is not by contracting, by getting tired, that we will achieve great progress, quite the contrary!”73 Indeed, to make the point that too much focus on technique can be harmful, she quotes Isaac Albéniz: “‘The pianist who loves exercises too much is simply lazy.’”74 For Long, overemphasis on technique (especially first thing in the morning) can have a brutalizing effect on the pianist. She thus feels it necessary to give her definition of technique: “Technique, it seems to me, does not only mean volubility, independence, span, strength, equality. Technique is the whole of all pianistic knowledge: it is the control in the proportioning and coloring of the sound, the ease in the progressive execution of nuances of force and movement, accelerando and rallentando, crescendo and diminuendo. Technique is touch, it is the art of fingering, the art of pedaling, it is the knowledge of the general rules of phrasing, it is the possession of a vast expressive palette which the pianist can dispose at will, according to the style of the works that he has to interpret and according to his inspiration. In summary, technique is the science of piano.”75 Le Piano does not require extreme extensions of the hand and seemingly endless repetitions of dotted rhythm patterns in many permutations. As Mme Cécile de Brunhoff, professor at the École Normale de Musique, said in an interview with Karen Taylor, “I am not certain that a student could pick up the essential [sic] from the Principes rationnels working on his own. Some parts, yes. But other aspects need to be supervised by someone really familiar with Cortot’s approach. He doesn’t always tell how to do the exercises in sufficient detail.”76 Taylor emphasizes this point by quoting Giuseppe Piccioli, translator of the Italian edition of the Principes rationnels, who states that “this is not a work to entrust to a debutant, nor even to a pupil who lacks a general [culture] and specific [pianistic] schooling. The professor must constantly watch how the pupil progresses and assimilates the material and make sure he understands the various movements. . . . To run through the exercises at the piano without taking the trouble to read the texts or do a thorough preparatory work before playing them can be more harmful than useful.”77 Marguerite Long’s Le Piano does not require constant oversight to avoid injury. A work that is considered potentially dangerous even by its advocates is, in my opinion, flawed. If Cortot’s text is used so widely, how is it that none of its champions have written a mode d’emploi? If they have, it is not available in English translation. While Long’s work has certain wellness difficulties, as do all manuals, they pale in comparison to the Principes rationnels. To this end, Long provides a list of ten practice suggestions at the start of chapter I. Two directly relate to the issue of fatigue: “3) Do not force the hand. If fatigue sets in, rest for a moment or Analysis of the Content and a Comparison  |  41

go to a different exercise. . . . 7) Control without ceasing the suppleness of the arm which must be free from the shoulder down to the hand. Do not play with tight shoulders.”78

Summary The preface to Le Piano ends with a wide-ranging discussion of Long’s convictions and philosophies regarding music as a profession, fidelity to the text and to composers, fingering, memorization, the music business, the impact of radio and recording technology, the challenges of the musician in postwar French society, and, finally, respect for the art and artists of the past. These comments reflect the cogent voice of a French woman whose pianism and pedagogy have been eclipsed for the reasons discussed in these chapters. It is rare for a musician in her eighties to articulate the challenges facing the young generation so well, at the same time urging young pianists to bring the best of the traditions of the past into their work. She first shows concern for the impatience of the day and how the radio has encouraged this trait in young pupils. May our music students distrust the wave of precocious ambitiousness that raises and, all too often, overwhelms and engulfs the adolescents of the present generation. I am aware that they have many excuses but, unfortunately, they must know that, like genius, talent requires long patience and it alone rewards the artist magnificently. The young people of today are subjected to many dangerous temptations. Some new privileges they enjoy are often turned against them. Can we dream, for example, of a finer gift of destiny than that which for artists of our time constitutes the magical invention of radio? The concert by antenna has centupled the possibilities of virtuosos of all ages. At any time of day, sonatas, concertos, nocturnes, barcarolles and impromptus take flight to go around the planet. In our studios, pianos never lower their lids. And, instead of being counted in the hundreds, it is by the millions that we count the listeners of these uninterrupted recitals.79

These concerns about haste and an increasingly casual cultural attitude are born of a belief in the sacred duty of the artist. One must also react against the unfortunate casual habits that one can contract in the atmosphere of workshops and factories that prevails in some studios. It is a bad climate for a young sensibility when one deals too familiarly with the masterpieces. When I see a pianist take off his jacket and light a cigarette when sitting down at the keyboard to “tutoyer” [translator’s note: to use the informal version of “you”; to address informally] with a cordial geniality, Bach or Beethoven, I think of the great virtuosos that I have known, and whose race is not at all extinguished, who conceived quite differently of their duty as interpreter. Persuaded that a concert platform is a pulpit of truth from 42  |  Part I: Marguerite Long’s Le Piano

which the good word must be brought down on to the crowd, they felt that the artist has for a mission to evangelize, convince and train his listeners. Like them, I truly believe that a recital is indeed an effort of persuasion, a kind of preaching.80

Her final words to the young pianist are inspiring and valuable to reconsider from the vantage point of the twenty-first century. Your technical education will be futile and sterile if it is not transfigured by an ideal. By practicing the exercises that will follow, you must, beyond the mysteries of the keyboard, become aware of the beauty, and the greatness of your task. This austere and painstaking novitiate must prepare you for a true priesthood. During all your studies, you must be supported and encouraged by this idea. A wonderful future, full of emotions and deep joy, awaits you. For it is in the realm of the immaterial that human labor has always received its most splendid rewards. It’s up to you to obtain them. And if, sometimes, discontented with yourself, doubting your own progress, discouragement seizes you, remember this advice of Liszt who was nevertheless the man of all the gifts and all facilities: “Be patient with yourself.” And also meditate on this word of the great French painter Dunoyer de Segonzac: “It takes all your life to build your own house.”81

Notes 1. Long, Le Piano, i. 2. Ibid., i. 3. Ibid., ii. 4. The opening sentence of General de Gaulle’s book is “Toute ma vie, je me suis fait une certaine idée de la France” (All my life, I have had a certain idea of France). Charles de Gaulle, Mémoires de guerre, vol. 1, L’Appel: 1940–1942 (Paris: Éditions Plon, 1954; 2nd ed. Paris: Pocket, 1999, 2007). 5. Long, Le Piano, ii. 6. Ibid., ii. 7. Ibid., ii. 8. Ibid., ii. 9. Ibid., ii. 10. Ibid., iii; Long’s quotation is slightly inaccurate. The complete quotation from the pediment of the Palais Chaillot is as follows: In these walls devoted to the marvels I receive and keep the works of the artist’s prodigious hand equal and rival of this thought one is nothing without the other. Translation found in Guerino Mazzola et al., The Topos of Music, vol. 3, Gestures: Musical Multiverse Ontologies, 2nd ed. (Springer, 2017), 875. Translation not credited in the book.

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The original French quotation follows: Dans ces murs voués aux merveilles J’accueille et garde les ouvrages De la main prodigieuse de l’artiste égale et rivale de sa pensée L’une n’est rien sans l’autre (ibid., 875.) 11. Ibid., iii. 12. Arnie Cox, Music and Embodied Cognition (Bloomington: Indiana University Press, 2016). 13. Long, Le Piano, iii. 14. Ibid., iii. 15. Ibid., iii. 16. Cortot, Principes rationnels, transferable table. 17. Long, Le Piano, iv. 18. Ibid., iv. 19. Ibid., iv. 20. Cortot, Principes rationnels, 60. 21. Ibid., 60. Emphasis mine. 22. Long, Le Piano, iii. 23. Cortot, Principes rationnels, 60. 24. Ibid., 60. 25. Ibid., 60. 26. Long, Le Piano, v. 27. Ibid., v. 28. Ibid., v. 29. All excerpts in this sentence ibid., v. 30. Ibid., v. 31. Ibid., 5. 32. Ibid., 5. 33. Ibid., 5. 34. Ibid., 5. 35. Ibid., 5. 36. Ibid., 7. 37. Ibid., 7. 38. Ibid., 5. 39. Ibid., 8. 40. Ibid., 8. 41. Ibid., 11. 42. Ibid., 11. 43. Ibid., 11. 44. Ibid., 20. 45. Ibid., 20. 46. Ibid., 20. 47. Ibid., 28n1. 48. See ibid., 30, “The suppleness of the wrist being the essential condition of a good execution of double notes, one must not look for a rigorous immobility of the hand, but one must avoid the constant raising of the wrist.” 49. Ibid., 27–28.

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50. Cortot, Principes rationnels, transferable table. 51. Long, La Petite Méthode de piano (Paris: Salabert, 1963), 41. 52. Long, Le Piano, vi. 53. Cortot, Principes rationnels, 24–28. 54. Ibid., 24–28. 55. Edna Golandsky, “When Rotation Meets In and Out,” YouTube video posted on January 7, 2012, time code: 1:54–2:02. 56. Edna Golandsky, “Edna Golandsky: All About the Thumb,” YouTube video posted on November 22, 2013, time code: 00:38–00:43. 57. Edna Golandsky, “Problem-Solving in Action: The B Major Scale,” YouTube video posted on March 17, 2012. 58. John Ellis, “La Petite Méthode de piano: A Forgotten Connection to the French School,” American Music Teacher 62, no. 6 (June/July 2013): 19-26. 59. Edna Golandsky and Dorothy Taubman, The Taubman Techniques: Addenda to the Cassettes on the Taubman Techniques, ed. Shirley Schnitzer, vol. 2, Forearm Rotation (Medusa, NY: Taubman Institute, 1995), 14–15 and DVD vol. 1, Introductory Principles and Concepts, timecode: DVD 1:08:37: 1:08:57 and VHS 2:08:34—2:08:54. 60. Long, Le Piano, 47. 61. Ibid., 56. 62. Ibid., 46. Underline in original. 63. Ibid., 46. 64. Ibid., 47. 65. Ibid., 51. 66. Ibid., 59. 67. Ibid., 46. 68. Ibid., viii. 69. Cortot, Principes rationnels, transferable table. 70. Long, Le Piano, viii. 71. Ibid., viii. 72. Ibid., ix. 73. Ibid., ix. 74. Ibid., ix. 75. Ibid., ix. 76. Taylor, “Alfred Cortot,” 503. 77. Ibid., 505. 78. Long, Le Piano, 2. 79. Ibid., xx. 80. Ibid., xxi. 81. Ibid., xxi.

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4 English Translation of Le Piano

[Translator’s note: Prior to the preface, there is a handwritten acknowledgment from Marguerite Long, presumably in her handwriting. My rendering is below (there is no page number—it is on the verso of the title page, contrary to the photo of her hands, which has been omitted due to space considerations).] I wish to address my affectionate thanks to my two former students Jacques Février, now a professor at the Conservatoire, and Jean Bérard. The quality of their advice, and the constancy of their friendship made agreeable a task that could have been austere—As Debussy said: “It is not necessary to cast gloom over technique to make it seem more grave. . . . a little charm never spoiled anything.” Marguerite Long Le Piano (The Piano) by Marguerite Long (1959—Editions Salabert) [Translator’s note: The internal pagination from Long’s text of her opening essay will be indicated in parentheses in the translation. The page numbers there are in lower case Roman Numerals. The rest of the text uses Arabic page numbers and will be indicated by “p. 1” etc. This practice also obtains with La Petite Méthode de piano as well.] (i) Like all teachers surrounded by a large family of disciples, I have for a long time received solicitations from the indulgent witnesses of my labors who asked me to formulate and divulge in a technical work the principles of my teaching of the piano; I had so far declined their kind invitation. In an artistic education, the most important part escapes any codification. It would be childish, indeed, to consider musical education as 46

a collection of recipes, as a collection of secrets, processes, expedients, tricks, stratagems of which skillful specialists hold the privilege and that they transmit intact to their apprentices. And it is very imprudent to want to reduce a pedagogical career into axioms and infallible formulas, because teaching must be flexible, so as to take into account particular cases. What is true for one hand, for one nature, is not always true for another hand or another temperament. The judgment of a master counts more than his theories. I do not blindly believe in pianistic dogmatism and even as some doctors declare: “There is no medicine, there are only patients,” we would be tempted to say “There is no method, there are only pupils.” And yet . . . , if there is no absolute method, it would be paradoxical to claim that there is none at all. There are some basic truths that are good to repeat; there are some routines or certain modes of teaching that are useful to fight against. Friendly admonishments have also led me to question myself: could I keep for myself the fruits of an experience acquired through contact with several generations of composers and virtuosos? Did I not have the duty to defend the ideal and the technique of these masters? Did not my students have rights over me, first and foremost the right of asking me to share what I have witnessed? Thus, I decided to leave behind my reticence and gather here the physiological and psychological observations that I owe to those innumerable timid or spirited hands that I initiated into the mysteries of virtuosity. Am I doing anything other than, in short, giving back to my students what they taught me during their apprenticeship? And will I be blamed for trying to defend some ideas that I think are healthy against certain prejudices whose effects I fear? (ii) And then if in the matter of piano technique, as in everything else, no one can flatter himself with holding the absolute truth, it remains however that everyone, in his profession, must confess his own truth, that is to say all the principles with which he never ceases to agree. It is in this spirit that I allow myself to present my stone today to the eternally unfinished edifice, under the vaults of which artists of all ages strive to perpetuate the cult of the masterworks. I obey at the same time, another secret impulse of my conscience. I wanted to publicly pay homage to the art and science of “French” pianism. Let no one accuse me of sacrificing to an artistic chauvinism. I do not have the silly pretension of placing our teachers and interpreters above their foreign colleagues. But, while claiming the privilege of universality to which the masterpieces of art must be entitled, I believe that every country, every nation, English Translation of Le Piano | 47

every race, every culture, instinctively honors them in its own way. We adhere at birth to a mysterious and unformed ideal that marks us forever. In spite of the diversity of temperament of our great French virtuosos, we can observe, in all of them, certain common characteristics. Pianists as different from one another as Planté, Diemer, Pugno, Risler, Saint-Saëns, and Delaborde, were united by a secret kinship of technique and style, consisting of clarity, flexibility, moderation, elegance and tact. French playing is lucid, precise, agile. If it sometimes delights in grace rather than strength, while maintaining its balance and sense of proportion, it does not yield to any other in relation to inner power, depth, and emotion. If France is the country of Descartes, and in painting, Jean Fouquet, it is also that of Racine, Baudelaire, Verlaine, that of Chardin, Delacroix, the Impressionist school. If all these great artists had the same concern for elegant logic, do we not see that this logic never extinguishes the flames of inspiration in them, any more than the nuances of sensibility? Our pianists, for their part, owe the characters of their talent to our national musicians. These musicians, from Couperin to Ravel, have singularly developed the meaning of color and timbre in pianistic art. Composers like Gabriel Fauré and Debussy have revealed subtle and precious secrets in the search for voluptuous harmonic resonance. Following Chopin, they, like Maurice Ravel following Liszt, enlarged and organized the conquests of their illustrious elders. Their compatriots were bound to benefit when they studied their works. French pianism, at the same time vigorous and mellow, brilliant and delicate (Debussy characterized it as claiming softness in strength and strength in softness) therefore has an easily recognizable personality. It is to the defense and illustration of this national tradition, which is so important to preserve, that I have devoted this work. * * *

The exploration of an instrument, and the training of an interpreter are missions of singular nobility. What a moving spectacle is that of an ignorant hand that stretches towards beauty, which feels the mystery and bravely bends to all the disciplines and (iii) constraints in order to triumph over the resistances of the keyboard and the inertia of the material! At the extremity of our arms, our hands and our fingers are not only a miraculous muscular mechanism, they are also prodigious organs of perception endowed with their own sensitivity, I was almost going to say, with a gift of creation. If, very often, they obey the brain, much more often than one would think, they are the ones who command. The inscription of the words of Valéry on the pediment of the Palais de Chaillot was fitting: “The hand of the Artist equal and rival of his thought: one would be nothing without the other.” 48  |  Part I: Marguerite Long’s Le Piano

The great surgeon Thierry de Martel wrote: “There are many things that our hands understand before our brains, and those who use their hands while thinking find more than those who think without using their hands.” And elsewhere: “I am convinced that, contrary to what is generally admitted, it is not our minds that mobilize our fingers, but our fingers and their almost unconscious movements that stir our minds.” One could not say it better. Touch is a sense as rich and perhaps more essential than that of sight, hearing, or smell. The same keyboard caressed by a “radio-active” hand [translator’s note: “Radio-active” is the term used by Long here. She is referring to a hand with a heightened sense of touch, as discussed above.] or by inert phalanges, lights or goes out. It is therefore in the reflexes and injunctions of these delicate and powerful living instruments that the secret of the art of the piano resides for me. This profession of faith is not useless at a time when one often speaks with disdain of “digital” [translator’s note: fingery] performances, and [at a time when] the blindness of certain schools has too often delayed or paralyzed young careers so that it seems necessary to say, even if it takes courage, “it is not bad at all to play the piano with one’s fingers.” In fact, too often, artists in possession of a strong craft, forget the wise principles by which they acquired it. The desire to innovate, a modernism of doubtful worth, or the blindness of a philosophical mind inclined to look for “Systems” leads them naturally in their teaching to reverse the hierarchy of the work elements, which is harmful for their students. These students end up spending much more time on their technique than is necessary, and they accumulate disordered, and contradictory work processes, the practical result of which is very often dubious. Simple exercises, elementary, rational, and fixed by tradition, along with their indispensable complement, études, in the first rank of which (without forgetting so many excellent modern works), those of Czerny, this master of technique, such are the necessary steps a pianist must follow. If he did not follow this path from the beginning, he will have to go back to it later regretting the time lost. * * *

The study of the piano requires lengthy efforts. But these efforts do not consist of fighting against nature. A normal hand is made to play piano and any pianist that does not share this belief is unworthy of his art. (iv) A superficial observation sees many defects in the hand; we understand on second thought that these apparent defects are real qualities. If English Translation of Le Piano | 49

the thumb were as long as the other fingers or more exactly, if its axis of articulation were in the same plane as the others, how would one realize its passage [translator’s note: i.e., the movement of the thumb under the hand] which allows all the movements along the keyboard? If the index finger were otherwise arranged, could it be at the same time a driver, the governor of the four fingers which depend on the palm of the hand, and at the same time a moving intermediary between the axial thumb and the whole active fan that the rest of the hand represents. Even if the ring finger were freed from the aponeuroses which seem to paralyze it between the middle and fifth fingers, the whole external part of the hand (and consequently the fifth finger, so important in the attack of the chords, in the determination of the positions and in the enhancement of the melodic line) would it have the necessary stability and strength? We know the case of Schumann who wanting at all costs “to force” his fourth finger only succeeded in paralyzing it for life. It is necessary to quote the curious reflection of Chopin in the margin of a method of Moschelès: “For a long time we have acted against nature by trying to give equal strength to all the fingers. However, their forms being different, it would be better to study the touch of each of them, rather than to demolish it. Each of them has a force proportional to its shape. The thumb is the strongest because it is the biggest and the freest. And then comes the fifth finger (on the opposite side of the hand). The middle finger [also called by its French name: le majeur] is the main point of support, the index being almost equal to it. Finally comes the ring finger, which is the weakest of all. We tried by all means to make this finger independent of the middle finger to which it is linked by a common tendon as two Siamese twins might be. It is a perfectly sterile and fortunately useless attempt.” Chopin certainly does not want to say that we must neglect “the equality of the fingers”—but this equality is not obtained by the absolute standardization of the strength of each of them. On the other hand, Chopin considers the fifth finger as naturally almost as strong as the thumb. This force, however, needs to be released by work. It will also be noted, regarding the relative importance of the second and third fingers that Chopin hesitates (“the index being almost equal to it”). Chopin must have been impressed by Liszt for whom the third finger was paramount. To tell the truth, Liszt’s hand reveals a third finger that greatly dominates the second. But Chopin’s pianism and the use he makes of the second finger seem to me to restore it in fact to primacy. For my part, I consider it the real rudder of the hand and one cannot “work” too much on its precision and firmness. Let then no violence be done to one’s hand, but use it with intelligence, without compromising its natural dispositions by improper attempts. I am 50  |  Part I: Marguerite Long’s Le Piano

speaking here mainly to teachers. That we should watch with love, with patience, and with respect, the first efforts of a hand on the keyboard. Do not underestimate the importance of these first contacts. The good Lavignac said that an artist in possession of his talent can take advantage of the worst examples, but a beginner needs the best and most reliable masters. Very often, a whole life is hardly enough to correct the bad habits contracted at the beginning of one’s studies. Because the exceptional effort of attention, the vivacity and the depth (v) of the sensations experienced, the surprise of the revelations that accompany any initiation enrich with a relief [an accentuation] and a lasting force the acquisitions, good or bad, of a neophyte. They thereby become definitive, and indelible, as are our impressions of childhood. * * *

These pages are in principle addressed to quite advanced pianists or even those who are candidates for high virtuosity. These pianists should not believe that the sometimes basic advice that follows is unworthy of their talent. Do not be afraid to put your meter back to zero. The career of great virtuosos is made of humble and profitable backtracking. The famous Busoni told me: “I have redone the study of my technique three times.” So let’s start at the beginning. First of all, it is advisable while working to preserve natural movements to avoid tension and contractions by looking for the firmness necessary for the attack. To have free fingers, one must have a free arm and shoulder, that is to say, “relaxed.” (1) (1- The horrible word! I use it with regret, but sometimes you have to use the jargon of your time to make yourself understood, and when I was young, my teachers would say to me: “Play soft”—and if we go back further, Chopin kept repeating to his students: “Easily! Easily!” That all means the same thing.) The static education of the five fingers seems to me the key that opens all the doors of technique; we cannot attach too much importance to it. What failings come from the “lack of fingers”! It is necessary to unify the vigor and the elasticity of the weak fingers and the strong fingers, to force them to overcome the same obstacles, to create a gear of flexible and docile articulation, accomplishing a firm and precise working of the fingers. In a word, it is necessary to obtain the independence of the fingers. For this the pianist will have to wisely alternate between the proper exercises for the five fingers and the exercises with held notes. Hands naturally loosened, but lacking stability or firmness will profitably insist on the exercises of “held notes” that position the hand. In addition, the held notes accustom each finger to pass in turn from a slight effort of English Translation of Le Piano | 51

continuous and controlled pressure, to an attacking effort. This practice bends the fingers to the collective discipline that provides the equality of the mechanism. The study of held notes can therefore be practiced fruitfully every day, but it is a double-edged sword which must be used with caution, taking into account the natural dispositions of each performer. In this regard, it is a very common and sometimes harmful mistake to misuse studies of held notes to obtain the extension of the fingers. Progress in extension is best achieved by flexibility work and with a free hand. (2) (2- See the chapter on held notes.) We must attach great importance to the innumerable five-finger exercises with their ingenious combinations that can multiply to infinity. They loosen the fingers. They will give them an ease of articulation and a speed of reflexes which will allow them to never stumble in front of a technical difficulty. (vi) I have just written the word “articulation” and I will come back to it in the foreword to the chapter on the five fingers—but I think it deserves a little insistence here. There is a natural tendency today to make this old-fashioned word “articulation” into something cheap. Articulate! Disregard it! What barbarity! As Molière says: “We changed all that!” No doubt, it is not a question of challenging the role of the wrist, the arm, and the whole body in the act of playing the piano. Don’t believe either that to be a great pianist it is enough to have fingers of steel—but just as a runner must first have a flexible shank [translator’s note: the back of the shin] and solid ankles—just as a dancer must first work, even at the barre, on the flexibility and musculature of the legs, so at the piano you have to work first on the articulation of your fingers—It is an elementary truth!—but I add: when working on articulation we must never forget the quality of the touch. The hand, as we have said, and we know perhaps on this subject the works of the illustrious Marie Jaëll, is not only a marvelous mechanical tool: it is a vibrating antenna whose fluid possibilities are still poorly understood. It is not by banging on the keyboard that a powerful sound is created. The sound must be drawn from your fingertips. This ingenuous formula may sound funny to a physicist; but it will be understood by pianists. The fingers must pronounce notes as the lips pronounce syllables. This preoccupation not so much to “bead” as to speak [translator’s note: a play on words: “non pas tant de ‘perler’ que de parler,” reference to jeu perlé] all the notes in the manner of an orator or singer is one of the characteristics of the French technique of piano, which instinctively seeks

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clarity in elocution. Well-articulated pianism without a dry sound is for a pianist a benefit as valuable as good diction is for an actor. It is as soon as these elementary qualities will have been acquired that one will be able to begin the study of scales and to demand of the thumb, now well in possession of its job of striking vertically like the other fingers (which is not very natural for it, do not forget) to realize its great natural function of passing under. I do say: “natural function,” because why make a scarecrow of the passing under of the thumb? If one wants the depth of my thought on this: we should not worry about the passing under of the thumb. Indeed, if one is sure of the independence, the equality and the firmness of the five fingers (including the thumb), it will pass very easily under a hand accustomed to a solid grip of the keyboard and which, definitively balanced, has nothing to fear from a shifting movement. That is why I have never put the study of scales at the beginning of piano training and that I resolutely rule out in the first exercises any opportunity to pass the thumb under. That is why too, when I see a clumsy pianist practicing scales or arpeggios, I do not advise him to do special exercises of passing the thumb under, but rather to develop the firmness and equal agility of the ten fingers, especially the index. We must realize, in fact, that while maintaining a rigorous equality of mechanism between the five fingers, and demanding of them a similar performance, our hand, by seizing the keys, instinctively takes a useful point of support on its forefinger assisted by the two extreme fingers, the thumb and the little finger. It is in this talon with three claws that the pianist embraces and masters the notes. The middle finger and the ring finger will complete the work, but it is the index and its two associates that ensure the unshakable solidity of the grip. Thus, without crushing the key, which would strangle the sound, we manage to keep both firm and light contact constantly with the keyboard that allows (vii) the hand to range over it in all directions with ease and security. In the hand of a pianist, the index is the “master-finger.” If you want to have a good middle finger or a good ring finger, work on your index finger. (1) (1: In general, you do not miss a scale passage or an arpeggio because of the fourth finger but due to the deficiency of the index finger. Would you permit me to tell an amusing story? At the end of a concert in a big city in France, in the midst of shaking hands, a listener comes to me and asks me: “Madam, what must be done to have a good fourth finger?” I answer him: “Work on the second one!” An excellent pianist and worthy teacher had heard me. Knowing me, he did not believe it a joke on my part and sometime later, he met me: “Do you know, Madam,” said he, “that I thought, that I observed, and that

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you were right!”—“In what way?” I said to him—“Well! . . . the second finger!”) The calculated delay that I bring to the introduction of scales in pianistic gymnastics is not to say that I underestimate their utility. On the contrary, I attach extreme importance to this process of daily muscular relaxation for a player who is “on his own.” The study of scales requires active attention. Playing a scale lightens, frees and softens the hand, so that it has invisible wings to quickly fly over the whole expanse of the keyboard. You will find at the beginning of the chapter, which is specifically devoted to scales, some tips on how to work on them. Suffice it here to point out in a summary manner that in scales, the important fingers are the one preceding the thumb and the one following it. Already advanced pianists will practice launched scales [translator’s note: fast scales in one motion over one or more octaves] profitably, successively over one, two, three, or four octaves. When performing scales, remember that it is the left hand that must be the conductor, it is to it that you must entrust the care of training the right hand; if you do the opposite, the left hand will drag. In scales, as in all pianistic forms, the left hand must have the rhythmic primacy, it is the left hand who must be the “kapellmeister.” (2) (2—Chopin dixit.) One more tip before leaving scales, do not neglect the chromatic scale, but rather cultivate it with care. It develops the precision of touch by forcing the fingers to move in restricted spaces and to handle more delicate intervals than those of the diatonic scale. It also develops the agility and flexibility of the thumb whose intervention is here both more frequent and easier. For beginners, the study of the chromatic scale must precede that of the diatonic scales. With the scales, the arpeggios will further increase the speed and the mastery of the keyboard. Their study will confirm for every attentive pianist that which I could not repeat enough on the importance of the second finger. With respect to the arpeggios and scales, it must be emphasized that no work can replace them. While held note exercises of the five fingers fortify and loosen the fingers, but do not teach them, properly speaking, how to play the piano, scales and arpeggios, themselves, teach how to play the piano by giving to the pianist his “vocabulary.” It is therefore necessary to thoroughly know and practice all scales and arpeggios while not omitting the cadences. (3) (3—See the forewords of scales and arpeggios.) The agility of the fingers, their independence and most of all the precision of their attack will be developed methodically by exercises utilizing double notes, i.e., harmonic intervals rather than melodic ones.

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In staccato touch, notes with staccato marks, jumps, octave exercises, and chords, the arm and the wrist considered up until now as agents of suspension and of shifting of the (viii) hand and to whom one has above all asked the greatest suppleness, have to play a more active, expressive role, and even a leading role in the striking of the key and in the creation of sound. Octaves, well-practiced, considerably augment the suppleness of the hand, the firmness of the fifth finger and the fourth finger, and the precision and fluency of the thumb. The execution of octaves (like that of the trill and the tremolo) is more natural for certain pianists than for others. Generally speaking, the young generation practices octaves with relative ease, men above all—but this natural facility should not stop one from working on them! and from working particularly on staccato octaves executed solely from the wrist. A small trick for working on octaves is to hold the index finger and the middle finger close to each other. This practice isolates and strengthens the fingers that have to play. It is a bit equivalent in this area of ​​practicing one or two notes held in five-finger exercises. One can never insist too much on the repeated practice of chords. It is indeed the chord which constitutes the true taking possession of the keyboard. Here, the forearm attack combines with that of the fingers that come to “bite” the keys. We will find again in this gesture the decisive action of the three fingers whose importance we have mentioned: the index, the thumb and the fifth finger. But once this frame is assured, it will be necessary to check the equality of attack of the middle fingers whose solid pronunciation alone will ensure the fullness of the chord. The study of chords is at once a test of strength and a test of sonority. This study accustoms one to the precision in the simultaneous contact of several fingers of the same hand on the keys. In this respect, in chords as in all double notes, the perfect simultaneity of the attack of the keys is a matter of will. Do not tolerate the slightest “splashing.” (1) (1—See the chapter on double notes.) Before finishing with this view, alas briefly, of different aspects of the study of the mechanism, I would like to say some words on the subject of a certain working process with an apparent seductiveness and short-term efficiency which has spread among young pianists in a way that is too abusive. I refer to the so-called broken rhythms study. I believe it is my duty to warn against its careless use. As much as one can, without danger and even with benefit, work with symmetrical accents moved successively with respect to the bar line and distributed on binary note values, [but beware that] the indiscriminate

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use of dotted rhythms offers serious drawbacks. Not only can these jerky shocks fail to bring to the hand any appreciable benefit, but also they can dislocate and disrupt the harmonious equilibrium that the hand must conserve through these annoying shakes. The important thing, in fact, is not to multiply the rhythms, but to have rhythm, which is not at all the same thing. In addition, the rhythmic breakage destroys the legato, can lead to dry playing and distort the sensitivity of the ear. For certain passages, this means of working, like all the others, can be useful, but we must condemn its repetitive practice. It is a fad and an anti-musical fad, one does not find it in use by any great author of technique: Czerny, Moszkowski, Liszt (2) (2—Writers on technique, Liszt particularly, and with reason, utilize “rhythms” abundantly in the study of chords.) or Chopin. There is then, summarily addressed, the table of different formulas whose daily study (ix) permits the pianist to make his mechanism perfect. I have been deliberately quick, insisting only on some considerations whose importance, I do not want to say novelty, seemed to me to deserve special attention. But the pianist will find the complement of this preview in the preface of each of the chapters of the repertoire of exercises and in the notes that accompany some of them. Once again, I want to repeat that in the domain of technique, there is no rigid method. There are only specific cases. We must take into account the psychological and physiological individuality of the pianist. Certain gifted natures that are capable of rapid assimilation but tire more quickly than others, would be very wrong to use all of their force on prolonged exercises at the expense of the study of the masters. On the other hand, what is suitable for one hand can be harmful to another and one must always adapt technique to its particular characteristics, its anatomical conformation, its structure, its size, its force, and its natural spans. It is not through violence, it is not by persisting on notes held too far apart, it is not by contracting, by getting tired, that we will achieve great progress, quite the contrary! Only intelligent, personal work, guided by an attentive and competent master, will enable us to acquire this impeccable technique, which is the first condition of good performance, because with the pianist, talent cannot express itself freely without a transcendent mechanism. Without it, one can never, regardless of gifts, rise above the stage of an elegant amateur. But virtuosity must be perfect enough, easy enough in order to make it forgotten in the interpretation of a masterpiece. It must always remain a means and not become an end. To his students who asked him how he executed his most intimidating works, 56  |  Part I: Marguerite Long’s Le Piano

Chopin replied: “Easily, easily,” and this sovereign ease which is the great secret of mastery, is never fully acquired through the narrow and cold setting of piano exercises. * * *

I believe I have sufficiently demonstrated the necessity of the mechanism and the primordial utility of exercises to be able to deliver now, without fear that it would be misunderstood, to the meditations of my readers, the affirmation, ironic but indisputably clairvoyant by Albeniz: “The pianist who loves exercises too much is simply lazy.” The supreme perfecting of the hand will be obtained only when, leaving behind the pure mechanism, it approaches the sensitive stage of “its mission,” when “bowing to all emotions,” such as Liszt demanded, it will not be satisfied to mechanically reproduce the defined outline of a pianistic formula, but will espouse the living and expressive form of a musical work. One must by the way well understand the word “technique.” Technique, it seems to me, does not only mean volubility, independence, span, strength, equality. Technique is the whole of all pianistic knowledge: it is the control in the proportioning and coloring of the sound, the ease in the progressive execution of nuances of force and movement, accelerando and rallentando, crescendo and diminuendo. Technique is touch, it is the art of fingering, the art of pedaling, it is the knowledge of the general rules of phrasing, it is the possession of a vast expressive palette which the pianist can dispose at will, according to the style of the works that he has to interpret and according to his inspiration. In summary, technique is the science of piano. (x) This artistic education combined with pure mechanism constitutes the true work of the pianist. Transposing the word of the painter Dolent, we can say: “The pianist must have the hand of his heart.” * * *

Here we are naturally led to pose problems of interpretation. The first preoccupation of a pianist who approaches an unknown work must be an absolute respect for the indications of the composer. Émile Sauer, who I knew well, said: “When I start work on a piece, I approach it with my hat in my hand.” Admirable respect from a great artist who had the noble modesty of his role as an interpreter. What a lesson for those presumptuous performers who do not hesitate to take the most insolent liberties with the text. I will always remember the face of Debussy, full of dread, who said to me: “How is it that there are people for writing music, people for editing it and pianists who do with it what they will?” English Translation of Le Piano | 57

This attentive reading of the text is the first condition of a good interpretation. Certainly, it will not be enough to play all the notes, or even to approximately reproduce the rhythmic values, nuances and external forms of the music to have done the work of an artist, and the same Debussy, whom I asked one day how a pianist had played, answered me: “He did not miss a note, it was awful!” But this initial respect for the written text, if it does not constitute an entire interpretation, it is at least the basis and the absolute condition. The search for a personal success or an easy solution accustoms an interpreter to free himself from these elementary scruples. For example, too often, we arrange a passage for two hands that was written for one and God knows if, in the classics above all, this expedient might constitute a stylistic fault. A passage of Beethoven must not be played like a passage of Liszt—and I have never forgotten the irritation that such practices provoked with Gabriel Fauré as he presided over a piano jury. Yet, if we just stopped at these venial faults! But we go further, we simplify a passage, we modify a beat, we add a chord, we shorten one rhythmic value, we lengthen another. Disastrous habit! It makes it better, they say. Come now! almost always these so-called improvements of a large text prove that one has read it incompletely. A more careful analysis would have justified the accent, the breathing, the nuance or the tempo indicated by the composer. And what happens? It happens especially that this carelessness towards the text paralyzes the interpreter’s own inspiration later on. He loses the sense of the work. In the hands of such an interpreter who thinks that it is a good thing to give all freedom to his “own genius” (if he does not say the word, it is thought), all composers, and all works become indistinguishable. And the unfortunate pianist, led astray from the start, always looking for a novel, intense expression, falls into bad taste. Do you know why Chopin is almost always badly played? Because his text is not respected, because one “gilds the lily,” because one believes oneself authorized, under the pretext of romanticism, to break up the rhythmic structure, always so precise and subtle in the writing. (1) (1—I certainly do not forget “rubato”—but that rubato which is perhaps only a sort of supple oscillation in the realm of a tempo and of a very firm approach which can only be obtained if one has first perfectly respected the rhythmic writing. “Playing à la Chopin” does not mean playing like Chopin.) And let it be believed that this observation applies just as much to the interpretation of the works of Debussy and other great masters. (xi) One must first have disapproved of this carelessness, learned to respect the works that one approaches to be able to act as an artist, to acquire the 58  |  Part I: Marguerite Long’s Le Piano

right to let one’s own temperament speak, and to seek these refinements of shade or movement which are the tribute of the inspired interpreter to his composer. Here there is no rule, the research is unlimited. May I be permitted to recall a memory here. (1) (1—One will find it with many others, in the book that I am writing on Debussy, Fauré and Ravel, who I had the pleasure to know and whose traditions I guard piously.) It was in St.-Jean-de-Luz, during the last months of Debussy’s life. One morning, on the road that led to his villa, I saw him, under a scorching sun, running to meet me, very agitated, shouting at me even before approaching me: “You know, I thought about it all night, you have to play the G-sharp piano. It’s much better.” I admit that I was disconcerted and that it took me a serious effort of memory to understand that during twenty-four hours since we met, he thus settled a detail that we had touched on the day before during our working session. It was “Mouvements” in the first collection of “Images.” This is how an illustrious composer, an admirable pianist besides, tormented himself all night to solve a small problem of accentuation. What a lesson! * * *

The analysis of the work constitutes therefore an important part of the preparatory work. But pianists know well that their labor does not stop there. They need, now, to “put” the pages to interpret into the fingers, into the head and into the heart. The long practice work that is then required, needs sustained attention, a constant concentration that is the sign of the true virtuoso. First of all, a pianist must never lose strict control of his playing. That is to say that he must listen: it is not a simple thing. One must train early to become sharp and to be sure of one’s critical sense. It is necessary to all of the details of one’s interpretation, the exact duration of the tones, their color, their intensity, the quality of touch, the phrasing, the equilibrium of proportions, the logic of the designs, and the solidity of the architecture. Work in short fragments, according to the piece’s sections, practicing hands separately and hands together in alternation, execute the passages successively, loud, heavy, “penetrating” mezzo forte, piano, portamento, in progressive tempos; even if you play slowly, work “expressively.” When the passage is learned in a fast tempo—do not be afraid of returning to a slower tempo. Saint-Saëns said: “Work slowly, then very slowly, and then yet even slower.” It is Liszt, I think, who said: “I do not know this piece well enough to play it slowly.” If needed, say the notes of a difficult passage to memorize aloud, especially the bass line. When one knows the notes of the bass and one has the will not to miss them, one will not miss them! “Let’s conquer the bass English Translation of Le Piano | 59

notes!” said Fauré. Work especially on the difficulties, that goes without saying, but also firmly secure the measure or the beats that precede or follow the difficult passages. Take care of the execution of the last beat of each measure and of the last note of each beat (2) (2—Debussy said: “Four sixteenth notes are four sixteenth notes.”)—do not drop the end of the passage—underline to avoid the risk of skirting the note of departure of an important interval. And finally: count! (xii) The necessity of counting seems so obvious for any unprejudiced mind, yet the notions of rhythm and measure have been so muddled that certain apprentice musicians would think themselves dishonored if they counted while practicing. Oh well! one must subject oneself to the humble discipline of counting aloud not only during exercises, and even more so during the first readings but also during the course of very advanced work (not in public of course!). The benefit that you gain will not only be to oblige you to respect the placement and value of each note and each rest within the measure, but also to liberate in yourself the organic feeling of beats and off-beats. Four fifths of accidents of execution proceed from a rhythmic error. Counting is a remarkable means for obtaining this famous “relaxation” indispensable to a virtuoso. Certain pupils, while playing, are so tied up in knots that they find it impossible to utter a word while their fingers clench in front of the obstacle. Their nervous strength concentrated in the muscles of the hand deserts the vocal chords and deprives them of their voice. Therefore, one triumphs easily from this curious inhibition by accustoming the pianist to counting his beats aloud while attacking a difficulty. The nervous impulse dividing itself between the fingers and the lips will regain its normal equilibrium quickly and, simultaneously, will make the anxious contraction disappear from the hand stiffened by the effort of the tight throat. (1) (1—The metronome must be used occasionally. It does not teach how to keep the beat, nor how to play in rhythm. But it allows one to control the tempo of practice or of performance. Depending upon the case, it trains lazy hands or on the contrary holds back those whose fingers too easily have a tendency to rush.) In that regard, in my opinion, it is necessary to refrain from singing while playing. Certainly, it is defensible and even very useful to try to sing the phrasing of a melodic line, but when you play, it’s the hand that has to sing! You create an illusion by humming, you feel “moved” but you do not listen to your fingers. Here again, there is no other remedy than to count. I see another advantage to counting aloud: it is to associate so strongly certain notes with the beats on which they fall that these reference points then allow you to learn your pieces by heart more easily. 60  |  Part I: Marguerite Long’s Le Piano

In the study of a piece, it is naturally important to attach the greatest importance to the choice of fingering. The great pianist Francis Planté had received together with me the piano poem (Chant de la Mer) by Gustave Samazeuilh and I had to give the first performance of the work on a date that was approaching very quickly. Seeing the announcement of the concert, Planté wrote to the composer: “How is it that our friend is at the performance stage whereas I am still learning fingerings!” This reflection of such a celebrated artist, like Debussy’s quoted above, teaches us a singular lesson. (2) (2—It is Planté who one day sent me a card signed “A schoolboy persevering in his ninetieth year.”) Of course, the fingering is often imposed by the text itself and does not leave room for personal initiatives, but there are many instances where a choice is left to the interpreter and this choice requires much attention and discernment. An awkward fingering compromises the balance of the hand, while a good fingering dominates the fingers, directs them, and leads them. Antonin Marmontel declared that a pianist did not have to be afraid of a (xiii) distraction or a failure when he was sure of his fingering. “In such a case,” he said, “there will be no disaster, because the little horses will be able to return to the stable very well.” If a fingering forces you to move the hand and the arm whose imprudence and hardness are visible to the eye, change it, because the elegance of the hand is inseparable from the elegance of the phrasing. There is in the plasticity of the hand in action a mysterious element of nobility and grace which is communicated to the text that it translates. A graceless and unsightly fingering cannot bring out a beautiful sound. Ugly to the eye, ugly to the ear. A good, reliable fingering also must often have another quality: to be expressive. In this respect, one should not be afraid to make frequent use of finger substitution—Chopin practiced this methodically. It would be a mistake to see it as an artifice, only necessary in certain cases, to cover a span that is too large, or to maintain the holding of a note, as do organists. It is, in addition, a beautiful means of expression. It avoids the passage of the thumb which one is always conscious of in a singing phrase, and it incites the soft sway of the hand. (1) (1—See below what we say about portamento legato.) It applies in a particularly happy way to composers like Fauré and Debussy. To finish with fingering, I will add that when a composer has taken care of writing them in himself (2) (2—Some composers, it must be said, have not marked in fingerings or have done so with a certain English Translation of Le Piano | 61

indifference—this is the exception. On the other hand, even composers who are very precise in the indication of the fingerings have themselves often accepted essential modifications made by interpreters. The Étude for the 8 fingers by Debussy is written for [fingers] 2-3-4-5 of each hand, and I always played it with the thumb by removing the 5th. Debussy did not see any drawbacks to this. It is another exercise and that is all.), it is necessary as far as possible, to comply with it obediently. Ravel who was not a virtuoso, however, wanted to enforce the fingerings he had established. I tried sometimes to deviate from it, and I had to agree that he was always right. This demonstrates how much the composer writes, even mentally, with his own artist’s hand and has the brilliant foresight of the sonorities resulting from a specific gesture. It is good to get used to playing “by heart” early. One must methodically develop the musical memory which is, in general, very obliging and to whom we can ask a lot. To engrave a piece in his head, the pupil must not discount the furtive benefit of habit and obsession. No doubt obstinate practice of a page finishes by its automatic assimilation, but that is a lazy solution of doubtful infallibility and which wastes precious time. On the contrary, one must save the hours and days by imposing on oneself the task of “retaining” one’s pieces rapidly. To get there, we use the memory of the ears, the eyes, and the fingers. These memories are unequally developed, depending upon the person, but every pianist must apply themselves to the perfecting of all three. If, in public, stage fright paralyzes him, he cannot have too much assistance from these three forms of memory to bail him out in moments of danger. Seek, while working, to fix all of the possible points of reference. By the harmonic reduction of passages, you will understand and better retain their essential construction. You will observe and practice in isolation the movement of the bass line and the interior parts, and you will attentively locate the modulations. You will imagine the striking peculiarities of the printed pages, the characteristic arabesque of a line, the location of a chord, and the curve of a melodic phrase. (xiv) The scrupulous notation of fingering, and the locating of pivotal notes will help you create infallible digital reflexes. And we have just seen that the partitioning of beats counted aloud greatly facilitates the recording of a text in the memory. Finally, the passion, and the tenderness with which the pianist will look to awaken the enchantments enclosed in the work of a master, and the ardent sympathy for the message of joy or of pain that it contains while utilizing the affective elements of the memory, justifies this beautiful and touching expression: to learn by heart. 62  |  Part I: Marguerite Long’s Le Piano

* * *

Just as the most precious gift for a singer is the timbre of his voice, the most beautiful quality of a pianist is his sound. (1) (1—Debussy said: “Above all, I want to forget while listening that the piano has hammers.”) Where physics seems to lose its rights, the ear of the artist is not wrong: ten virtuosos use the same instrument and each one will find his own sound. It seems that each time it is another instrument. In this very mysterious field, the gift cannot be completely replaced by work. But at least it can be considerably developed. The first thing is the quality of the ear; but, the ear can be trained. The best service that we may offer to a very young child, rather than to make him prematurely acquire the facility of a little virtuoso, often without consequence for the rest of his studies, will be to teach him to recognize a very beautiful sonority, to take pleasure in it, and not to hit the piano, but to search with his finger to make the string tenderly resonate. This is to say how much in our era of shattering noises and loudspeakers, parents should, as much as possible, protect the ears of their young children. How I love Montaigne who wants in the education of children that they would be awakened to the sound of the virginal. The ear is an essential tool for the musician: he must respect and increase its sensitivity all his life, and in this regard, it cannot be advised too much to work as musically as possible on the most elementary piano exercises. Each pianist will have to work on his sound by correcting his faults, but especially by not spoiling his gifts and by not “demolishing,” to use Chopin’s expression, the natural qualities of his playing. We have already remarked on the importance of fingering in the search for sonority. We have signaled the services that can be rendered in this regard by fingering substitutions. Chopin, as we have said, practiced it, and the work of Fauré, for example, as much as that of Chopin, requires its use. The elevation of the Nocturnes of Fauré is so fluid, the curve of the resonances and the evaporation of the harmonies are calculated with such grace, that one must never abandon a key before it has fulfilled its mysterious mission of bewitchment. And the elegant balancing of the melodic line solicits that use of a hand that knows how to move along the length of the keyboard while oscillating with grace on the supple pressure point of the substitute fingers. In the same spirit and for the study of sonority, a very effective way of playing is that which I will call the “portamento legato.” To realize it, use the arm and the wrist on each note, with the same supple movement as for ordinary portamento, but while connecting the notes between (xv) them, that is to say with the fingers never leaving the keys. Each note thus

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takes its individual life which matters not only in sung melodic phrases where so often the short note values are ​​ not pronounced, but also in many passages of great works, passages that are not only mechanical but also expressive. And, we cannot leave these reflections on sonority without speaking about the use of the pedal. It is unfortunately very difficult to transmit the art of the pedal, this marvelous projector of eclipses that alternately illuminates the sound and veils it; the use of it is so complex, so delicate that its study, said Chopin, lasts a lifetime. Sadly, the pedal, an infinitely precious technical resource for a true artist, is too often used by an apprentice as a banal expedient—a fig-leaf. For a lazy person, the soft pedal is an instrument for making pianissimi, while the loud pedal serves to unleash the din. Is it necessary to protest against this heresy and to remind us that it is the hand and not the pedal that enlarges or diminishes the volume of sound? The pedal is only a diffuser of the sound created by the interpreter’s finger. It should not be used to put makeup on and disguise an approximate performance by drowning the faults in a glittering halo of resonances. That is to say that one must first work without pedal, and that, even when the piece is learned, one must return once in a while to this work without pedal, to control the honesty of one’s fingers. The abuse of the pedal, with the separation of the two hands, indicates the most detestable amateurism. This is the problem that Chevillard denounced wittily in saying of a pianist: “He puts the pedal down admirably, but unfortunately he does not know how to lift it back up.” An entire chapter would be necessary for even a summary study of the use of the pedal. Its employment depends a lot upon composers. One must only use it with the greatest reserve in Bach, as well as in Mozart. In Bach, one may even prohibit it completely, but purity is perhaps excessive—because, in this case, why not go all the way and refuse to interpret the composers other than on the instruments of their epoch? Even in more modern composers, one must know how to appreciate the drier but sometimes more effective sound of certain passages played without a pedal. The note emitted without the accompaniment of all its harmonics has a color which one must not deprive oneself of systematically. That said, the pedal does not only play the role of veritable harmonic architect in conserving from one end of the keyboard to the other the sonorous construction of the notes and chords which it can musically superimpose. It assures legatos impossible without it and notably, the noble legato of the bass notes that the hand cannot hold. It also allows— in a subtler fashion—to support a song, to give value to its seduction in

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awakening around each well-colored note, the singing procession of its harmonics. In the utilization of the pedal, the foot must have a great rhythmic independence, because one must frequently apply it not at the moment when the note is struck, but rather a little after, that is to say, off the beat of the rhythm of the fingers. This rule is not general. In numerous cases, the beginning of a melody, a grand expressive chord, etc., the pedal must be used even before striking the keys, in such a way that all of the vibrating possibilities of the instrument would be ready to enter into play as of the first contact of the fingers. Certain pianists make a point of pressing on the pedal, while others tap on the floor with their heels to keep time with the musical rhythm. These are both very bad habits. With respect to the soft pedal, suffice it to say that its use must always be (xvi) forbidden in the first period of working on a piece (it is with the finger, we have to repeat, that one must obtain a soft sonority). And even in performance, its usage must be extremely limited. It is a very precious reserve of nuance, that one must not waste. In summary, the pedal demands an attentive and constant reflection. Mark it on your score like you would do for a fingering. The mastery of the pedal procures for a pianist, master of his fingers by the way, marvelously refined joys. “Release the string from the damper’s embrace, muzzle it again, gently extinguish one vibration to awaken another—let a whiff of harmonic sounds pass through it and scatter it by a rustling of felt. What a magician’s job!” (1) (1—Émile Vuillermoz) * * *

I have insisted previously on the importance that a pianist must attach to the reading of the text: let us go back, if you do not mind, to talk about style and give some practical advice on this subject. Without style, even mechanism, sonority, temperament, and sensitivity remain minor qualities. It is style that ennobles all the virtues of an instrumentalist and gives these virtues seduction and radiance. However, it is not permissible to speak of the personal style of a pianist if he does not begin with respecting that of the composer he interprets. “The style of a composer,” said Stravinsky, “is the particular fashion with which he orders his concepts and speaks the language of his craft.” This single sentence shows that technique and style interpenetrate, and that it is not with the “same technique” that different composers must be interpreted. Two masters, even if they are contemporaries, almost always require two different ways of playing the piano. We do not press the key

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down in the same way when playing a Debussy Prelude as in a Fauré Nocturne. This is a completely different way of striking the keyboard. The contrapuntal style of Bach requires another technique than that more garrulous style demanded by Mozart. Beethoven, more orchestral, with lines of a more expressive legato, distances himself definitively from the harpsichordists. Chopin, the greatest innovator of the pianistic art, requires another touch, another wrist (the fat of the finger, the wrist more elevated, the swinging of the hand, finger substitutions), an almost indolent elegance, but which does not exclude, we understand well, neither firmness, nor rhythm, nor precision. From this technique directly flows that of Fauré. As for Debussy, he liked to say that he had “worn out his fingers on the 3rd Posthumous Étude of Chopin.” However, through all of his harmonic research, and his subtle play with the pedal, his technique is in some way tighter. He wanted the hands to “always be into the keyboard.” Ravel is the successor of the pianistic technique of Liszt. He asked that we play Jeux d’Eaux like Liszt. When he wrote his Concerto in G for two hands, he had the Transcendental Études of Liszt on his piano. On the other hand, he admired the complete success, in his opinion, represented by the concertos for piano of Saint-Saëns. No doubt we must not push fatally simplistic classifications too far. But I want to make it clear to virtuoso apprentices that they cannot hope to achieve a truly complete technique (xvii) if they have not carefully studied all aspects of it in different composers other than those just mentioned. (1) (1—I reproach myself, since we speak of the technique of composers, not to emphasize here the profit to be made from the study of a composer like Mendelssohn, too little practiced nowadays and who remains an admirable and “irreplaceable” educator.) Whatever the lyricism with which you interpret the thought of a master, I do not tire of repeating it, always respect the balance of his writing and do not alter his rhythmic values. There is often a tendency to shorten long values, especially silences (which are often the most expressive part of music). (2) (2—Silence is a poignant means of expression, said Émile Sauer.) A kind of timidity or natural nervousness prevents you from going to the end of a held note or of a breath and makes you hasten the attack of the next note. It is very important to triumph over this reflex because a long note value plays a decisive role in phrasing and it is by scrupulously respecting its duration, imposing it without weakness, that one imprints mastery and authority on one’s playing. Avoid like the plague these vulgar elisions, such as the shortening of the last note of a beat, the excessive rushing of short note values, which are, in musical language, the equivalent of sloppy diction. 66  |  Part I: Marguerite Long’s Le Piano

Know how to connect the elements of the musical discourse by monitoring the sequence of notes that make up a phrase, a proposition, an incident, or a whole sentence. In other words, never “let go” of the melodic line. Mark the indispensable accents of the musical discourse and, when you have to bring out syncopations, the expressive accents on the off beats, do not forget that the listener must always have the feeling of the natural accentuation of the meter. For this, one must “play the syncopations,” that is to say that there must be a gesture of support on the tied note of the syncope. This gesture, which seems to have no influence on a sound once emitted, ensures in fact its exact duration, confirms the rhythmic equilibrium of the pianist and consequently transmits its feeling to the listener. One must respect the tempo of the composer. The speed is given by the metronome marking. However, the metronome marking notated in the scores and to which it is of course advisable to refer, can only be a rather rough indication. Those of Fauré, strangely, often disagree with the tempi he required of his interpreters. But it is around the tempo, which is of a more emotional than mathematical character, that the different speeds of a performance balance each other out without altering the feeling of the tempo. (3) (3—In this regard, Fauré’s sentence must be carefully considered: “Dynamics, and no change of tempo.”) On the other hand, one should not confuse accelerando with speed nor rallentando with slowness, nor is it necessary to confuse crescendo with forte and diminuendo with piano. These indications given on the score do not mean the end point but the starting point of a nuance of sound or tempo. It is necessary to “lead” them very gradually, to curb it in the course of their execution, and to know how to reserve for the end their total development. Hans von Bülow said: “Crescendo means piano, diminuendo means forte” and we know what a fantastic use a Toscanini, for example, or a Munch could make out of a well conducted crescendo (xviii). On the other hand, the secret of a beautiful emphasis does not reside so much in a greater intensity given to the part that one wants to highlight than in the art with which one knows how to lessen, to almost erase that which precedes or surrounds it. It is by “economy” that orchestra conductors obtain their surest effects. And since we are speaking of conductors, it is not useless to advise pianists whose instrument alone is an orchestra, to be their own conductor, to analyze the piece with the same lucidity as conductors do, and to obtain various voices that they will then assemble on their keyboard, a discipline that a great conductor demands of his instrumentalists from English Translation of Le Piano | 67

the height of his podium and that alone assures cohesion and beauty for the ensemble. Learn also how to divine some of the vocabulary’s finesse specific to certain composers. You will find a typical example of this in Gabriel Fauré’s employment of the triplet. For him, the triplet is not simply a ternary figure that one interleaves between two binary rhythmic values; it is not a little group of three isolated notes, proud of their rhythmic independence, it is a slight relaxation of the metric division, it is a supporting ornament that comes to die on the next sound and must be “plucked” without haste and without nervousness. The modern triplet since Chopin, plays a more melodic than rhythmic role. It rounds out the discourse, gives it a more elegant curve, a less geometric profile, but it must not alter the binary equilibrium. It must not give the impression of a rubato, of a mannered hesitation, of a rupture of the tempo. In order to execute it well, accentuate and ensure in a perfectly equal way, the two binaries which precede it, and which follow it and between these two solid groups, let the three notes of the triplet flow smoothly. The modern melodic triplet, by its flexibility, grants Verlaine’s wish: “Prefer the odd, more vague and soluble in the air, with nothing in it that weighs or imposes. . . .” (1) (1—But beware! Make sure that this poetic comparison does not make one lose a sense of rhythm and measure. Debussy went so far as to speak of the first measures of the “Sarabande” and of the “Hommage à Rameau”: “Use the metronome!”) These explanations will aid you, without doubt, to understand the instinctive repulsion I feel for the rhythmic study of scales and arpeggios “in threes” and in passages arbitrarily ripped from their binary divisions. This practice annoyingly hardens the curve of this ternary design, from which composers since Chopin have drawn so many happy effects. * * *

Does submission to the written text, its comprehension and its faithful and sensitive interpretation being the necessary conditions for good style, mean that there is no room for the style of the interpreter? Certainly not. The interpreter’s mission is not just a reading and a translation, however meticulous they may be. To express the work of a grand master, the interpreter must bring it back to life, to somehow recreate it. The interpretation is not the result of a superior combination, a “montage,” it is ultimately the act of a living, spontaneous, inspired artist. As such, it is a work of art too. The modesty of his ambitions, his submission to the masterwork that he translates does not keep us from being able to speak about the style of the interpreter. But here, no advice can be given. The style of the pianist, if he has one, is his taste, his soul; it is his own nature, 68  |  Part I: Marguerite Long’s Le Piano

all the better liberated, all the more eloquent, because he serves the text of the masters more scrupulously. (xix) These pages are, in principle, intended for pianists who endeavor to make a career of their instrument. It would be unjust not to think of those who are called, by a very fine name by the way, amateurs. It would be a mistake to believe that special rules can be established for their use. Just as with professionals, if they want to enjoy their art, they must work on their technique and have the necessary knowledge to be a pianist and a musician. But for them, even more than for professionals, there is a need to make the best use of the more limited time they have to devote to their art. The problems they must face are therefore only the condensed expression of the problems facing professional apprentices. Must they acquire a strong culture through reading a lot of music or consecrate all of their effort to deepen a limited number of works? How to divide their schedule between exercises, études, pieces, sight reading, etc.? Can we categorically answer these questions at a time when it is so difficult to establish a satisfactory study schedule? The amateur must make do with the meager amount of leisure time left to him by school programs or by the exercise of a trade. However, these young people who often take time away from easier distractions, the time necessary for their piano studies, would be wrong to be discouraged! The piano is not an art of pleasure, it is an open door to a field where the intelligence and the heart are nourished. The amateur can find great consolation, and who knows, on the other hand, if life will not one day reserve for him the leisure to build his talent on the modest but serious bases that he will have acquired in his youth, lacking a virtuoso talent for him inaccessible, but at least that of a real and solid musician? In fact, numerous cohorts of these amateurs, by their knowledge, by their enthusiasm, by their disinterested passion, very usefully serve music. As for aspiring professionals, they need all their time to become real artists. They must economize it, distribute it wisely if they want to acquire all of the qualities that make an artist, and not be content to be just excellent workers of the piano! They will have to go to concerts, to the theatre, and read not only music but literature and other arts for completing a general culture whose defect is always felt in a career. They will have to give lessons, not only because they will derive from them the material resources so necessary today, but because this too is part of their craft. Believe me, you learn a lot from your pupils. Yet one does not improvise being a teacher. If there is the gift, training is essential. English Translation of Le Piano | 69

One must lead one’s life with the conscience of a champion. One must know how to protect one’s health, rigorously follow a physical and moral hygiene to erase the fatigue of the many hours spent in front of the keyboard, to avoid the wear on the nerves and the slackening of the will. It is necessary, I know, in order to realize today a similar program of life, to have great courage and great perseverance. One must know how to sacrifice a lot for one’s art. Artistic novitiates have become heroic, because our Century of Brass is hard on the disciples of Apollo. There are not only the material difficulties of the hour that our young artists must overcome. Their education faces other even more formidable obstacles. A feverish, breathless, hectic climate reigns in the temples of art. I belong to a generation where the granting of a first prize in piano only represented a very (xx) modest first step of a career. Today, it is totally different. For many young people, a first prize at the Conservatoire is a certificate of mastery which puts an end to their technical education. The same day that he leaves class, a graduate on the Rue de Madrid sets the date of his debut recital to undertake the steps for being engaged in one of our grand Sunday concerts. Under these conditions, what happens? These too hurried virtuosos play sometimes, but are not reengaged for a long time. Their premature apotheosis will have cost them heavy sacrifices, and they will not benefit from it. Sometimes, they will never recover from this first failure. A young virtuoso must consider his first recitals as modest training exercises and not as heroic “battles of Hernani.” May our music students distrust the wave of precocious ambitiousness that raises and, all too often, overwhelms and engulfs the adolescents of the present generation. I am aware that they have many excuses but, unfortunately, they must know that, like genius, talent requires long patience and it alone rewards the artist magnificently. The young people of today are subjected to many dangerous temptations. Some new privileges they enjoy are often turned against them. Can we dream, for example, of a finer gift of destiny than that which for artists of our time constitutes the magical invention of radio? The concert by antenna has centupled the possibilities of virtuosos of all ages. At any time of day, sonatas, concertos, nocturnes, barcarolles and impromptus take flight to go around the planet. In our studios, pianos never lower their lids. And, instead of being counted in the hundreds, it is by the millions that we count the listeners of these uninterrupted recitals. The radio appears like the modern incarnation of patronage, the providence of composers and their interpreters. Pianists owe it a great deal and would be ungrateful if they did not feel sincere thankfulness to it. Not only does it provide them a living, but it opens new paths for them. However, the facilities it brings to young soloists must not make 70  |  Part I: Marguerite Long’s Le Piano

them less scrupulous. Radio is an ogress who devours every day an incredible amount of fresh music. It wants to know everything, to exhume everything, to divulge everything. To its servants, it demands a constantly renewed effort of prospecting. It is an excellent discipline, but some performers accustom themselves to presenting a work in a hasty and superficial way, on the pretext that they have neither the time nor the courage to work hard on a score which, after a fugitive appearance, will never see the light of day again. Let’s not forget that in the old days, a great pianist consecrated himself completely to a restricted number of masterworks that they were striving to translate with absolute perfection. Illustrious virtuosos have spent their entire careers devoted exclusively to the works and the composers that their temperament allowed them to give an interpretation of a superior quality. Today, it is by the hundreds that the most miscellaneous sonatas and concertos must pass under the fingers of pianists engaged by the radio. Working conditions are no longer comparable. Let’s not bemoan it too much. It is excellent that the piano repertoire expands, renews and rejuvenates itself. It is excellent that programs are no longer just reserved for a few hallowed composers and closed off to new talents. But this progress must not weaken the professional conscience of the interpreter. The technical requirements of the radio do not constitute a valid excuse for sloppy performance. May the pianists of today know how to defend (xxi) themselves against the ingenious tyranny of the machine which adapts itself too easily to hasty cuts, arrangements, halfimprovisation, and feats of strength intended to preserve the convenience of schedules. This is not good hygiene for artistic work. One must also react against the unfortunate casual habits that one can contract in the atmosphere of workshops and factories that prevails in some studios. It is a bad climate for a young sensibility when one deals too familiarly with the masterpieces. When I see a pianist take off his jacket and light a cigarette when sitting down at the keyboard to “tutoyer” [translator’s note: to use the informal version of “you”; to address informally] with a cordial geniality, Bach or Beethoven, I think of the great virtuosos that I have known, and whose race is not at all extinguished, who conceived quite differently of their duty as interpreter. Persuaded that a concert platform is a pulpit of truth from which the good word must be brought down on to the crowd, they felt that the artist has for a mission to evangelize, convince and train his listeners. Like them, I truly believe that a recital is indeed an effort of persuasion, a kind of preaching. I cannot help evoking a pianist, very admired by Saint-Saëns and Gabriel Fauré, Mme. Caroline de Serres, sister-in-law of Ambroise Thomas. To prepare herself mystically for her august task, this priestess never English Translation of Le Piano | 71

worked on her programs without transforming her salon into a concert hall. She conscientiously lined up several rows of armchairs in front of her piano, which she opened wide, placed on each of them a cushion representing an imaginary spectator, put on an evening gown, ceremoniously made her entrance, saluted the audience with a deep bow and entered into spiritual communication with the masterpieces she proposed to make persuasive by dedicating them to this invisible audience. Here we are far from the sporting spectacle of some keyboard champions to whom the microphones of the radio, the record, the film soundtrack or the television call to beat all the records of speed and endurance night and day, in cold or overheated cabins, in the middle of the comings and goings of technicians! Two eras, two civilizations, two ways to honor and serve music! Dear neophytes who will read these lines, know how to adapt to the ardent rhythm of your century, but do not smile condescendingly at the touching and anachronistic staging organized by Caroline de Serres: it will remind you of the respect you owe to the genius and the nobility of your vocation. That’s why I wanted to place this slightly faded print at the threshold of a book which has precisely as its goal to give you the feeling of your responsibilities. Your technical education will be futile and sterile if it is not transfigured by an ideal. By practicing the exercises that will follow, you must, beyond the mysteries of the keyboard, become aware of the beauty, and the greatness of your task. This austere and painstaking novitiate must prepare you for a true priesthood. During all your studies, you must be supported and encouraged by this idea. A wonderful future, full of emotions and deep joy, awaits you. For it is in the realm of the immaterial that human labor has always received its most splendid rewards. It’s up to you to obtain them. And if, sometimes, discontented with yourself, doubting your own progress, discouragement seizes you, remember this advice of Liszt who was nevertheless the man of all the gifts and all facilities: “Be patient with yourself.” And also meditate on this word of the great French painter Dunoyer de Segonzac: “It takes all your life to build your own house.” Marguerite LONG (p. 1) EXERCISES Preface The collection that we present here is not a method for beginners. (1) ([footnote appears at bottom of p. 2] 1—I propose to realize this method one day.)

72  |  Part I: Marguerite Long’s Le Piano

It is a repertory from which everyone can draw according to the state of his technique without believing that they are bound to practice the exercises in the order in which they are presented, and by choosing those which best correspond to their needs. To acquire a beautiful mechanism, it is not enough to add hours and hours of exercises. One must reserve one’s strength for all the rest of one’s work. It is a well-known temptation, indeed, to work on what we know and that we can easily realize. Know how to resist this otherwise you will not make progress. But, on the contrary, each time that you will fill a gap in your technique, you will obtain a general improvement of your hand, valid for all other difficulties. Know, then, your weak points and attack them energetically and lucidly. If you have difficulty with octaves, work on them—if you trill badly, work on your trills—if you stumble on your seventh chord arpeggios, work on your arpeggios. Do not think, on the other hand, that you are done with technique because you did half an hour or an hour of exercises in the morning. I’m not sure at all that we should start our day there. In any case, the results of your mechanism “cure” will be much faster and more effective if it is distributed wisely in the middle of the work of the whole day. When you do a spa treatment, you do not absorb all the daily amount of mineral water that has been prescribed at one time. Interrupt then from time to time the work on a piece you are studying and come back for a moment to the precise technical difficulty which you have decided to triumph over—you will succeed much more quickly and with less fatigue. Do not expect to find magic formulas in the pages that follow. Apart from some exercises and especially some new working methods, the present collection is only a selected summary of the discoveries and successive acquisitions of the great technicians of the piano. I believe that we will find here the best forms of work used and collected by artists such as Brahms, Busoni, Liszt, Tausig, Diemer, Philipp, Beriot, Hanon, Kullak, Czerny, Clementi, Moszkowski, etc. In delivering this repertoire to the public I understand that, if it has its good qualities, it also certainly includes imperfections and gaps no doubt. Often I found the idea of adding sight reading exercises attractive. But, thinking that beyond the exercises there are also studies and works where all the difficulties expressed in an artistic form are found, and also thinking that it would be really criminal (p. 2) to train young pianists to waste their time on cold formulas that would hardly replace

English Translation of Le Piano | 73

the lively study of composers, I preferred to sin by omission rather than unnecessarily overburden an already heavy text. Moreover, our work will have to be completed by the student who will use our exercises, or better still by the teacher who will directly guide his studies. Having said that, while practicing these exercises, always have the following tips in mind: 1. Sit at an appropriate height to assure that the forearm is horizontal. 2. No pedal in the exercises, neither the una corda pedal nor the damper pedal. 3. Do not force your hand. If fatigue sets in, rest for a moment or go to a different exercise. 4. In slow work, whether it be loud or soft, depress the keys to the bottom. 5. Think as much to lift the finger as to lower it. (2) (2—I have the experience of students from all over the world; I have been able to measure the progress they have made as soon as they applied themselves to follow this simple advice.) It is also as important to be able to leave a note with vivacity and decision as it is to attack it with firmness. One is the condition of the other and one must first exaggerate the articulation in order to obtain the lightness of execution. Of course, as and when the speed increases, the articulation must be reduced. It is also good to alternate very articulated work with work done close to the key. 6. Think of your thumb and your second finger and do not tip your hand toward the fifth finger, so that this finger keeps its own attack. 7. Control without ceasing the suppleness of the arm which must be free from the shoulder down to the hand. Do not play with tight shoulders. 8. Work with progressive tempos and return often to very slow tempos. 9. Count! Music is made in strong and weak beats. Exercises also— strong beats are the pressure points and the points of departure of the fingers. Mark the accents by counting, the equality of rhythm trains the equality of the fingers. 10. Work musically—listen to yourself! In each chapter, a short foreword and interleaved notes will indicate how to work on the difficulty contained in it and its relation to other difficulties. Read these forewords and notes attentively. They constitute the real fabric of our work. They will give, we believe, many occasions of reflection to the truly conscientious pianist and will no doubt aid him in 74  |  Part I: Marguerite Long’s Le Piano

acquiring that which is the secret of the great pianists: a sure and personal method—the art of work. (p. 3) Chapter I HELD NOTES And FIVE FINGERS REPEATED NOTES TRILLS (p. 4) Although we do not have the intention to establish a progressive method of piano, we have asked ourselves if we should begin this collection with held notes or with exercises called “for the five fingers.” We have resolved this little problem by deciding to present them in the same chapter. Thus grouped, they constitute the ensemble of exercises that prepare the hand for great difficulties at the piano. It is a gymnastics whose diverse elements complement and very often interpenetrate one another. They have this common character of requiring the arm and the wrist only a benevolent neutrality made of suppleness. They fortify and loosen the hand. Well-practiced they also refine the accuracy and sensitivity of the touch. They must be worked on by seeking first and foremost the most complete and flexible development of the gesture of each finger. (1) (1— Remember that articulation does not mean the tension of the nail joints in the fingers. Crooked fingers are not fingers that articulate. It is from the hand that articulation must come and it is its musculature that gives the freedom of the finger.) This “Swedish gymnastics” to which one must come back for all one’s life will address without worry other pianistic formulas where the arm and the finger play an active and sometimes preponderant role but where it would be impossible to act as a virtuoso without the infallible support of the fingers. This chapter is subdivided as: 1 _ Exercises with held notes. 2 _ Exercises for the five fingers. 3 _ Exercises for the five fingers with held notes 4 _ Repeated notes, Trills and Mordants We advise always working legato (with extremely varied tempi and dynamics) in the exercises for the five fingers without held notes. On the other hand one must work alternatively legato and staccato on the exercises with held notes. Finger staccato is very profitable here. Trills, whatever their speed, must be measured. Repeated notes must be played only from the fingers, with the wrist keeping very supple. English Translation of Le Piano | 75

(p. 5) HELD NOTES Held notes are useful for obtaining independence and muscular control of the fingers, the frankness and depth of touch, the tranquility and the setting of the hand. One must work on them with prudence, because, badly practiced, they can engender a fatal rigidity. One must not use held note exercises to work on hand extensions. Therefore, little hands should abstain, at least at the beginning, from held notes with spaced intervals. HELD NOTES IN CLOSED POSITION Exercise No. 1 _ Attack the note with precision without stiffness. Raise the finger while avoiding any contraction, the thumb must lower itself and then raise up vertically like its neighbors without any movement of the hand. For the sound always and exclusively comes from the finger. Work forte, mezzo-forte and piano. Repeat at least four times for each measure. Do not surpass the metronome mark indicated. www www www www www & c w œ Œ œ Œ .. .. w Rœ ≈ ‰ Œ œR ≈ ‰ Œ .. .. w œ œ œ œ .. .. w œ œ œ œ ’’ .. .. w . . M.M. q = 69 1

A

1

B

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D

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2

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Work thus each finger. Ex. ww œ www &c w œ Œ œ Œ & c ww

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Exercise No. 2 _ Respect accents. Conserve an absolute rhythmic equality in passing from one rhythmic value to another. As in exercise no. 1, all the exercises which follow should be done with both hands. The fingering above the staff is for the right hand, the fingering underneath the staff is for the left hand. We advise to play this last exercise two octaves below the right hand. www www www & c œ œ œ œ .. .. œ œ œ œ ’ ’ .. .. œ œ œ œ œ œ LH > > > > > > >3 >3 1

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1 2 3

76  |  Part I: Marguerite Long’s Le Piano

www www ‘ .. .. œ œ œ œ œ œ œ œ ’ ’ .. .. > > D

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Same work on the following formulas www œ œ wwwœ œ œ œ wwwœ œ œ œ wwwœ œ œ œ wwwœ œ œ œ wwwœ œ œ œ wwwœ œ œ œ www œ œ œ œ www œ œ œ œ &c œ œ 2

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5

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1

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5

5

6

1

7

8

2

1

2

3

2

4

2

4

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4

3

4

2

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9

5

10

3

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w œ œ œ œ www œ œ œ œ www œ œ œ œ ww œ œ œ œ ww œ œ œ œ www œ œ œ œ www œ œ œ œ www œ œ œ œ www œ œ œ œ www œ œ œ œ w w & ww 11

12

13

5

3 4

3

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14

15

16

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2 3

2

1

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17

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18

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19

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These two complete exercises with all of their formulas must be equally worked on with the same finger in both hands. Ex. wwww www œ œ www œ œ œ œ Œ &c œ Œ &c œ &c œ 1

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p. 6 EXERCISE No. 3 _ Attack without forcing and strike the two notes together rigorously. Play slowly, but raise and lower the fingers with vivacity. For equality of strike, raise the two fingers to the same height. Work the hands separately. Do not clench the fingers of the held notes. wwœ œ wwœ & c w œ Œ œ Œ .. .. w Rœ ≈ ‰ Œ .

1

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Do the same work on the following formulas ww œ œ ww œ œ w œ œ œœ œœ w œœ œœ ww œ œ ww œ œ ww œ œ www & c w œ Œ œ Œ .. ww Œ Œ .. w œ Œ œ Œ .. w œ Œ œ Œ .. w œ Œ œ Œ .. œœ Œ œœ Œ .. w œ Œ œ Œ .. ww œ Œ œ Œ .. www Œ Œ 2

3

4 2

4

5 3

4 1

1 3

2 4

5

5 2

1 4

2 5

6

7

5 1

1 5

2 1

8

3 2

3 4

4 5

9

10

4 3

5 4

1 2

2 3

Exercise No. 4 _ Work with quarter notes, eighth notes, triplet eighth notes, and sixteenth notes. The left hand always plays the same note as the right hand. Then while beginning with the upper note. œ œœ œœ œœ . . w œœ œœ œœ œœ œœ œœ œœ œœ . . . . & c wœ

œœ œ œœ œœ œ œ œ œ .. .. wœ œœ œ œœ œ œœ œ œœ .. &c w œ

œ œœ œœ œœ . . wœœ œœ œœ œœ œœ œœ œœ œœ . . . . & c wœ

œœ œ œœ œœ œ œ œ œ .. .. w œ œœ œ œœ œ œœ œ œœ .. &c w œ

1

RH

LH

1

4 2

5 3

5

2 4

1 3

2

2 4

4 2

5 3

2 4

1 3

etc.

4 1

5 3

4 1

5 3

2 5

1 3

2 5

1 3

etc.

5 3

4 2

1 3

2 4

5 3

1 3

5 3

4 2

1 3

2 4

4 1

5 3

4 1

2 5

1 3

2 5

etc.

etc.

English Translation of Le Piano | 77

Do the same work on the following formulas. w œ œœ œœ œœ .. .. w œœ œœ œœ œœ .. .. w œœ œœ œœ œœ .. .. w œœ œœ œœ œœ .. .. wœœ œœ œœ œœ .. .. w œœ œœ œœ œœ .. & œ 3

4

4

5 4

3 2 1

1 2

3 5

4 3 2 3 2 4

5

5 1

1 5

4 3 1

5 2

3

1 4

2 5

6

3 4 1 2

3 5

7

5 2

5 4 1

2

1 4

1 5

8

3 2

3 4

3 3 1

4 2

1

2 4

3 5

HELD NOTES ON THE POSITIONS OF THE DIMINISHED 7th CHORD Table of Diminished 7th Chords. b ww b ww b www w ww b # wwww b # wwww www # www # b www ww n ww b # www b # wwww ww b # wwww b w w b b w w # w # w w w #w # ww

& b # wwwww

EXERCISE No. 1 _ We remind you that little hands must begin with prudence when working on held notes on with spaced intervals, or else abstain. Never force. A

B

C

D

C

B

A

.. .. # www r . . w . . w . . w . . w . . w . . w & c b # wwww b w œ ≈ ‰ Œ œr ≈ ‰ Œ . . b # wwwœ œ œ œ . . b # wwwœ œ œ œ ’’. . b # www . . b # www . . b # www . . b # www w ˙ ˙ . . LH RH

1

1

5

5

Work each finger thus _ and on all the chords of the table above EXERCISE No. 2 _ Exercise with a single held note on the chords of the diminished seventh, by chromatic progression. Play at least two times for each measure. œ œ & c .. b œœ # œœ œœ œœ œœ œœ œœ .. .. n b œœ # œœ œœ ’’ .. .. w n n œœ b œœ œœ ’’ .. .. # w # œœ n # œœ œœ ’’ .. .. w # œœ b œ œœ ’’ .. .. w b œœ n œ œœ ’’ .. w # w LH 1

RH

1

5

4 2

5 3

4 2

5 3

1

2 4

5

4 2

2 4

5 3

1

5

w b œœ n œœ œœ œ nb œœ œ œ b œœ œ # œ b n œœ œ bœ #œ œ nœ œ œ b # wwww ’’.. & .. # w n œ œ œ ’’ .. .. w b œ # œ œ ’’.. .. b w n œ œ ’’ .. .. n w œ œ ’’ .. .. b w # œ œ’’ .. .. n w

Then work on the same exercise on the four following formulas. 2

& c b w œœ # œœ œœ œœ œœ œœ œœ 2

4

4

& c w # œœ b œœ œœ œœ œœ œœ œœ 4 2

#œ n w #b œœ œ

3

2

4

b w œ n # œœ #œ

3

etc.

3

5

4 2

& c # w œœ b œœ œœ œœ œœ œœ œœ & c w # œœ b œœ œœ œœ œœ œœ œœ 5

etc.

1

w #b œœ # œœ 3 3

#w œ bœ #œ œ

etc.

5 1

etc.

p. 7 EXERCISE No. 3 _ The notes alternatively connected and detached. Execute the detached notes briskly with the finger. This exercise considerably develops the strength of the fingers. We will only give the first

78  |  Part I: Marguerite Long’s Le Piano

measures of each exercise below which are to be continued according to the table of diminished 7th chords. Play each group of two measures several times. Observe the solidity of the fifth finger’s attack. 1

j j j j j œ #œ j ‰# œj ‰ œj ‰ œ ‰ .. .. j ‰ œj‰ b œ ‰ # œ ‰.. .. œ b œ n œ œ œj ‰ b œj ‰ n œ ‰ œ ‰ .. .. # œ b œ œ œ # œ b wœ b wœ w w # w # n wœ # n wœ LH

&c

RH

5

4

5

4

3

1 2

3

1

2

2

5

4

3

3

4

2

5

1

1 2

3

4

5

4

3

2

1

5

1

5

2

3

4

3

4

5

2

1

1 2

3

4

5

4

3

2

1

5

1 2

3

4

4

3

2

5

etc.

j j & c ..# w b œ œ œ # w j ‰ b œj ‰ œ ‰ œ ‰ .. .. w n œ œ œ # œ

j & c .. w b œ # œ œ w j ‰ b œj ‰ # œj ‰ œ ‰ .. .. b w n œ œ œ #œ

etc.

j & c .. w b œ # œ œ w j ‰ b œj ‰ # œj ‰ œ ‰ .. ..# w n œ œ œ #œ

j j j & c .. b # ww œ œ œ œ b # wwœj ‰ œ ‰ œ ‰ œ ‰.. ..# n wwœ b œ

j j j & c .. b # wwœ œ œ œ b # wwœj‰ œ ‰ œ ‰ œ ‰ .. ..# n wwœ b œ

j j j & c .. b ww œ # œ œ œ b wwœj ‰# œ ‰ œ ‰ œ ‰ ..

.. b w œ n # wœ

etc.

j j & c .. b ww œ # œ œ œ b wwœj ‰# œ ‰ œ ‰ œj ‰ .. .. n ## wwœ œ

j j j & c .. b # wwœ œ œ œ b # wwœj‰ œ ‰ œ ‰ œ ‰ .. .. # n wwœ b œ

j j j & c .. b ww œ # œ œ œ b ww œj ‰# œ ‰ œ ‰ œ ‰ .. .. n #b wwœ œ

j & c .. b ww # œ œ œ b ww j ‰# œj‰ œ ‰ œj‰ .. .. n # ww œ œ œ # œ

j & c .. # ww b œ œ œ # ww j ‰b œj‰ œ ‰ œj‰ .. .. b ww n œ œ œ # œ

2 1

3

4

3

5

4

2

4

4 1 2

6

8

10

12

5

2

3

4

3

5

1

2 1

2

4

4

5

5

2 5

2 3 1

4

5

2 1

4 3 5

2

1

4 5

3

5

2 4 5

3

1

3 2 1

4

5

3 4 5

2

1

5 2 1

2 5 5

3

4

3

2

5

4 1

1

4 1 2

1

etc.

4 1

2 5

3 2

3 4

3

etc.

5 2

1 4

etc.

j & c .. # ww b œ œ œ # ww j ‰b œj ‰ œ ‰ œj‰ .. .. # ww n œ œ œ # œ 14

5 3 1 1 3 5

2

4

4

2

5 3

1 3

etc.

3

3 1

2

4

5

4

2

1

3

5

5 1 1

7

5

3 2 1

3 4 5

9

4

3

2

4

5

2

1

4

4

3

2

4 2 1

4 3 1 2 3 5

15

4

3

2 4 5

13

3

5 1 2

1 5

11

2

1 5

4

etc.

1

3

etc.

5 1

3

3

1

etc.

51

3

3

4

5

3 5

5

5

5 4

3 1

3

2

1

3 1

3

5

1 2

etc.

j j & c .. b w # œ œ œ w j ‰ # œj ‰ œ ‰ œ ‰ .. .. w œ œ œ # œ 2

5

1 5

1

4 2

5

2 4

etc.

etc.

4 3

4

2 3

etc.

& c .. ww b œ # œ œ ww j ‰ b œj ‰# œj ‰ œj‰ .. .. b # ww n œ œ œ #œ 5 4 1

2

3

1 2 5

4

3

4 5

1 2

etc.

EXERCISE No. 4 _ Always on the same chords, but displacing the left hand by a third. 1

legato e staccato

& c bw œ #œ œ œ 1

? c w œ œ #œ bœ 1

bœ œ œ # œ .. .. n w œ œ b œ # œ w w #œ œ #wœ bœ œ nœ .. .. œ bœ

nœ #œ bœ œ .. .. wœ b œ n œ œ w

wœ n œ b œ #w bœ œ .. .. #œ œ œ

œ œ œ b œ .. .. # w œ n œ w

w bœ nœ # wœ œ .. .. œ œ

etc.

English Translation of Le Piano | 79

Same work on the following formulas. 2

bœ & c # wœ b œ œ œ # w œ œ b œ

wœ n œ

2

œ ? c wœ # œ b œ

w bœ #œ œ œ

b wœ # œ

b œw

# wœ

2

4

& c wœ 4

? c b wœ 4

œ bœ #œ

œ œ #œ

œ #œ bœ

œ b wœ # œ œ

n wœ

3

& c wœ b œ # œ œ 3

bœ œ w #œ bœ

œ œ œ ? c # wœ b œ # wœ b œ œ

etc.

3

5

&c

nœ

#œ

etc.

b wœ 5

? c wœ 5

bœ #œ œ

œ œ #œ

b wœ

b wœ

nœ

wœ # œ

etc.

œ œ #œ bœ nw nœ

#œ œ œ wb œ # œ # wœ

etc.

EXERCISE No. 5 _ After working on the preceding exercise, execute this one without held notes, with accents and lightly. This exercise is very profitable for extension. >

> > > > > > > b œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ bœ œœœ œœœ œœœœœœœ bœ #œ œ œœœ œœœ œœœ œœœ 1

&c

2

3

6 6 6 6 6 6 6 6 > ? c œ œ # œ b œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ b œ # œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ 6

2

>

& nœ

6

6

6

6

6

6

6

1

3

œ œ bœ #œ

>

> > œ œ œ œ œ œ œœœ œœœ œœ œœ œœ œ

> œ #œ bœ

> > > œœœ œœœ œœœ œ œ œ œœ œœ œœ œœœ

6 6 6 6 6 6 > > 6 > 6 ? # œ b œ œ œ # œ œ œ œ œ œ œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ # >œ œ œ b œ # œ œ >œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œ œ 6

6

6

6

6

6

6

6

etc.

p. 8 FIVE FINGERS Just as with the exercises using held notes, exercises with the five fingers must be executed from the fingers and from the fingers alone. It’s about “untying” them and giving them a clean and safe attack. It is therefore necessary to control with great care the voluble and precise autonomy of each of the fingers including the thumb which must be doing the same rigorous work as the other fingers. In so doing, one must ensure the constant “relaxation” of the arm, forearm and wrist. Particularly observe your left hand _ “think about it”; so that it does not follow your right hand. On the contrary, it must have the impression that it is the one who leads the game. It is an excellent habit to pick up, of which you will appreciate the profit in the execution of scales. Exercises of five fingers EXERCISES ON THE WHITE KEYS 80  |  Part I: Marguerite Long’s Le Piano

It is very important to exercise one’s hand at length on the horizontal plane of the white keys. Work first very slowly. Always mark the accent of each meter. Work legato, forte, mezzo-forte and piano. Lighten the sound when you play in a fast motion by raising the fingers less, but never lose the rhythm. These exercises may be useful transposed to C sharp. 1

&c

œ œ œœœ œ œ œœœœœœœ

œ ? c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œœœ œœœ œ œ œ œ œ œ œœ œœ œ œ œ œ œœœœœ œ œ œ œœ œœ œ œœœ 1

2

3 4 5 4 3

2

1

2

1

2

5

4

3 2 1 2 3

4

5

4

5

4

1

5

œ œœœœœ & œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ œœœ œœœ œ œœœœœ œœœœœœœœ œœœœœœœœ ? œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ œœœ œœœ

œœœœ œœœ œœœ œ œœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ œœœ œœœ œ œœœœœ œœœœ œœœ œœœ œ œœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ œœœ œœœ ? œ œœœœœ &

5

4

3

2

1

2

3

4

5

4

5

4

5

1

2

3

4

5

4

3

2

1

2

1

2

1

..

& œ œ œ œ œ œ œ œ œœœ œ œ œœ œœ œ œ œ œ œ œœ œœ

œ œ œœœœ œœ œœ œœœ œ œœ œœ œœ œ œœœ ? œ œ œ œ œ œ œ œ œœœ œ œ œœ œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœ œ œœ œ œ .. w œ w

Here is how this exercise and those that follow may be practiced. ? c >œ œ >œ œ >œ œ >œ œ >œ œ ? c >œ >œ >œ >œ >œ >œ >œ >œ >œ >œ

? 2 >œ œ œ œ >œ œ œ œ 4

> œ œ

etc.

etc.

? 2 >œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ >œ œ 4

etc.

etc.

p. 9 Work on the following 24 exercises with both hands, like the previous one, over the span of two octaves. We only write the opening measures, the culminating measures and the final measures of each exercise. The fingerings of each hand are marked above and below the staff. ?c œœœœœœœœ œœœœœœœœ œœœœ 2

1

2

1

2

5

4

5

4

etc.

œœœœœœ œœœœœœœœ œœœœœœœœ œœœœ & c œœ 5 4

5 4

1 2

1 2

?c œ œ œ œ œ œ œ œ w

etc.

FIN

English Translation of Le Piano | 81

?c œœœœœœœœ œœœœœœœœ œœœœ

œ &c œ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœ &c œ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœ œœœœœœœœ œœœœœœœœ œœœœ & c œœœ

œ ?c œœœœœœœœ œœœœœœœœ œœ œ

œœ œ œ œœ œœœœœ œœ œœœœ œœ œ œœ & c œœ œ œ œœ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœœœ œœœœœœœœ œœœœœœœœ œœ œ &c œ œ

3

1 2

5

1 2

5

4

etc.

4

4

1 2

5

1 2

5

4

etc.

4

5

1

2

1

2

1

2

1

2

2

5

4

5

4

5

4

5

4

etc.

6

2

3

2

3

2

3

2

3

4

3

4

3

4

3

4

3

7

5

4

5

4

1

2

1

2

5

4

5

4

1

2

1

2

etc.

etc.

?c œœœœœœœœ œœœœœœœœ œœœœ 8

4

5

4

5

4

5

4

5

2

1

2

1

2

1

2

1

etc.

œœœœœœ œœ œœœœœ œœ œ œœ œœ œ œœ œ œœ 5 4

5 4

?c œ œ œ œ œ œ œ œ w 1 2

1 2

etc.

œœœœ œœœœœ œœ œœœœ œ œœ œ œ œœ œ œ 5 4

5 4

1 2

1 2

?c œ œ œ œ œ œ œ œ w

etc.

5 4 5 4

5 4

1 2 1 2

1 2

?c œ œ œ œ œ œ œ œ w

etc.

4 3 4 3

4 3 4 3

2 3 2 3

2 3 2 3

?c œ œ œ œ œ œ œ œ w

1 2 1 2

1 2 1 2

5 4 5 4

5 4 5 4

?c œ œ œ œ œ œ œ œ w

etc.

etc.

œœœœœœ œœœœœœœœ œœœ œ œœ œœ œ œ œœ & c œœ 2 1 2 1

2 1 2 1

4 5 4 5

4 5 4 5

?c œ œ œ œ œ œ œ œ w

etc.

?c œœœœœœœœ œœœœœœœœ œœœœ

œ & c œœ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœ œœœœœœœœ œœœœ œœœ œœœ œ œ & c œœœ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœ œœœœœœœœ œœœœœœœœ œœœœ & c œœœ

9

2

3

2

3

4

3

4

3

etc.

10

3

4

3

4

3

2

3

2

11

etc.

4

5

4

5

2

1

2

1

82  |  Part I: Marguerite Long’s Le Piano

etc.

œœœœœ œœœœ œœœ œœœ œ œœœœœ œœœœ 4 3

4 3

2 3

2 3

?c œ œ œ œ œ œ œ œ w 3 2

3 2

3 4

3 4

?c œ œ œ œ œ œ œ œ w

etc.

etc.

2 1

2 1

?c œ œ œ œ œ œ œ œ w

4 5

4 5

etc.

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœœ œœœœœœœœ œœœœœœœœ œœœœ & c œœ

?c œœœœœœœœ œœœœœœœœ œœœœ

œ œ œœœ œœœœœœœœ œœœœœœœœ œœœœ & c œ œœ

?c œœœœœœœœ œœœœœœœœ œœœœ

œ œ œœ œ œœœœœœœœ œœœœœœœœ œœœœ &c œ œ œ

?c œœœœœœœœ œœœœœœœœ œœœœ

œ œ œ œœœœœœœœ œœœœœœœœ œœœœ & c œœœ œ œ

?c œœœœœœœœ œœœœœœœœ œœœœ

œœœœœœœ &c œ

12

3

1

3

1

3

5

3

5

etc.

13

5

1

3

5

3

3

1

3

etc.

14

5

3

5

3

1

3

1

3

etc.

15

4

1

4

1

2

5

2

5

16

4

3

4

3

4

1

4

1

2

3

2

3

2

5

2

5

etc.

etc.

?c œ œ œ œ œ œ œ œ w

?c œ œ œ œ œ œ œ œ w

?c œ œ œ œ œ œ œ œ w

?c œ œ œ œ œ œ œ œ w

3

5

3

5

3

1

3

1

1

3

1

3

5

3

5

3

1

3

1

3

5

3

5

3

2

5

2

5

4

1

4

1

etc.

etc.

etc.

etc.

œœœœœœœœ œœœœœœ œ œœ œ œ œ 2 3 2 3

2

5

2

5

4 3 4 3

4

1

4

1

?c œ œ œ œ œ œ œ œ w

etc.

p. 10 ?c œœœœœœœœ œœœœœœœœ œœœœ 17

1

4

5

4

1

4

5

4

5

2

1

2

5

2

1

2

etc.

œœœœœœœ œœœœœœœœ œœ œœ œ œ œ œ œ œœœ &c œ 5 2 1 2

5 2 1 2

?c œ œ œ œ œ œ œ œ w 1 4 5 4 4

2

2

4

1 4 5 4

etc.

œ ?c œœœœœœœœ œœœœœœœœ œœœ

œ œœœœœœœ œœœœœœœ œœœ œ & c œœœœœœœ œ œ

19 œ œœœœ œ œ ?c œœœ œ œœ œœœ œ œœœ

œ œ œœ

etc.

œ & c œœ

œœ

œœ &c œ

œ œ œœœ œ œœ œœ œœ œ œ œœœœ œ œ œ œ œœ œ

18

5

1

1

5

1

2

3

5

4

3

?c œœ 20

1 2

5

1

3

1

5

1

3

3

5

1

5

3

3

2

1

2

3

3

4

5

4

3

œœœœœœ 4

5 4 2

5

1

4

2

œœ

œœœœœœ

4 1 2

5 4 2

1

5

1

5

1

5

4

2

&

1

2 4

œœ 5

etc.

4 2 etc.

?c œ œ œ œ œ œ œ œ w œ

œ œœ 5

1 5

3 5

1 5

3 1

5 1

3 1

5 1

œœœœ

2 3 5 4 5 3 2

2

œ ?c œ œ œ œ œ œ œ w 2

4

5

1

etc.

œ œœœ œ œ œœ œœœœ œ

4 2 4 4 2 1 3 1 2 1 3

œ w ?c œ œ œ œ œ œ œ 1

3 5

4

5

4 2 3 1

2 4 3

1

5

1

etc.

4

2

2 4

2

4

5

4

2

1 2 4

etc.

?c œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 21

&

1 2 3 1 2

2

3

3 4

3

1

5 4

4

3

3 2

3

5

etc.

œœœœœœœœ œœœœœœœœ œœœœœœœœ œœ œœ œœ œœœœ œ œ 5 4

4

3

3 2

3

5

1 2

2

3

3 4

3

1

4

etc.

5

2

œœœœœœœ 5 4 3 4 5 3 2 3 4

2

œ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 3 4 5 4 3 2 3 5 4

4

2

5

1 2

etc.

5 3 2 3 5 4 4 3 4 5 4

5 3 2 3 5 4 4 3 4 5 4

&

5

4

1 2

1 2

2

1 2

etc.

5 3 4

&

œœœœœœœœ 3 5 4

3 1 2

3 1 2

1 3 2

3 5 4

œœœœœœœœ

etc.

3 5 4

œœœœœœ œ œ œ œœ œœœœ œ œ œ œœ 3 5 4 2

3 1 2

etc.

&

3 2 3

5 4 5 4

3 2 3

3 4 3

1 2 1 2

3 4 3

5 4 5 4

etc.

1 2 1 2

œœœœœœœ &c œ 4

1

3

4

5

3

2

1 5

œœœœœœœœ 5

œœ œœœœœœœœ &c œœœœœœ

?c œœœœœœœœ œœœœœœœœ w

?c œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 24

3

?c œœœœœœœœ œœœœœœœœ w

23 ?c œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 3 1 2

3

?c œœœœœœœœ œœœœœœœœ w

22 ?c œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 1 2

œ œœ œœœœœœœœ &c œœ œœ œ

5

4

4

1

2

2

&c œœœœœœœœ œ

1 5

œœœœœœœ

œœœœœœœœ œ œ œœœœ œœœœœœœœ œ œ œ œœœœœœœ œœœœ 5 3 4 3

3 4 3

1 2 1 2

3 2 3

1 2 1 2

3 2 3

5 4 5 4

5 4 5 4

etc.

?c œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœ 25

3

2

3

3 4

5 4

1

4

5

5 1

3

2

3

3 4

1

4

5

5 4

etc.

5 1

œœ œ œœœœœœœœ œœœœœœœœ œœœœ œ œ œœ œ œ œ œ œ & œœœ œ 3

4

2

4

5

1

5 1

5 4

3

4

3

2

4

5

1

5 4

etc.

œœœœœœœ œœœœœœœœ &c œ

?c œœœœœœœœ œœœœœœœœ w

p. 11 CHROMATIC EXERCISES FOR FIVE FINGERS after TAUSIG As much as we warn small hands against the danger of exercises with great spreads, so we advise for large hands exercises with close intervals such as the following:

84  |  Part I: Marguerite Long’s Le Piano

EXERCISE No. 1 Preparation & œ # œ œ # œ œ b œ n œ b œ .. RH 1

2

3

4

5

5

4

3

2

1

LH

bœ nœ œbœ œbœ œ #œ œ#œ œ#œ nœ#œ œ œnœ#œ œ œ#œ#œ œnœ#œ œ œnœ#œ œ nœ#œ œ#œ #œnœ#œ nœ#œ 1

5

1

5

1

nœ #œ œ œ bœ œ bœ œ bœ nœ bœ œ œ nœ bœ œ œ bœ bœ œ nœ bœ œ œ nœ bœ œ nœ bœ œ bœ bœ nœ bœ nœ bœ & nœ #œ #œ nœ œ #œ œ 5 5

4 3

2 1

5

1 1

2 3

4 5

1

etc.

5

etc.

nœ bœ œ bœ œ w

EXERCISE No. 2 & œ #œ œ #œ œ œ nœ #œ #œ œ #œ œ œ œ œ nœ œ #œ œ œ #œ nœ œ #œ #œ œ œ #œ œ œ nœ œ œ œ #œ œ #œ nœ œ nœ œ #œ œ #œ œ œ nœ œ #œ œ #œ 1

5

1

5

2

1

4

5

œ#œ nœ #œnœ œ œ bœ œ bœ nœ œ nœ œ bœ œ bœ œ nœ bœ bœ œ bœ & œ nœ#œ œ œ bœ nœ bœ nœ œ bœ œ bœ œ œ nœ œ

etc.

etc.

œ bœ œ bœ œ œ nœ bœ w

EXERCISE No. 3 2 1

3 2

4 3

5 4

2 1

3 2

& œ #œ œ #œ #œ nœ #œ œ nœ #œ œ nœ #œ œ 4 5

3 4

2 3

1 2

4 5

etc.

3 4

#œ nœ #œ œ œ bœ œ bœ bœ nœ bœ œ nœ bœ œ œ bœ œ 5 4

4 3

3 2

2 1

5 4

4 3

1 2

2 3

3 4

4 5

1 2

2 3

EXERCISE No. 4 &

3 2 1

4 5 3 3 4 2 2 3 1 2

œ œ #œ œ #œ œ œ œ bœ œ œ nœ #œ œ œ œ œ #œ #œ œ œ ‹œ 3 4 5

3 1

1 3

2 1 3 2 3 2 4 4 3 5

etc.

nœ œ bœ w

5 4 4 3 3 2

3 5 2 4 1 3

1 2 2 3 3 4

3 1 4 2 5 3

œ œ #œ œ œ nœ bœ œ #œ œ œ nœ bœ œ

etc.

#œ œ

bœ nœ bœ œ w

etc.

bœ œ nœ w

EXERCISE No. 5 & bœ œ nœ #œ œ nœ œ #œ œ œ bœ nœ œ nœ œ #œ nœ #œ œ nœ #œ œ nœ œ œ #œ œ #œ #œ #œ œ nœ #œ œ nœ #œ œ #œ œ #œ #œ ‹œ œ nœ #œ œ nœ #œ œ #œ œ œ œ #œ LH RH

2 1

5

2

1

4 5

1

4

5

œ œ #œ nœ #œ œ #œ œ œ nœ #œ nœ nœ bœ œ bœ œ œ #œ nœ œ nœ œ bœ nœ bœ œ nœ #œ nœ nœ nœ œ #œ nœ & bœ nœ œ nœ œ #œ nœ #œ œ œ #œ nœ œ œ #œ #œ #œ œ #œ 4 5

4

5

2 1

2

1

& #œ œ œ nœ #œ nœ nœ bœ œ #œ nœ #œ #œ nœ œ nœ #œ nœ nœ bœ œ #œ nœ œ #œ œ œ nœ œ bœ œ bœ œ nœ #œ nœ nœ nœ œ #œ nœ #œ #œ œ œ nœ #œ nœ w

EXERCISE No. 6

& œ œ #œ œ#œ œ#œ #œ nœ#œ œ œ œnœ #œ œ œ#œ nœbœ nœ œ #œ œ #œnœ nœ#œ nœ#œ nœnœ #œ œ #œ œ#œ #œnœ #œ œ #œnœ nœ#œ œ#œ œ#œ #œnœ #œ œ œ 3 1

2

3 5

4

5

3

1

2

1

3

5

4

3

œ œ bœ bœ & œ nœ #œ œ œ #œ nœ bœ nœ œ #œ œ #œ nœ nœ #œ œ #œ nœ nœ #œ œ #œ nœ œ bœ œ bœ nœ bœ œ œ œ nœ bœ œ œ bœ nœ #œ nœ œ bœ œ bœ nœ nœ bœ œ bœ & œ nœ bœ œ bœ œ bœ bœ nœ bœ œ bœ nœ nœ bœ œ bœ œ bœ bœ nœ bœ œ œ œ nœ bœ œ œ bœ nœ #œ nœ œ bœ œ bœ œ nœ bœ œ bœ nœ nœ bœ œ bœ œ w English Translation of Le Piano | 85

EXERCISE No. 7 & œbœ œbœ œ œnœbœnœbœnœ#œ nœnœbœ œbœ œ#œnœnœbœnœ#œ nœ#œnœ œ œ œ#œnœ#œnœ#œ#œnœ#œnœ œ œ œ#œnœ#œ nœbœ œ œbœ nœbœ œ œ 2 5

4

1

2 5

4

1

œ #œ nœ #œ nœ œ œ œ #œ nœ #œ nœ œ œ#œ œ#œ œ#œ œnœ#œ nœ#œnœbœ nœnœ#œ œ #œ œ#œ œ nœ#œnœbœ nœbœnœ œ & nœ #œ nœ œ bœ œ bœ #œ nœ nœ bœ nœ 4 1

4 1

2 5

2 5

& nœ œ #œ œ #œ œ #œ #œ nœ #œ nœ #œ nœ nœ #œ nœ #œ œ #œ œ nœ #œ nœ #œ nœ bœ nœ nœ #œ nœ #œ œ #œ œ nœ #œ nœ bœ nœ bœ nœ œ nœ

œ #œ œ #œ œ w

p. 12 MODULATING EXERCISES FOR THE FIVE FINGERS 24 MODULATING EXERCISES (1) (1—These exercises are entirely developed in the work entitled “MECHANISM” by Ch. De Bériot. Editions Hamelle, 24 Boulevard Malesherbes, Paris (8th)) The following exercises are, in our opinion, the most useful for obtaining volubility and equality. They are the model of daily exercises. Work on them using all dynamic levels and in progressive tempos. One can also play these exercises without accompaniment, both hands playing in unison. We give the first exercise in full, then we will be satisfied, for the following formulas, to give the fingerings corresponding to each note, all this series of exercises resting on the same harmonic progression.

86  |  Part I: Marguerite Long’s Le Piano

EXERCISE No. 1 _ RIGHT HAND & c œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ 3 4 5 4 3 2 1 2

? c www

& œ œ #œ œ œ œ œ œ

b www

n www

& œ #œ #œ œ œ œ œ œ ? # ww

b b ww bw

b ww bw

b ww

œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ

œ œ #œ nœ œ œ œ œ

n www

b ww w

ww

? # # ww

n # # www

bœ & bœ bœ œ bœ œ œ œ

bœ bœ bœ bœ bœ œ œ œ #œ nœ nœ #œ œ œ œ œ

ww w

b b b www

b b b www

w b b ww

w # # ww

# ww

# ww w

œ œ bœ bœ œ œ œ œ

b www

œ œ #œ œ œ œ œ œ

# ww

œ œ #œ œ œ œ #œ nœ #œ #œ œ œ œ œ #œ #œ

n ww w

bœ bœ œ bœ bœ œ œ œ #œ œ #œ #œ œ œ œ œ

ww

ww w

bœ œ œ œ œ bœ œ bœ bœ œ œ œ œ & bœ œ œ w ? bw

#w # ww

#œ nœ œœœœœ #œ #œ nœ œ œ œ œ #œ nœ œ œ œ œ œ œ œ œ

& #œ #œ #œ œ #œ œ œ œ

? b ww

#œ #œ œ #œ #œ œ œ œ #œ nœ œ #œ nœ œ œ œ

b ww

bœ œ bœ œ œ bœ œ œ œ bœ œ œ bœ œ œ œ

œ œ nœ œ œ œ œ œ

? # ww

bœ œ bœ bœ œ bœ œ œ œ bœ bœ œ bœ œ œ œ

#œ #œ #œ #œ œ œ œ œ

w # # ww

œ œ œ bœ œ œ œ œ

b www

œ bœ bœ œ

b bb www

œ œ nœ œ œ œ œ œ

n www

bœ œ œ œ

œ bœ œ œ bœ œ œ œ

b ww w

#œ nœ œ #œ nœ œ œ œ œ œ nœ œ œ œ œ œ w

n # www

ww w

ww

Repeat each measure several times even when you know the exercise perfectly. Below are fingerings for 24 different combinations for the right hand. EXAMPLE EXERCISE No. 2 Fingering &c œ œ œ œ œ œ œ œ 12354532 1

? c www

2

3

5

4

5

3

2

etc.

No. 1-12345432 No. 9-13425243 No. 2-12354532 No. 10-13452543

No. 17-14523254 No. 18-14532354 English Translation of Le Piano | 87

No. 3-12435342 No. 11-13524253 No. 19-15234325 No. 4-12453542 No. 12-13542453 No. 20-15243425 No. 5-12534352 No. 13-14235324 No. 21-15324235 No. 6-12543452 No. 14-14253524 No. 22-15342435 No. 7-13245423 No. 15-14325234 No. 23-15423245 No. 8-13254523 No. 16-14352534 No. 24-15432345 p. 13 EXERCISE No. 1 _ LEFT HAND Repeat each measure several times even when you know the exercise perfectly. & c www

b www

b b ww bw

bœ œ bœ bœ œ bœ œ œ œ bœ bœ œ bœ œ œ œ

? c œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ 1 2 3 4 5 4 3 2

n www

& # ww

? œ œ #œ œ œ œ œ œ & # ww

? œ #œ #œ œ œ œ œ œ & # # ww

? #œ #œ #œ œ & b ww

œ bœ œ œ

n www

œ #œ nœ œ œ œ œ œ n # # www

#œ œ œ œ

bœ bœ œ œ œ ? bœ bœ œ w & bw

b ww bw

œ œ œ nœ œ œ œ œ

#œ #œ nœ œ

b b www

b ww w

#œ œ œ œ

b b b www

# # www

b ww

b ww

bœ œ œ œ bœ œ œ bœ bœ œ œ œ

œœœœ

#œ nœ œ œ

b www

nœ œ œ œ œ œ œ œ œ œ œ œ

# ww

# ww

œ œ #œ œ œ œ œ œ

œ bœ œ œ œ œ bœ œ bœ bœ œ œ œ œ #œ nœ #œ #œ œ œ œ œ œ#œ #œ œ #œ œ œ œ ? bœ œ

88  |  Part I: Marguerite Long’s Le Piano

œ œ bœ bœ œ œ œ œ

ww

bœ bœ bœ bœ bœ œ œ œ #œ nœ nœ #œ œ œ œ œ

# www

bœ œ bœ bœ bœ œ œ œ #œ œ #œ #œ œ œ œ œ

ww

ww w

w # # ww

#œ #œ œ #œ #œ œ œ œ #œ nœ œ #œ nœ œ œ œ

b b b www

bœ œ œ œ œ œ œ bœ œ œ œ œ

ww w

n ww w

n # www

ww ##w

b www

œ œ bœ œ œ œ œ œ n www

œ œ nœ œ œ œ œ œ ww w

#œ #œ #œ #œ

œœœœ

b bb www

œ bœ bœ œ bœ œ œ œ

b ww w

œ bœ œ œ bœ œ œ œ ww

œ#œ œ œ #œ œ œ œ œnœ œ œ nœ œ œ œ w

Below are fingerings for 24 different combinations for the right hand. EXAMPLE: EXERCISE No. 2 Fingering 54312134 & c www ?c œ œ œ œ œ œ œ œ 5

4

3

1

2

1

3

etc.

4

No. 1-54321234 No. 9-53214123 No. 17-52413142 No. 2-54312134 No. 10-53241423 No. 18-52431342 No. 3-54123214 No. 11-53412143 No. 19-51234321 No. 4-54132314 No. 12-53421243 No. 20-51243421 No. 5-54213124 No. 13-52134312 No. 21-51324231 No. 6-54231324 No. 14-52143412 No. 22-51342431 No. 7-53124213 No. 15-52314132 No. 23-51423241 No. 8-53142413 No. 16-52341432 No. 24-51432341 p. 14 Other formulas of modulating exercises after Clementi, on the same harmonic progression, for hands together. We remind you that the fingerings marked above the staff are those of the right hand, and the fingerings marked below are those of the left hand. EXERCISE No. 1 & c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ LH nœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ nœ œ œ œ œ œ œ œ œ œ œ w & # œ # œ # œ # œ œ # œ œ œ œ œ œ œ œ œ œ œ etc. œ # œ RH

1

5

3

2

3

4

4

3

2

3

VARIANT & c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ #œ #œ #œ #œ 1

? c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ #œ #œ #œ #œ

etc.

3

EXERCISE No. 2 _ Respect the accents

> > > > > > > > > > & 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ b œ b œ œ œ œ œ œ œ œ œ b œ b œ œ b œ œ œ œ œ b œ œ œ œ ? 42 >œ œ œ >œ œ œ >œ œ œ >œ œ œ >œ œ b œ >œ œ œ >œ œ œ >œ œ œ >œ b œ b œ >œ œ œ œ œ b œ œ œ œ b œ b œ œ b œ œ œ œ œ b œ œ œ œ 5

5

4

3

2

2

3

4

3

1

1

2

2

5

5

2

3

2

4

& #œ #œ nœ #œ œ œ œ œ #œ œ œ œ nœ #œ nœ nœ œ œ œ œ #œ œ œ œ œ œ #œ ? #œ #œ nœ #œ œ œ œ œ #œ œ œ œ #œ nœ nœ #œ œ œ œ œ nœ œ œ œ œ œ #œ

etc.

5

n œ œ œ n œ œ œ œ œ œ œ œ œ ww & n œ œ œ œ œ œ œ œ œ œ œ ww ? œ

English Translation of Le Piano | 89

EXERCISE No. 3 _ For developing the extension and the attack of the fifth finger.

>r >r r >r >r >r >r r r œ œ œ c ≈ ≈ ≈ & œ œ œ œ b œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ 5

5

3

2

1

3

2

5

3

1

2

1

5

3

2

1

3

2

3

1

5

? c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ œ œ œ œ œ œ œ œ œ bœ œ œ œ 5

1

2

3

5

1

r & ≈ œ bœ bœ bœ œ œ œ 3

2

r bœ

3

5

r œœœœœœœ

≈

r nœ #œ #œ #œ œ œ œ

r #œ

r œœœœœœœ

≈

r nœ nœ #œ nœ œ œ œ 3

r #œ

3

r œœœœœœœ

nœ #œ nœ œ œ œ œ œ œ œ œ œ ? bœ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ 5

1

r r r r œr r œ & ≈ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ ≈ nœ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ 5

90  |  Part I: Marguerite Long’s Le Piano

etc.

r r r œ œœœ w n œ œ œ œ œ œ œ nœ œ œ œ &≈ ?œ

nœ œ œ

œ

œœœ

œ

œœœ

œ

œ œ œ ww

3

p. 15 EXERCISE No. 4 after TAUSIG 3 œœ œ bœ œ œ bœ œ œ œ bœ & 2 œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ bœ œ œ œ œ œ œ ? 32 œ œ œ œ œ œ œ œ b œ œ œ œ b œ œ œ b œ œ œ b œ 1

2

1

2

& #œ œ nœ ? nœ

œ œ #œ œ œœ nœ œœ œ #œ œ œ œ

& #œ nœ nœ ? œ

nœ #œ #œ œ œœ nœ œœ œ #œ #œ œ œ

#œ #œ #œ œ & #œ #œ œ œ #œ #œ œ œ #œ #œ #œ œ ? &

2

1

3

1

1

1

3

œœœœ

1

3

3

3

bœ œ œ œ œ œœ bœ œœ œ œ bœ bœ œ œ

œ œ bœ œ #œ nœ nœ œ œœ nœ nœ œ œ œœ #œ œ bœ œ œ œ nœ œ nœ nœ #œ œ

œ nœ œ œ bœ œ œ bœ œ bœ œ œ œ œ œ œ œ bœ œ nœ œ #œ nœ #œ œ œœœ œ œ œ bœ œ œ bœ œ œ #œ œ b œ œ œ œ œ œ œ nœ œ œ œ bœ œ œ œ bœ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ #œ nœ œ œ #œ nœ œ œ œ #œ nœ œœœ œœ œ œ œ nœ œ œ

etc.

œ bœ œ œ œ œ œ œ

&

œ œ œ œ œ œ œ œ bœ œ #œ #œ #œ œ œ œ nœ œ œ œ œ œ œ bœ œ #œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ #œ #œ œ œ #œ #œ œ œ #œ

œ #œ #œ œ œ œ œ œ nœ œ nœ œ œ nœ œ œ w. w. #œ #œ œ œ nœ œ œ œ

& nœ #œ œ œ #œ #œ

nœ œ

œœœœ œ œ n œ œ œ œ n œ œ œ n œ œ œ ww ..

œœœœ œ œœœœœ #œ #œ œ œ œ #œ #œ œ œ œ œ œ œ œ bœ nœ œ œ nœ nœ bœ œ œ œ œ #œ œ œ #œ #œ œ œ œ œ

& œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ #œ #œ œ

nœ œ œ #œ œ œ œ œ #œ #œ œ œ œ œ œ œ œ œ œ œ bœ nœ nœ œ

œ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ bœ nœ œ & œ œ & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ #œ œ œ œ #œ œ bœ œ nœ bœ œ bœ bœ & œ œ

bœ œ œœœœ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ bœ nœ bœ œ

œœ œ œ œ œ nœ œ nœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œœœœ œ œ œ œ œ œ œ #œ œ œ

œ œ nœ #œ œ œ & bœ bœ œ œ œ œ nœ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ #œ œ œ œ #œ #œ œ bœ bœ œ œ œ œ œ œ œ #œ #œ #œ œ b œ b œ œ œ œ œ œ œ œ œ œ œ n œ n œ œ œ ww .. & #œ #œ œ œ œ bœ œ œ œ œ œ œ w. etc. #œ #œ œ œ bœ bœ œ œ œ œ nœ œ #œ #œ #œ œ œ b œ b œ œ œ œ œ œ œ œ n œ œ œ n œ n œ œ ww .. ?

?

English Translation of Le Piano | 91

p. 16 EXERCISES FOR FIVE FINGERS BY WHOLE STEPS EXERCISE No. 1 & c ..

.. .. . . #œ # œ # œ œ œ œ .. .. # œ # œ # œ # œ ‹ œ œ œ œ .. #œ œ œ #œ #œ œ œ œ . . œ #œ #œ œ œ œ #œ œ œ œ 1

2

3

4

5

4

3

2

1

‹w .. .. # # ww

#w .. .. # ww

.. .. # # www

? c .. # www

..

œ œ #œ œ œ œ . . œ œ œ #œ #œ œ œ œ . . #œ #œ œ œ œ œ œ œ . . #œ œ œ œ bœ œ œ œ . . . . . . . . & .. b œ b œ œ œ œ œ œ .. .. b œ œ œ # ww # ww w w n ww w w b # ww b # ww ? .. b w .. .. .. .. .. .. .. .. .. œ œ œ bœ bœ œ œ œ . . œ œ bœ bœ œ œ œ . . œ bœ bœ . . . . & .. bœ b œ b œ œ œ œ .. .. w ? .. b ww

b ww .. .. b w

w .. .. b b ww

b œ b œ b œ b œ ∫ œ œ œ œ .. .. # œ # œ œ œ˙

bw .. .. b ∫ ww

.. .. # www

EXERCISE No. 2 .. .. . . . . œ œ # œ œ œ œ .. bœ bœ œ œ œ œ œ œ . . bœ œ œ œ œ œ œ . . œ œ œ œ #œ #œ #œ ‹œ œ œ œ #w w ? c .. # ‹ ww .. .. b www .. .. b ww .. .. ww .. w & c ..

1

2

3

5

4

4

3

2

1

#œ #œ ‹œ œ œ œ . . ‹œ #œ #œ #œ œ œ œ œ . . #œ #œ #œ œ œ œ œ œ . . . . . . & .. œ œ œ # œ # œ œ œ œ .. .. œ œ # œ # œ œ œ œ .. .. œ # œ # œ #w ? .. n ww

# # ww .. .. w

.. ..

# ‹ www

.. ..

# ‹ www

# # ww .. .. w

& .. # œ # œ œ œ œ œ œ œ .. .. # œ œ œ œ œ œ œ œ .. .. œ œ œ œ b œ œ œ œ .. .. œ œ œ b œ b œ œ œ œ .. .. ‹ œ # œ # œ # œ ˙ # www #w w ? .. .. .. ww .. .. b ww .. .. b www .. .. # ‹ www

Same work for the left hand Example No. 1 #w # ww .. .. # ww & c .. w

# # ww .. .. w

? c .. œ œ œ # œ # œ œ œ œ .. .. œ œ # œ # œ # œ œ œ œ .. .. œ # œ # œ 5

4

3

2

1

5

92  |  Part I: Marguerite Long’s Le Piano

etc.

..

Example No. 2

# ‹ ww & c .. w

ww .. .. b w

w .. .. b ww

? c .. ‹ œ œ œ œ .. .. b œ b œ n œ n œ œ œ œ œ .. .. b œ œ œ œ #œ #œ #œ

etc.

One can work with both hands in unison without accompaniment. One can also apply to these two formulas the 24 fingerings of the exercises for the five fingers after Bériot. (page 12) p. 17 EXERCISES FOR FIVE FINGERS WITH HELD NOTES EXERCISE No. 1 Work in all keys: C major, C# major, D major, Eb major, etc. always beginning on the tonic of the key in which one is working. To be played legato and staccato. œ & c œ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ LH œ RH

√

2 3 4 5 2 1 1

3 2 1

etc.

4 5

4 5

2 1

3

4

5

2 1

4 5

3

2

1

4 5

œ œœ œ œœ œ œ œœ œ œœ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ

Tonic Example: C# maj.

etc.

w œœ œ œ œ www

Example: D maj.

## # œ & # # # # c œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ œ œœ œ œ

etc.

# œ œ œ œœ œ œ œ & # c œœ œ œ œ œœ œ œ œ œœ œ œ œœ œ

etc.

Tonic EXERCISE No. 2 œœ œ & c œœ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ 5 5 1 4 3 2 1

1 5

2 3 4 1 5

etc.

œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

EXERCISE No. 3 œœ œ & c œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1 2

3

2

1

3

4

5

1 2

œ œ œ œ ww œ ww

EXERCISE No. 4

5 4

5 4

etc.

œ &c œ œ œ œœ œœ œœœœ œœœœœœœœœœœ œœ 5 1

etc.

1 5

2

3

4

4

3

2

5 1

etc.

1 5

English Translation of Le Piano | 93

MODULATING EXERCISES WITH HELD NOTES This exercise can be worked on hands separately while using chords from the modulation formula (page 12) in the accompanying hand. Lift up the fingers well above all the fourth finger after the holding of the third. Play staccato to start.

> > > > > > > > > > > > & c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ LH RH

5

4

3

2

1

2

3

4

1

2

3

4

5

3

2

1

> > > > > > > > > > > > > > & œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ bœ bœ bœ œ bœ œ 4

5

etc.

> > > > > > > > > > > > #œ #œ #œ nœ œ œ œ œ œ œ œ œ œ #œ œ #œ #œ œ œ œ œ œ œ œ œ #œ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & nœ

> > > > > > > > > > > > n œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œœœ œœœ œ œ œ œœœ œœœœœœœœ w n œ œ œ œ œ œ œ œ & &c œ 5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4

3

2

1

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &c œ 5

4

3

2

etc.

1

VARIANT After working on this exercise, play it in a lively tempo and without any holding of notes, but always respecting the accents. p. 18 All of the following exercises are based upon the same modulating progression. We therefore only will provide the first measure for each exercise. Practice legato, then staccato. œ œ œ œ œ œ œ ’ ’ b wœ œ œ œ ’ ’’ b œwb œ œ b œ ’’ ’ b œw b œ b œ b œ ’ ’ ’ # n œw# œ # œ # œ ’ ’ ’ # n œw n œ &c w œ 1

3 1

etc.

3 5

3 1

4

2

5

3 5

2

4

1

œœ œ &c w œ ’’’ 2

b œw œ

œ œ œ ’ ’ ’ b œw œ &c w œ 3

etc.

3

5

2

4

3 5

1

4

2

etc.

3 1

2

4

3

5

3 5

4

2

3

1

œ œ œ œ œ œ ‘ b œwœ & c wœ œ 4

œ œ œ œ ’ ’’ &c w 5

3

5

3

1

2 4

6

&c

wœ œ œ œ 4 2

3 4

4 2

3

’ ’’

wœ b œ

etc.

4 2

œ œœ œ œ bœ & c wœ ’ ’ ’ w œ 7

2 4

5 2

1 4

4 2

œ œ œ œ œ œ œ œ ‘ œwb œ œ œ &c w 9

94  |  Part I: Marguerite Long’s Le Piano

etc.

œ œ œ œ œ œ bœ œ œ œœœœœœ & c wœ ‘ w 8

etc.

b œw œ

etc.

2 4

etc.

etc.

wœ œ œ &c œ ’ ’’ 10

3 4

œ œ œ œ b wœ œ œ œ wœ etc. & c œœœ ‘

wœ œ œ &c œ ’’’

wœ œ œ œ œ œ œ œ b wœ œ &c ‘

14

11

b wœ œ

3 2 1

etc.

3 2

12

1

3 4

3 5

13

etc.

3 2

œw œ œ œ &c ’ ’’

wœ b œ

4 2

2 4

wœ œ œ œ wœ œ œ b œ &c ’ ’’ 16

etc.

wœ œ œ œ

&c

3 4

15

3 1

’ ’’

4 3 3

2

b wœ œ wbœ œ

etc.

etc.

œœœ w œ bœ œ w & c œœœœ’ œ ’ œœœœ’ œ ’

17

4 2

etc.

2 4

4 1

etc.

2 5

œœ wœ œ w bœ œ & c œ œ ’ œ œ ’ œ œ etc. 18

4 2

2 4

wœ œ œ &c œ ’’’ 19

b wœ œ

5 3

1 3

wœ œ & c œ œ ’’’ 20

etc.

5 3

1 3

b wœ œ

wœ œ & c œ œ ’’’ 21

etc.

5 3

1 3

b wœ œ

wœ œ œ œ œ œ œ œ b wœ œ &c ‘ 22

etc.

5 3

etc.

1 3

Other formulas on the same principle. EXERCISE No. 1 & c œw œ œ œ œ œ ‘ 5 1

3

1 5

1a

&c

wœ œ œ œ œ œ ‘ wœ b œ œ 3

3

b wœ œ b œ b œ œ œ ‘

3

2 1

4 5

5 1

œw œ b œ œ œ œ ‘ 3

3

3

1 5

1b

etc.

3

&c

3

5 1

bœ b wb œ œ b œ œ œ ‘

wœ œ œ œ œ œ ‘ b wœ œ œ 3

3

# # œw# œ n œ # œ œ œ ‘ 3

3

1 5

3 1

3

3

3

3

etc.

& c wœ œ œ œ œ œ ‘ wœ œ b œ 4 1

3

3

2

5 1

1 5

5 1

3

3

1 5

EXERCISE No. 2 This exercise and the following are excellent as preparation for double notes. & 42 œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ b œ œ œœ œ œb œœ œ œ œœ œ œ b œœ b œ œb œœ œ œ 3 5

2 4

5 3

1 3

3 1

2 4

3 1

VARIANT

etc.

3 5

& 42 œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ œ œ œœ œ œ œœ 3 5

4 2

2 4

5 3

1 3

4 2

etc.

2 4

EXERCISE No. 3 & 42 œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ œ œ œœ œ œ œœ œ œ œœ œ œ b b œœ œ œ b œœ œ œ œœ œ œ œœ œ œ b œœ b œ œ b œœ œ œ 5 3

1 3

4 2

2 4

3 1

3 5

4 2

2 4

1 3

etc.

3

& c w œ œ œ œ œ ‘ w œ bœ œ œ

4 2

3

1c

1d

3 1

# n wœ # œ œ

etc.

3

etc.

etc.

2 & 4 œœ œ œ œœ œ œ œ œ œ œœ œ œ b œœ œ œ œœ œ œ œ œ œ 5 3

VARIANT

4 2

1 3

3 1

2 4

4 2

etc.

2 4

3 5

p. 19 MODULATING EXERCISE WITH TWO HELD NOTES For strength and independence of the fourth and fifth fingers and the extension between the third and the fourth fingers. Small hands must study them with prudence and, if need be, let go of the held notes, especially while descending. 3 œ œ œ œ bœ œ b œ b œ b œ œ œ ’ # œ # œ œ # œ ’ n œ˙ n œ œ n œ œ œ œ n œ & 2 œ˙˙ œ œ œ œ œ b œ˙˙ œ œ œ œ œ b œ˙˙ œ œ œ œ b ˙˙ # n ˙˙ ˙ 4

5

4

4

3

5

3

5

3

5

2 1

n n ˙˙n œ ? 32 œ˙˙ œ œ œ œ œ œ œ b ˙˙œ œ œ œ œ œ œ œb b œ˙˙b œ œ œ œ œ œ œ b b ˙˙œ b œ œ œ n # ˙˙ # œ œ nœ ’ # œ œ #œ ’ œ œ œ œ œ 1 2

4

3

4

4

5

3

5

5

3

3

œ ’ ’ ’ b œ˙ b œ œ œ œ œ œ n œ b b œ˙ œ œ œ ’ ’ ’ # œ n œ œ œ œ œ # œ œ˙ # œ œ # œ ’ ˙’ ’ œ˙ n œ œ œ œ œ œ œ & # œ˙˙ œ # œ n ˙˙ ˙ ˙ b ˙˙ n # ˙˙ ‹ œ #˙ n˙ ˙ 3

5

b ˙˙n œ b b ˙˙b œ ? # œ˙˙ œ œ # œ n ˙˙ œ n œ b b ˙˙œ œ œ œ b b ˙˙ n # n œ˙˙n œ œ ‹ œ œ œ œ # œ # ˙˙œ # œ œ # œ n ˙˙ œ œœœœœœ ’ ’ ’ œ œœœ œ ’ ’’ ’’’ 5

3

œ œ œ œ ’ ˙’ ’ b ˙œ b œ œ œ œ œ œ b œ b b b ˙˙œ b œ œ œ ’# # œ˙ # œ œ # œ ’ n ˙œ n œ œ n œ œ œ œ n œ ˙˙œ œ œ # œ ’ b ˙˙’ ’ b œ˙˙ b œ œ œ œ œ œ b œ b˙ n ˙ ˙ ˙ & ˙˙ b˙ ˙ ˙ b b ˙œ˙b œ œ œ œ œ b œ ˙ ˙ b b ˙˙ #˙ n n ˙˙n œ ? œ˙ œ œ œ ’b ˙’ ’ œ b œ œ œ œ œ œ b œ b b ˙œ b œ œ œ n # œ˙ # œ œ # œ œ œ œ œ œ œ n œ œ˙ œ œ # œ b ˙ #œ ’ ’ ’’’ œ œ bœ œ bœ b b œ˙˙ b œ œ œ ’b ˙˙’ ’ n n # ˙œ˙ n œ œ ‹ œ œ œ œ n œ # œ˙˙ œ œ # œ ’n ’ ˙˙ ’ œ˙˙ b œ œ œ œ œ œ b œ˙˙ œ œ ’ b ˙˙’ ’ b œ˙˙ œ œ œ œ & b ˙˙ b ˙˙ b ˙˙ b b ˙œ˙b œ œ œ œ œ œ b œ b ˙˙ n n ˙˙ # ˙˙ n ˙˙ œ ˙˙ œ ? b œ bœ œ œ ’ ’ ’ # œ nœ œ ‹œ œ œ œ nœ œ œ œ #œ ’ ’ ’ œ bœ œ #œ œ œ œ bœ œ œ ’ ’’ &

# # ˙˙ n ˙˙ n ˙œ˙n œ œ œ œ œ œ œ ? œ #œ œ #œ ’ ’’

&

œ˙ n œ œ œ ’ ’’ œ b œ œ œ œ œ œ b œ b b œ˙ b œ œ œ ’# # œ˙ # œ œ # œ ’n œ˙ n œ œ œ œ œ œ œ ˙ ˙ ˙ b ˙˙ b ˙˙ n ˙

œ # œ œ # œ ’ ˙’ ’ œ˙ n œ œ œ œ œ œ n œ # # ˙˙ n˙ ˙ &

b˙ ˙˙ œ ˙ b b ˙˙b œ #˙ n n ˙˙ œ œ œ b˙ œ œ œ œ œ œ b œ b ˙œ b œ œ œ n # ˙œ # œ œ # œ œ n œ œ œ œ œ œ œ ’ ’’ ’ ’

’ #œ nœ œ ‹œ œ œ œ #œ œ œ œ ’ ’ ’ œ b œ œ œ œ œ œ œ b b œ˙ œ œ œ ’ ’ ˙ b ˙˙ n # ˙˙ # ˙˙ # œ n ˙˙ b ˙˙

3

1

5

3

œ˙ œ œ # œ ’ œ˙ # œ œ œ ’# œ˙ # œ œ œ œ œ œ # œ ˙ ˙ # ˙

2

& # œ˙˙ œ œ # œ n ˙˙ b b œ˙˙b œ œ œ œ œ œ œ b b ˙˙œ œ œ œ b ˙˙ n # n œ˙˙n œ œ ‹ œ œ œ œ # œ ? ’’’ ’ ’’ 96  |  Part I: Marguerite Long’s Le Piano

œ˙ œ œ # œ ’ œ˙ # œ œ œ ’# œ˙ œ œ œ œ œ œ # œ ˙ ˙ # ˙

4 5

1

3

p. 20 # œ œ œ ’œ # œ œ œ ’n b œ˙ œ œ n œ œ œ œ n œ b œ˙ b œ œ # œ ’œ˙ n œ œ œ ’# œ˙ œ œ œ œ œ œ n œ # ˙œ œ œ # œ ’# œ˙ # œ œ œ ’n b œ˙ b œ œ n œ œ œ œ b œ # ˙˙ ‹ œ # ˙˙ n˙ ˙ ˙ ˙ ˙ ˙ b˙ 3

&

5

3

# œ œ œ ‹ œ ’# œ˙ # œ œ œ ’n b œ˙ œ œ n œ œ œ œ n œ b œ˙ b œ œ # œ ’ œ˙ n œ œ œ ’# œ˙ œ œ œ œ œ œ n œ # œ˙ œ œ # œ ’# œ˙ # œ œ œ ’n b œ˙ b œ œ n œ œ œ œ b œ ˙ ? # ˙˙ ˙ n˙ ˙ ˙ ˙ b˙ ˙ 1

3

œ b œ œ œ ’œ˙ n œ œ œ ’ œ œ œ œ œ œ œ n œ œ˙ œ œ # œ ’ œ # œ œ œ ’œ œ œ œ œ œ œ # œ # œ œ œ ‹ œ ’œ # œ œ œ ’b œ œ œ n œ œ œ œ n œ # ˙˙ # ˙˙ # # ˙˙ b b ˙˙ ˙ # ˙˙ n n ˙˙ ˙ # # ˙˙ & œ b œ œ œ ’œ˙ n œ œ œ ’ œ œ œ œ œ œ œ n œ œ˙ œ œ # œ ’œ # œ œ œ ’œ œ œ œ œ œ œ # œ # œ œ œ ‹ œ ’œ # œ œ œ ’b œ œ œ n œ œ œ œ n œ ? b b ˙˙ # ˙˙ # ˙˙ # # ˙˙ ˙ # ˙˙ n n ˙˙ ˙ # # ˙˙ œ˙ b œ œ # œ ’ œ˙ n œ œ œ ’# œ˙ œ œ œ œ œ œ # œ # œ˙ œ œ ‹ œ ’# œ˙ # œ œ œ ’n b œ˙ b œ œ n œ œ œ œ n œ b œ˙ b œ œ # œ ’ œ˙ n œ œ œ ’ œ œ œ œ œ œ œ n œ ˙ # ˙˙ n ˙ ˙ ˙ b˙ b˙ ˙ & ˙ ? ˙˙œ b œ œ # œ ’ œ˙˙ n œ œ œ ’# œ˙ œ œ œ œ œ œ # œ # œ˙˙ œ œ ‹ œ ’# œ˙ # œ œ œ ’n b œ˙ b œ œ n œ œ œ œ n œ b b œ˙˙ b œ œ # œ ’ œ˙ n œ œ œ ’# œ˙ œ œ œ œ œ œ n œ n ˙ ˙ b˙ b˙ ˙ # œ œ œ # œ ’ # œ˙ # œ œ œ ’ œ œ œ œ œ œ œ # œ # # œ˙ # œ œ ‹ œ ’ n n œ˙ n œ œ n œ ’ œ œ œ œ œ œ œ n œ ˙ b˙ & ˙˙ # # ˙˙ # ˙ n ˙˙

ww ww

? # œ˙ œ œ # œ ’ # œ˙ # œ œ œ ’ œ œ œ œ œ œ œ # œ # # ˙œ # œ œ ‹ œ ’ n n œ˙ n œ œ n œ ’ œ œ œ œ œ œ œ œ w ˙˙ ˙ ˙ b˙ # # ˙˙ # ˙ ww

One can also play this exercise faster and more lightly by lifting up the held notes after having played them. Ex.

& 32 œœœ ≈œ R r ? 3 œœœ ≈œ 2

œ ‰ ‰ œ

œ œ œ œ œ œœ œ bœ ≈ Œ R r Œ œœ ≈œ b œ œ œ œ œ œ

œ ‰ ‰ œ

œ œ œ œ œ b œœ b œ œ œ ≈‰ Œ R r Œ b b œœœb ≈œ ‰œ œ œ œ œ œ

œ œ œ œ bœ Œ Œ œ œ œ œ bœ

bœ b b œœœ R ≈ r≈ b b œœœ b œ

œ œ œ œ œ œ # # œœ # œ œ # œ nœ ≈ ‰ ‰ Œ R r≈‰ ‰ Œ œ œ œ œ œ œ n # # œœœ # œ œ # œ

œœœœ Œ Œ œœœœ

etc.

English Translation of Le Piano | 97

EXERCISE OF BRAHMS FOR EXTENSION OF THE HAND WITH A SINGLE HELD NOTE Work slowly and mezzo-forte, legato and marking the accents, then with dynamic shading from pp to mf in a faster tempo. œw . œw . œ œ œ œœ œ œœ œ œ 3 œw . > > > > > > >> > & 2 œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 œw . œ œ >œ >œ œ œ >œ# >œ œ œ >œ >œ œ œ>> œ œ œ œ>œ œ œ œw . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw . œ œ œ # œ œ œ œ œ œ œ œ 2 &

œw .

3 4

3

3 4

3

A

4

B

3 4

C

3 4

4

E œw œ œ œœ œ œ œ œ œ œœ œ œœ œ œ .œ œ # œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ D

œ œ œœ œ œ œ œ œœ œ œ œ œ œ œ œ œ ? œw . œ b œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œw . # œ œ œ # œ œ œ œ œ œ œ œ & œw . # œ œ œ œ œGœ œ œ œ œ œ œw . œ œ œ œ œ Hœ œ œ œ œ œ œ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ & œ

G

& œ œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw œ œ œ œ œ œ œ# œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œw . .

œw . # œ œ œ œ œFœ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œw . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

F

E

D

C

B

.. œœ Œ ∑ œ œ .. œœ Œ ∑

When one has this exercise learned one can play it lightly and quickly without the held note. p. 21 REPEATED NOTES EXERCISE No. 1 _ Two by two _ With the wrist and the arm very supple. Give a light accent of the finger on the first of the two slurred notes. ?RH c œ œ œ œ œ œ œ œ œ œ œ > LH > > > > > 1

5

2

4

1

5

2

1

2

4

5

4

etc.

&

EXERCISE No. 2

œœœœ w

> >

œœœ w ? c œ # œ œ œ œ # œ œ œ œ œ œ etc. & # œ > > > > > > > > 1

5

2

4

1

5

2

4

1

5

2

4

œœœœœœœœ œ œœ > > > > > > 2

4

1

2

5

4

1

2

5

4

1

5

œ œ œ bœ œ œ œ bœ bœ œ œ > > > > > > 2

4

1

5

etc.

2

1

2

1

4

5

4

5

etc.

? œœ w > ? bœ œ w >

Work on these two exercises with all of the fingerings indicated below. Right hand: 1 2 1 2 1 2 etc. Left hand: 5 4 5 4 5 4 etc. 2 3 2 3……. 4 3 4 3……. 3 4………. 3 2………. 4 5………. 2 1………. 1 3………. 5 3………. 2 4………. 4 2………. 98  |  Part I: Marguerite Long’s Le Piano

3 5………. 3 1………. 2 1………. 1 2………. 3 1………. 1 3………. 4 1………. 1 4………. 5 1………. 1 5………. EXERCISE No. 3 _ Repeated notes _ Series of exercises to be worked on over several octaves and while ascending and descending. RH

&œœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœœ LH

2

1

2

1

2

1

2

1

2

2

1

2

1

2

1

2

1

2

etc.

1

EXERCISE No. 4 1

&c 3

5 4 3 2

4 3 2 1

5 4 3 2

4 3 2 1

2 3 4 5

1 2 3 4

2 3 4 5

1 2 3 4

œ œ œ œ œ œ œ œ œ œ œ

2

etc.

&c

& c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœ 5 4

4 5

4 3

3 4

3 2

2 3

5 4 3

4 3 2

3 2 1

5 4 3

4 3 2

3 2 1

3 4 5

2 3 4

1 2 3

3 4 5

2 3 4

1 2 3

œœœœœœœœœœœœ

œœœœ

etc.

4

& c œ œ œ œ œ œœœœœœœœœœœœœœœ œœœœœœœ 5 5 5 5

2 5 4 3 2 1 4 3 2 1

5

etc.

1 4 3 2 1 2 5 4 3 2

4

3

2

1 5

5

5

4

3

2

1

etc.

5

EXERCISE No. 5 _ Work with the same fingerings and the same rhythmic formulas as for the preceding exercise. 5 4 3 2

4 3 2 1

2 3 4 5

1 2 3 4

& 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 2

1

2 3

1

etc.

EXERCISE No. 6 _ Same remark as for the preceding exercise. Work on the five formulas indicated for exercises No. 3 and 4. 5 4 3 2

4 3 2 1

2 3 4 5

1 2 3 4

& c œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ #œ 2

1

etc.

English Translation of Le Piano | 99

p. 22 EXERCISE No. 7 &c

2

1

œœ > ? c www & œ œ ? ww w

œ

œ 5

1

2

1

œ >œ œ

œœ œ

œ

œ 5

œ

1

œ >œ œ

œ œœ

œ

œ >œ œ

œ

œ œœ

œ

œ œœ >

œ

œœœ

ww w

œ

bœ œ

bœ

œ

œœœ

œœœ

œ

œœ

œ

œ

œ

œœœ

œœœ

œ

œœœ

œ

œ

ww w

œ bœ œ

b b www

œ

bœ

œ

œ œ œ

œ bœ œ

bœ

bœ œ

œ

bœ

b b www

œ

in all keys.

etc.

VARIANTS 5

3

? c www 2

&c

? c www

www

4

3

2

> œ

1

5 1

> œ

œœœ œœœ œœœ œœœ 1

2

1

5

1

2

1

> œ ww w

www

œœœ

> &c œ 4

etc.

> 6 > 6 > 6 > 6 > 6 œ œ œ œ & c œœ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ ? c www

4

3

2

1

5 1 4 3 2 1

100  |  Part I: Marguerite Long’s Le Piano

www

> œ

5

5

> œ

5

> œ

5

œ œ œ œ œœœœ œœœœ œœœœ

5 1

? c www

etc.

3

5

5 1

etc.

6

œ

4 3 2 1 5 1

> œ

5

www

6

6

6

œ

5

œ

œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœ œ

3

5

1 5 1 3 2 1 5 1

6

? c www > c & œ

2

5

5

5

5

5

5

5

œ

œ

œ œ œ œ œ & c œ œ œ œ œ œœœœœœœœ œœœœ œ œœœ œœœœ œœœœ œœœœ œ œœœ œœœœ œ 1

etc.

2

1

5 1 3 2 1

> œ ww w

5

œœœœ

etc.

This exercise and its variants must also be work on with the left hand. Ex.

ww &c w

ww w

ww w

ww w

œ œ œ œ œ œ œ œ œ œœ œœœ œ œœ œ ? c œœ œœœ œœœ œœœ œ œœ œœœ œœœ œ œ œœ œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 1 5 1 2 1 5 1

b ww &bw

? bœ œ

œ bœ œ

bœ

œ œ œ œ bœ œ œ bœ œ bœ

in all keys.

EXERCISE No. 8 Modulating exercise œ œ œ œ œ & 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2

1

5

2

1

1

5

1

? 3 ˙˙ .. 4 œ

& œœ

˙˙ . .

bœ œœœœœ bœ œ œ

? ˙˙˙ ...

œ œ

œ

b b ˙˙ .. b˙.

œ bœ œ

bœ

œ bœ œ

bœ

œ œ œ

œ

˙˙ .. ˙.

œ œ

b ˙˙˙ ...

œ

œ bœ œ

bœ œ bœ œ bœ œ bœ œ œ

bœ

œ œ œ

bœ œ

. b b ˙˙ .

bœ

œ œ

œ

œ

etc.

VARIANTS 1

& 43

œ œœœ œ œ œ œ œ œœœ œ œ œ œ œœœœ œ œ œ œ œ 5 œœœ œ 5 œ œ œ œ bœ œ 5 5 5 3

2

5

? 3 ˙˙ .. 4 2

3 &4

œ

1 5 1

œ

3

˙˙ . .

b ˙˙˙ ...

œ œœœœœœ œ œ œ œ œ œœ 6 œ œ œ œ œ œ œ œ 6œ œ 6 4

3

2

1

6

? 43 ˙˙ ..

œ 5

1

4

etc.

œ

˙˙ . .

Same work for the left hand. Ex. ˙˙ .. ˙˙˙ .. b ˙˙˙ ... . & 43 ˙ .

etc.

? 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ bœ œ œ 2

1

5

1

etc.

2

English Translation of Le Piano | 101

p. 23 TRILLS Work first with the hands separately. We advise to remove the held notes from the thirty-second notes. One can use metronome marking of quarter note = 72. In the trill, the regularity is more important than the speed. EXERCISE No. 1 r wwwœ œ œ œ wwœwœ œ œ wwœwœ œ œ œ œ wwœwœ œ œ wwœwœ œ œ œ œ œœœœœ œ≈ œ œ œ‰ œ œ Œ Ó œ œ œ œ œ œ œ ∑œ œ œ œ œ ‘ &c ’’ ’’’ ’’’ ’’’ ’’’ 5 4 3

1 2 3

1

2

1

2

5

4

5

4

3

3

6

8

12

Do the same work for each finger. Ex. ww œ œ &c w œ 2

4

wwwœ œ œ œ

œ

3

3

wœ œ œ & c ww 4

3

etc.

3

wwwœ œ œ œ

œ

2

etc.

wwœ œ œ &c w 4

5

2

1

œ

wwwœ œ œ œ

etc.

The same exercise must be played on all the positions hereafter, while playing each finger 1 2 _ 2 3 etc. &c

# # # www# œ # œ 1

5

# ww & c # w œ #œ

2

1

etc.

4

b ww & c w bœ

2

1

etc.

4

5

5

œ 2

etc.

4

&c

b www œ b œ 1

2

etc.

4

5

&c

# www # œ

œ

1

2

etc.

4

5

On the same principles, play the other fingerings which follow. w &c wœ 5 1

1 5

2

4

œ

1

5

etc.

1 5

2

w & c #œ œ 3

3

w bœ &c wœ 5 1

4

etc.

w œ & c w #œ 5 1

4

2

etc.

1 5

2

4

w bœ &c œ 3

5

5

5 3

2

5

œ

3

1

etc.

& c w #œ #œ 1

etc.

2

4

œ &c w

3

1

4

2

etc.

1

4

4

etc.

2

#œ œ &c w 3

5

3

1

etc.

&c

wœ œ 5

1

etc.

1

3

5

#œ #œ &c w 3

5

3

1

w & c #œ #œ 5

3

1

etc.

1

3

5

3

#œ #œ &c w 3

5

3

1

The following two fingerings present great advantages for certain hands. e For rapid and light trills (fingered after Thalberg) _ second finger on the first note of the beat. &œœœœœœœœœœœœœœœœœœœœœœœœ 2

3

1

3

2

3

1

3

2

3

1

3

2

3

1

3

2

12

f

For loud and slower trills _ thumb on the first note of the beat.

&œœœœœœœœœœœœœœœœœœœœœœœœ 1

3

2

etc.

12

3

1

3

2

3

1

3

2

3

1

3

2

3

1

12

102  |  Part I: Marguerite Long’s Le Piano

12

etc.

etc.

etc.

EXERCISE No. 2 Work first on the fingering above and then the fingering below. & 42 œ œ œ œ œ œ œ œ ’ œ œ œ œ œ œ œ œ ’ 1 2

1 2

1 3

1 3

? 2 ˙˙˙ 4 &

b ˙˙˙

9

9

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ bœ œ œ œ œ œ œ ’ 1

2

1

3

b b ˙˙ b˙

’ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ nœ nœ œ œ œ œ œ œ 2

3

2

4

? n n ˙˙ n˙

3

2

1

2

3

4

4

2

1

2

3

5

2 1

2

1

2

3

3 1

2

1

2

4

b ˙˙

œœœœœœœœ ’ 3 4

4

3

5

2

3

2

4

b b b ˙˙˙

9

4

3

2

3

5

3

2

3

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 5

n ˙˙˙

# ˙˙

3

bœ bœ œ œ œ œ œ œ ’

b ˙˙ b˙

p. 24 & bœ œ œ œ œ œ œ œ ’ 4 5

1 3

? b ˙˙

bœ œ œ œ œ œ œ œ ’

#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ ’ œ #œ œ œ œ œ œ œ ’

4 5

4

b b b ˙˙˙

5

9

# n ˙˙˙

2 3

& œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’ 9

? b ˙˙˙

3

4

1

3

& #œ #œ œ œ œ œ œ œ ’ ? # # ˙˙

2

1

1

2

3 5

˙˙

1 3

? # ˙˙

n # # ˙˙˙

2

1

1

2

2

4

n ˙˙˙

# ˙˙

œœœœœœœœ ’

9

3

4

1

2

1

2

3

5

b ˙˙

9

˙ # # ˙˙

4 5

n ˙˙˙

& #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ 1 2

4

n # ˙˙

˙˙

bœ bœ œ œ œ œ œ œ ’

9

5

5

1

2

2

1

2

3

œœœœœœœœ ’

b ˙˙˙

9

˙ n n ˙˙

3 4

2 4

b ˙˙

œ #œ œ œ œ œ œ œ ’

n # ˙˙˙

2

2

1

2

3

#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ

b b b ˙˙˙

b ˙˙ ˙

œ #œ œ œ œ œ œ œ ’ 3

2 4

2 1

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ’

œœœœœœœœ ’

9

9

1

#œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ

b ˙˙˙

n ˙˙ ˙

2 3

n˙ ? # # ˙˙

4

2 3

b˙ ? b b ˙˙

& œœœœœœœœ ’

3

#œ #œ œ œ œ œ œ œ ’ #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’

& œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ ’

2 3

5 4

bœ œ œ œ œ œ œ œ ’

b b ˙˙˙

3 4

œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ 5

n ˙˙ ˙

2 3

˙˙ 5

p. 25 EXERCISE No. 2 bis Same observation as for No. 2 & ˙˙ ˙

b ˙˙˙

? œœœœœœœœ ’

b bb ˙˙˙

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ bœ bœ œ œ œ œ œ œ ’

œœœœœœœœ ’

5 4

5 4

5 3

5 3

& n n ˙˙ n˙

5

4

5

3

9

? # œ n œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ œ n œ n œ œ œ œ œ œ œ œ ’ 3

4

2

& b ˙˙

? bœ œ œ œ œ œ œ œ ’

3

4

5

4

4

5

4

3

2

3

1

b b b ˙˙˙

& b ˙˙˙

2

3

2

5

3

4

’

4 3

’

3

2

3

1

3

4

2

9

2

3

4

3

4

3

n ˙˙˙

9

1 2

3 2

5

4

3

1

5

4

4

2

b ˙˙˙

œœœœœœœœ

˙ # # ˙˙

9 #œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ

’

104  |  Part I: Marguerite Long’s Le Piano

4 3

4 5

b b b ˙˙˙

bœ bœ œ œ œ œ œ œ

2 1

4 2

5

4

4

3

b ˙˙˙

˙˙

# œ n œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ œ œ œ œ œ œ œ œ œ œ

9 ? œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ ’ 5 4

4

œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

3 1

n ˙˙ ˙

b ˙˙

3 2

bœ bœ œ œ œ œ œ œ ’

b ˙˙ b˙

3 2

3 1

#œ #œ œ œ œ œ œ œ

& b bb ˙˙˙

2

4 5

n # # ˙˙˙

& # # ˙˙

? #œ #œ œ œ œ œ œ œ

5

4

œœœœœœœœ ’

1

? œ n œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ œ œ œ œ œ œ œ œ œ œ ’ 5

4 5

3

# ˙˙

˙˙

4

3 5

4

#œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ œ ’ œ #œ œ œ œ œ œ œ ’

2 1

5 3

4 5

# nn ˙˙˙

bœ œ œ œ œ œ œ œ ’

2 1

4 5

n ˙˙˙

# ˙˙

4

b b b ˙˙˙

b ˙˙

’

œœœœœœœœ

’

n n ˙˙ n˙ ’

# œ n œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ # œ œ 4

5

4

3

p. 26 n ˙˙˙

& # ˙˙

? œœœœœœœœ 4 3

b ˙˙ ˙

œœœœœœœœ

’

n˙ & # # ˙˙

9 ? #œ nœ œ œ œ œ œ œ œ œ œ œ œ œ œ #œ œ

œ b œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ œ œ b œ œ œ œ œ œ œ œ

’

œ #œ œ œ œ œ œ œ 2

3 2

5 4

n # ˙˙˙

# ˙˙

4 3

˙ b b ˙˙

b ˙˙

1

n ˙˙ ˙

œ #œ œ œ œ œ œ œ

’

bœ œ œ œ œ œ œ œ

’

’ ˙˙ ˙

œ n œ œ œ œ œ œ œ œ œ œ œ œ9 œ œ œ œ ˙ 3 2

’

1

MORDANTS EXERCISE No. 1 &c &

œœœ 5 4 5

œ œœœ œ œ 1 2 1

1 2 1

5 4 5

1

2 1

5

5

b œ b œ4 œ

bœ bœ œ

œ œ bœ

œ œ œ

œ œ bœ

œœœ 5 4 5

œ œ œ œ œ bœ 1 2 1

1 2 1

5 4 5

bœ bœ œ

bœ bœ œ

œ bœ bœ

œ bœ œ

œ bœ bœ

œ œ bœ œ œ bœ 1

2 1

5

4 5

œ #œ œ

œ nœ #œ

#œ nœ œ

bœ œ œ

œ bœ bœ

œ œ œ

œœœ

5 4 5

1 2 1

œ

etc.

EXERCISE No. 2 &c

1 2 1 2

œœœœ 5 4 5 4

œœœœ œ œ 5 4 5 4

œ œ 3

4

3

2

1 2 1

œœœœ

1 2 1 2

5 4 5

œ œ œ œ bœ œ 5 4 5

bœ œ

1

2

5

4

œ bœ œ œ

1 2 1

bœ œ œ œ bœ bœ 5 4

bœ œ

b œ b œ œ œ etc. 1

1 2

5

EXERCISE No. 3 & c œ œœœœ œ 1

œ œœœœ œ

2 3 2 3

4 3 4 3

5

5

3 4 3

1

3 2 3

œ œ bœ œ œ œ

œ œ bœ œ œ œ

œ œ

œ œ bœ œ œ œ

1

5

5

3

1

3

bœ œ bœ œ œ bœ

œ bœ bœ œ œ œ

b œ b œ œ œ œ etc. 1

5

EXERCISE No. 4 & c œ œœœ œ œ

œœœœ œ œ 5 4 3 4

1 2 3 2

1 2 3 2

3 4 5 4

1 2

3 2

4

4

œ œ b œ3 œ

EXERCISE No. 5 & c œ œ œ œ œ œœœ 1 2 1 2

5 4 5 4

4

1 2 1 2

2

3 4

2

3 2

2

3 2

4

4

œ b œ b œ3 œ

bœ œ bœ œ œ bœ

œ œ

4

3 4

2

3 2

bœ bœ œ œ 1

2 3 2

5

4 3 4

etc.

EXERCISE No. 6

œœœœ œœœœ 5 4 5 4

4

œ œ œ œ b œetc.

2 3

1

4 3

5

& c œ œ œ œ œ œœœ 1 2 3 2

4 5 4

3 4 5 4

2 1 2

œ œœœ œœ œ œ 5 4 3 4 1 2 3 2

2 1 2

4 5 4

œ œ b œ œ œetc. 1

5

EXERCISE No. 7 & 43

œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ3 œ2 1 œ2 1 œ œ œ œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ b œ œ œ œ œ b œ œ œ œ œ œ œ3 œ2 1 œ2 1 œ b œ œ œ b œ œ œ œ3 b œ4 b œ œ4 œ œ œ œ œ 4 4 4 5 etc. 5 2 1 2 1

5

5

3

4 5 4 5

2

1

3

4

5 4 5

3

2

1 2 1

5

English Translation of Le Piano | 105

3 &4

EXERCISE No. 8 œ œ œ œ œ œœœœœœ œ 2 4

1 2 1 2

5 4 5 4

œœœœœœœœœ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ œ b œ œ œ œ œ œ œ œ œ b œ œ œ b œ œ œ œ œ œ œ œ2 1 œ œ b œ œ œ œ œ b œ œ œ b œ b œ4 œ œ4 œ œ œ œ 1 5 5 etc. 4 4 5

2

1

1

5

5

4

5

2

1

2 1 2

p. 27 EXERCISE No. 9 after CZERNY C Maj. C# Maj. D Maj. Eb Maj. E Maj. w w 4 wœ œ œ œ œ œ œ œ œ œ œ œ .. .. # # # # # # # wœ œ œ œ œ œ œ œ œ œ œ œ .. .. # # wœ œ œ œ œ œ œ œ œ œ œ œ .. .. b b b œ œ œ œ œ œ œ œ œ œ œ œ .. .. # # # # œ œ &4 5

5

5

1

3

3

1

2

4

1

1

3

1 3

3

# ## # # b 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ .. .. # # # œ œ œ œ œ œ œ œ œ œ œ œ .. .. # œw œ œ œ œ œ œ œ œ œ œ œ .. .. b b œw œ œ œ œ œ œ œ w w 3

3

1 2 1

5

1 2 1

5

1 2

5

1

5

EXERCISE No. 10 after CZERNY C Maj. C# Maj. ˙œ œ œ œ ˙œ œ œ œ # # # # # . . # . . . # . . . 5

& 44

2

## # 4 & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. # # # # . . . . 1 3

2

4

3

2

4

3

3

etc.

1 2 1

D Maj.

˙œ œ œ .

˙œ œ œ œ ˙œ œ œ œ # # .. .. . . . .

5

## œ œ œ œ .. .. # # œ œ w

5

5

1

2

.. .. # # œ œ œ œ œ œ œ œ œ œ œ œ. œ œ œ œ . . .

œœœ

etc.

œ. œ œ œ

TRILLS WITH TERMINATIONS The following formulas must be worked on in all keys chromatically. C Major _ C# Major _ D Major _ Eb Major etc. 1

5

4

3

4

œ & 42 .. œœ œ œ œ œœ 4

1

5

2 3

3

2

œ œ ? 42 .. œœ œ œ œ œ 2

5

4

2

1

5

5

4 5

.. .. œœ œ œ œ œ œ œ œ œ œœœœœœœœ .. .. œ œ 7

2 œœœœœœ & 4 .. ˙ 4

2

1

7

5

5

œœœœœœœœœœ .. .. œ œ 5

4

1

5

œœ œ œ œ œ œ # œ .. .. # # # # # # 2

5

4

5

.. .. œœ œ

7

œœ œ .. ..

7

# .. .. # # # # # # œ˙ œ œ œ œ œ

œ œ œ œ œ œ œ œœ .. .. œ

œ œ œ œ œ œ œ œ œ œœ .. .. œ

œ œ œ œ œ œœ # .. .. # # # # # # œ

7

34 23

4 3 2 3 3 2 1 3

2 3

w ? c ww

9

5

# .. .. # # # # # # œœ œ œ œ œ œ œ

.. .. œ˙ œ œ œ œ œ œ œ œ œ

7

Ÿ~~~~~~~~~~~~~~ . œœœœœœœœœ w &c ˙ 3

9

.. .. œœ œ œ œ œ œ œ œ œ œ œ

.. .. œ˙ œ œ œ œ œ œ œ 4

œ œ ? 42 .. œœ œ œ œ œ

5

4 5

9

1 2

ww

4

9

4

9

34 23

106  |  Part I: Marguerite Long’s Le Piano

.. etc.

5

# # # # # # Ÿ~~~~~~~~~~~~~ œœœœœœœœœ w # ˙.

w # # # # # # ww #

5

etc.

4 3 2 3 2 1 3

9

1 2

ww

..

n n n # # Ÿ~~~~~~~~~~ n n ˙. 3 4 2 3

w n n n # # ww nn

etc.

4

w & c ww

# # # # # ww ## w

ww

Ÿ~~~~~~~~~~~~~~ œ œ 9 œ ˙. œ œ œ œœœ w

?c

2 1 3 2

1 2 3 2 2 3 4 3

n n n # ww nn# w

ww

Ÿ~~~~~~~~~~~~~ œ œ œ œ œ9 œ œ œ w œ #### ## ˙ . #

1 2

nn n ## nn

Ÿ~~~~~~~~~~ ˙

etc.

p. 28 TRILLS IN DOUBLE NOTES (1) (It is normal to classify trills in double notes after simple trills; but, in reality, the following exercise is a complement to the Chapter on double notes.) Like simple trills, trills in double notes must be worked on in progressive tempos _ See the exercise No. 1 (p. 23) We content ourselves to indicate six essential positions. 5 1 4 2

4 2 3 1

œœ

œœ œœ œœ

œœ b b œœ œœ œœ &c

œœ b b œœ œœ

1

œœ

œ &c œ 4

3 2

5 1

œœ

bœ œ œ œ & c œ bœ œ œ

b œœ b œœ œœ

#œ œ œ œ & c # œ #œ œ œ

# # œœ # œœ œœ

2

etc.

5

etc.

5 2

3 1

3 2

5 1

# œ œœ œœ œœ &c # œ

# # œœ œœ œœ

# œ # œœ œœ œœ &c # œ

# # œœ # œœ œœ

3

etc.

6

etc.

3 2

3 2

5 1

4 1

TRILLS ALTERNATED WITH BOTH HANDS (2) (2-Same observation as for trills in double notes. The alternating trills and especially the alternating trills in double notes are a complement to Chapter No. 4 “Playing from the Wrist.”) 1st. _ In simple notes For varying the work, refer to the positions indicated in the trill exercises (page 23) _ work in progressive tempos with dynamic nuances but always in rhythm. 3

& œœœœœœœœœœœœœœœœœœœœœœœ œ

etc.

3

Start also with the right hand. Ex. 3

&œœœœœœœœœœœœœœœœœœœœœœœœ

etc.

3

2nd. _ In double notes In Thirds 4 2

œ œœ œœ œœ œœ œœ œœ œœœœœœœœœœœ & œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ bœ œ œ œ œ œ œ œ œ œ œ 2 4

4 2

etc.

#œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ & œœœœœœœœœœœœ œœœœœœœœœœœœ

etc.

2 4

English Translation of Le Piano | 107

etc.

etc.

In Sixths 5 2

œœœœœœœœœœœœ œœœœœœœœœœœœ & #œ œ œ œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ

5 2

etc.

2 5

œ œ œ œ œ œ & œœ # œ œœ œ œœ œ œœ œ œœ œ œœ œ

etc.

2 5

In Octaves œ œ & œœœœœ œ œ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œœ œ

œ œ œœœ œ

etc.

bœ œ œ œ œ œ & œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

etc.

& ## œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ

etc.

End of Chapter I p. 29 CHAPTER II DOUBLE NOTES p. 30 The greatest difficulty of double notes is striking the two notes simultaneously. Before approaching scales in double notes and consequently the “passages” [of double notes], it is advisable to devote a lot of time to preparatory exercises including some of the exercises in the chapter of held notes. These exercises must be practiced without forcing either the sonority or the speed, and one must avoid curving the fingers to excess. For scales, the exercises of passage of the thumb will be long and slowly repeated with a great flexibility. The fingerings of the scales in thirds are innumerable _ it seems impossible to fix in advance those that are the best, which depends upon the hands and also the works in which one encounters them. Those that we indicated for work are those that we practice ourselves and which seem to us the simplest. The suppleness of the wrist being the essential condition of a good execution of double notes, one must not look for a rigorous immobility of the hand, but one must avoid the constant raising of the wrist. For the execution of sixths, the role of the wrist facilitating the back and forth movement of the hand is paramount. It is always a good idea to work each voice separately, as legato as possible, so that while playing the voices together the fingers give a different color to each if needed. We advise pianists wishing to further the study of double notes to consult the complete collection of Moszkowski “The Study of Double-Notes.” 108  |  Part I: Marguerite Long’s Le Piano

p. 31 DOUBLE NOTES PREPARATION FOR THIRDS EXERCISE No. 1 _ To work on also in C#. Respect the accents > > > > 4 >œ >œœ œœ >œœ .. .. >œœ œœ œœ œœ >œœ œœ œœ œœ .. .. >œœ œœ œœ >œœ œœ œœ œœ œœ œœ >œœ œœ œœ .. .. >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ .. ww &4 œ 1

5 3

4 2

3 1

3

3

3

3

3

3

3

3

? 4 >œœ >œœ >œœ >œœ .. .. >œœ œœ >œœ œœ >œœ œœ >œœ œœ .. .. >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ .. .. >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ .. ww 4 3 5

1 3

2 4

We only write the following formulas on one staff to remind that the fingerings above are for the right hand, those below are for the left hand and that one must play these last two octaves below the right hand. Legato

5 3

4 2

1 3

2 4

RH > œ >œœ >œœ >œœ . . >œœ œœ >œœ œœ >œœ œœ >œœ œœ . . >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ >œœ œœ œœ . . >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ >œœ œœ œœ œœ . ww . . . . . . . & 44 œ 3 1

2

LH

3 5

5 3

1 3

3

3

3

3

We draw attention to the difficulty of this exercise which resides in the continuity of the legato even when the two thirds are linked with a repeated note. One of the two notes of each third must always ensure the legato. We therefore advise the following preparatory exercise. ≈ ˙œ .. 5 3

3 1

œ .. & 44 ˙ RH LH

1 3

3 5

3 1 2 1

4 2 3 1

5 3 4 2

5 4 5 3

3 5 4 5

2 4 3 5

1 3 2 4

1 2 1 3

> > > >œ œœ œ œœ >œ œœ œ >œœ œ œœ ≈ .. .. >œœ œœ >œœ œœ .. .. >œœ œœ œœ œœ ’’ .. .. œ œ œ ’’ œ œ ’ ’ ’

≈ ˙œ ..

≈ œ˙ ..

3

5 3 4 2

5 4 5 3

1 3 2 4

1 2 1 3

3

RH œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . ww œ œ œœ œœ œœ œœ . . 5 œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . 4 œœ œœ3 œœ œœ œœ3 œœ . .4 . .4 . ‘ .. .. œ œ œ œ & 46 œ œ

3

LH

3 1 2 1

3 5 4 5

œ œ œœ œœ œœ œœ œœ œœ . . œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ . . 2 œœ œœ œœ œœ œœ œœ œœ œœ . ˙˙ . . . .4 . & 48 œ œ 4

RH

2 1

3 1

4 2

5 3

5 4

LH

4 5

3 5

2 4

1 3

1 2

5 3

EXERCISE No. 2 _ Work with quarter notes _ eighth notes and sixteenth notes. Then in all keys ascending chromatically C# major, D major, Eb maj. etc. &c

3 1

4 2

5 3

4 2

4 2

3 1

3 5

2 4

1 3

2 4

2 4

3 5

5 3

3 1

1 3

3 5

‘ œœ œœ ‘ œœ œœ ‘ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ etc.

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ ‘ œ œœ ‘ 3 1

4 2

4 2

5 3

4 2

3 1

5 3

3 5

2 4

2 4

1 3

2 4

3 5

1 3

etc.

5 3

4 2

3 1

4 2

1 3

2 4

3 5

2 4

œœ œœ ‘ œœ œœ ‘ ww

English Translation of Le Piano | 109

EXERCISE No. 3 _ This exercise is written on the same harmonic progression as the modulating exercise for five fingers. (page 12) 1

2 & 4 œœ œœ œœ œœ œœ œœ œœ œœ ? 42 ˙˙ 5 3

3 1

b œœ œœ œœ œœ œœ œœ œœ œœ b œœ b œœ œœ œœ b œœ œœ œœ œœ b œœ b b œœ œœ œœ b œœ œœ œœ œœ # œœ # # œœ œœ œœ # œœ œœ œœ œœ b˙ b˙ ˙ #˙ b˙ ˙ # ˙ b˙

2

2 & 4 ˙˙

b˙ b˙

˙˙

b˙ b˙

œœ n œœ œœ œœ n œœ œœ œœ œœ ˙ ˙

# œœ n # œœ œœ œœ n œœ œœ œœ œœ # œœ œœ ˙ ˙ ˙ ˙

etc.

˙ ˙

# # ˙˙

? 2 œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ b œœ b œœ œœ œœ b œœ œœ œœ œœ b œœ b b œœ œœ œœ b œœ œœ œœ œœ # œœ # # œœ œœ œœ # œœ œœ œœ œœ # œœ # œœ 4

etc.

˙ ˙

˙˙ ˙˙ ˙ ˙˙

œœ n œœ œœ œœ n œœ œœ œœ œœ ˙˙

3 2 5 4

3

& 43 œ œœ œœ œœ b œ œœ œœ œœ œ b œœ b œœ œœ b œœ b b œœ b œœ œœ œ œ œ bœ bœ

? 3 ˙˙ 4

b b ˙˙

4

& 43 ˙ ˙

bœ bœ

b b ˙˙

? 3 œœ œœ œœ œœ b œœ œœ œœ œœ œœ b œœ b œœ œœ b œœ b b œœ b œœ b œœ 4

etc.

EXERCISE No. 4 _ To work on in all keys. √ R.H. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ & c œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ L.H.

3 1

4 2

5 3

4 2

3 1

3 5

2 4

1 3

2 4

3 5

etc.

3 1

4 2

5 3

4 2

3 5

2 4

1 3

2 4

5 3

œœ œœ œ œœ œœ œ œ œ w œ œœœ w

etc.

1 3

etc.

EXERCISE No. 5 To transpose also in all keys C# major, D major, Eb major, etc. 4 2 3 1

5 3 4 2

4 2 3 1

5 3 4 2

2 4 3 5

1 3 2 4

2 4 3 5

1 3 2 4

RH œ œ œ œ œœ œœ œœ & c œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ LH etc.

1

2

& c œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ etc. L.H. R.H.

3 4 5 3 1 2 3 1

1 3 2 3 3 5 5 4

√œ œ œ œœ œ œ œ œœ œœ œœ œœ œœ œœ 5 3

5 3

1 3

1 3

5 3 4 2

5 3 4 2

4 2 3 1

1 3 2 4

1 3 2 4

2 4 3 5

√œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœœ 3

etc.

œœ œœ œœ œœ œœ œ ww œ

2 3 4 5 2 1 1 2 3 1

& c œœ œœ œœ œœ œœ œœ œœ œœœœ œœ L.H. R.H.

1 1 3 2 3 2 3 5 5 4

œœ œœ œœ œ œ œ œ œ œ œ œ œœ ww

etc.

√ œ œ œœ œ œ œ œœ œ œ œ œ œœ œœ œ œœ œœ œœ œœ

etc.

5 3

5 4 3 2 3 2 1 1

1 2

1 1 2 3 2 3 4 5

etc.

œœ œœ œœ œ ww œ

EXERCISE No. 6 _ The legato must be insured in the passage in thirds _ observe attentively the 4th beat of each measure. j 1 ˙ .œœ œ œœ œœ œœ ‰œ œ ww j‰ j‰ j‰ œ j j j ‰ ‰ ‰ œ œ œ // œ œ w & c ˙œœ .œœ œœ œœ œœœ œœ œœ œœ œœ˙ œœ. œœ œœ//œœœ œœ œœ œœ b ˙œœ .œœ œœ œœ œœœ œœ œœ œœ b ˙œœ b. œœ œœ œœ//œœœ œœ œœ œœ b b ˙œœ b. œœ œœ œœ œœœ œœ œœ œœ b b ˙œœ. b œœ œœ œœ œœœ œœ œœb œœ b b ˙œœ . // // // // œ œ œ œ œ ww ? c œ˙œ œœ œœ œœ //œœœ œœ œœ œœ œœ œ œœ œ //œœ œ œœ œœ b œ˙œ œœ œœ œœ //œœœ œœ œœ œœ b œœ œ œœ œ //œœ œ œœ œœ b b œ˙œ b. œœ œœ œœ //œœœ œœ œœ œœ b œœ b œ œœ œ //œœ œ œœ œœ b b œœ˙ . œ˙ .œœ œ œœ //œœJ œœ ‰œ œ w . J ‰ ˙ œ. œ œJ œ ‰ . J ‰ ˙ . œ œ œJ œ ‰ J ‰ b ˙b. œ œ œJ œ ‰ etc. 5 3 1

3 4 1 2

1 3 5

2 1 4 3

5 3 1

3 4 1 2

1 3 5

2 1 4 3

110  |  Part I: Marguerite Long’s Le Piano

Work on this exercise very legato without held notes, in eighth notes, slowly, respecting the accents indicated in our example below; this will ensure perfect continuity in the legato. &c

œœ œœ œœ > œœ >œœ œœ

œœ > ? c >œœ

RH

LH

œœ > >œœ

3 1

œœ œœ > œœ >œœ 1 3

3 1

œœ œœ œœ œœ > > œœ >œœ œ >œœ œ 4 2

2 4

1 3

3 1

œœ œœ > > œœ œœ

œœ œœ œœ b œ œœ œ œ œ > > > > > > œœ œœ œœ b œœ œœ œœ 1 3

4 2

3 1

1 3

2 4

œœ œœ

etc.

Do the same work for the following formula. 4 2 1

5 3

œ œ œ œ //œ œ œ œ & c ˙œ .œ œ œ œœ œ œ‰ œ J j ˙. œ ‰ ? c œœ œœ œœ œœ// œœ œœ œœ œœ 2

1 2 4

3 5

4 2

4 5 2 3

œœ œœ œœ œœ//œœ œœ œœ œœ ˙. œ ‰ J j ˙œ œ. œ œ œœ œ ‰œ œœ œ œ œ œ//œ œ œ 3 5

2 4

EXERCISE No. 7

b œœ œœ œœ œœ //œœ œœ œœ œœ b œœ˙ b. œœ œœ œœ //œœœ œœ œœ œœ b œœ b œœ œœ œœ //œœ œœ œœ œœ b b œœ˙. b œœ œœ œœ //œœœ œœ œœ bœœ b œœ ˙. œ ‰ œ ‰ J ‰ b ˙. J ‰ b ˙. J J j j j ‰ ˙. j ‰ b˙. ˙œ . œ œœ ‰œ ˙ . œœ ‰œ b ˙ . œ b œ œ œ œ œ œ œ œ œ b œ œ œ œ//œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œ b œ b œ œ œ//œ œœ œ œœ b œœbb œœ œœ œœ œœœ œœ œœ œœ b œœ // // 4 2

etc.

1 2 4

√ œœ˙ œœ œœ œœ//œœœ œœ œœ œœ . J ‰ √ j ˙œ .œ œ œ œœ œ ‰œ œœ œ œ œ œ// œ œ œ

& 23 ˙˙ œœ ≈ œœ ≈ œœ ≈ œœ ≈ b ˙˙ œœ ≈ b œœ ≈ œœ ≈ œœ ≈ b b ˙˙ œœ ≈b œœ ≈ œœ ≈ œœ ≈ b bb ˙˙ œœ ≈ b b œœ ≈ œœ ≈ œœ ≈ n # ## ˙˙œœ ≈ # n œœ ≈ 3 2

4 2

3 2

4 2

2 4

2 3

2 4

2 3

ww ww ww ww

etc.

EXERCISE No. 8 To be executed also in C# & c œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ etc. LH RH

4 2

5 3

4 2

5 1

2 4

1 3

2 4

1 5

4 2

2 4

œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œ œœ œ œ œ œ 4 2

2 4

etc.

œœ œœ œœ œœ œœ œœ œœ œ ww œ

EXERCISE No 9 _ Respect the two by two accentuation that must be absolutely the same in both directions. 1

œœ #œ œ œ bœ œ œ œ œœ œœ & 43 œœ œ œ œœ b œœ œ œ œœ b œœ œ œ œœ b œœ b œ œ œœ n # œœ # œ œ œœ n œœ œ œ œœ # œœ œ 5 5 2 4 4 2 1 1

? 43 ˙˙

2 1

bœ bœ

b b ˙˙

nœ nœ

˙˙

etc.

2

& 43 ˙ ˙ ? 43

bœ bœ

b b ˙˙

œœ œœ bœ œ œœ œ œœ œ œ œœ b œœ œ œ œœ b œœ œ œ œœ b œœ b œ œ œœ n # œœ # œ etc. 4 5

1 1 2 2

4 5

4 5

English Translation of Le Piano | 111

p. 33 SCALES IN THIRDS CHROMATIC MINOR THIRDS EXERCISE No. 1 _ This exercise can be also worked on without accompaniment by playing the passage hands together. √ 1 b œ n œ bœ bœ nœ nœ œ bœ nœ œ bœ bœ œ œ #œ nœ nœ bœ #œ œ nœ bœ œ œ b œ n œ b œ n œ nœ ? c œ bœ #œ nœ œ œ #œ #œ œ œ #œ #œ œ œ nœ #œ œ & 1

?c

3 1 4

2

3 2 4

1

1

3

4 1 5

2

3

2

4

1

3

2

1

4

1

2

3

1

4

2

3

5

1

4

2

3

1

4

2

3

1

etc.

w w

#œ nœ nœ bœ #œ œ #œ #œ nœ nœ #œ œ nœ nœ œ #œ w 5

2

4

ww etc.

œ bœ #œ nœ œ œ bœ bœ nœ nœ œ œ bœ #œ nœ œ œ #œ #œ œ œ #œ #œ #œ œ 2

ww

&

w w

ww

ww

w w

√ ww

4

bww bw

1

w w

?c

?

4 1 5

w w

?

&c

2

etc.

?

2

3

3

1

1

4

3

2 5 1

2

4

3

2

1 4

1 4 1

3

3

2

5

2

4

&

1 4

bœ bœ nœ nœ œ bœ œ œ #œ #œ nœ nœ #œ œ nœ bœ #œ œ #œ #œ nœ 5

1

3

2

4

1

3

1

4

2

etc.

3

1

4

2

5

ww

# œ œn œb œ# œ œ# œ # œn œ n œ# œ œn œ n œ œ #œ w 3

1

4

CHROMATIC SCALES IN MINOR THIRDS We give our example in one octave, it is well understood that one can work on scales in thirds over two or four octaves. 4 1

3 1

4 2

3 1

4 2

5 1

3 2

4 1

3 1

4 1

3 2

5 1

1 5

2 4

1 3

2 4

1 3

1 4

2 3

1 5

2 4

1 5

2 3

1 4

bœ 3 & 4 b œ n œ œœ # # œœ œœ # # œœ # œœ n b œœ # n œœ œœ # # œœ œœ œ œœ # # œœ n n œœ # œœ n b œœ # œœ n b œœ n n œœ # # œœ n n œœ œ b w œ # œ #œ w LH RH

3 1

4 2

5 1

3 2

2 4

1 3

1 4

2 3

4 2

3 1

4 2

3 1

1 3

2 4

1 3

2 4

4 1

3 2

5 1

4 2

3 1

1 5

2 3

1 4

1 3

2 4

We have always practiced the fingering indicated above, fingering that Chopin employed, we indicate below two others which for certain hands may appear easier. In any case we advise working on and knowing the first fingering. 1

5 2

3 1

4 2

3 1

4 2

5 1

4 2

5 2

3 1

5 1

4 2

5 1

1 5

2 4

1 3

2 5

2 4

1 5

2 4

1 5

2 4

1 5

2 4

2 5

bœ & 43 b œ n œ œœ # # œœ œœ # # œœ # œœ n b œœ # n œœ œœ # # œœ œœ œ œœ # # œœ n n œœ # œœ n b œœ # œœ n b œœ n n œœ # # œœ n n œœ œ b w œ # œ #œ w LH RH

3 1

4 2

5 1

4 2

2 4

1 3

1 5

2 4

4 2

3 1

5 2

4 2

1 3

2 4

1 3

2 4

112  |  Part I: Marguerite Long’s Le Piano

5 1

4 2

5 1

4 2

3 1

1 5

2 4

2 5

1 3

2 4

2

3 1 4 2

4 2 5 3

3 1

4 2

3 5

2 4

1 3

2 4

3 1

4 2

5 3

3 1

4 2

3 1

4 2

3 1

4 2

3 1

4 2

3 1

1 3

2 4

1 3

3 5

2 4

1 3

2 4

1 3

3 5

1 3

2 4

1 3

œ bœ œ 3 & 4 b œœ # n œœ œœ # # œœ œœ # # œœ # œœ n b œœ # n œœ œœ # # œœ œ œ œ # # œœ n n œœ # œœ n b œœ # œœ # # œœ n n œœ # œœ n n œœ # œœ b ww LH RH

4 2

3 1

5 3

4 2

2 4

3 5

1 3

2 4

3 1

4 2

3 1

4 2

3 1

1 3

2 4

1 3

2 4

3 5

EXERICSE No. 2 _ Work also on the scale with hands together. 1 œ ? 3 b œœ # n œœ œœ # # œœ œœ # # œœ # œœ n b œœ # n œœ œœ # # œœ œ 4 3 1

4 2

5 1

3 2

?3 4 w w

3 1

4 2

3 1

? # œœ

& bœ œ bœ œ œ b œ œœ ?

4 1

5 1

4 2

4 1

3 2

bœ œ b œœ # n œœ œœ # # œœ œœ œ œœ b b œœ œœ # # œœ n b œœ # œœ n b œœ œœ b b œœ œœ n œ b b œœ # n œœ œœ # # œœ œœ # # œœ # œ #œ

&

n b œœ # œœ n b œœ œœ b b œœ œœ # n œœ

3 1

3 1

ww

bw bw

œ #œ œ # œœ œœ # # œœ œ # œ # œ 4 2

5 1

3 2

4 1

3 2

5 1

5 1

4 1

3 2

w & 43 w

4 2

3 1

4 1

3 2

5 1

4 2

b b œœ n n œœ b œœ # n œœ

3 1

3 2

etc.

3 1

4 1

4 2

etc.

b b ww

ww

#w # w

2

3 1

œœ # # œœ œœ # # œœ

4 1

etc.

w w

4 2

bw bw

ww

œ bœ œ bœ œ # œ œ # œ # œœ n b œœ # n œœ œœ # # œœ œ œ œ b œ œœ # n œœ n b œœ # œœ n b œœ œœ b b œœ œœ # n œœ ?3 4 b œ n œ œ # œ œœ # # œœ # œœ n b œœ # n œœ œœ # # œœ œœ b œœ # n œœ œ # œ œ # œ œ# œ œ# œ bw & bw

2 4

1 3

1 4

2 3

1 5

2 4

2 4

1 3

1 4

1 3

1 5

2 3

2 4

2 4

1 5

2 3

1 4

b b ww

ww

# # ww

etc.

? b œœ œœ b b œœ œ œ # n œœ n b œœ # œœ n b œœ œœ b b œœ œœ n œ #œ

1 3

etc.

# œ # œœ œœ # # œœ œœ # œœ # œ

etc.

b b œœ n n œœ b œœ # n œœ

œœ # # œœ œœ # # œœ 1 4

1 5

2 3

2 4

2 3

2 4

1 5

1 3

p. 34 CHROMATIC MAJOR THIRDS EXERCISE No. 1 _ Same remark as for the work on minor thirds (page 33) œ #œ ? c œ œ# œ# œ œ# œb œ œ n œ# œ n œ œ# œ# œn œ œ b œn œ n œ# œ b œ n œ n œ 1

?c ? ?

1 4

2

5 1

3

2 4

1

3

1 4

2

3

1

4

2

5

1

3

2

4

1

3

b œ œ n œ # œ œ œ # œ œ n œ b œ # œ œ n œ b œ n œ œb œ b œn œ œ # œ 4

1

& etc.

ww

ww

œ bœ œ œ bœ bœ nœ œ #œ nœ #œ nœ œ bœ œ bœ w

bw bw

2

3

1

4

2

3

1

5

2

4

1

3

2

4

1

3

etc.

bww bw

bw bw

ww English Translation of Le Piano | 113

√ ww &c

ww

2

?c &

ww

ww

bœ œ nœ #œ œ œ #œ œ nœ bœ #œ œ nœ bœ nœ œbœ bœnœ œ #œ

etc.

1

œ #œ œ #œ œ #œnœ œ bœ nœ nœ #œ bœ nœ œ œ œ #œ #œ œ #œbœ nœ nœ #œ 4 1

3

1 4

2

3 1

5

4 1

2

2

3

3

4 1

1

4

2

3 1

5

2 4

ww

&

3

2

4

1

2

3

4

1

1

3

4

2

1

3

4

etc.

25

?

ww

? nœ bœ œ œ bœ bœ nœ œ #œ œ nœ bœ #œ œ nœ bœ w

(1)CHROMATIC SCALES IN MAJOR THIRDS (1—The chromatic scale in major thirds is naturally a lot less employed than the scale in minor thirds although we encounter it in modern works.) 4 1

5 2

3 1

4 2

3 1

4 1

3 2

4 1

5 2

3 1

4 2

3 1

4 2

3 1

4 2

3 1

2 4

1 3

2 4

1 3

2 5

1 4

2 3

1 4

1 3

2 4

1 3

3 5

2 4

2 4

1 3

2 4

œ & 43 œ # œ # œœ b œœ n # œœ n œœ # # œœ n œœ # # œœ n # œœ b œœ n # œœ œ # œœ b n œœ # œœ # # œœ n n œœ # # œœ n n œœ # œœ b n œœ # œœ # œ w œ# œ # œ w 5 2

4 1

3 2

4 1

1 3

1 4

2 3

1 4

3 1

4 2

3 1

4 2

3 1

2 5

1 3

2 4

1 3

2 4

Two other fingerings 1

4 1

5 2

4 1

5 2

3 1

4 1

3 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 4

2 5

1 4

2 3

1 5

1 4

2 5

1 4

2 5

1 4

2 5

1 4

2 5

3 1 4 2

4 2 5 3

3 1

4 2

3 1

4 2

5 3

3 1

4 2

3 1

4 2

3 1

4 2

3 1

4 2

3 1

2 4

1 3

2 4

1 3

2 4

1 3

3 5

2 4

1 3

2 4

1 3

3 5

2 4

3 5

1 3

2 4

œ #œ œ #œ nœ & 43 œœ # # œœ # œœ b œœ n # œœ n œœ # # œœ n œœ # # œœ n # œœ b œ n œ œ œ b œ # œœ # # œœ n n œœ # # œœ n n œœ n # œœ b n œœ # œœ # # œœ ww 2

5 2

4 1

3 2

5 1

1 3

1 4

2 3

1 4

4 1

5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 4

2 5

3 1

4 2

3 1

5 3 4 2

4 2 3 1

2 4

1 3

2 4

1 3

2 4

œ #œ œ #œ nœ & 43 œœ # # œœ # œœ b œœ n # œœ n œœ # # œœ n œœ # # œœ n # œœ b œ n œ œ œ b œ # œœ # # œœ n n œœ # # œœ n n œœ # œœ b n œœ # œœ # # œœ ww 4 2

3 1

5 3

4 2

1 3

2 4

3 5

1 3

EXERCISE No. 2 _ Same exercise as for the minor thirds in chromatic progression. 1 #œ œ #œ ? 43 œœ # # œœ # œœ b œœ n # œœ n œœ # # œœ n œœ # # œœ n œ b œ n œ & œ # œ # œ œ # œ œœ # œœ b n œœ # œœ # # œœ n n œœ # # œœ n n œœ # œ n œ # œ ? œœ # # œœ # œœ b œœ n # œœ n œœ # # œœ n œ # œ n œ b œ n œ œ b œ œ # # œœ 3 1

?3 4 w w

4 2

3 1

4 2

3 1

4 1

œ #œ nœ ? œ œ b œ # œœ # # œœ n n œœ # # œœ n n œœ # œœ b n œœ # œœ # # œœ ?

bw bw

ww

œ #œ # # œœ # œœ b œœ n # œœ n œ # œ 4 2

3 1

3 1

etc.

bw bw

w & 43 w

114

etc.

œœ # # œœ # œœ b œœ n # œœ n œœ # # œœ 1 3

2 4

1 3

2 5

1 4

2 3

etc.

b b ww ww

# # ww

2

2 4

etc.

ww

#w # w

? 43

b œœ n # œœ œœ

# œœ b œœ n # œœ

etc.

etc.

# # œœ # œœ b n œœ 1 3

2 4

1 3

# œœ b œœ n # œœ 2 4

1 3

p. 35 SCALES IN DIATONIC THIRDS EXERCISE No. 1 _ Preparation for scales in thirds, to work on also with hands together. œ œ œœœœœ œ œ œœœœœœ œ œ œœœœœœ œ œœœœœ œ œ œ

1

3 1 5 3 4 2 3 1

&c

œ œœœ ? c œœœœœœœœœœœ œ ww ww w w 3 5 3 2 4 1 2 1 1 3 2 4 3 5

1

ww w

2

&c

3

ww w

ww w

œ œœœœ œ œ œœœœœœœ œœœ œ œ œ œ œ œ œœœ œ

?c

5

3

2 1 5 3 4 2 3 1

œ

5

4 2

3

ww w œ œœœ œ œ œ œ œ œ œ œ 3 5 1 2

1

3

2

ww w

ww w

œœœœœ œ œ œ œœœœœœœ œ œ œœœ œ œ œ w œ

4

3 5 1 3 2 4 3

3 4 2 3 1 2 1 5 3 2 3 1 5

4

œœœœœœœ œ œ œœœœœœ w œ ww ww w w

1

3

2

We advise working on scales in thirds over two octaves and a half, the scale starting naturally on the tonic and ending on the dominant. & c œ œœ œœ œœ œ ? c œœ œœ œœ œœ Tonic

Tonic

1 3

2 4

3 5

1 3

2 4

3 5

√

Dominant

1 2

4 2

3 1

2 1

œœ œœ œ œ œœ œœ œœ œœ œ œ

œ œ œ œœ œ œœ œœ œœ œœ œœ œœœ œœœ œœ œœ œœ œœ œ œ √ œœ œœ œœ œœ œœ œœ œœ œœ

2 1

5 3

4 2

3 1

3 1

5 3

4 2

3 1

5 3

4 2

3 1

5 3

œœ œœ œœ œ œ œ œ œœ œœ œ œ 1 3

3 5

2 4

3 5

1 2

1 3

Dominant

œœ œœ œ œ œ œ œœ œœ œœ œ w œ w œœ œœ œœ œœ œ œ œ œ œœ œœ ww

All the scales in thirds may be worked on with two elements of fingering. { Element A RH 3 4 5 Element B RH 2 3 4 5 1 2 3 1 1 2 3 LH 3 2 1 LH 3 2 1 1 5 4 3 5 4 3 2 Example of scale elements AB { in C major √ etc. œ B B A RH œœ A œœ œœ œœ œœ œœ œœ œœ œœ A œœ œœA œœ œœ œ œœ œœ œœ œœ œœ œœ œœ œ œ 2 œ œ œ œ œ œ & 4 œ œœ œœ œ œ œ œ œœ œœ ww œ LH 3 1

2 4

5 3

2 1

3 1

4 2

5 3

3 1

3 5

2 4

1 3

3 5

2 4

1 3

1 2

3 5

3 1

4 2

5 3

4 2

3 1

3 5

3 5

2 4

1 3

2 4

3 5

1 2

2 4

1 3

1 2

1 3

4 2

3 5

Example of scale elements BA { in F major √ B B RH A B œœ œœ œœ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ Aœœ œœ œœ œ B œœ œœ œœ œœ œœ œœ œ œ œ 2 œ œ œ b œ œ œ œ œ ww & 4 œœ œ œ œ œ LH

2 1

3 1

4 2

5 3

3 5

2 4

1 3

1 2

3 1

4 2

5 3

2 1

3 5

2 4

1 3

3 5

2 1

3 5

4 2

2 4

1 3

2 4

2 1

5 3

3 5

1 3

2 4

1 3

5 3

2 4

3 5

2 1

2 1

English Translation of Le Piano | 115

Of course, scales can start with an end of formula A or formula B} Example: F# Minor A #œ œœ Bœœ œœ ## 2 B œ etc. & # 4 œœ œœ œœ œ œ 4 2

5 3

2 4

1 3

2 1

3 1

3 1

4 2

The elements of fingerings A and B are always placed at the same time in the left hand and the right hand. The fingerings are the same for the descent as for the ascent. For certain scales we advise another formula of fingering with a new element C RH 2 $ LH@2 4 This element is interleaved between two formulas, A replacing element B. It is used while ascending with the right hand while the left hand keeps element B and with the descent with the left hand while the right hand takes the element B. Ex. In E Major e Elements A B E major √ A A œ B A # œ ## # 2 œœ œœ œ œ etc. œœ œœ œœ œœ œœ Bœœ œ œ A œ œ œ œ œ œ œ œ œœ etc. & 4 œœ œ œ A

B

A

A

A

B

f Elements A _ A C E major 4 2

A # # # # 2 A œ Aœ œœ œœ œœ œœ œ œ & 4 œœ œœ œ œ C

A

B

etc.

A

√ œœ œœA œœ œ œ B œ œ œœ œœ œœ A œ œ A

C

A

2 4

etc.

A

p. 36 These main points being established, we do not believe we must give the complete table of all the scales in thirds, many of them having the same fingering; we will therefore content ourselves with indicating an example for each different fingering, by giving beside it the keys that must be worked on using the same formula. TABLE OF SCALES IN MAJOR AND MINOR THIRDS e ELEMENTS A. B. C Major G Major D Major Variants A major A minor D Minor Bb Major F# Major G minor C minor Bb Maj. A b œ & b 42 œ œœ œœ œœ œœ œœ œœ œœ œ œ 4 2

1 3

116  |  Part I: Marguerite Long’s Le Piano

B

A etc.

Ex. C Maj.

F# Min. B

2 œ œ & 4 œ œœ œœ œœ œœ œœ œ œ œ A

ELEMENTS B. A. F Major F Maj.

A

œœ

B A ## 2 œ # œ œœ œœ œœ & # 4 œœ œœ œœ œ œ 4 2

etc.

2 4

5 3

œœ

etc.

1 3

f

B 2 œ œ œœ A œœ œœ & b 4 œœ œœ œœ œ œ

B

œœ

Variant Eb Major D# Minor Eb Minor Ex. Eb Maj. B b b 2 œ œ œœ œœ œœ Aœœ œœ b & 4 œœ œ œ 4 2

etc.

œœ

B etc.

1 3

ELEMENTS A. A. C. VARIANTS E Major B Major Cb Major Bb Minor A# Minor C# Minor Db Major B Minor E Minor G# Minor Ab Minor C# Minor Ab Major F# Major Gb Major F Minor  e Bb Min. A# Min. g

A

C

A b œ & b b b b 42 œ œ œœ œœ n œœ œœ œœ œœ œ œ œ A A B A

4 2

etc.

3 5

1 2

 f C# Maj. Db Maj. C A ## # œA œ etc. & # # # # 42 œ œœ œœ œœ œœ œœ œœ œ œ œ 4 2

5 3

2 4

1 3

A

B

# # # # 2 A œ œ Aœœ œœ Cœœ œœ A œœ etc. & 4 œœ œœ œ œ Ex. E Maj.  g G# Min. Ab Min. C# A B E.Min. Ab Maj. A





Ex. G# Min.

C œ # # # # 2 œ œ œœ Aœœ ‹ œœ œœ Aœœ œœ œ & # 4 œ œ

i

5 3 4 2

4 2 5 3

2 4

1 3

etc.

B

A

F# Maj. Gb Maj.

A A œ œ œ C ## # œ œ œ œœ & # # # 42 œœ œœ œœ œœ œ œ 4 2

2 4

5 3

1 3

A

etc.

B

B

English Translation of Le Piano | 117



j

F Min.

b b 2 A Cœ n œ Aœœ œœ œœ & b b 4 œœ œœ œœ œ œ 3 1

3 5

B

WHOLE TONE SCALES √ 1 œ œœ œœ RH œ bœ # œ # # # œœ # œ b b œœ b œœ b œœ œœ œ œ ? œœ # œœ # œœ # œ # œ b œ b œ b b œœ œ & # œ etc. œ LH 3 1

2 4

1 3

2 4

3 5

1 3

5 3

4 2

3 1

4 2

2

? b œœ b œœ œœ œœ # œœ LH

3 5

1 3

2 4

1 3

2 4

1 2

&#

4 2

1 3

√

4 2

œœ b œœ b œœ 2 4

2 4

1 3

5 3

1 2

5 3

4 2

4 2

2 4

3 1

4 2

3 1

5 3

4 2

RH

3 1

4 2

etc.

4 2

1 3

3 1

2 4

4 2

3 5

3 1

2 4

5 3

1 3

1 3

2 4

2 1

1 3

4 2

2 4

4 2

1 3

5 3

2 4

4 2

1 3

3 1

2 4

5 3

1 2 1 3

4 2

3 1

1 3 2 4

2 4 3 5

2 1

3 5 2 4

etc.

3 5

2 4

œ œ œœ œœ # œœ œœ œœ # œœ œ # œ # œ œ # œœ œ œ 3 1

A

1 2

4 2

3 1

1 3 1 3

2 4 2 4

œœ

etc.

B

? b œœ b œœ ww 2 1

4 2

3 5

2 4

3 1 1 3

? œœ # œœ # # ww 3 1

etc.

A

2 4

5 3

1 3

4 2 2 4

p. 37 FOURTHS AND FIFTHS EXERCISE No. 1 1

œ & c # œ b œœ œœ œœ œœ œœ œ n b œœ # œœ œœ œœ œœ b œ˙ n œœ œœ œœ œœ œœ #n œ˙ # œœ # œœ œœ œœ œœ b œ˙ # œœ œ ˙ # ˙ LH RH

3 1

3 5

4 2

2 4

5 3

1 3

4 2

etc.

2 4

œ œ # œ˙ # œœ œ œœ œ œœ

3 1

œ œ # œ˙ b œœ œ œœ œ œœ # œ˙ # œœ œœ œœ œœ œœ b n œ˙ b n œœ b œœ œœ œœ œœ # œ n # œœ œœ œœ œœ œœ n œ n n œœ b œœ ˙ b˙ &

etc.

3 5

2

b œ # œ œ œ œ ww # ˙œ œ œ œ œ œ b # www

˙ & c # ˙œ b œœ œœ œœ œœ œœ # ˙œ n b œœ # œœ œœ œœ œœ b ˙œ n œœ œœ œœ œœ œœ n # ˙œ # œœ # œœ œœ œœ œœ b œ # œœ œœ LH RH

5 3

1 3

4 2

2 4

1 3

1 3

3

&c

œ œ œ œ œ œ œ b œ # œœ œ œœ œ œœ œ n œ b œœ œ œœ œ œœ œ n œ n # œœ œ bœ #œ œ œ œ œ œ #œ n œ œ œ œ ˙ œ œ œ œ #˙ # œ 1

1

5

4

5

& c b œ œœ # œœ œœ œœ œœ œœ œœ n œ #b œœ # œœ œœ œœ œœ œœ œœ ˙ n œœ b œœ œœ œœ œœ œœ œœ & c # ˙ œœ b œœ œœ œœ œœ œœ œœ œ #b œœ n # œœ œœ œ œœ œœ œœ b ˙ n œœ œœ œœ œœ œœ œœ œœ

118  |  Part I: Marguerite Long’s Le Piano

# œ˙ b œ œ œ œ œ # www œ # œ œ œ œ b ww

& œ # œœ b œœ œœ œœ œœ œœ œœ # œ # œœ

etc.

& b œ # œœ œœ œœ œœ œœ œœ œœ n œ # œœ

etc.

etc.

& # ˙ b œœ œœ œœ œœ œœ œœ œœ œ n # œœ

etc.

3

3

etc.

etc.

etc.

2

4

5

# œ˙ # œœ œœ œœ œœ œœ

3 5

˙ # œ b œœ œœ œœ œœ œœ # ˙œ # œœ œœ œœ œœ œœ n b œ˙ b n œœ b œœ œœ œœ œœ # ˙œ # œœ œ œœ œ œœ n b ˙œ n n œœ œ œ œ bœ & 5 3

etc.

6

œ œ œ & c ˙ # œ b œœ œ œœ œ œœ œ b œ œ n # œœ œ œœ œ œœ œ n ˙ b œœ œ œœ œ œœ œ œœ œ œ œ œ #œ œ œ œ

etc.

& ˙ b œœ # œ œœ œ œœ œ œœ b œ n # œœ œ œ œ

etc.

œ & c ˙ # œ b œœ œ œœ œ œœ œ # ˙ œ n b œœ œ œœ œ œœ œ b œœ n œœ œœ œœ œœ œœ œœ œ œ œ œ #œ œ œ œ

etc.

& ˙ b œœ # œ œœ œ œœ œ œœ # ˙ n b œœ œ œ œ

etc.

4

2

7

5

5

1

1

VARIANTS 1

& c # œœ b œœ œœ œœ œœ œœ œœ œœ 4 2

3 1

œ œ # œœ œœ œœ œœ œ œœ œ œœ

bœ œ # œœ œ œœ œ œ œ # œœ n œ œœ œ

? c b œœ # œœ œœ œœ œ œœ œ œœ n b œœ # œœ œœ œœ b œœ œœ œœ œœ œ œ 1 3

2 4

n œœ # œ œœ œ œ œ œ œ œ œ œ œ œ œ

3 5

œ œ œœ œœ œ œœ œ œœ # œ # œœ œ œœ œœ œœ œœ œœ n œ b n œœ œ œœ b œœ œœ œœ œœ # œ # œœ œ œ bœ œ œ œœ œ œ œ œ œ # œ # œ œ œ œ œ n œ œ œ œ œ œ # œ œ œ œ œ œ œ œ œ œ # œœ œ œœ œ b œ b œ œ œ œœ œ œœ œ œ # œœ

# œ b œœ & œ b œœ # œ ? œ

œœ œœ

etc.

# œœ # œœ œœ œœ œœ œœ œœ œœ etc.

# œœ # œ œœ œ œ œ œ œ œ œ #œ œ œ œ

œ b œ œ œ # œœ œ œœ œ #œ œ œ œ œ œ

w b # wwww

n b œœ # œœ œœ œœ b œœ œœ œœ œœ b # wwww

p. 38 f Play very slowly without forcing the sonority. 3 1

4 2

3 5

2 4

5 3

& 42 # œ # œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œ œ 1 3

œ œœ œœ œœ œœ œœ œ b œœ œœ œœ œœ œœ b œœ b œœ b œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ

bœ œ œ œ nœ œ & b b œœ b œœ œ œœ œ œœ œœ b œœ œ œœ œ œœ n # œœ # n œœ œ œœ œ œœ & &

b œœ b œœ œœ œœ œœ œœ œœ b œœ œœ œœ œœ œœ

œ œ œ œ œ œœ œœ œœ œœ œ # œœ œœ œœ œœ œœ g

etc.

# œœ # # œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ # œœ # œœ œœ

œœ b œ œ b œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ b b œœ b œœ œ bœ

œœ

œœ

œœ

etc.

œœ b œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ # œ # œœ œœ œœ œœ œœ œ

Play in a less slow tempo, very closely and piano.

& 42 # œœ b œœ œœ œœ œœ œœ œœ œœ

b œ œ # œœ œ œœ œ b œ n œ œ œ œœ # œœ n œ œœ œ œ œ œ œ œ œ

? 2 b œ # œœ œ œœ œœ œœ œœ œœ b n œœ # œœ œœ œœ b œœ œœ œœ œœ n œœ b œœ œœ œœ n œœ 4 œ œ

etc.

English Translation of Le Piano | 119

EXERCISE No. 2 On the same harmonic progression as the modulating exercises. (page 12) 4 1

5 2

4 1

5 2

& c œœ œœ œœ œœ ’ ’ ’ 1 4

2 5

& b b œœ b ∫ œœ œœ œœ ’ ’ ’

œ nœ œ œ ’ ’ ’ #œ œ œ œ

5 2

b œ b b œœ œ œœ ’ ’ ’ b b œœ b œœ œœ œœ ’ ’ ’ œ œ œœœœ w œœ # œœ œ œœ ’ ’ ’ etc. œ œ œ œ ’ ’ ’ w œ

bœ œ œœ b œ œœ œ ’ ’ ’

1 4

2 5

4 1

1 4

2 5

VARIANT 5 2

4 1

& c œœ œœ œœ œœ ’ ’ ’ 1 4

b b œœ œœ œœ œœ ’ ’ ’

2 5

& b ∫ œœ b b œœ œœ œœ ’ ’ ’ e

n n œœ # œœ œœ œœ ’ ’ ’

5 1

4 2

5 1

4 2

1 4

2 3

1 5

2 4

# œœ œœ œœ œœ ’ ’ ’

’ ’ ’

œœ œ œœ œ œ œ ’ ’ ’

etc.

CHROMATIC SCALE IN PERFECT FOURTHS

5 1

3 1

4 2

5 1

4 2

1 5

2 4

1 3

1 4

2 3

4 1

3 2

5 1

œ & 43 œ # œ œœ # # œœ œœ n b œœ # n œœ n œœ # # œœ œœ # # œœ œ œ # œ LH RH

b œœ b œ œœ œ bœ œ

b b œœ b œœ œœ œœ ’ ’ ’

1 5

2 4

1 5

5 1

4 1

3 2

5 1

œœ œ b œ œ b œ œ œ b œ œ b œ œ # n œœ n b œœ n œœ b b œœ œ b œ œbœ 1 4

1 5

2 4

4 2

1 5

2 3

5 1

1 4

4 2

1 3

3 1

2 4

5 1

4 2

5 1

4 2

1 5

2 4

1 5

2 3

5 1

ww 1 4

VARIANT œ œ œ bœ & 43 œ # œ œœ # # œœ œœ n b œœ # n œœ n œœ # # œœ œœ # # œœ œ œ œ b œ œœ b b œœ œ# œ œ #œ œ ? 3 œ #œ œ #œ #œ 4 & #œ #œ ‹œ #œ œ #œ nœ #œ nœ 5 1

4 2

5 1

4 2

1

3

2

1

5 1

3 1

œœ # n œœ n b œœ n œ b œ œ b œ ˙ œ b œ œ b œ ˙ .. #œ nœ œ bœ ˙. ? œ #œ nœ

3

p. 39 f CHROMATIC SCALE IN AUGMENTED FOURTHS 4 1 3 1

5 2 5 2

4 1 3 1

5 2 5 2

2 5

1 4

2 5

1 4

3 1 3 1

4 1 4 1

5 2 5 2

4 1 3 1

2 5

1 4

1 3

2 5

5 2 5 2

3 1 3 1

4 2 4 2

5 1 5 1

1 4

2 5

1 4

1 5

3 œ #œ œ œ & 4 # œœ b œœ n # œœ b œœ n # œœ n œœ b œœ n # œœ b œ n œ b œ b œ

4 1 3 1

5 1 5 1

4 2 4 2

3 1 3 1

5 2 5 2

4 1 3 1

5 2 5 2

4 1 4 1

2 5

1 5

1 4

2 5

1 4

2 5

1 3

1 4

3 1 3 1

5 2 5 2

4 1 3 1

5 2 5 2

2 5

1 4

2 5

1 4

# œœ b n œœ œ # œ n œ # œ n œ b œ œ b œ œ b œ n œœ # œœ b n œœ # œ n œ œbœ

4 1 3 1

# ww 2 5

VARIANTS 1

& 43 ? 43

4 1

5 1

1 4

2 5

œ #œ œ œ #œ nœ # œœ b œœ n # œœ b œœ n # œœ n œœ b œœ n # œœ b œ n œ b œ b œ œ b œ œ #œ œ bœ œ bœ b œ n œ œ # œ œ b œ b n œœ n œ n œ # œ œ # œ n œ # œœ œ # œ # œ œ b œ n œ 4 1

5 2

4 1

5 2

1 4

2 5

1 4

1 3

2 5

120  |  Part I: Marguerite Long’s Le Piano

5 2

4 1

1 4

2 5

b œœ # œœ b n œœ # œœ b n œœ œœ # œœ b n œœ # œ n œ # ˙ . œ b œ ˙. œ # œ n œ # œ n œ œ b œœ # œœ b n œœ # œœ # n œœ n œ b œ ˙ . # œ n œ #˙.

ww

alternately 2

3 &4

# œœ

? 3 # œœ 4

bœ œ 2 5

1 4

# œœ

bœ œ

n œœ

b n œœ

œ #œ 1 4

1 5

bœ nœ 4 1

5 2

4 1

5 2

4 1

# œœ

n n œœ

œ #œ

5 1

œ #œ

# œœ

5 2

bœ œ

b n œœ

œ nœ

bœ nœ

b œœ

bœ œ

œ #œ

& #œ

œ

. n œœ # ˙˙ .

b n œœ

˙ # ˙ ..

SIXTHS PREPARATORY EXERCISES EXERCISE No. 1 œ œ œ & 42 œ œ œ œ œ œ œ œ œ œ œ ’ œ œ ’ 1

1 4 2

5 2 4

5 1

etc.

œ œ œ œ

˙ ˙

’

œ œ œ œ œ œ ’ œ œ ’ 5

2

w œ œ œœ ’ w

4

1

etc.

4 1 5 2

1

2

œ œ œ œ œ & 42 œ œ œ œ œ œ œ œ œ

etc.

œœ œ œ œ & c œœ œ œœ œ ’’ œœ œ ’ ’’ œ œ ’ ’ ’ 3

4 1

2 5

5 2

4 1

1 4

etc.

2 5

œ œ œ œ œ œ œ œ œ œ & 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œœ œ

4

etc.

2 5 1 4

œœ œœ œ & c œ œœ ’ ’’ œ œ ’’’ œ œ ’

etc.

œœ œœ

w w

œœ œœ

’’’

œœ œœ ’’’

etc.

œ œ ’’’ w œœ w

5

4 1 5 2

6

’’’

’’’

œ œ œ œ œ & 42 œ œ œ œ œ œ œ œ œ w w

œœ œœ

etc.

œ œœ œœ ’’’ œ ’’’ œ œ ’’’

etc.

EXERCISE No. 2 The preceding exercise and the four following ones will be transposed in C sharp. œ œ œ œ œ œ œ œ w RH œ œ œ œ œ œ œœ œ œœ œ œ œ œ œœ œœ œœ œœ œ œœ œ œœ œœ œ œœ œ etc. œ œ œ œ œ œ œ œ w œ c & œ œ œ œ œ œ œ œ œ œ œ œ 4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

LH

&

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

etc.

œ œ œ œ œ œ œ œ w œ œ œ œ œ œ œ œ w

English Translation of Le Piano | 121

p. 40 EXERCISE No. 3 œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ & 4 œœœ œœœ œ œ œ œ œ œ œ œ œ œ œ œ 1

2 œ œœœœœ œœœœ œœ & 4 œœ œ œœ œ œ œ œ œ œ œ œ œ œ œ 2

1 4 2 5

etc.

5 2 4 1

4 1

5 2

2 5

1 4

etc.

EXERCISE No. 4 œ œ œ œ œ œ 2 &4 œœœ œ œ œ œ œ œ 1

1

5

4

2

2

4

5

1

1

5

4

œ

œ œ œ œ œ œ

œ œœ œ œ œ œ œœ œ œœ œœ œ œœ œ œ œ c œ œ & œ œ œ œ 2

etc.

2

4 1

2 5

5 2

1 4

4 1

etc.

2 5

EXERCISE No. 5 œ œ œ œ œ œ œ œ œ œ & 42 œ œ œ œ œ œ œ œ œ œ œ œ 1

5

4

2

2

4

5

1

1

5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & c œœ œ œ œ œ œ œ œ œ œ œ 2

1

etc.

4 1

5 2

2 5

1 4

etc.

EXERCISE No. 6 œ œ bœ œ œ œ bœ œ œ & 42 œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ b œ œ œ œ œ b œ œ 1

1

5

4

2

2

4

5

1

4

etc.

1

œ œ bœ œ bœ œ bœ œ bœ œ & 42 œ œ œ œ œ œ œ b œ œ œ œ œ œ b œ b œ œ œ œ œ œ 2

œ

5

2

2

3

& 42

5

1

œ œ œ œ œ œ ˙ ˙ œ

œ

etc.

œ

œ

œ ˙ œ œ œ œ ˙

4

œ œœ œ œœ ’ œ b œœ œ œœ ’ œ b b œœ œ œœ ’ b œ b œœ œ œœ ’ b œ b b œœ œ œœ ’ # œ œœ œ œœ ’ n œ # œœ œ œ bœ œ #œ œ œ bœ œ bœ œ œ œ 4 5 1 2

etc.

œ œœ œ œœ œ œ

’

˙ ˙

2 1 5 4

EXERCISE No. 7 œ œ œ œ ˙ œ œ œ œ ˙

1

œ œ œ bœ œ œ bœ bœ œ bœ nœ bœ œ bœ 2 & 4 œ œ œ œ œ bœ œ œ œ œ bœ œ bœ œ œ nœ bœ bœ œ bœ 2

œ bœ œ œ œ bœ œ bœ œ & 42 œ œ œ œ œ œ œ b œ œ œ œ œ œ b œ b œ b œ œ œ b œ œ b œ b œ œ bœœ b œ 4

2

3

& 42

1

5

etc.

5

etc.

œ

œ

œ

œ œ œ œ œ ˙˙

1

œ œœ œœ œœ ’ œ b œœ œœ œœ ’ œ b b œœ b œœ œœ ’ b œœ b œœ b b œœ œœ ’ b b œœ b b œœ b b œœ œœ ’ # œ n n œœ # œœ œœ ’ # œœ # œœ œ bœ bœ n œ

122  |  Part I: Marguerite Long’s Le Piano

etc.

˙ œ œœ œœ œœ ˙ œ ’

p. 41 TABLE OF MAJOR SCALES IN SIXTHS C Major

œœœœ ? œœœœ 3 1

4 1

5 2

4 1

2 5

1 4

1 3

2 5

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

5 2

4 1

1 4

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

1 4

2 5

5 2

œœœœœ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œœœœ 1 4

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

5 2

œœœœœ ? # œœ œœ œœ œ œ œ œ œ 5 2

3 1

4 1

5 2

1 2 1 2 4 5 4 5

1 4

1 3

2 5

1 4

4 5 4 3 5 4 5 4 5 4 5 3 1 2 1 1 2 1 2 4 1 2 1 2 1 1

5 2

4 1

3 1

2 1 1 2 1 2 1 1 2 2 1 5 4 3 5 4 5 3 4 5 1 2 4 5 5 4

1 4

2 5

1 3

œœœœœœœœœ & œ œœ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œœœœ

3 1

F Major œœœœœœœ œ œ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ b œœœœ œœœ & œ œ œœ œ œ œ œ œ œœœœ œœ 1 3

G Major 5 4 5 4 2 1 2 1

4 1

1 4

2 5



4 1

5 2

3 1

4 1

2 5

1 4

1 3

2 5

5 2

4 1

5 2

1 4

2 5

1 4

œœ ? œ œ œœ œ œ œœ 5 2

4 5 1 2 4 5 1 2

1 4

2 1 2 1 5 4 5 4



œœ ? b b œœ œœ œ œ 4 5 1 2

4 1

5 2

2 1 5 4

1 3

2 5

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

2 5

1 4

1 3

2 5

1 4

2 5

1 4

2 5

1 4

2 5

1 4

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

1 3

1 4

2 5

Bb Major

œœœœ ? œ œ œ œ œœ

œœœœœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ & œ œ œ œœ œ œ œ œ œ œœœœ œœœ 4 1

5 2

3 4 5 4 5 4 52 31 1 1 2 1 2 1

4 1

3 5 4 5 4 5 4 3 1 2 1 2 1 2 1 1

5 2

1 4

2 5

1 2 4 5 1 1 2 1 2 1 5 4 4 3 5 4

2 5

1 2 4 5 1 1 2 1 4 4 5 4 2 1 5 3

2 5

4 1

5 2

4 1

5 4 2 1

1 4

2 5

1 3

1 2 4 5

D Major œœœœ ? ## œ œ œ œ 5 2

4 1

3 1

4 1

1 4

1 3

2 5

1 4

œœœ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ &œœœœœœ œ œœœœ œ 4 5 4 3 1 2 5 3 4 5 1 1 2 1 1 2

3 1

4 1

5 2

4 1

3 1

4 5 4 3 5 4 1 2 1 1 2 1 3 5 1 2

4 1

3 1

4 1

1 2 1 1 5 4 3 1 1 2 1 5 3 5 5 4

1 5

2 5

1 4

2 5

1 4

1 1 2 1 1 2 4 3 5 1 1 4 3 3 4 5

1 4

2 5

1 3

5 2



1 4

Eb Major

œœœœœœœœœ b œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ b œ b & œ œ œ œ œœ œ œ œ œ œœ œ œ œ œ œœ œœ 3 1

4 1

5 2

3 1

2 5

1 4

1 3

2 5

4 1

5 2

4 1

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

1 4

2 5

1 4

1 4

2 5

1 4

2 5

1 3

1 4

2 5

1 4

2 5

4 1

3 1

5 2

4 1

3 1

1 4

2 5

1 3

1 4

2 5

A Major œœ ? # # # œœ œœ œ œ 3 5 4 1 2 1

4 1

2 1 2 5 4 5

1 4

5 2

3 1

4 1

4 5 3 4 52 41 3 5 4 3 5 5 1 2 1 1 1 2 5 4 3 1 2 1 1 2 1 1

1 3

2 5

1 4

2 1 2 1 1 2 1 1 5 4 3 2 1 1 1 5 3 1 4 5 1 1 4 3 5 4 3 5 4 3

4 1

3 1

1 4

2 5

œœœ œœœœ œ œœœœ & œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ œœœœ

œœœœ œ œ œ œœ

?œ

5 2

4 1

3 4 1 1 5 2

1 3

1 4

2 1 2 5 4 5



œœ ? b b b œœ œœ œ œ b 5 3 4 2 1 1

4 1

2 1 1 5 4 3

2 5

Ab Major 5 2

4 1

5 2

4 5 4 5 4 5 4 5 4 5 3 4 52 1 2 1 2 1 2 1 2 1 2 4 3 1 1 1 1

5 2

4 1

1 4

2 5

1 4

1 2 1 2 1 3 5 4 2 1 2 1 2 1 2 1 1 2 5 3 4 5 5 4 5 4 5 4 5 4

1 4

2 5

œœœ œœœœ œ œœœœ & œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ œœœœ

œ œ œœœ œ œœœ

?œ

5 2

4 1

5 4 2 1 3 1

1 4

2 5

1 1 2 3 4 5

E Major œœœœœœœ #### œ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ & œ œ œ œ œœ œ œ œ œœ œœ œ œ œ œ œœ œ 5 2

4 1

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

1 3

2 5

1 4

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

5 2

1 4

3 1

2 5

4 1

1 4

5 2

1 3

4 1

1 4

3 1

2 5

5 2

1 4

4 1

2 5

5 2

1 4

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

1 3

&

bbbb



Db Major

œ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ b œ œ œ œ œœ œ œ œ œ œ œœœœœ œœœœ 4 1

5 2

4 1

5 2

3 1

4 1

5 2

4 1

1 4

1 3

2 5

1 4

2 5

1 4

2 5

2 5

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

1 4

1 3

2 5

1 4

2 5

1 4

2 5

1 4

2 5

1 4

2 5

1 3

5 2

4 1

5 2

4 1

1 4

2 5

1 4

2 5

3 1

5 2

4 1

5 2

4 1

1 4

2 5

1 3

1 4

2 5

English Translation of Le Piano | 123

B Major œœœ ? # # # # œœ œ œ œ # 5 4 2 1

5 2

4 1

1 2 4 5

1 4

1 3

5 2

3 1

4 5 4 5 3 4 5 4 2 1 2 1 1 1 2 1

5 2

4 3 5 4 5 1 1 2 1 2 4 5 4 1 2 1

3 1

2 5

1 4

2 1 2 1 1 2 1 2 5 5 4 5 4 3 5 4

1 4

2 1 2 1 1 2 5 4 5 3 4 5 1 2 4 5

1 4

œœœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ & œ œ œ œœ œ œ œ œ œ œœœ œ œ œœœ

œœœœ ? œ œ œ œ œœ 5 2

4 1

5 2

4 5 1 2

2 5

1 3

1 4

2 1 5 4

Gb Major œœœœœ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ bb b b œ œœœœœœœœœ & b b œ œ œœ œœ œ œ œ œ œ œœœœœ œœ 5 2

3 4 5 4 5 4 5 31 1 1 2 1 2 1 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

3 5 4 5 4 5 4 3 1 2 1 2 1 2 1 1

5 2

2 5

1 1 2 4 1 4 5 2 1 1 2 4 5 4 3 5

2 5

1 4

2 5

1 4

1 3

2 5

1 3

1 4

2 5

1 4

2 5

2 1 2 1 2 1 1 5 4 5 1 4 4 5 3 4

2 5

F# Major œœœœœœœ œ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ #### # œ œ œ œ œœœœœœœœ & # œ œ œœ œ œ œ œ œ œœœ œœ 5 2

3 1

4 5 4 5 4 5 3 4 1 2 1 2 1 2 1 1

5 2

4 1

5 2

2 5

1 4

2 2 1 2 1 1 2 1 5 5 4 5 4 3 5 4

1 4

2 5

1 4

4 1

5 2

4 1

5 2

4 1

5 2

4 3 5 4 5 4 1 1 2 1 2 1 5 4 2 1

3 1

5 2

1 3

2 5

1 3

1 4

2 5

1 4

2 1 2 5 4 5 1 1 2 1 2 3 4 5 4 5

1 4

2 5

Cb Major

œœœœ ? bb b b œ œ œ œ bbb 5 2

4 1

5 2

4 1

1 4

2 5

1 4

1 3

œœœœœ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ &œ œœœ œ œ œ œ œœ œ œ œ œ œœ œœœœ 5 2

3 5 4 5 3 4 5 4 2 1 2 1 1 1 2 1

4 1

5 2

4 1

3 5 4 5 4 5 4 3 1 2 1 2 1 2 1 1

5 2

4 1

5 2

4 1

5 2

2 1 2 1 1 5 4 1 2 1 5 4 3 4 5 4

2 5

1 4

2 5

2 5

2 1 2 1 2 1 1 5 4 5 1 4 4 5 3 4

2 5

1 3

1 4

2 5

1 4

C# Major œœœ ? # # # # # # œœ œ œ œ # 4 1

5 2

4 1

5 2

2 5

1 4

1 3

2 5

œœœ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ &œ œœœœ œœ œœœœœ 4 5 3 4 4 5 4 5 1 2 1 1 1 2 1 2

3 1

2 2 1 5 1 2 5 4 1 1 2 4 5 4 3 5

1 4

5 2

4 1

5 2

4 3 5 4 5 4 1 1 2 1 2 1 5 4 2 1

3 1

5 2

4 1

5 2

4 1

1 4

2 5

1 2 1 2 1 1 2 4 5 4 5 3 4 5 1 2 4 5

1 4

2 5

1 3

1 4

2 5

p. 42 TABLE OF MINOR SCALES IN SIXTHS A Minor œ ? œœ œœ œœ œ 5 4 5 2 1 2

4 1

1 2 1 4 5 4

2 5

5 2

3 1

4 1

3 5 4 5 4 5 1 2 1 2 1 2

4 5 4 3 5 4 5 4 5 1 2 1 1 2 1 2 1 2

4 1

3 1

1 4

1 3

2 5

1 2 1 2 1 1 4 5 4 5 4 3

2 1 2 1 1 2 1 2 1 5 4 5 3 4 5 4 5 4

2 5

1 3

#œ œ œ œœœœ œ œœœœ & œ œ # œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ #œ œ œ œ

œœœœ œ œ œ œœ

?œ

5 2

4 1

5 4 2 1 5 2

1 4

2 5

1 2 1 4 5 4

D Minor

œ œ œœ œœ œœ # œœ œ œœ œœ œœ œœ œ œ œ œ œ œ œ # œ œ b œœœœ œœœœ & œ œ œ œ # œœ œ œ œ œ œ œœœœœœ œœœœ œ 5 2

4 1

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

5 2

3 1

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

1 4

2 5

1 4

1 3

2 5

1 4

1 3

1 4

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

1 3

1 4

2 5

1 4

2 5

E Minor

&

#

#œ œ œ œ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ # œ œ œ œœœœœœœœœ œ œœ œœ œœ # œ œ œ œ œ œœœœ œ 3 1

4 1

5 2

4 1

5 2

4 1

5 2

3 1

4 1

5 4 2 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

1 2 4 5

1 4

1 3

2 5

1 4

2 5

1 4

1 3

1 4

2 5

1 4

2 5

1 4

2 5

1 1 3 4

2 5

1 4

2 5

1 4

G Minor œ œ œ œ œ #œ œ œ œ œ œ œ bb œ œ œ œ œ # œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œœœœœœ & œ œ œ œ #œ œ œ œ 5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 4

124  |  Part I: Marguerite Long’s Le Piano

5 2

3 1

4 1

1 3

2 5

1 4

5 2

4 1

5 2

4 1

5 2

3 1

4 1

2 5

1 4

2 5

1 4

1 3

2 5

1 4

5 2

1 3

4 1

1 4

3 1

5 2

4 1

5 2

4 1

5 2

4 1

3 1

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

5 2

4 1

5 2

4 1

5 2

1 3

1 4

2 5

1 4

2 5

B Minor œœœ œ #œ œ œ œ ? # # œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ & œ œ # œ œœ œ œ œ œ œ œœœœœ œœœœ #œ œ œ œœœœœ 3 4 1 1

5 2

4 1

1 2 4 5

1 4

1 3

5 2

4 1

5 3 4 5 4 5 4 2 1 1 2 1 2 1

5 2

4 1

5 4 5 4 2 1 2 1 5 4 3 5 2 1 1 2

4 1

2 5

1 4

1 1 2 1 2 1 2 4 3 5 4 5 4 5

2 5

1 4

2 1 2 1 1 2 1 2 5 4 5 3 4 5 4 5

1 4

5 2

4 1

5 2

4 1

3 1

2 5

1 3

1 4

2 5

1 4



œœœœ ? b œœœœ bb 5 2

3 1

4 1

5 2

2 5

1 4

2 5

1 4

C Minor

nœ œ œ œ œ œœ œœ œ œ œ œœ œœ œ œ œ œ œ œ œ n œ œ œ œœœœ œœœœœ œ & œ œœœœœ nœ œ œ œ œ œ 4 1

5 2

4 1

5 2

1 3

2 5

1 4

2 5

3 1

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

1 4

2 5

1 4

1 3

2 5

1 4

1 3

1 4

2 5

1 3

1 4

2 5

3 1

5 2

4 1

5 2

1 4

2 5

1 4

2 5

4 1

5 2

4 1

3 1

1 3

1 4

2 5

1 4

œ 5 2

?œ 2 5

F# Minor

œ œ œ #œ œ œ œ œ œ ### # œ œ œœ œœ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œœœœœœœœ & œ œ œœ œ # œ œ œ œ œœœ œœ 3 1

4 1

5 4 2 1

5 4 2 1

5 5 3 4 2 2 1 1

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 4 3 5 4 2 1 1 2 1 5 4 5 2 1 2

4 1

3 1

2 5

1 4

2 1 5 4

2 1 5 4

1 2 1 2 3 5 4 5

1 4

2 5

1 4

1 3

2 5

1 3

1 4

2 5

1 4

2 1 2 1 1 2 5 4 5 3 4 5 1 2 4 5

1 4

2 5



F Minor

œ nœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ n œ bb b œ œ œœœœœœœœœ & b œ œ œœ œœ n œ œ œ œ œ œœœœ œœ 4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 4

1 3

2 5

1 4

2 5

5 2

3 1

4 1

5 2

3 1

4 1

1 4

2 5

1 4

1 3

2 5

1 4

5 2

4 1

1 3

1 4

3 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

2 5

1 3

1 4

2 5

1 4

2 5

1 4

2 5

5 2

4 1

3 1

5 2

4 1

1 3

1 4

2 5

1 4

2 5

C# Minor

œœœœ œœœœ œ #œ œ œ œ œ ? # # # # œ œ œ œ & œ œ # œ œ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ ? œ œ œ œ œ œ œ œ œ œœ #œ œ œ 3 4 1 1

2 1 5 4

5 4 2 1

1 2 3 5

5 2

4 1

1 4

2 5

4 5 4 5 3 4 5 1 2 1 2 1 1 2

5 4 2 1

5 4 5 4 5 4 3 2 1 2 1 2 1 1 5 4 2 1

1 2 2 4 5 1 1 2 1 5 4 3 5 4

1 2 4 5

2 1 1 2 1 2 1 1 4 5 4 5 3 4 5 4 2 5

5 2

4 5 1 2

1 4

2 1 5 3

4 3 1 1

1 2 4 5



Bb Minor

œœœ œ nœ œ œ œ ? b b b œœ œ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ & œ œ n œ œœ œ œ œ œ œ bb œœœœœ nœ œ œ 4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

4 1

5 2

3 1

4 1

5 2

4 1

5 2

4 1

1 3

2 5

1 4

2 5

1 4

2 5

1 4

1 3

5 2

4 1

5 2

4 1

5 2

4 1

5 2

4 1

2 5

1 4

2 5

1 4

2 5

1 3

1 4

2 5

5 2

4 1

3 1

5 2

1 4

2 5

1 4

2 5

œœœœ ? œ œ œ œ œœ 4 1

5 2

4 1

5 2

4 1

1 3

1 4

2 5

1 4

2 5

G# Minor

‹œ œ œ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œ œ œ œ œ œ ‹ œ #### œ œ œ œœœœœœœœ œ & # œ œœ œœ œœ ‹ œ œ œ œ œ œ œ œ œ œœ œ 3 1

4 5 4 1 2 1

2 5

1 1 2 5 4 3

5 4 2 1

5 3 4 2 1 1

5 2

4 1

5 2

4 1

5 4 2 1

1 2 4 5

1 2 1 4 5 4

1 3

2 5

1 4

2 5

1 4

5 2

2 5

1 4

4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 3

5 4 5 4 4 3 2 1 2 1 1 1 5 4 2 1

3 1

1 2 1 1 2 1 2 4 5 3 1 4 4 5 4 5

2 5

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

2 5

1 4

1 3

2 5



Eb Minor

nœ œ œ œ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ bbb b n œ œ œ b œœœœ œœœœ & b œ œ œ œœ n œ œ œ œ œ œœœœ œœœ œ 4 1

5 2

3 1

4 1

5 2

4 1

5 2

1 4

2 5

1 4

2 5

1 4

1 3

2 5

4 1

5 2

4 1

3 1

5 2

4 1

5 2

4 1

5 2

1 3

1 4

2 5

1 4

2 5

1 4

2 5

1 3

1 4

4 1

3 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

2 5

D# Minor

œ œ œœ œœ œœ ‹ œœ œ œœ œœ œœ œœ œ œ œ œ œ #### # œ œ ‹ œ œ œœœœœ œ œ œ œ œ & # œ œ œ œ ‹ œœ œ œ œ œ œ œœœœœ œœœœ 5 2

4 1

5 2

3 1

2 5

1 4

2 5

1 4

4 5 1 2

4 5 4 5 3 4 1 2 1 2 1 1

5 2

4 1

5 2

4 1

5 2

4 3 5 4 5 4 5 1 1 2 1 2 1 2 4 1

3 1

5 2

4 1

5 2

2 1 5 4

1 2 1 2 1 2 3 5 4 5 4 5

1 4

1 3

2 5

1 3

1 4

2 1 2 1 2 1 1 5 4 5 4 5 3 4 2 5

1 4

2 5

1 4

2 5



Ab Minor

œ œ ? b b b b œœ œœ œœ œ & œ œ œœ œœ n œœ œ œœ œœ œœ œ œ œ œ œ œ œ n œ bbb œ œ œœœœœœ œ œ œ nœ œ œ œ œ 3 1

4 1

5 2

4 1

2 5

1 4

1 3

2 5

5 2

4 1

5 2

3 1

4 1

5 2

4 1

5 2

1 4

2 5

1 4

2 5

1 4

1 3

2 5

1 4

4 1

5 2

4 1

5 2

4 1

5 2

4 1

5 2

2 5

1 4

2 5

1 4

2 5

1 4

2 5

1 3

4 1

3 1

5 2

4 1

1 4

2 5

1 4

2 5

œœœ ? œ œ œ œœ œ œ 5 2

4 1

5 2

4 1

3 1

1 4

2 5

1 3

1 4

2 5

English Translation of Le Piano | 125

A# Minor œœ ? # # # # # œœ œœ œ œ ## 4 4 5 1 1 2

5 2

2 1 2 5 4 5

1 4

œ œ œ œ œ ‹œ œ œ œ œ œ œ & œ œ ‹ œ œ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œœœ ‹œ œ œ œ 4 1

5 2

3 1

5 4 5 4 5 4 2 1 2 1 2 1

4 5 4 5 4 5 4 5 4 1 2 1 2 1 2 1 2 1

3 1

5 2

1 3

2 5

1 4

2 1 1 2 2 1 5 4 3 5 5 4

1 2 1 2 1 1 2 4 5 4 5 3 4 5 1 2 4 5

1 4

2 5

œœœ ? œ œ œ œœ œ œ 4 1

5 2

4 5 1 2 4 1

1 3

1 4

2 1 2 5 4 5

p. 43 CHROMATIC SCALE IN MINOR SIXTHS 5 1 3 1

4 1 4 1

5 2 5 2

4 1 3 1

5 2 4 2

5 1 5 1

4 1 4 2

5 1 5 1

4 1 4 1

5 2 5 2

4 1 3 1

5 2 4 2

1 5

2 5

1 4

2 5

1 4

1 5

2 4

1 5

2 5

1 4

2 5

1 4

5 1 5 1

5 2 4 2

4 1 3 1

5 2 5 2

1 3

1 4

2 5

1 4

œ œ bœ œ #œ nœ #œ nœ œ #œ n œ #œ # œ n œ # œ n œ œ bœ œ #œ #œ n œ #œ # œ

? 3 œ # œ œ b œ n œ œ # œ œœ # # œœ # œœ b œœ # n œœ 4 œ # œ #œ œ # œ œ # œ

4 1 4 1

5 1 5 1

4 1 4 2

5 1 5 1

2 5

1 5

2 4

1 5

5 2 4 2

4 1 3 1

5 2 5 2

4 1 4 1

1 4

2 5

1 4

2 5

5 1 3 1

nw nw 1 5

CHROMATIC SCALE IN MAJOR SIXTHS 5 1 4 1

5 2

4 1

5 2

4 1

5 1

4 1 3 1

5 1 4 1

1 5

1 4

2 5

1 4

2 5

1 5

2 5

1 5

? 43 œ # œ œ # œ œ # œ # œ b œœ n # œœ n œœ # # œœ n œœ bœ n œ œ # œ œ # œ œ 5 2

4 1

5 2

4 1 3 1

1 4

2 5

1 5

2 5

œ œ b œ œ # # œœ n n œœ # œœ b n œœ # œœ # œ n œ # œ n œ # œ # œ nœ# œ nœ œ 5 2

4 1

3 1

5 1

1 4

1 5

2 5

1 5

4 1

5 2

4 1

5 2

5 1 4 1

4 1 3 1

5 2

4 1

2 5

1 4

2 5

1 4

1 5

2 5

1 5

2 5

w bw 5 2

1 4

One must work on the scales in broken Sixths; we provide an example in minor Sixths. The same work must be done for the major Sixths. 1

?c

bœ nœ œ #œ œ bœ nœ œ #œ œ œ #œ œ #œ #œ œ #œ œ #œ œ 1 1

5 3

1 1

4 4

5

1

5

2

2 2

5 5

1 1

4

1

5

4 3

2

2 2

4

5 4

1

5

1

126  |  Part I: Marguerite Long’s Le Piano

2 ? c œ #œ œ bœ nœ œ #œ œ bœ œ nœ #œ œ #œ #œ œ #œ œ #œ œ 5 3

1

4

1

1

5

2

5

1

4

ARPEGGIOS IN SIXTHS EXERCISE No. 1 _ On the harmonic progression already studied (page 12). It is indispensable to connect the upper part while ascending, and the lower part while descending. œ ? c ‰ œœ œœ œ J 5 2

3 1

?c & ?

4 1

5 2

4 1

œ œœ

&œ

w w

œ œ œœ œ œœ œ œ œ œœœœ œœ

œ œ œ œ b œœ œ ‰ œ bœ J

?œ

w w

œ œ œ bœ œ b œœ œœ b œ œœ œœ œ œ ? b œ œœ ‰ b œœ b œ œ & b œ œ b œœ b œœ b œ b œ œ J œ œœ œ bœ

&œ

w w

œ œ œ œ œœœ b œ b œœ œ œ ? bœ œœœ œœœœ b œ b œ œ œ b œ œ b b b b b ‰ Jœ œ & œœ œ œ œ œ œ œ œœ œ œ bœ œ w w

? bb b bb

œ œ œ œ œ b œœ œ b œ œ b œ œœ œ œ ? b œ œœ œ ‰ œ b œ & œ b œœ œ œ œ œ bœ œ œ œ J œ

?œ

bbbbb w ww ww w œ bœ œ œœ ∫œ œ ∫œ ‰ ∫ œœ b œ œ & ∫ œ b œœ b œœ œ b œ œ ∫ œœ b œœ œ œ ? b œ ∫ œœ # # ‰ œœ œ œ & œ œœ œ œ ∫œ œ J J

? bb b ∫ w bb ∫w

##

w w

bw bw

w w

ww

ww

etc.

œ√ œ ‰ œj œ œœ œœ œ œœ œœ œ œœ œœ œ œœ œœ œ œ w œ œ œ ww œœ w w

w w

ww

VARIANT œ3 œ ? 43 œœ œ œ ? 43

˙˙ ..

œ3 œ 3 œ œœ œ œœ œ œœ œ œ œ &œ œœ œ œ œœ œ œ3 3 œ

œ œ3 œ œ œ b œœ œ œ œ bœ

?œ

˙˙ ..

œ œ œ œ œ œ bœ œ b œœ œœ œ œœ b œ œœ œœ œ œ ? b œ œœ œ b œœ b œ œ & b œ œ b œœ b œœ œ œœ bœ œ œ œ bœ œ bœ œ

&œ

˙˙ ..

œ œœ œ œ œœœ œœ b œ b œœ œ œ ? b œ b œœ œ b b œœ œ œ œ œ œœ œ œ œ œ œ œœ œ œ & b œ b œ œœ œ bbb &œœ œœ œ œ bœ ?

bbbbb ˙ . ˙.

˙. ˙.

˙. ˙.

œ œ œ œ b œœ œ œ œœœ œœ œ b œ & œ b œœ b œœ œ œ œ b œ œ b œœ b œœ œ œ ? b œ œœ œ œ œœ

? œ œœ œ

etc.

˙. ˙.

p. 44 EXERCISE No. 2 _ Same work for the left hand. &c

ww

ww

œ ? c ‰ j œ œ œœ œ œœ œ œ &

w b b ww

2 5

1 4

2 5

ww

œœ œœ œœ œ

&œ

ww w

b˙. b˙.

˙˙ ..

œ œ œ œ œœ œ œ ‰ œj œ b œ œœ œ & b œ œ œ œ œœ œ œ bœ œ œ

?œ

bbbbb

ww

˙. ˙.

ww œ b œ œœ

?

ww

bœ œ œ b œ œœ œ œ œ b œ œœ

etc. œ œ bœ œ œ œ œ œ œ b œ b œ œ œ ? œ œ œ œ ? ‰ j œ bœ œ œ & œ ? bœ œ œ œ b ‰ j œ œ œ œ œ b œ b œ b œ b œœ b œœ b œ œ b œ b œ œœ b b b b œœ œœ œ œ & œœ œœ œ œœ œ bœ œ English Translation of Le Piano | 127

VARIANT ˙. 3 ˙. &4

˙˙ ..

˙˙ ..

œ œ 3 œ3 œ 3 œ œœ œ & œ œ œ œ œ ? œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ b œœ œ œ 3 & b œ œœ œ 3 œ œ 3 œ œ 3 3

? 43

etc.

EXERCISE No. 3 _ Play the left hand two octaves below the right hand, keeping the held notes only in a slow tempo. 3

5

2

4

5 4

2 1 53

1 œ œ œ œ œœ # œ œœ œ œ œ œ # œ œœ œ œœ œ œ œ œ œ œœ œ ? c œœ # œ œ œœ œ œ œ & œ # œ œ œ œœ # œ # œ œ œ œ œ œ œœ œ œ œ 6 #œ #œ 2

6

5

5

3

6

4 5

2

1

2

3 5 4 5

5

1

1 2

3 5 1 4 2

4 5

3 5

?

œœ # œ œ œœ œ œ

etc.

Same working formula on the following positions. 2 bœ œ œ œ ? c b œœ n œ œ

nœ œ œ #œ # œœ # œ œ

b œœ

4

3 etc.

etc.

œ n œ b œ œœ œ

etc.

EXERCISE No. 4 œ œ œ œœ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ ? c œ œ œ œ œ œ œ ? œ œ œ œbœ œ œ b œ œ œ ? œ œ œ œ b œ & b œœ œ œ œœ ? b œ œ œ b b b œ œ & œ œ œ œ œ ? œ œ œ &œ & bb œ œœ œœ bœ œœ etc. œ 1

?c

5 2 1

5 3

5 2

3

3

w w

3

3

bbbbb w w

bw bw

w w

œ œ œœ œ œ œœ œ œ œœ œ ∫ œœ ? b b b œ b œ & œ œ b œ œœ ? b œ œ œ œ ∫ œ & ∫ œœ œ œœœ ? ∫ œ œ œ # # œ œ & œ œ œ œ œ ? œ bb bœ œœ œ œ œ œ ? bb b b b ww

3

3

##

∫w ∫w

3

√œ œ œ œœ & œ œ œ œœœ œœ œœ www œ œ œ ? w w

w w

Same work for the left hand ww ww w b b ww œ œ b œœ &c œœ bœ œ œ œœ œ œ œ œ œœ b œœ œ ?c œ œ œ œœœ œ œ œœ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ œ bœ œœ 5

5

1 4

5

5

1 4

End of Chapter II. 128  |  Part I: Marguerite Long’s Le Piano

1 2

ww ww

etc. etc.

5

1 2

etc.

etc.

p. 45 CHAPTER III SCALES ARPEGGIOS p. 46 The good execution of a scale depends above all upon the firmness of the finger that precedes the thumb and that which follows it. Under these conditions, a hand sufficiently loosened by five finger exercises will not encounter any difficulty with the passage of the thumb. This is why we recommend that you do not approach scales prematurely with a beginner. Moreover, the study of the chromatic scale, with its smaller intervals and more frequent use of the thumb, seems to me to require that it precede that of the diatonic scale. Playing scales is an indispensable thing. It is with scales and arpeggios that one can acquire the supreme regularity of the fingers and the smooth flight over the keyboard of which I spoke in my foreword. One must work slowly from the start, hands separately, only with the fingers, keeping watch that the forearm has no tension and that each finger, including the thumb, has the same attack _ doing this by listening scrupulously. The regularity of the rhythm involving [as it does] the regularity of the fingers, it is necessary to count. When one has mastery of scales and one can execute them brilliantly, one must practice “flowing” them lightly and closely from the fingertips, with a pretty sound. One must know all the keys impeccably and only play the scales at the third, at the sixth and at the tenth when one has done them perfectly at the octave. The launched scales are then an excellent improvement at a higher level. Generally speaking, pianists of the young generation do not do enough scales. They are completely wrong. p. 47 PREPARATION FOR SCALES EXERCISE No. 1 _ We remind you that, according to the same principle, we give only the right hand of the following exercises, the left hand playing an octave below, the upper fingerings are those of right hand, the lower fingerings those of left hand. ? 6 œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 œ œ œ & œ œœœœœ œœœ œœœ œ œ œœœ œ œœœ œœœ 1 2 1 2 1 2 1 2 1 2 1 2

1 2 1 2 1 2 1 2 1 2 1 2

1

2

1 2 1 2 1 2

1

2

1 2 1 2 1 2 1 2 1 2 1 2

√ œ œœœœœ œœœœœœœœœœœœ & œœœ œœœ œœœœœœœœœœœœ œœœœœœœ 1 2 1 2 1 2

1 2 1 2

1 2 1 2

1 2 1 2 1 2

1 2 1 2 1 2

1 2

1 2

etc.

? œ œ œ œ œ œ œ œ œ œ œ œ ˙. 1

etc.

1

English Translation of Le Piano | 129

EXERCISE No. 2

œ œœœœ œ œ œ œ œ œ œ ? 6 œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 8 1 2 3 1 3 2 1 2 3 1 3 2

1

3 1

3 1

2 1

2

1 3 2 1

1

1 3 2

1 3 2 1

1 3 2 1

3 1 3

1 3

1 3

3 1 3

1 2 3 1

1 3

2 1 2 3 1 3

1 3

1 3

1 2

etc.

1

1 3

3 1 3 2

√ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœ œœ œœ & œ œœœœœ 1 3 2 1 2 3 1 3 2 1 2 3

? œ œ œ œ œ œ œ œ œ œ œ œ ˙.

1

1 3

etc.

1 3 2 1

1

3 2

EXERCISE No. 3

œ œ œ œœœ ? 2 œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 & 4 1 4

1

1

1 4

4 1 4

4 1 4

1

œ œ œ œ œ œ œ œ œ œœœœ œ

1 4

4

1 4

4

1 4

4 1

1

œœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ &œœ œ 1

4

1

4

4

1

1

2

4

4

4

1

1

4

4

4

1

2

4

1

1

etc.

? œœœœœœœœ ˙

1

etc.

1

1

4

4

1

2

1

4

4

1

EXERCISE No. 4

œ œœœœœœ œœ ? 43 œ œ œ œ œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1

2

1

2

1

5

1

5

3

1

5

4

5

4

5

1

2

1

5

3

1

5

1

5

4

5

5

4

5

1

5

1

5

1

5

4

œœœœœœœœ œœœœœœœœœœœœ œœœœœœœœœœœœ œœœœœ & œœœœ 5 1 5

1 5 1 5 4

1 2

1 5

1 2 1 2

4 3

3

1 2

5

5 1 5

2

1 5 1 5 4 1

5 1 5

3

5

1 5 1

2

1

5

1

5

etc.

1

? œ œ œ œ œ œ œ œ œ œ œ œ ˙.

etc.

1

5 1

1

2

5

1

5

5

1 5

EXERCISE No. 5

œœœ œ ?2 œœœ œœœœ œœœœœœœœ œœœœœœœœ œ œœœ œ 4 œ & œœ œœœœ œœœœœœœœ œœœœœ œ œ 1 4 3 2 1 4

1 2 3 4 1 2 3 4

&

1 4

1 4

1 4

1

1 2

1 2

1 2

1

œœœœœœœœ œœœœœ œœ œ œ œœœœœœœ œœœœœœœœ œœœœœ 1

4

1

4

1

2

1

2

3

2

3

1

4

2

1

4

3

3

4

1

2

2

1

3

4

4

3

1

2

1

2

1

1

4

1

4

1

2

2

1

4

1

etc.

etc.

? œœœœœ œœ ˙ œ

EXERCISE No. 6 _ Always respect the fingering of the scale for working on the seven exercises that will follow and which may naturally be applied to all keys. √œ œ œ ˙ ? 43 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ etc. & 2

1

2

3

2

1

2

3

2

1

2

3

1

3

2

3

1

3

2

3

1

2

1

3

1

2

1

3

1

5

4

3

4

5

4

3

4

5

4

3

2

3

4

3

2

3

4

3

2

1

2

3

2

1

2

3

2

4

3

4

5

4

3

2

3

4

3

2

3

4

3

2

1

2

3

2

1

2

3

2 1 3 1

2

3

2

1

2

3

1

3

2

3

1

3

2

3

1

2

1

3

1

2

1

3

1

1

3

3

4

1

1

3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœœœœœ œœ œœœ œœ œ œ œ œœœœœœœœ & 5

1

4

3

4

5

2

3

2

1

130  |  Part I: Marguerite Long’s Le Piano

3 1 3

2 3 4

etc.

? œœœ ˙

p. 48 EXERCISE No. 7 œ œœœœœ ?c œœœœœœœœœœœœ œœœ œœœ

√œ

1

4 2 3

1 2 3 1 3 2 3 1 2 3 2 1

1 3 2

3 1 2 2 3 4 3 2 1 5 4 3

1

2 3 2

3

2

1

4 3 4

1

4

&

3

œ

œœœœ œœœœœœœœ

œœœœœœœœœœœ

√ œœœ w

etc.

3

1

4

1

4

1

2

1

œ œ œ œ œ œ œœ œœ œ œ œ œœœœœœœœœœœ œ œœœ œ œœœœœœ œœœœœœœœœ œœ œ & œ œ œ œ œ œ œ œ œ œ œ œ ? etc. œ œ œ w 5

1

4

3 2 3

4

3 2 1 3 1 2

2

3 1 3

2

3 1 2 3 2 1

4 1 2

1 3 2 1 2 3 2 1 4 3

1

2 1 4

2 3 4 1 4 3 4 1 2 3

1

EXERCISE No. 8 1

4

5

3

4 5

4

œ & 42 .. œœ œ œ œ œœ 4

5

2

1

3

2

œ œ ? 2 .. œœ œ œ œ œ 4 2

5

2

5

5

œœœœœœœœœœ .. .. œ œ

5

4

œ .. .. œ˙ œ œ œ œ œ œ œ & .. œ˙ œ œ œ œ EXERCISE No. 9 4

5

4

4

9

œœœœœœœœ .. .. œ œ

5

5

1

œœ œ œ œ œ œ # œ .. .. # # # # # # 2

5

4

5

.. .. œœ œ

7

œœ œ .. ..

7

# .. .. # # # # # # œ˙ œ œ œ œ œ

9

.. .. ˙œ œ œ œ œ œ œ œ œ œ

7

5

# .. .. # # # # # # œœ œ œ œ œ œ œ

9

.. .. œœ œ œ œ œ œ œ œ œ œ œ

7

7

1

4

4 5

.. .. œœ œ œ œ œ œ œ œ œ

3

4

5

etc.

..

5 7 5 √œ œ œ etc.˙ . œœœœœ œ œ œœ œœ œœ œœ œœœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? 3 œ œ œ œ œ œ œ œ. .œ œ œ & . . # # #œ# œ œ etc. œœ ? .. 4œ œ œ œœ œ œ ..œ œ.. œ œ œ œ # . . . . .. œ œ œœœ # # œœœœ 1

2

1 2 3

1

5 4 3 2

1 3

1 3 1

9

4 1

3 1

3

3 2 1 3

1

4

1

2

1 3 2

1

4

2

1 3 1

3 2

1

√œ œœ œœ œœ œœ œœ œ œœœœ œœœœœœœœ œœœœœœœœœœœœ œœœœ œ & œœœœœœ œ 5

4

1

3 4 5

3

2

1

3

1

2

3

3

1

2

3

2

1

3

5

4

1

3

3

1

4

1 3

1 4

1

?c œœœ

6

1

√œ

&

5

1

œ œ œ œ œ œ6œ 4

2 5 4 3 2 1 3

1

œ œ œ œ œ6 œ œ œ œ œ œ œœœœœœ 3

3 1

6

2

4

1 3 2 1

4 3

4

2

1 4

1

1 2

1

2

3

2

3

1

3

3

2

1

2

1

1

4

3

3

4

3

1

3

2

2

1

4

1

4

1

2

1

4

2

3

& 6

œ œœœœœœ œ œ œ œœœ 6

2

3

1

1 3

œœœœœ 5

1

1

3

1

œ

4 5

3 1

5

&

1

4

3

4

1

1

œ œœœœœ 1

5

3 1

œœ

1 3

5

œœœœœ 5

œœœ

œœœœ

œœœœ œœœœ œ œ œ œ

œœœ œœœœœœœœ œœœœœœœœ œœœœœœœ 5

3

4

5

1

3 1

4 5

etc.

&

?

etc.

4

EXERCISE No. 11 ? 42 œ œ œ œ œ œ œ

√œ

4

œœœœ œ œœœœœœ œœœœœœœœœœœœ œœœœœœ œœœœœœœœœ œ 4

etc.

2

EXERCISE No. 10 3 1

? œ œ œ œ ˙.

3 1

1

œ

œœœœœ

œœœ œ œ

&

œœœœ w œ 1

3

2

œ etc.

1

4

6

œ œœœœœ w 1

2

3

4

1

2

2

1

3

2

1

4

œœœœœ 3 1

etc.

1

5

1 1

œœœ 5

3

˙ 1

5

? œœœœœœœœ ˙

English Translation of Le Piano | 131

EXERCISE No. 12 œ

œ œœ œœœ œœœœœœ œ & 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1

4

3 1

?2 œ 4 œœœœ œ 1

&

œœœœ 5

3 1

5

œœœœœ

œœ 4

1

5

5

4

3 1

1

3 1

1

œœœœœ

œœœ 4

1

5

3 1

œœœœ

œœ œ

œœœœœ

œœœœ

œœœœ

œœœ

œœœœœ œœœœ

œœœ œ

œœœ

œœ œ œ

œ œœœ œ œœœ

œœ œ œ œœ œ œ

œœœ œ œ œ œœœœœœ œœœœœœœ œœœœœœ œœœœœ œ œœ œœœ œœœœœœœœ œ œ œœœœœœ œ œ œ œœœœ 1 3

5

œ

˙ ˙

˙

? œ œ œ œœœœ œ œ œœœœœœ œœœœ œœœœœœ œœœ œœœ œ œœœ œœœœ œœœ œœ œœœœœ œœœœœ œ œœœœ œ œ œœœ ˙ 5

1 3

5

p. 49 TABLE OF MAJOR SCALES C Major √œ œ œ œ œ RH ? 24 œ œ œ œ œ œ œ œ etc. & 1

LH

3

3

G Major

√

RH ? # 42 œ œ œ œ œ œ œ œ œ LH 1

2

3

1

4

etc.

4

1

2

3

1

2

3

4

5

1

D Major œ œ ? #RH# 42 œ œ œ œ œ œ œ 1

LH

1

4

5

3

1

etc.

4

A Major RH œ ? # # # 42 œ œ œ œ œ œ œ œ 1

3

LH

1

3

1

etc.

&

4

5

&

E Major ? # # # # 42 œ œ œ œ œ œ œ œ œ LH RH

1

5

2

4

3

4

1

1

3

1

4

3

2

1

2

3

1

1

etc.

4

132  |  Part I: Marguerite Long’s Le Piano

&

1

2

4

3

2

2

3

1

4

3

2

1

2

3

1

œ œ œ œ 4

3

4

etc.

1

3

3

œ œ œ

2

1

œ œ œ œ œ

5

1

3

4

œ œ œ œ

5

1

1

5

√œ

√

1

4

1

1

œ œ œ œ

5

1

4

1

3

&

œ œ œ œ œ

4

3

1

2

5

5

1

4

1

1

4

etc.

3

1

4

4

4

3

2

3

etc.

2

4

3

4

1

4

1

2

etc.

˙

? ˙

?

1

œ œ œ œ œ 1

etc.

1

œ œ œ œ œ 1

?

1

œ œ œ œ œ 1

? ˙

?

˙

˙

B Major RH œ ? # # # # 42 œ œ œ œ œ œ œ # œ 1

LH

2

3

1

F# Major

LH

4

3

4

1

3

etc.

C# Major 2

LH

3

F Major 4

1

LH

3

1

4

3

1

etc.

Bb Major ? RH b b 42 LH

1

etc.

3

1

4

1

3

1

4

1

1

etc.

3

4

1

3

3

1

4

Ab Major ? b b RHb 42 œ œ œ œ œ œ œ œ œ b LH

1

3

2

2

3

3

1

4

1

4

etc.

3

1

Db Major œ œ ? b b b 42 œ œ œ œ œ œ œ bb RH

LH

2

3

etc.

3

Gb Major ? b b b RHb 42 œ œ œ œ bb œ œ œ œ œ 2

LH

4

3

3

4

2

1

3

1

3

4

√

&

1

3

etc.

3

2

&

&

1

2

1

1

3

1

œ œ œ œ œ 4

1

1

1

4

2

1

3

1

3

etc.

1

œœœœœ

4

1

1

etc.

3

3

1

3

1

etc.

1

œ œ œ œ œ œ œ œ œ 2

etc.

1

3

3

4

1

etc.

1

œ œ œ œ œ

œ œ œ œ 2

3

4

4

œ œ œ œ

√

1

1

4

4

2

1

3

1

etc.

3

œ œ œ œ œ

œ œ œ œ

&

1

4

1

√

1

1

4

1

2

3

4

1

4

3

4

1

etc.

1

œ œ œ œ œ

œ œ œ œ 2

1

4

3

&

4

œœœœ œ

1

etc.

2

4

1

4

3

? b bRH 42 œ œ b œ œ œ œ œ œ œ LH 1

2

1

Eb Major 2

1

1

√

œ œ œ œ œ œ œ œ œ 2

1

œ œ œ œ 2

4

1

œ œ œ œ œ

3

œ œ œ œ

&

1

2

5

1

3

1

3

4

? b 42 œ œ œ œ œ œ œ œ œ RH

2

&

etc.

3

1

4

1

2

3

1

4

1

1

√

œ œ ? # # # # #RH# 42 œ œ œ œ œ œ œ #

1

œ œ œ œ

&

1

1

2

3

4

3

œ œ œ œ œ

4

2

RH ? #### # 2 œœ œ # 4 œœœœœœ 2

œ œ œ

5

&

etc.

3

4

1

2

3

4

√œ

1

4

1

4

1

4

etc.

?

?

˙

˙

? ˙

?

˙

? ˙

?

?

˙

˙

? ˙

?

˙

English Translation of Le Piano | 133

Cb Major

œ œ ? b b bRH 2 œ œ œ œ œ œ œ bbbb 4 1

LH

2

3

œ œ œ œ 1

LH

3

1

2

5

4

1

E Minor 1

1

4

1

3

1

5

3

1

&

etc.

4

3

B Minor ? #RH # 42 LH

œ œ œ #œ œ œ œ œ œ 1

3

F# Minor 1

3

3

&

4

1

etc.

1

4

4

3

C# Minor RH œ œ ? # # # # 42 œ œ œ œ œ œ # œ 2

LH

3

3

etc.

? # # # #RH 42 œ ‹œ œ œ # œ œ œ œ œ LH

2

1

3

2

1

3

3

1

3

2

4

4

etc.

3

1

D# Minor ? # # # # RH 2 ## 4 œ œ œ œ œ œ ‹ œ œ œ LH 2

2

4

1

1

4

1

1

1

3

134  |  Part I: Marguerite Long’s Le Piano

&

etc.

1

4

1

2

etc.

3

1

3

1

4

4

4

1

3

2

3

1

2

3

4

1

4

2

3

1

etc.

1

1

?

?

?

4

1

4

1

3

3

etc.

˙

˙

˙

˙

? ˙

?

3

œ ‹œ œ œ œ œ œ œ ‹œ & 1

etc.

1

œ ‹œ œ œ œ œ œ œ ‹œ 1

etc.

1

œ œ œ œ #œ

1

3

etc.

4

1

3

?

1

œ œ œ œ #œ

3

3

1

1

√œ #œ œ œ &

G# Minor

etc.

œ œ œ œ #œ

3

1

2

3

1

4

2

4

? ˙

1

3

œ #œ œ œ 2

1

4

4

3

4

1

3

1

1

1

1

3

etc.

2

œ œ œ œ #œ

4

3

RH ? # # # 42 #œ œ œ œ œ œ œ œ œ LH 2

5

4

1

4

œ #œ œ œ

&

etc.

3

4

1

4

1

4

1

1

4

1

1

1

1

œ #œ œ œ 5

? # 42 œ œ œ œ œ œ #œ œ œ LH RH

3

3

œ œ œ œ #œ

5

1

4

1

1

4

p. 50 TABLE OF MINOR SCALES A Minor √ œ #œ œ œ RH œ œ # œ ? 2 œ etc. 4 œ œ œ œ œ & 1

œœœœ œ

5

&

etc.

3

4

1

2

3

4

1

4

1

?

˙

˙

A# Minor ? # # # # #RH# 42 œ œ ‹œ œ œ # œ œ œ œ 1

2

1

2

LH

3

1

4

1

1

4

1

D Minor

#œ œ œ ? RHb 42 œ œ œ œ œ œ 1

LH

4

5

3

1

1

4

œ œ œ œ ‹œ

1

2

3

4

3

1

1

3

4

5

etc.

4

4

1

1

1

3

3

4

?

2

1

1

etc.

3

œ #œ œ œ œ œ œ œ #œ &

1

4

1

3

œ ‹œ œ œ

&

etc.

4

etc.

1

˙

? ˙

G Minor ? bRHb 42 LH

œ #œ œ œ œ œ œ œ œ 1

3

1

4

5

etc.

4

1

3

1

œ #œ œ œ 5

&

1

4

œ œ œ œ #œ

4

1

3

1

1

3

4

1

4

etc.

?

1

˙

C Minor œ ? bRH 2 œ œ œ œ œ œ n œ œ bb 4 1

LH

3

5

etc.

4

3

1

œ nœ œ œ œ œ œ œ nœ & 5

1

4

1

LH

5

1

3

etc.

4

1

2

1

4

3

4

etc.

1

œ œ œ œ nœ

1

1

3

1

œ nœ œ œ

&

1

3

1

3

4

? b b RHb 42 œ œ nœ œ œ b œ œ œ œ 4

1

1

F Minor 1

4

4

1

1

4

3

etc.

1

? ˙

?

˙

Bb Minor œ ? b b bRH 42 œ œ œ œ œ œ n œ œ bb 2

LH

1

etc.

1

4

1

3

1

2

œ nœ œ œ œ œ œ œ nœ & 4

1

4

1

Eb Minor ? b b R.H. 2 œ b b bb 4 œ œ œ œ œ œ n œ œ L.H. 2

2

1

1

4

etc.

3

&

Ab Minor

? b b bRH 42 œ nœ œ œ bbbb œ œ œ œ œ 2

LH

3

3

1

1

3

4

4

1

1

3

3

4

etc.

&

1

1

3

œ nœ œ œ 3

1

4

1

3

2

1

2

3

4

1

etc.

3

2

œ œ œ œ nœ

4

1

1

4

3

1

œ nœ œ œ œ œ œ œ nœ 3

2

1

1

3

3

1

4

1

etc.

3

4

1

3

etc.

? ˙

?

?

˙

˙

English Translation of Le Piano | 135

p. 51 When one knows perfectly all the major and minor scales, one will be able to work on them at the third, the sixth and at the tenth. We give you an example of it in C Major. C major at the Third

4

5

4

1

3

1

1

3

1

4

œœ œœ œœ œ œ 3

œ œ œœ œœ ? 2 œœ œœ œœ œœ œœ œ œ 4 1

3

&

etc.

4

1

œœ œœ œœ œœ œœ 3

1

1

3

etc.

? ˙˙

œ œ œ œ œœ œœ œœ

etc.

? ˙ ˙

œ œ œ œ œ œ œ œ œ œ

etc.

2

4

1

C major at the Sixth 4

1

1

etc.

3

4

1

3

3

C major at the Tenth

etc.

3

1

1

1

4

1

√ œ œ œ œ & œ œ œ œ

3

1

4

3

œ œ œ ? 42 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 1

4

1

3

œ œ œ œ œ œ œ œ & 5

œ ? 42 œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ 3

1

4

3

4

1

1

4

5

3

? ˙ ˙

1

Then we will work on all scales in contrary motion, always using, of course, their respective fingering. Ex: In C major. & 43 ?3 4

√ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (œ) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ◊ 1

1

2

2

3

3

1

2

3

4

1

1

1

4

5

1

1

1

1

4

5

3

4

3

1

1

œ œ œ œ œ œ œ œ œ œ œ œ 2

1

3

3

4

œ œ œ œ œ œ œ œ œ œ œ œ 4

3

3

√ œœœœ œœœœœœœœ œœœœœœœœœœœ œ œ œœœœœ œ œ &œœœœœœœœœœœœ œ œœœ ˙ ?œœœœœœœœœœœœ œœœ œ œ œ œ (˙) œœœœœœœœœ œœœ œœœœœœœœ œœœœœœœœ œ ◊ 5

1

4

1

1

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1

136  |  Part I: Marguerite Long’s Le Piano

5

1

3

4

3

4

1

LAUNCHED SCALES Count aloud by going strictly in tempo and respecting the exact value of the rests. Pay attention to the left hand _ So that it will be as fast as the right hand, it must be the hand that leads. In the execution, to end more brilliantly, one can use the third finger on the last note of the right hand at the top. _ To be worked on in all keys and in all dynamics brilliantly or very soft. >œ >œ ? > œ œ œ œ œ œ œ œ œ J ‰ ?> œ œ œ œ œ œ œ ? c >œ œ œ œ œ œ œ œJ ‰ >œ œ œ œ œ œ œ œ œ ‰ œ œ œ œ œ & œœœœœ J & œœœœœ & œ œ 7 7 7 7 œ >œ >œ ? j‰ ?c œœœœœ & œœœœœ J ‰ œ œ œ œ œ œ œœ œ œ œœ œ œ J ‰ œœ œ œ œ œ œ œ œ œ œ œ œ œ > œœ œœ œœ œ œ œ œœ > > > > √ √> >œ œ œ >œ œ œ œœœœœ > œœœœœ œ œ œ œ >œ œ œ œ œ > œ œ œ œ œ œ œ œ œ œœ J ‰ œœ ‰ œ œœ ‰ œœ & œœœœœœœ œœ J J >œ œ œ >œ œ œ >œ >œ œœœœœ œœœœ œ œ œ œ œ J ‰ œ œ œ œ œ œ >œ ‰ ? œœœœœœœ œ œ ‰ œ œ œ œœœœœ j & J œœœœœ œ > √> œ œ œœ œ œ œœ œ œœœœœ œœœ œœ œœœ œ œœœœœ œœ œ œ œj ‰ ‰ œ j œœœœ ? & œœœœœ œ > > > œ œ œœœœ œœœœ œœœœ œ œ œ œj ‰ œ œ œ œœ ? œœœ œœ & œ œ œ œœœœ? & œœœ œœœœ j ‰ œ œ > > 1

4 5

3 1

1 3

1

5

5 3

5

1 3

1

1

5

English Translation of Le Piano | 137

p. 52 The following exercise must be also worked on hands separately œœ œœœ œ œ œ œœ œœ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œœœ œœ œœœ œ œœ 5

&c

1 3

1 4

1

7

? c œ œ œ œœœœœœœœœœœ œœœ œœœœ 3 1 2

1

4

1

3

1

4

1

1

5

7

œœœœ

1 3 2

œœœ œ œ œ œœ œœ œ œ œ œ œ œ œ œœ œœ 1

œœ œœ œœ œœ œœœœœœ œ œ œ œœœœœ œœœœœ œœœœ œ œ œ œœœ 1

4

3 1

1 3

5

œœ œœœ œ œ œ œœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœ œœœœ œœœœ œœ œœœœœ œœœœœ œ œ œ œ œ œœ œœ œ œ œ œ œ œœœœ œ œœœœœ œœœœœ œœœœœ œ œ œ œ œœ œœ œ œ œ œ œ œ œ

œœœœœ œœ & œœœœœœœœœœœœœœ 5

?

1

3 1

√ œ œ œœ & œœœœœ œœœœœ œœ œ œœ œœœœ œœ œ œ√ œœ œœœœœœ œœœœœœ œ œ œ œ √œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œœœ œœœœ 1

1

4

3 1

1

5

œœœœœ

1 3

5

√

œ œœœœœœ œœœœœœ œœœœœ œ œ

3

√

1

1

5

3 1

4

1 3

œœ œœœœœœ œœœœœœœœœœœœœœ œ œœœœ œœœ √ œ œ œœœœœ œœœœœ œ œ œ œ œœœœœ œœœœœ œœ œœœœ œœœœ œœœœœ œœœœœœ œœœœœ ? œœœœœ œœœœœœœœ œœ &

œœœœ

œ œœœ œœœœœœœœ

œ

œœœ œœœœ 1

3 1

œœœœœ

√ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ & œ œ œœœ w œ œ œ œ œ √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœœœ ? œ œ œ œ œ œ œ œ œœœ w œ 5

1

3

1 3

1

1

3

The preceding exercise is developed on the C major scale _ but it must also be done on all the keys. For the fingerings, and for the right hand, on the scale degrees starting from a white key we will put the thumb _ on those starting on a black key we will put the 2nd finger _ For the left hand, we put the fingering which avoids the thumb on the black keys. We must be able to play this exercise quickly with the dynamic nuances of crescendo and diminuendo.

138  |  Part I: Marguerite Long’s Le Piano

CHROMATIC SCALE We give first the most used fingering. Work on over several octaves. 3 & 4 œ #œ œ #œ œ œ #œ œ #œ œ bœ nœ LH RH

1

4 3

2 3

3 2

1

1 1

2 3

3

1

2

3

1

2

1 1

3 2

1

2 3

3 2

1

2 3

1

1

3

2

2 3

œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ 2

1

1

2

2 3

1

1

3

3 2

1

3

2

1

2 3

1

2 3

1

3 2

1 1

2 2

3

1

3 2

1

w 4 3

p. 53 Other fingerings 3 & 4 œ #œ œ #œ œ œ #œ œ #œ œ bœ nœ 1

3 2

4 3

3 2

1

3 2

1

2

3

1

1

3

2

1

4

3

2

3

4

1

2

1

3

2

œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ 2

1

1

2

œ #œ œ œ #œ œ #œ & 43 œ # œ œ # œ œ œ # œ œ # œ œ b œ n œ œ # œ 1 1

2 3 2 3

4 1 2 4 1 2

3 4 3 1

5

4 3

3 2 1

2 1

5 1 2 3

2 4

3 1

4 3

2

1

1 2

2 3 3 1

4 1 2 2 3 1

3 4 2 3

5 4

3

2 1

3

2 1

4 3

2

4

2

1

3

2

1

3

2

1

3 2

1

3 2

2

3

4

1

2

3

1

3 2

œ bœ nœ œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ 1 1

2 2

1

3

3 3

2

4 4

1 1

3

2 2

2

3 3

1

4

3

2

1 3

2 1

3

1 4

2 5

3 1

4 2

1 2 3 1

3 1 2 3

2 4

Then we will work on the chromatic scales

w 4 3

œ œ bœ œ bœ œ #œ nœ 2 1

3 œ #œ & 4 œœ # œœ # œœ # œœ # œœ n œœ # b œœ n n œœ # œœ # œœ b œ n œ

At the minor third

œ & 43 b œœ # n œœ œœ # # œœ œœ n b œœ # n œœ b œœ # n œœ œœ b # œœ n œ

At the major sixth

bœ nœ œ #œ œ œ #œ œ #œ œ n œ # œ & 43 œœ # œœ # œ œ # œ œ b œ n œ n œ # œ

At the minor sixth

œ b œ n œ b œœ 3 œ #œ œ œ #œ œ #œ nœ & 4 b œœ n # œœ œ # œ œ b œ n œ b œ n œ n œ # œ

At the major tenth

œ #œ œ #œ œ œ #œ œ #œ œ bœ nœ & 43 œ # œ œ # œ œ œ # œ œ # œ œ b œ n œ

œ œ

At the minor tenth

œ #œ œ bœ nœ œ #œ œ bœ nœ bœ nœ & 43 œ # œ œ b œ n œ œ # œ œ b œ n œ b œ n œ

bœ œ

4 3

3 1 1 2

œœ

At the major third

[Translator’s note: Long reversed the interval qualities of the sixths here.]

1

2 3 3 4

3

2 1

4 3

2

1

4 1 5 1

2 2

3 1 3 1

2 3 2 3

4 4

5 5

œ bœ œ bœ ˙.

etc.

b œœ œ œ

2 1

etc.

etc.

etc.

etc.

etc.

English Translation of Le Piano | 139

Work in contrary motion and by starting on each step of the scale. Ex. On C √ œ #œ œ bœ nœ œ #œ œ bœ nœ œ # œ œ 3 œ # œ œ #œ œ #œ œ œ #œ & 4 œ #œ œ #œ œ œ #œ œ #œ œ bœ nœ œ #œ 1

?3 4

3

1

1

3

3

2

1

3

1

3

2

3

1

3

1

3

1

2

3

1

(√) œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ & ?

1

3

1

3

1

3

2

1

3

1

3

œ bœ nœ œ #œ œ #œ œ œ #œ œ #œ 1

1

2

œ bœ œ bœ œ #œ nœ œ bœ œ bœ œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ ◊

1

3

3

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3

1

3

1

2

1

3

1

3

1

3

œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ œ œ bœ œ bœ œ #œ nœ œ bœ œ bœ ˙. bœ nœ ˙. œ #œ œ œ #œ œ #œ œ œ # œ b œ n œ œ œ #œ œ #œ œ œ #œ œ #œ 2

1

LAUNCHED CHROMATIC SCALES We advise to finish on a 3rd finger in the brilliant scales and on a 2nd in the light scales. 12 12 > bœ nœ œ > bœ nœ ? RH J ‰œ #œ œ #œ œ œ #œ œ #œ œ c œ#œ œ#œœ œ#œœ#œœ 1

3 1

3 1 2

3 1

3 1

3

3 1 2

4

3 1

3 2 1

3 1

3 1

3

2 1

LH

& œ #œ œ #œ

œ #œ œ #œ œ œ #œ œ œ #œ œ #œ œ bœ nœ

&

> b œ n œ œJ ‰ œ œ # œ œ # œ œ œ #œ œ#œ

> œ # œ œ b œ n œ œJ ‰

? >œ # œ œ # œ œ œ # œ œ # œ œ

? œ #œ

bœ nœ

&

œ #œ œ œ #œ œ #œ œ

bœ nœ

œ #œ œ #œ œ œ #œ œ #œ

&

œ bœ nœ

√ >œ œ b œ œ b œ b œ n œ œ œ b œ n œ >œ œ œ b œ œ b œ œ œ n œ œ b œ œ # œ œ #œ nœ œ bœ œ bœ œ # œ œ #œ œ œ #œ œ œ #œ œ #œ J ‰ œ b œ n >œ ‰ œ # œ œ # œ & J

&

>œ œ b œ œ b œ œ

√> œ œ # œ n œ œ b œ œ b œ >œ ‰ n œ b œ n œ b œ œ # œ n œ n œ b œ n œ b œ œ b œ œ b œ œ # œ n œ œ b œ œ b œ œ œ b œ œ bœ œ #œ nœ œ bœ j‰ J œ bœ œ >

√œ >œ œ b œ œ b œ >œ œ b œ œ b œ œ bœ œ bœ œ #œ nœ œ bœ œ #œ nœ œ bœ œ bœ œ œ #œ nœ œ bœ œ bœ œ œ b œ œ bœ œ bœ œ #œ nœ œ bœ ? & œ bœ

140  |  Part I: Marguerite Long’s Le Piano

p. 54 EXERCISES ON CHROMATIC SCALES EXERCISE No. 1 This exercise will be worked on also in the left hand. ? 3 >œ # œ œ # œ >œ œ # œ œ # >œ œ b œ n œ œ b œ n œ >œ œ b œ ∫ œ b œ œ b œ n œ b œ b œ ∫ œ ? 4 & bœ > œ # œ œ # œ >œ œ # œ œ # >œ > > 1

? 43

3

1

1

3

2

3

1

3

3

1

˙˙ ..

?

b˙. b˙.

?

2

1

3

1

2

1

3

> #œ œ #œ # >œ ‹ œ # œ ‹ œ # >œ # œ ‹ œ # œ ‹ œ &

3

2

1

3

2

1

3

# œ ‹ œ # œ ‹ œ # >œ # œ ‹ œ # œ ‹ >œ >

1

˙. ##˙.

2

1

˙. ˙.

1

3

1

2

˙. ˙.

3

&

˙. ˙.

œ #œ œ #œ #œ œ

& c œ #œ œ œ #œ œ œ #œ > 3 3 œ b œ >œ b œ3 œ b >œ n œ3 ?c œ b >œ œ b œ 3

1

œ

& ?

1

2

#œ

3

1

nœ

#œ

3

3

1

nœ

œ

bœ

œ

bœ

œ bœ nœ œ # œ œ # >œ œ3 œ # >œ œ3 # œ > 3 > 3 1

3

4

bœ

#œ

œ

œ >

œ bœ

œ

nœ

œ

nœ

œ bœ > 3

3

#œ

etc.

˙. ˙.

EXERCISE No. 2 1

#œ œ #œ

˙. ##˙.

# >œ n œ œ b œ >œ # œ n œ # œ n >œ œ #œ œ bœ œ œ #œ œ #œ #œ œ #œ œ #œ œ

? & # >œ n œ œ b œ >œ # œ n œ # œ n œ œ b œ œ 3

b˙. b˙.

˙˙ ..

> ? œ b œ b œ ∫ œ b >œ œ b œ n œ b >œ b œ ∫ œ b œ 1

2

1

œ

œ #œ nœ > 3

bœ

œ

#œ

œ

œ bœ > ..

bœ

>œ b œ n œ > 3 > 3 > 3 .. œ #œ œ #œ œ œ #œ œ #œ 3

#œ 3

œ bœ 3

w w

3

EXERCISE No. 3 &c

œ bœ nœ œ # œ œ # œ œ3 œ # œ œ3 # œ 3 1

& ?

2

1

3

3

1

1

3

?c œ

3

1

œ bœ œ #œ nœ #œ nœ œ bœ œ bœ œ œ bœ œ 2

œ bœ 3

1

3

1

3

œ bœ 3

3

œ #œ nœ 3

3

2

œ #œ nœ #œ 1

3

3

1

œ bœ nœ œ #œ œ #œ œ œ #œ œ œ #œ œ #œ œ

œ #œ 3

3

œ #œ 3

œ #œ

œ #œ

œ 3

3

1

3

1

œ bœ nœ 3

3

#œ nœ #œ nœ œ bœ œ bœ œ œ bœ œ #œ nœ #œ nœ

nœ œ bœ œ bœ œ #œ nœ . œ bœ œ bœ . w 3 3 3 w œ œ # œ œ # œ œ b œ n œ .. œ # œ œ # œ œ œ # œ #œ 3

1

3

3

2

1

3

1

English Translation of Le Piano | 141

p. 55 WHOLE TONE SCALES #œ œ bœ bœ bœ œ œ œ #œ #œ œ œ bœ bœ bœ œ # œ # œ œ#œ œœ œ bœbœ œ œ # œ #œ bœ œ œ œ œ œ#œ œ 5

1

&c

2

1

4

3

4

3

2

1 2 1

..

4

1

1 2

bœ

œ bœ œ bœbœ œ #œ #œ #œ bœ bœ œ œ œ bœ ? c œ œ œ #œ#œ#œ œ œ œ œ œ œ œ ? bœbœbœ œ œ œ # œ b œ œ b œ b œ b œ œ œ .. w & # œ b œ # œ # œ # œ œ œ # œ œ œ œ œ œœ w œ œ 4

3

2

1 2 1

1

4

1

3 2 1

2

3

2

œ #œ #œ œ œ

1 2 3 1 1 2 1 2

&c

2 2

3 1 3 1 2 1 2 3 1 2

2 3

4 3

2 1 2 1 2 1 1 3 2 3

4 3

3 4

3

4

1 2 1

2

1

2 1 2

3

4

2

œœœœ

3 1

2 3 1 2 4 1

2 3

œœœ œ #œ #œ œ 1 2

3 1

2 2

1 1

3 4

2 3

1 2

#œ œ œ œ 2 3

1 2

3 1

œ bœ #œ œ

2 2

1 1

3 4

2 3

œ œ œ bœ

1 2

3 2 1 2 1 1

3 4

2 1 3 2 3 2 1 2 1 1

#œ œ œ œ

3 4

2 3

..

1 2

œ bœ #œ œ

#œ œ #œ œ œ œ œ #œ œ œ œ œ bœ #œ œ œ ? c # œ # œ œ œ œ œ ## œœ # œ œ œ œ œ #œ œ œ œ # œ b œ # œ œ œœ œ œ b œ .. # w œ œ œ & œ œ œ bœ ? œ œ œ œ œ bœ #w œ # œ #œ #œ #œ 1 1 2 1 3 2 1 2 2 3

1 1 2 2 3 3

4 3

2 2

1 2

2 3

4 3

1 1

1 3

2 2

1 1

2 3

1 1

2 2

1 3

1 2

2 3

4 3

2 1 1 2 3 2

1 1

4 1 2 1 3 1 2 3 1 2

2 3

2 3

4 3

3 2 1 1 2 1

1 1 2 1 1 2 3 2

3 4

2 3

2 3

4 3

SCALES WITH ALTERNATING HANDS One must not hear the passage going from one hand to the other. It is therefore necessary to play closely and rhythmically so that each note rings with perfect sonic equality. To be worked on in all keys. 4 3 2

5 4 3

4 3 2

5 4 3

œ œ œ œ œ œ œ œœœœ œœ œ œ ? RH œœœœ œœ œ œ œ 42 œ œ œ œ &œ œ œ œ œ œ œ œ LH 3 2 1

1

3 4 5

? 42

2 3 4

3 4 5

1 2 3

2 3 4

1 2 3

3 4 5

2 3 1 2

2

œœœ 4 5

3 4

3 2 1

5 4 3

4 3 2

3 2 1

œœœœœ œœœœœ 2 3 4 5 1 2 3 4

4 3

5 4

œœœ

4 3 2 1 5 4 3 2

? 42

œ œœœ œœ œ œ œ œ œR

? 42 4

4 5

3 2

&

r œ œ œ œ œ œ œ œœœ ?œ œ œ œ œ œ œœœœœ œ œ œ œ œR œ œ œœœœ œ œ œ œœœ œ R œ ˙

r œ œœœœ

1

1

œœ œœœœœ 1

œœ œ œ œœœ 5

1 3 2

2 3 4 5

5

3

4

3 1

1 3 2

142  |  Part I: Marguerite Long’s Le Piano

œœœ œœ œœ

œœœœœ

œœœ ˙

3

5

5

1

œœœœ œœœœœ 1

œœœœœ

2

1

5 4 3 2

3 1

&

?œ œ œ œ

&

5 4 3 2 1

4

œ œ œ œ œ œ œ œ œœœœœ

2 1 3 2

1 2 3

5

1 2 3

œœœœ œœ ˙

œœœ œœœœœ

1

3

2 3 4

?

1 2

œ œ œœœ œœœ 5

1

3

1

œœœœœ 1 3

œ

?

œœœœ 1

3 1

œœœœœ 5

1 3

œœœœœ

˙ 3

p. 56 ARPEGGIOS The practice of arpeggios in all their forms (inversions, at the third, at the sixth, at the tenth, broken, alternating) is as indispensable to a pianist as scales. The general advice given for scales is valuable also for arpeggios, but these involve new notions of spacing and displacement of the hand. We must begin by asserting the imprint of the arpeggio as we would for a chord, (1) (1—See the Chapter on chords) then slowly work on the articulation of the fingers by monitoring particularly the vertical articulation of the thumb and the accuracy of the second finger. Arpeggios must be punctuated in such a way that the thumb does not always fall on beat. In alternating arpeggios, one must watch the legato with care when passing from one hand to the other. The launched arpeggios constitute for an already advanced pianist an excellent means for working on perfecting technique. When one has been trained in the practice of scales and arpeggios, one hardly encounters any more difficulties in the execution of passages. PREPARATORY EXERCISES FOR THE STUDY OF THE ARPEGGIOS ON THE PERFECT TRIAD The following exercises are exceptionally written in triplets in order to ensure the posture of the hand in alternating the accent on the thumb and the fifth finger. 1

? 44 >œ RH

LH

3

œ

4

2

œ 2

1

5

>œ 5

3

3

œ3

1

2

œ

3

1

4

œ

œ

>œ

2

>œ 1

œ

œ3

> 3 œ œ > œ œ œ œ œ œ œ œ œ œ 5

5

1

&

5

1

1

1

1

5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? œ œ . œ . w & œ œ œ œ œ œ œ œ 1

5

2

4

1st Inversion

2 œ œ œ œ œ ? 44 œ œ œ œ 5

4

2

1

1

1

5

5

œ œ œ &œ œ 1

1

4

2nd Inversion 3 œ œ œ œ œ œ œ œ ? 44 œ œ œ œ œ &œ

etc.

5

1

3

5

1

4

2

1

5

2

1

5

1

etc.

1

5

1

Then work on the middle fingers so important for the rich sonority of the chords. Ex: In root position, do the same work on the inversions. √ œ œ œ ? 43 œ œ œ œ œ œ œ œ œ & œ œ etc. œ œ œ œ œ œ œ œ œ œ œ œ œ œ etc. ? œ œ œ w œ œ œ œ œœ œ œ œ 3 3 1

2

2

3

4

3

2

3

2

3

2

3

2

4

2

4

2

4

2

1

1

2

4

3

2

2

4

3

2

5

1

3

2

2

4

3

2

1

1

3

2

2

3

2

4

2

4

1 5

English Translation of Le Piano | 143

p. 57 TABLE OF ARPEGGIOS OF THE PERFECT MAJOR TRIAD AND THEIR INVERSIONS Work on these over four octaves; the fingering indicated above the note is for the right hand, that which is indicated below the note is for the left hand, the fingerings on the descent are always the same as those corresponding to the ascent. 2nd Inv. C Major 1st Inv. √œ œ œœ RH RH œœ œœ œœ œ œ œ œ œ ?œœ ?œ ? œ œ etc. ? w etc. etc. etc. & LH

1

2

3

5

4

2

2

1

5

4

1

1

G Major ?#

RH LH

œœ œœ

œ 1

2

&

etc.

D Major œœ ? ## œ œ œ RH

LH

1

1

2

3

5

etc.

? ### LH

œ œœ

œœ 1

2

5

&

? #### LH

etc.

&

? #### LH

3

2

1

œœœ 2

3

5

œœ

2

LH

2

1

4

etc.

?

1

1

2

5

4

4

2

1

1

5

1

w

?

œœœ œœ 1

5

2

4

4

2

œœ œœ œ 5

3

2

2

1

3

etc.

?

1

etc.

1

1

w

œ œœ ?œœ 2

3

1

2

2

1

# œœ 1

5

2

3

2

etc.

etc.

1

etc.

1

3

&

3

1

√œ

&

1

&

4

1

etc.

3

3

w

œœ ?œœœ 2

3

1

2

2

1

etc.

1

?

w

?

4

1

etc.

3

3

1

2

2

1

4

1

etc.

3

1st Inv. œœœ 3

2

2

3

1

1

œ

3

2

2

3

etc.

œœ ?œœœ 1

2

5

3

5 3 2 1

144  |  Part I: Marguerite Long’s Le Piano

w

3

3

2

1

1

etc.

?

w

?

2

3

?

5

2

4

4

2

2

1

etc.

1

œ œœ œœ 1

2

3

4

2

1

etc.

1

œ œœ ?œœ 1

2

5

3

4

2

1

etc.

1

œ ?œœœœ 1

2

4

5

3

2

1

etc.

1

œ œœ ?œœ 2

etc.

2

3

1

1

2

3

3

2

1

etc.

1

2nd Inv.

œ œœ œœ 1

4

2nd Inv.

1st Inv.

1

1

?

œœ ?œœœ 2

1

2nd Inv.

œœœ œœ 2

2

1

2nd Inv.

1st Inv.

1

œœ œœ œ 1

etc.

?

1

2

2

5

1 2 3 1

2

2

5

1

? #### # œœ # œœœ LH

3

5

1

œ œœ 3

5

3

4

2nd Inv.

1st Inv. œœ œœ œ

2

2nd Inv.

1st Inv.

œœ œœ œ

1

F# Major RH

2

1

1

2

B Major RH

1

3

1

E Major RH

4

3

œœ œœ œ

√

1

3

3

5

1

5

A Major RH

2

1st Inv.

√

2

1

3

2

2

1

1

2

4

5

√

1

3

3

1

1

etc.

œœ ?œœœ 1

2

4

5

3

2

1

1

etc.

C# Major

LH

2

1

2

1

√

œ œœ

? #### # œ œ ## RH

4

2

2

4

1

&

etc.

1

F Major

2

4

5

1

3

2

1

&

etc.

1

Bb Major œœ ? RH bb œ œ œ LH

2

1

2

3

2

1

&

etc.

3

RH

2

b œœœ LH 2

4

1

1

2

1

1

4

1

2

œ

etc.

4

w

etc.

1

?

w

œœ œœ œ 4

2

2

1

4

1

2

3

etc.

1

2

1

œ

2

LH

1

4

4

1

2

etc.

?

4

œœ œœ œ 4

&

etc.

1

2

2

4

1

2

Db Major œ ? RH bbbbb œ œ LH

2

1

2

2

1

4

œœ

2

1

4

4

1

2

etc.

1

&

etc.

2

2

4

?

4

œœ œœ œ 4

4

2

w

w

1

4

1

2

w

1

2

etc.

LH

&

1

2

3

5

Cb Major ? bb b b œ œ œ bbb RH

LH

1

2

3

5

3

2

œœ 3

œœ 5

etc.

&

œœ

3

1

2

2

1

1

3

œœ 5

1

1

etc.

4

1

?

œœœ œœ 1

5

2

4

4

2

1

etc.

1

œœ ?œœœ 1

2

5

4

4

2

?

5

2

4

4

2

2

4

5

4

2

etc.

?

w

2

5

4

4

2

3

2

œ

1

œœ 2

1

3

1

œ

etc.

etc.

?

?

1

2

4

5

3

2

1

œ œœ ?œœ

etc.

5

2

3

4

2

1

1

1

etc.

4

?

œ œœ œ œ 2

4

4

2

1

1

2

2nd Inv. 1

1

etc.

4

œ œœ ?œœ 2

4

4

2

1

1

2

4

2

3

3

2

1

1

etc.

4

2nd Inv.

1

etc.

1

?

œ œœ œœ 2

4

1

2

4

2

1

4

4

etc.

2

2nd Inv.

œœ ?œœœ

w

4

2

etc.

4

1st Inv. 2nd Inv. œœ œœ œœ œ ?œœœ ? etc.

5

4

etc.

1

w

2

etc.

1

œ ?œœœœ 1

etc.

4

2nd Inv.

œœœ ?œœ 1

1

2

œ ?œœœœ

1

1

œœ ?œœœ 1

2

1

2nd Inv.

1

œœœ œœ 1

4

2nd Inv.

1st Inv.

1

3

2

œ œœ œ ?œ 2

1st Inv.

Gb Major œœ ? RHb b b bbb œœœ

4

1

1st Inv.

1

4

2

5

4

1st Inv.

œœ œœ œ 2

?

Ab Major œ ? RH bbbb œ œ œ

2

1st Inv.

1

3

?

œœœ ?œœ 1

2nd Inv.

1st Inv.

&

etc.

4

2

4

œœ 4

2

1

œœ

2

2

2

Eb Major ? bb

4

3

1

√

1

4

œœ

œœ œ œ œ 5

?RH œœ b œœœ LH

1st Inv.

1

1

etc.

1

2

5

3

2

2

2

1

1

4

2

2

3

1

etc.

1

3

2

etc.

1

English Translation of Le Piano | 145

p. 58 TABLE OF ARPEGGIOS OF THE PERFECT MINOR TRIAD AND THEIR INVERSIONS 2nd Inv. A Minor 1st Inv. √ œ œœ RH œ œœ œœ œœ œ ? ? ? œœ ? œ œ œ etc. etc. œ œ œ etc. etc. & œ w LH 1

2

3

1

5

4

2

1

5

1

E Minor ? RH # LH

œ œœ 2

4

5

&

etc.

1

B Minor ? ##

RH LH

œ œœ œœ 1

2

3

5

4

2

RH LH

etc.

4

4

1

2

? #### LH

2

2

1

4

4

2

1

RH LH

etc.

1

œ œœ

# œœ 2

1

etc.

1

D# Minor œ ? #### # œ œ œ # RH LH

1

2

4

5

3

2

1

œ

etc.

1

? #### ## œ œ œ œ # œ 2

3 1

2

3

2 1

3

LH

4

2

3

1

2

2

1

4

etc.

1

3

2

1

2

4

1

2

1

4

3

&

1

4

1

2

etc.

1

4

1

3

2

√ œœ

&

2

4

1

√ œœ

&

5

2

4

4

2

1

etc.

?

w

2

5

4

4

2

etc.

?

w

?

5

2

4

4

2

etc.

?

w

2

5

4

4

2

1

1

œ

etc.

?

4

2

w

5

2

4

4

2

etc.

2

4

1

1

œ

etc.

?

w

1

etc.

1

5

2

4

4

2

3

2

2

3

œ 1

146  |  Part I: Marguerite Long’s Le Piano

etc.

?

etc.

w

1

2

2

1

3

2

4

3

2

1

etc.

1

1

2

2

1

3

etc.

4

œœ ?œœœ 2

4

1

4

2

1

2

etc.

4

œ œœ œ ?œ 4

1

4

2

1

1

2

etc.

4

2nd Inv. 1

etc.

1

etc.

1

3

2

4

4

2

1

1

2

4

etc.

4

?

œ œœ œœ 1

2

3

1

5

3

2

1

etc.

2nd Inv.

1

1

œœ ?œœœ 2

2nd Inv.

1

œ ?œœœœ 2

5

œ œœ ?œœ

2

1st Inv. œœ

1

2nd Inv.

1

œœœ ?œœ 1

2

1

œ œœ œ œ 1

4

1st Inv. œœ

4

2nd Inv.

œ ? œœœ œ 1

3

2

1

œœ ?œœœ 1

5

5

1

œ œœ œœ 1

2

2nd Inv.

œœ ?œœœ 1

?

1

1st Inv.

œ

œœ

2

2

œœœ œœ 1

1st Inv.

√ œœ

2

etc.

œœ

4

4

w

?

1

2nd Inv.

1st Inv.

2

2

?

2

√œ œ

&

1

1st Inv.

4

1

1

1st Inv.

œœ œœ œ

5

A# Minor RH

5

2

4

1

2

1

4

2

1

4

G# Minor ? ####

4

2

œœ œœœ 1

2

4

etc.

2

2

4

√ œœ œœ & œ

1

C# Minor RH

2

1

œ œœ

œœ

1

5

1

2

1

2

1

√ œœ œœ & œ

1

F# Minor ? ###

2

5

œœ 1

3

2

1

3

etc.

œœ ?œœœ 1

2

5

3

3

2

1

1

3

etc.

1st Inv.

D Minor ?

&

etc.

1

2

4

5

1

3

2

1

œœ œœ œ 5

œ b œœœ LH œ RH

3

1

2

2

1

4

etc.

?

1

w

RH LH

4

5

√ œœ œœ & œ

1

3

2

1

2

5

etc.

1

œ ? bb œ œ œ œ b LH

1

2

3

5

4

2

etc.

4

? bb b œœ b œœœ LH 2

4

5

1

3

2

1

RH

2

1

œ ? RH bbbbb œ œ œ LH

2

3

1

3

2

1

2

œ 3

etc.

2

? bb b b œœ bb œœœ LH 2

1

4

5

3

3 1

etc.

2 1

1

4

1

2

&

RH

2

1 2

4

2

1 4

2

œ

etc.

?

1

?

œ œœ œœ 2

4

3

2

1

1

etc.

4

1

2

w

1

4

2

etc.

?

w

?

3

2

1

4

1

3

2

3

2

2

3

œ

etc.

1

?

3

etc.

w

1

2

1

etc.

4

1

2

4

1

1

œ

etc.

?

w

?

2

3

1

5

2

etc.

4

etc.

&

2

2

4

œœ 1

4

1

2

œ

etc.

?

1

etc.

w

4

5

4

2

etc.

2

5

3

3

2

1

etc.

1

œ œœ œ ?œ 2

3

3

2

1

etc.

1

œœ ?œœœ 1

2

3

5

3

2

1

etc.

1

œ œœ ?œœ 2

3

3

2

1

etc.

1

?

œ œœ œ œ 1

2

3

3

2

1

etc.

1

2nd Inv.

œ ?œœœœ 2

1

5

1

2

1

œœ ?œœœ

5

1st Inv. œœ

1

2nd Inv.

4

4

2

1

2

3

œœœ œœ 1

5

3

2nd Inv.

1st Inv. œœ

1

5

1

œœ ?œœœ 2

4

2nd Inv.

2

2

2

1

4

1

œ œœ œœ 2

œ œœ œ œ 1

2nd Inv.

œ œœ ?œœ 2

?

2nd Inv.

1st Inv.

1

œœ

œœ

1

1

2

4

etc.

1st Inv.

1

1

w

Ab Minor ? bbb œœœ bbbb œ LH

5

1

4

2

1st Inv.

1

4

1

5

2

2

√ œœ

&

?

1

2

2

2

3

etc.

√ œœ œœ & œ

Eb Minor RH

2

1

Bb Minor

4

3

5

etc.

1

√œ œœ œœ & 1

F Minor

2

2

5

1

1

3

1

C Minor RH

œ œœ œœ 1

1st Inv.

G Minor ? b œœœœ b œ

?

2nd Inv.

1

1

etc.

œœ ?œœœ 2

4

4

2

1

1

2

etc.

4

p. 59 The arpeggios must be worked on at the sixth and at the tenth. Ex: in C major. e at the sixth 2nd Inv. C Major 1st Inv. √ œ œ œ œœ œ œ œ ? œ œœ œœ œ œ etc. ? œœ œœ œ œ ? œ œ œœ œœ œ etc. & œ œœ œœ œ œ etc. ? w etc. œ œ œ œœ w 1

2

3

1

5

4

2

1

5

3

2

1

2

4

1

1

2

4

1

1

2

4

2

1

5

2

3

4

5

English Translation of Le Piano | 147

f at the tenth C Major √ œ œ œ œœ œ ? œ œ œ œ etc. & œ œ œ œ œ œ œœœ œ 1

5

2

4

5

1

4

1

1

2

4

2

2

4

1

1st Inv.

2nd Inv.

œ œ œœ ? œ œœ œ œ œ

œ œ œœœœ œ ? œœ œ

1

etc.

?

1

w w

5

2

4

1

3

2

1

1

etc.

5

2

3

1

3

2

1

etc.

Then in contrary motion in order to acquire security across the keyboard. √ √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ œ &4 œ œ œ œ œ œ œ œ œ œ œ ˙. œ ˙. ?3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ◊ ◊ 1

2

3

1

1

2

4

1

5

1

3

2

3

œ œ œ œ œ & 43 œ œ œ

1st Inv.

?3 4

4

2

1

œ œ œ œ œ œ œ

1

2

4

1

√ œ œ œ œ œ œ 3 œ &4 œ 1

1

etc.

2nd Inv.

?3 4

1

2

4

œ œ œ œ œ œ œ 2

3

etc.

1

LAUNCHED ARPEGGIOS Same remark as for the scales. Count aloud in strict tempo. Work first hands separately, then hands together. We give our example in C major root position, do the same work in inversions and in all keys. >œ >œ œ œ RÔ ® ® ? œ œ œ >œ ® ® ? œ œ œ ? 16 4 >œ œ œ RÔ ® ® >œ œ œ & œ œ œ œ œ RÔ & œ œ & œ œ œ œ œ œ 5

1

√

2

3

1

2

3

1

2

1

1

2

2

3

4

2

5

1

√> √> >œ >œ >œ œœ œœ œœ œœ œ œ œ K œ œ œ œ œ œ œ œ œ œ œœ > > ? œ œ œr ® ® R œ œ œ œ Ô K ® ® ® ® ® ® ® ® r & œ œ œ œ RÔ RÔ œ > 5

4

5

4

5

3

1

2

2

4

1

5

An excellent practice consists of playing the launched arpeggios without interruption in all keys ascending chromatically, C major, C# major, D major, Eb major etc. 1st while respecting the fingering of each arpeggio. 2nd while always keeping the fingering of C major. EXERCISES ON THE ARPEGGIOS OF THE PERFECT TRIAD EXERCISE No. 1 _ Must be worked on with the fingering marked that requires the thumb on the black keys. We note that this exercise and

148  |  Part I: Marguerite Long’s Le Piano

the following ones are based on the modulating formula (page 12). According to our presentation principle we write only the right hand with the right hand fingering above it, and the left hand fingering below it. You have to work on this exercise hands together, the left hand playing an octave below the right hand.

> œ œ œ > œ œœ œœœœ>œœ œ œœœœœœ œœ œ œ >œ œ œ œ > œ œ ? c >œ œ œ œ >œ œ œ >œ œ œ œ & œ œ œ œ œ œ œ œ LH RH

1

2

5

3

1

2

4

5

1

2

4

2

5

1

1

2

5

3

4

5

1

1

4

1

2

1

5

5

5

4

1

2

5

2

1

4

5

5

3

1

2

2

1

5

5

1

4

2

1

3

œ œ bœ bœ œ œ œ œ œ œ œ œ œ œ œ &œ œœœœœœ & bœ œ œ bœ œ œ œ bœ œ œ œ œ bœ œ bœ œ bœ bœ œœœœœ œœ œ bœ œ œ œ bœ bœ œ œ œ œ œ œ ?œ œ œ œ & œ œ bœ œ œ œ œ œ œ & bœ bœ œ œ œ œ bœ œ bœ œ bœ œ œ œ bœ œ œ bœ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ b œ œ œ b œ œ b œ b œ œ œ b œ œ etc. ? bœ œ œ & bœ bœ œ bœ œ bœ bœ œ œ œ œ œ 4

5

œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ ?œ œ

1

2

1

5

5

3

1

4

5

1

2

2

4

1

5

4

2

5

1

2

5

4

1

5

5

1

5

1

5

2

4

5

1

3

1

2

3

5

4

2

1

2

4

5

4

2

1

1

2

5

4

5

1

4

1

2 1

5 1 2 4

1

1

2

5

3

5

2

1

1

5

5 4

2

1

p. 60 EXERCISE No. 2 _ With accent on the 5th finger of the right hand and the thumb of the left hand.

> >œ œ œ > >œ >œ œ œ >œ œ œ œ œ œ œ œ >œ œ œ >œ œ œ > > œ œ œ œ œ ?c ≈ œ œ œ œ œ œœ œ œ œ œ >œ œ œ &œ œ œ œœ œœ 5

5

1

2

3

2

1

1

5

5

4

5

1

1

3

5

5

5

1

1

5

5

1

5

1

œ œ b >œ nœ œ œ > œ œ œ œ œ ≈ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ ? œ œ œ œ œ & œœ œœ & œ bœ œ œ bœ œ œ œ œ œ > b >œ œ > bœ œ b >œ œ > > œ b œ œ œ œ >œ œ œœ œ bœ œ œ œ ≈ œ bœ bœ œ œ œ œ œ œ ? œ œ œ œ & œ œ bœ œ bœ œ œ œ œ & bœ bœ œ œ œ b œ > œ œ œ bœ œ œ œ bœ œ bœ œ bœ œ œ œ œ bœ œ œ œ œ œ œ b œ b œ œ œ œ œ ≈ b œ œ b œ b œ œ etc. > ? & œ bœ bœ œ œ œ œ bœ œ bœ œ bœ bœ œ œ œ œ bœ 5

4

1

5

5

5

1

1

5

5

1

5

5

1

5

5

1

5

5

1

5

1

1

1

5

5

5

1

1

1

1

1

We recommend working on these two exercises hands separately and playing the accompanying hand with modulating chords. (page 12) œ bœ œ œ œ œ bœ œ œ bœ ?c ≈œœœœœœœ ≈ œ bœ œ œ œ ≈ œ bœ bœ œ œ ≈ bœ œ bœ œ œ ?c

etc.

w w

etc.

w w

etc.

etc.

bw bw

b b ww

English Translation of Le Piano | 149

EXERCISE No. 3 _ Do not neglect the firmness of attack of the 5th finger.

> > >œ œ œ œ œ œ œ 2 > œ œ œ œ bœ œ œ œ & 4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ >œ œ œ œ bœ œ œ œ œ bœ œ 5

1

5

&œ

3

2

3

2

4

2

1

3

1

bœ œ œ œ œ œ œ

2

3

4

2

5

4

2

2

4

4

5

1

4

2

4

5

2

3

2

5

2

1

4

2

1

1

3

2

5

3

2

2

4

1

4

bœ œ œ œ œ bœ œ bœ œ œ œ bœ bœ œ œ œ œ œ bœ œ œ bœ œ b œ œ b œ œ b œ bœ œ 1

3

2

5

etc.

4

EXERCISE No. 4 bœ œ œ œ bœ œ œ 3 œ œ bœ œ œ bœ bœ œ & 4 œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ bœ œ œ œ 1

5

3

2

2

4

5

4

1

5

2

1

4

2

5

2

3

1

5

1

5

2

4

1

5

1

3

1

2

4

2

4

2

2

4

1

3

1

4

1

1

4

4

3

2

3

4

1

2

4

2

5

3

1

4

5

2

etc.

4

EXERCISE No. 5 œ œ œ œœœ œ bœ œ œ œ œ bœ œ bœ œ œ & 43 œ œ œ œ œ œ bœ œ œ œ œ œ bœ bœ œ œ œ bœ œ bœ bœ œ œ œ œ 5

1

2

3

4

2

5

2

1

5

4

4

1

2

5

5

4

2

1

3

2

1

4

4

2

1

3

4

3

3

2

2

4

2

2

3

2

4

2

2

3

4

2

4

4

etc.

4

3

EXERCISE No. 6 _ (1st) Always use the same fingering in all keys, that which necessitates the thumbs on the black keys. (2nd) Work with the second finger, thumb on the white keys, second on the black keys. œ œœ 6 œ 6œ œ œ œ œ 6œ œ œ œ œ ?c œ œ œ œ œ œœ œ œ œ &œ œ œ œ œ œ œ œ œ6 œ œ œ 6 6 2

4

1

3

2

5

2

4

5

1

1

5

4

2

2

4

1

5

1

5

4

2

5

2

1

1

4

5

3

2

2

4

5

1

5

1

2

1

5

2

4

4

1

4

5

2

1

4

bœ

2

5

2

4

4

2

1

5

5

1

2

4

4

2

1

5

5

1

2

4

3

2

1

?

œ

œ œ 6œ œ œ œ œ œ œœ œ 6 2

5

1

5

4

4

2

1

5

4

5

1

2

5

2

3

1

1

4

2

5

2 2

3 3

1 1

2

1

4

5

œ bœ œ œ œ œ bœ œ œ œ œ ? œ bœ œ œ œ œ bœ œ œ œ œ & œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ bœ œ œ bœ œ œ bœ œ œ œ œ œ bœ œ bœ œ bœ œ œ œ bœ œ bœ œ œ bœ bœ œ œ œ œ ? ? bœ bœ œ œ b œ œ œ œ œ b œ œ œ œ b œ œ b œ œ œ œ etc. & b œ œ b œ œ bœ œ œ bœ œ bœ œ bœ œ œ bœ œ bœ ?

2

4

2

1

3

2

5

1

2

4

5

1

1

5

3 2 5 1

4 4

1 2

3 5

2 1

2 2

4 5

1 2

5 4

5 4

4 5

1 2

2 1

1 2

4 5

1 1

5 5

3 3

2 2

5 5

1 1

2 2

4 4

1 1

5 5

4 4

1 2

2 2

4 5

3 5

1 2

2 1

5 4

5 4

2 1

4 5

1 2

1 2

4 5

5 4

1 2

4 5

2 1

2 1

5 4

3 5

1 2

1 2

4 5

4 4

1 1

5 5

2 2

3 3

2 2

5 5

1 1

4 4

2 2

1 1

4 5

5 5

1 2

5 4

1 2

4 5

2 1

2 1

3 5

1 2

5 4

1 2

4 5

2

5 1

4

4 4

1 1

5 5

2 2

5 5

1 1

1

2 2

4 4

3 2

5 1

5 5

4 2

p. 61 EXERCISE No. 7 _ Same remark as for the preceding one.

> > > >œ >œ ? c >œ œ >œ œ œ œ œ œ œ œ & œ 2

1

3

5

2

1

5

4

2

4

5

2

4

1

4

2

4

1

5

5

5

2

1

2

3

1

œ œ œ œ œ œ œ œœ œ œ œ œ œœœœœœ œ œ œ œ œ œ œ œ œ œ 1

3

2

5

1

4

5

2

4

1

5

2

5

1

4

2

5

2

4

1

5

4

2

2

4

1

5

2

3

1

3

2

5

1

1

5

2

3

1

2

4

5

1

4

2

5

5

1

2

3

4

1

5

2

1

2

5

1

3

2

4

5

2

4

5

1

4

5

4

bœ œ ? bœ œ bœ œ œ œ œ œ œ œ & bœ œ œ œ œ bœ œ œ œ bœ œ bœ bœ œ œ œ œ bœ œ bœ œ œ œ œ œ œ bœ œ bœ œ

150  |  Part I: Marguerite Long’s Le Piano

?

œ

œ 4

2

4

bœ œ ? bœ œ œ œ œ œ œ œ œ œ & œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ 2

?

?

œ

œ 1

œ

5

bœ

œœœ

5

1

œ

2

3

1

4

2

5

œœœ

bœ œ œ b œ œ b œ œ œ b œ b œ œ œ œ etc. 2

1

3 2

4

5

2 4

5

4

1

1 5

2

2

4

ARPEGGIOS WITH ALTERNATING HANDS EXERCISE No. 1 &c

œ œœ œ œ œ œ ?c œ œ œœ œœ œ œ œœ œ œ œ

> œ œ œ œ & ? & ?

œ œ œ œ

bœ œœ

œ œ œ œ

1 2

œ bœ 5

œ œœœ

bœ œœ

œ

œ œœ

œœ œœ

œ œ œ œ

œ œœ

œ

bœ œ œœ

œ bœ

œœ œœ

œœ œœ

œœ œœ

bœ bœ œ

bœ bœ œ

bœ

œ œ œ œ

œœ œœ

2

1

5

4

œœ œœ

etc.

œœ œœ

5

œ œœ

œœ

œ œ œ œ 1

etc.

bœ œ 5

4

5

œœ œœ

œ œœœ 5

œœ œœ

1

2

3

5

1

2

4

5

1

2

4

5

5

2

1

5

4

2

1

3

3

2

1

œ bœ bœ

œ œ œ œ œ œ œ œ 2

bœ bœ

œ

œ

œ œœ

œœ

etc.

4

EXERCISE No. 2 1

&c

œœœ 1

œœœ 4

?

2

3

2

3

2

4

2

1

1

2

œœ j J œœ bœ œ œ œ bœ œ œ œ 3

2

1

1

œ bœ bœ b œ b œ œ

2

4

2

œ bœ J b œ œj bœ

œ bœ bœ bœ

bœ bœ œ 2

& 43 ? 43

> rœ œ œ 2

>œ œ œ 4

2

1

1

3

2

3

3

2

1

4

3

3

2

4

2

1

>œ bœ œ R œ bœ œ > œ œ œ bœ œ 3

1

1

2

4

2

> r> r bœ œ œ œ œ œ œ > bœ œ œ œ 3

1

1

4

2

etc.

1

p. 62 EXERCISE No. 3 1

bœ

2

1

4

> > œ œ œ œR œ œ œ > œ œ œ œ œ œR

œ œ J b œ œj œ

bœ bœ bœ œ j bœ œ J bœ bœ b œ œ bœ œ 1

1

2

3

2

4

œ b œ b œ J b œ b œ œj œ bœ bœ œ bœ bœ

3

2

œ j œ bœ œ J œ bœ œ œ œ b œ bœ œ

1

1

1

1

4

3

2

2

?c &

œ j œœœ Jœœœ œ œ œ œ œ

2

1

2

4

etc.

1

English Translation of Le Piano | 151

EXERCISE No. 4 √ œœ œ œ œ œ RÔ œ œ œ œ œ œ œœ œ œ 1 2 3 5

&c

1 2 4

? c Kr œ œœ 2

œ œœœ

2

5

œ

3 2 1

5 3 2 1

œœ

œœœ

4 2 1

1 2

bœ œ œ œ œ œKr b œ œ œ

etc.

2



4 2 1

EXERCISE No. 5 √ œœ œ œ œ œ œ RÔ ®≈ ‰ œ œ 1

3 &4 ?3 4

1

œœ

œ

œ œœ

œœ

2

5

œ bœ

5

œ

œ œ bœ 1

etc.

5

Work not only with progressive tempos, but with varied dynamic nuances. Arpeggios must be worked on while researching, musically, all possible sonorous effects. It will be noticed how much the suppleness of the wrist or its firmness intervenes to modify the sound. Brush the keys or, on the contrary, energetically impose the “bite” of the fingers on the keyboard. All of this research develops the technique and allows one to execute in their spirit works of the most different characters. This is how you will be able, with equal ease, to create “arpeggio harmonioso” chords that require the charm of the pretty sound and of elegance or to draw dazzling arpeggios with a sure hand. In any case, always think of the solidity of the first note of the bass and clear pronunciation of the highest notes at the end. ARPEGGIOS OF THE DIMINISHED SEVENTH Before giving the complete table of the diminished 7th arpeggios and their inversions, we believe it useful to remark that there are very few positions truly different in these arpeggios. In effect with taking into account the root positions or inversions, but basing them essentially on the hand position or pianistic imprint, starting always from the thumb on the white keys, we find seven white keys and thus seven different positions which are: on C on D on E on F w # w w w w bw nw w w bw w w #w w bw #w 1

5

2

3

4

4

3

2

on G

w bw #w 1 5

w

1

1

1

5

5

5

on A w 1 5

w bw #w

152  |  Part I: Marguerite Long’s Le Piano

on B #w w w nw 1 5

We advise then in this preparatory exercise that one must work on each position above, after which the execution of all the diminished seventh arpeggios and their inversions will be found to be thus singularly simplified. Preparatory exercise Example starting from C œ œ œ œ œ œ œ ? 4 œ bœ #œ œ œ œ œ œ œ œ& œ œ œ bœ #œ œ œ 4 # œ # œ œ bœ œ œ œ bœ 1

2

3

4

5

4

3

2

5

1

1

1

5

1

4

√ œ œ œ œ œ bœ #œ œ œ bœ #œ œ œ œ œ œ œ œ œ œ #œ bœ œ #œ bœ œ œ œ œ œ œ œ œ œ ? œ #œ bœ w œ œ & #œ bœ œ œ œ œ œ œ œ

Work on the notes from the middle √ œ œ bœ #œ œ œ #œ bœ œ œ œ œ œ œ œ œ œ #œ bœ ? 44 œ b œ # œ œ œ œ œ œ œ œ œ œ & etc. œ œ bœ #œ œ œ œ 1

3 4 3

2

3

4

5

1

2

1

2

3

5

4

1

1

4

4

1

etc.

2

?

œ #œ bœ

w

p. 63 TABLE OF ARPEGGIOS OF THE DIMINISHED SEVENTH AND THEIR INVERSIONS We remind you that one must often play these 7th arpeggios in triplets in a way that the thumb does not always fall on the strong beat. 2nd Inv. 3rd Inv. A Minor 1st Inv. œ #œ œ œ œ RH œ œ # œ ? œ # œ œ etc. ? œ œ # œ œ etc. ? œ œ # œ œ ? œ œ etc. etc. œ #œ œ LH

3

2

1

2

1

4

3

4

2

1

1

2

3

4

5

4

3

2

4

1

1

2

4

E Minor 1st Inv. ?#

#œ œ œ œ œ LH # œ

RH

3

1

2

3

4

2

1

3

2

4

4

etc.

3

RH LH

œ #œ œ #œ œ œ 1

3

2

2

3

3

4

#œ œ œ œ œ œ 2

3

1

2

2

1

2

1

4

4

etc.

3

3

4

4

3

1

etc.

2

RH

LH

œ #œ œ #œ œ œ 1

5

2

3

4

4

3

2

1

2

2

1

2

3

3

2

1

4

4

3

1

etc.

2

1

4

etc.

1

2

4

3

2

4

3

2

1

1

2

4

?

œ œ œ œ œ #œ 1

2

4

3

3

4

2

1

etc.

1

œ œ œ ? œ œ #œ 1

2

3

5

4

3

4

2

1

1

3

1

4

4

1

3

etc.

?

2

3

4

5

4

3

2

1

1

etc.

4

5

4

3

3

4

2

1

2

1

4

œ #œ ? œ #œ œ œ 1

2

3

4

5

4

3

2

1

2

1

4

etc.

#œ œ œ œ ? œ #œ 1

2

5

4

3

3

4

2

1

2

1

4

etc.

3rd Inv.

2

4

2

3rd Inv.

2

œ œ œ œ œ #œ 1

1

3rd Inv.

2nd Inv.

#œ œ œ œ œ œ 2

5

4

2nd Inv.

œ œ ? œ œ œ #œ

?

3

5

F# Minor 1st Inv. ? ###

2

2nd Inv.

1st Inv.

B Minor ? ##

?

1

etc.

œ #œ ? œ #œ œ œ 1

2

3

5

4

3

4

2

1

2

1

4

etc.

English Translation of Le Piano | 153

C# Minor 1st Inv. œ RH ? #### # œ œ œ œ # œ 1

LH

5

2

3

4

4

3

2

2

1

1

etc.

4

2nd Inv.

œ œ ? œ œ œ #œ 2

3

1

2

4

3

2

1

3

4

4

etc.

3

G# Minor 1st Inv. ? #### RH

LH

œ ‹œ œ # ‹œ œ œ 1

2

3

1

2

1

4

etc.

?

2

3

4

5

4

4

3

1

2

3

2

1

3

4

4

etc.

3

D# Minor 1st Inv. ? #### # #

œ ‹œ œ ‹œ œ œ

RH

LH

1

2

2

3

4

5

4

3

2

1

etc.

?

4

1

5

2

4

3

3

4

2

1

1

2

etc.

4

1

2

3

2

1

4

4

5

etc.

4

1

?

2

3

5

2

3

4

4

3

2

1

1

2

etc.

4

D Minor 1st Inv. ?RH b

#œ œ œ œ œ LH # œ 4

1

4

1

2

3

3

2

1

2

etc.

?

2

3

5

2

4

3

3

4

2

1

1

2

etc.

4

G Minor 1st Inv. ? bb

RH LH

œ #œ œ #œ œ œ 2

3

1

2

2

1

3

4

4

1

3

2

etc.

?

5

2

3

4

4

3

2

1

1

2

etc.

4

C Minor 1st Inv. œ ? RHb œ œ nœ b b nœ œ 1

LH

5

2

3

4

4

3

2

1

1

2

etc.

4

3

2

1

3

4

5

4

2

1

1

2

etc.

œ œ ? œ œ œ nœ

4

?

1

2

3

4

5

4

3

2

1

1

2

etc.

4

5

2

4

3

3

4

2

1

1

2

1

LH

5

2

4

3

4

3

2

1

1

2

4

etc.

4

2

1

2

3

3

2

1

4

4

3

?

1

etc.

2

1

2

3

4

4

3

2

1

3

1

4

3

2

?

1

2

1

3

5

2

4

3

3

4

4

2

2

3

4

5

4

3

2

1

etc.

1

2

5

4

3

1

4

3

1

2

1

2

3

4

5

4

3

2

1

1

2

1

4

etc.

3

1

4

3

2

2

1

4

etc.

2

3

5

4

3

4

2

1

2

1

4

etc.

? ‹œ œ œ œ ‹œ œ 2

3

4

4

3

2

1

2

1

4

etc.

œ œ ‹œ ? œ ‹œ œ 2

1

3

2

2

1

3

4

4

1

3

2

etc.

4

2

1

1

2

1

3

4

2

1

3

4

etc.

3

1

2

3

2

1

3

4

4

3

etc.

œ œ #œ ? œ #œ œ 2

3

1

4

3

2

2

1

3

4

4

3

etc.

3rd Inv.

2

etc.

4

nœ œ œ œ ? œ nœ 2

1

4

3

2

2

3

1

4

1

4

3

etc.

3rd Inv.

4

etc.

3

œ nœ ? œ nœ œ œ 2

1

2

3

2

1

3

4

4

1

3

2

etc.

3rd Inv.

4

3

? #œ œ œ œ #œ œ

3rd Inv.

4

œ œ ? œ œ nœ œ 2

1

4

2

œ ? œ œ nœ œ œ 3

2

1

œ œ ‹œ ? œ ‹œ œ

2

etc.

4

œ œ œ ? œ œ nœ 3

3

4

3rd Inv.

1

2

4

3

3rd Inv.

3

œ œ ? œ œ #œ œ

1

5

5

4

œ œ œ œ œ #œ 1

2

1

etc.

3

œ œ ? œ œ ‹œ œ 2

1

3rd Inv.

œ œ œ œ œ ‹œ 2

#œ œ œ œ ? œ #œ

3rd Inv.

2nd Inv.

œ ? œ œ œ nœ œ

154  |  Part I: Marguerite Long’s Le Piano

etc.

2

œ œ ? œ œ ‹œ œ

2

etc.

Bb Minor 1st Inv. RH œ nœ œ ? bb b b b nœ œ œ

3

2nd Inv.

nœ œ œ œ œ œ 1

4

2nd Inv.

F Minor 1st Inv. RH ? bb b nœ œ b nœ œ œ œ LH

1

1

2nd Inv.

œ #œ œ œ œ œ 1

2

4

2nd Inv.

#œ œ œ œ œ œ 1

3

3

2nd Inv.

œ œ ‹œ œ œ œ 1

2

4

A# Minor 1st Inv. RH ? #### ## œ ‹œ œ # ‹œ œ œ LH

1

2nd Inv.

‹œ œ œ œ œ œ 1

2

2nd Inv.

œ œ ‹œ œ œ œ 2

œ œ œ ? œ œ #œ

3rd Inv.

etc.

œ œ nœ ? œ nœ œ 2

1

3

2

2

1

3

4

4

1

3

2

etc.

Eb Minor 1st Inv. 2nd Inv. ? bbb bbb

œ nœ œ nœ œ œ

RH

LH

3

2

1

3

4

5

4

2

1

2

etc.

4

1

?

œ nœ œ œ œ œ 2

1

4

5

3

3

4

2

?

2

1

etc.

4

1

RH ? bb b b œ nœ œ b b b nœ œ œ 1

2

3

4

2

1

5

3

4

etc.

4

1

LH

2

4

1

3

2

3

1

2

4

4

3

1

2

etc.

3

3

2

1

4

etc.

3

2

1

2

3

2

1

3

4

4

3

1

2

3

4

5

4

3

2

1

2

1

4

etc.

3rd Inv.

œ œ ? œ œ nœ œ

4

3

nœ ? œ nœ œ œ œ

1

2nd Inv.

œ ? œ œ œ nœ œ 2

œ œ œ œ œ nœ 2

4

Ab Minor 1st Inv.

3rd Inv.

œ œ nœ ? œ nœ œ

1

etc.

2

1

2

5

4

3

3

4

2

1

2

1

4

etc.

p. 64 The diminished 7th arpeggios can be worked on in all the different positions in each hand, thus the left hand plays the root position while the right hand plays the 1st, the 2nd, or the 3rd inversions. We give an example in A minor to be done in all keys. st e Root position left hand _ 1 Inversion right hand, plus the inversions. The fingerings are always those of the arpeggio. 2nd Inv. 3rd Inv. Root position A minor 1st Inv. ?

œ œ #œ œ œ œ œ # œ œ œ #œ œ 1

4

2

3

3

2

4

1

1

œ œ ? œ œ #œ œ œ #œ œ œ œ œ

etc.

4

3

2

1

3

4

5

4

2

1

2

1

4

œ œ #œ ? œ #œ œ œ œ œ œ œ #œ

etc.

3

2

1

3

4

5

4

2

1

2

1

4

œ œ œ #œ œ ? #œ œ œ œ œ #œ œ

etc.

3

4

5

Root position left hand _ 2nd Inversion right hand 2nd Inv. Root position A minor 1st Inv.

2

1

2

3

2

4

1

1

4

etc.

f

? œ œ #œ œ # œœ œœ œ # œ œ #œ 1

4

2

3

3

2

4

1

1

2

? œ #œ œ # œ œœ œœ # œ œ œ œ 1

2

etc.

4

4

5

2

3

3

2

4

1

1

œ ? œ œ # œ œœ œ œ œ #œ œ œ

4

3

2

1

etc.

3rd Inv.

3

4

5

4

2

1

2

1

4

œ œ ? œ œ # œ œœ œ # œ œ #œ œ 1

etc.

5

Root position left hand _ 3rd Inversion right hand 2nd Inv. Root position A minor 1st Inv.

2

4

3

3

4

2

1

2

1

4

etc.

g

?

œ œ œ œ œ œœ # œœ œ # œ #œ 1

4

2

3

3

2

4

1

1

4

3

etc.

?

œ œ # œœ œœ # œœ œœ # œ œ 1

5

2

4

3

3

4

2

1

1

4

? œ # œ œœ # œœ œœ # œœ œ œ 2

etc.

3rd Inv.

5

1

4

2

3

3

2

4

1

1

4

œ ? œ œ # œœ œœ # œ œœ # œ œ 1

etc.

5

2

4

3

3

4

2

1

1

etc.

4

With these three formulas and their inversions one will have, in fact, worked on all the possible combinations on the diminished seventh arpeggios. Arpeggios in contrary motion. Ex. In A minor.

English Translation of Le Piano | 155

Root position

√ œ œ œ œ œ #œ œ œ œ #œ œ œ œ œ # œ # œ #œ œ œ œ 3 œ #˙. & 4 # œ œœ œœ œ œ #˙. œ œ #œ œ œ # œ ?3 œ 4 œ #œ œ œ œ œ œ #œ œ œ œ #œ 2

1

2

1

3

2

4

2

1

3

4

1st Inv.

2nd Inv.

œ #œ œ 3 & 4 œ # œœ œ œ œ ◊ 1

2

œ œ #œ œ & œ œ #œ œ œ

3

etc.

◊ 1

4

3

2

1

4

3

2

1

3rd Inv.

2

3

4

4

œ œ œ # œœ œœ & #œ œ

1

etc.

◊ 1

1

2

3

etc.

4

DOMINANT SEVENTH ARPEGGIOS Preparatory exercise to work on in all keys. œ œ œ œ œ œ œ œ œ œ œ œ ?c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &œ œ œ œ œ œœœœœœ œœœ œœœœ œ œœœ œœœ œœœœ œ ?œ œ œ œœœœ œ œœ &œœ œ w œœ œœœœœœœ œ 1

2

3

4

5

4

3

2

5

4

3

2

1

2

3

4

1

4

5

2

1

4

1

1st Inv.

2nd Inv.

? 44 œ œ œ œ œ œ œ œ œ œ œ œ & œ œœ œœœ 1

5

2

4

3

3

3 Inv.

4

2

5

1

5

5

4

1

2

2

4

1

etc.

1

œ ? 44 œ œ œ œ œ œ œ œ œ œ œ & œ œ œ œ œœ 1

2

3

5

4

3

5

4

1

1

2

5

4

2

5

1

etc.

4

rd

? 44 œ œ œ 3

1

2

5

4 3

œ œ œœœ œœœ œ 4

2

5

2 1 2 4 5

1

4

2

œ œœ &œ œ œ 4

1

1

5

etc.

4

We will note that the dominant 7th chords found on the 5th scale degree are the same in major and in minor. C major C minor œ ? œ œ œ œ ? b b n œ œ œ œ œ etc. etc. œ b œ 1

2

3

4

5

4

3

2

1

2

1

2

3

4

5

4

3

2

1

1

1

2

4

We only will give then the table of the arpeggios in major keys.

156  |  Part I: Marguerite Long’s Le Piano

p. 65 TABLE OF DOMINANT SEVENTH ARPEGGIOS AND THEIR INVERSIONS 2nd Inv. 3rd Inv. C Major 1st Inv. œ œ œ œ œ œ RH ?œ œ œ œ ?œ œ œ ? œ œ œ etc. ? œ œ œ œ œ etc. etc. œ œ œ LH

4

3

2

1

2

1

4

5

3

2

1

2

4

1

5

4

3

4

3

2

1

1

2

4

G Major 1st Inv. ?RH# LH

œ œ œ œ œ œ 2

3

4

5

4

3

2

1

1

2

1

4

etc.

?

4

1

3

2

2

3

1

4

1

4

3

etc.

D Major 1st Inv. œ ? ## œ œ œ œ œ RH

1

2

LH

4

5

3

4

3

2

2

1

1

etc.

4

RH LH

œ œ œ œ œ œ 1

5

2

3

4

4

3

2

1

2

œ œ ?œ œ œ œ

1

4

etc.

?

2

1

2

3

4

3

2

1

4

4

1

etc.

3

1

2

3

2

1

4

4

4

3

1

etc.

3

E Major 1st Inv. œ ? #### œ œ œ œ œ RH

LH

1

2

3

4

5

4

3

2

2

1

1

etc.

4

RH LH

œ œ œ # œ œ œ 2

3

4

1

4

3

2

1

2

3

œ œ ?œ œ œ œ

4

3

etc.

?

2

3

1

2

4

3

2

1

3

4

4

etc.

3

5

2

4

3

3

4

2

1

2

1

4

etc.

F# Major 1st Inv. ? #### # # RH LH

œ œ œ œ œ œ 1

2

3

4

2

2

3

4

1

4

3

1

etc.

?

5

2

4

3

3

4

2

1

2

1

4

etc.

C# Major 1st Inv. ? #### ## œ œ œ œ œ # œ RH

2

LH

2

1

2

3

4

1

4

3

2

1

1

etc.

5

2

4

1

4

?

œ œ œ œ œ œ 1

5

2

4

3

3

4

2

1

1

2

etc.

4

œ œ œ ?œ œ œ 1

2

3

5

4

3

4

2

1

1

?

2

3

4

5

4

3

2

1

1

etc.

4

1

2

3

2

1

3

4

4

3

?

etc.

4

4

1

3

?

etc.

2

4

1

3

3

4

3

2

1

1

2

4

etc.

3

2

1

2

1

4

etc.

œ ?œ œ œ œ œ 1

2

3

4

5

4

3

2

1

2

1

4

etc.

œ œ œ œ ?œ œ 1

2

5

4

3

3

4

2

1

2

1

4

etc.

œ œ ?œ œ œ œ 1

2

3

5

4

3

4

2

1

2

1

4

etc.

œ œ œ œ œ œ ? 1

2

5

4

3

3

4

2

1

2

1

4

etc.

3rd Inv. 2

2

3

1

4

4

1

etc.

3

œ ?œ œ œ œ œ 1

5

2

4

3

4

3

2

1

2

1

4

etc.

3rd Inv.

œ œ œ œ œ œ 2

4

4

3rd Inv.

1

œ œ œ œ œ œ 2

5

3

3rd Inv.

2

œ œ œ ?œ œ œ 2

2

3rd Inv.

2

œ œ œ œ œ œ 1

1

3rd Inv.

2

2

3

1

4

4

1

etc.

3

œ œ ?œ œ œ œ 2

3

4

4

3

2

1

1

2

4

œ œ œ œ œ œ 1

2

3

4

4

3

2

1

2

1

4

etc.

3rd Inv.

3

3

?

5

2nd Inv.

œ ?œ œ œ œ œ 1

2

2nd Inv.

œ œ œ œ œ œ 1

3

2

2nd Inv.

œ œ œ œ œ œ 1

4

1

2nd Inv.

B Major 1st Inv. ? ####

5

4

2nd Inv.

œ œ œ œ œ œ 2

3

2nd Inv.

A Major 1st Inv. ? ###

2

2nd Inv.

œ œ œ œ œ œ 2

1

etc.

œ œ œ ?œ œ œ 2

3

3

2

1

1

2

4

3

4

3

2

etc.

English Translation of Le Piano | 157

F Major 1st Inv. ? RH b

œ œ œ œ œ LH œ 5

2

3

4

2

1

4

3

2

1

1

etc.

4

?

2nd Inv.

œ œ œ œ œ œ 1

5

2

4

3

3

4

2

1

2

1

4

etc.

Bb Major 1st Inv. ? RHb œ œ b œ œ œ œ LH 1

5

2

3

4

3

4

2

1

2

1

4

etc.

?

5

2

4

3

3

4

2

1

1

2

etc.

4

Eb Major 1st Inv. œ ? bb œ œ œ œ œ b RH

LH

2

1

2

3

2

3

1

4

1

4

3

etc.

2

2

2

1

2

3

1

4

3

4

1

œ œ ?œ œ œ œ

2

1

etc.

?

1

2

3

4

5

4

3

2

1

1

2

etc.

4

œ ? bb b œ œ œ bb œ œ LH 2

1

1

2

2

3

4

3

1

4

2

etc.

1

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

1

1

2

etc.

4

1

2

3

4

3

2

1

2

4

1

4

3

etc.

œ ?œ œ œ œ œ

?

1

2

3

4

5

4

3

2

1

1

2

etc.

4

5

2

4

3

3

4

2

1

2

1

4

etc.

Cb Major 1st Inv. ? bb b b œ œ œ œ œ bbb œ LH RH

2

3

4

1

2

4

4

3

2

1

3

3

etc.

3

3

2

1

2

etc.

4

œ œ ?œ œ œ œ 1

2

3

4

5

4

3

2

1

1

2

3

5

4

3

4

2

1

1

?

etc.

4

3

4

1

4

3

2

1

2

4

etc.

4

3

4

4

3

2

1

1

2

4

?

etc.

3

4

1

3

2

2

3

1

4

4

1

2

1

4

3

3

4

etc.

3

etc.

2

158  |  Part I: Marguerite Long’s Le Piano

2

1

2

2

1

4

3

3

4

2

etc.

3

1

1

4

3

etc.

œ œ œ ?œ œ œ 2

1

2

4

3

2

3

1

4

1

4

3

etc.

œ œ œ œ œ œ ? 2

3

4

3

1

2

2

1

3

4

4

3

etc.

œ œ ?œ œ œ œ 2

3

1

3

2

1

2

4

3

4

3

2

etc.

œ œ œ ?œ œ œ 2

3

3

2

1

1

2

4

3

4

3

2

etc.

œ ?œ œ œ œ œ 1

2

3

4

5

4

3

2

1

2

1

4

etc.

3rd Inv.

1

1

3

2

4

3rd Inv.

1

œ œ ?œ œ œ œ

3

3rd Inv.

3

œ œ œ œ œ œ 2

2

3rd Inv.

3

œ œ ?œ œ œ œ 2

1

3rd Inv.

2

œ œ œ œ œ œ 2

œ œ œ œ œ œ 2

3rd Inv.

2

œ œ œ ?œ œ œ 1

?

4

2nd Inv.

œ ?œ œ œ œ œ 2

2

1

2nd Inv.

œ œ œ œ œ œ 1

3

4

2nd Inv.

Gb Major 1st Inv. ? RH bbbbbb œ œ œ œ œ œ LH

4

3

2nd Inv.

Db Major 1st Inv. RH

5

2

2nd Inv.

Ab Major 1st Inv. ? bRHb b œ œ b œ œ œ œ LH

œ œ œ œ œ œ 1

2nd Inv.

œ œ œ œ œ œ 1

?

3rd Inv.

etc.

œ œ œ ?œ œ œ 1

2

5

4

3

3

4

2

1

2

1

4

etc.

p. 66 Working then on the dominant 7th arpeggios on the indicated positions (page 64) for the diminished 7th arpeggios. Then in contrary motion. Ex. In C major. Root position √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 3 œ ˙. & 4 œ œœ œœ œ œ œ œ œ œ œ ?3 œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ 1

2

1

2

4

3

1

3

4

1

1st Inv.

2nd Inv.

œ œ œ œ & 43 œ œ œ œ œ ◊ 1

2

3

œ œ œ œœ œ 3 &4 œ œ œ ◊

1

4

3

2

1

4

3rd Inv.

etc.

1

1

2

3

œ œ œ œœ œ 3 œ œ œ &4 ◊ 1

1

4

3

2

1

4

etc.

1

1

2

1

4

3

2

3

4

etc.

1

EXERCISES ON THE DOMINANT SEVENTH ARPEGGIOS EXERCISE No. 1. To continue by ascending chromatically always with the same fingering, which requires the thumb on the black keys. √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 4 œ œ œ œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ √ bœ bœ œ bœ œ œ b œ œ œ œ œ œ œ œ œ œ bœ œ b œ œ b œ & œ œ œ œ œ œ b œ œ b œ bœ œ œ bœ œ bœ √ bœ œ bœ œ bœ œ œ bœ bœ œ bœ œ bœ bœ œ œ bœ œ bœ œ # œ etc. & bœ œ œ œ nœ nœ #œ nœ œ nœ œ 1

3

1

5

5

1

3

2

1

3

5

3

5

4

2

1

5

5

1

3

4

4

2

1

3

3

5

1

1

4

5

3

3

4

1

2

3

4

3

2

4

5

3

5

5

3

3

1

4

4

5

4

1

2

3

5

5

3

4

2

4

4

5

2

1

1

3

5

3

5

1

1

3

5

3

4

3

5

4

1

5

5

1

5

4

4

2

1

3

5

3

1

5

œ œ œ œ œ œ œ œ œ œ œ œ 1

3

2

3

5

3

4

2

1

1

3

3 3

2

4

4

2

√ œ œ œ œ œ œ œ & œ œ œ œ œ 5

1

&

5

3

4

3

2

4

2

3

1

4

3

5

5

5

1

bœ œ bœ œ œ œ œ œ œ bœ bœ œ 1

5

3

3

3

3

5

1

3

5

bœ œ œ bœ œ œ œ œ œ bœ bœ bœ

3

1

5

3

4

2

3

3

1

5

4

3

3

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

4

5

1

5

√

1

œ œ œ œ œ œ

3

1

EXERCISE No. 2 & 44

2

œ œ

etc.

œ œ œ œ œ œ 1

3

2

5

3

4

4

3

5

2

3

1

œ œ œ œ œ œ etc. bœ œ bœ bœ œ bœ bœ œ etc. 1

5

English Translation of Le Piano | 159

EXERCISE No. 3 To continue chromatically ascending √ œ œ œ œ œ œ 3 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ &4 œ œ œ œ œ œ œ œ œ œ œ œ œ œ √ bœ b œ œ œ œ œ œ œ œ œ b œ b œ œ œ b œ etc. & œ œ œ œ œ œ bœ œ bœ œ b œ b œ œ œ bœ 1

3

2

3

5

5

1

3

4

5

1

3

4

2

1

3

5

3

2

3

5

3

4

1

3

5

3

4

2

5

3

3

2

5

4

3

2

2

4

4

1

1

3

3

5

4

2

4

1

5

3

4

1

3

5

3

3

1

5

5

1

3

3

3

1

p. 67 MAJOR SEVENTH ARPEGGIOS It seems to us useless to indicate one more time preparatory exercises and working formulas on the different positions that we have already given for the arpeggios of the diminished 7th and for the arpeggios of the dominant 7th, therefore refer to pages 63 and 65 and do the same work for the major 7th arpeggios. TABLE OF MAJOR SEVENTH ARPEGGIOS AND THEIR INVERSIONS 1st Inv.

C Major ?

RH

LH

œ œ œ œ œ œ 1

etc.

2

3

4

5

4

3

2

1

LH

œ œ œ œ œ œ 4

1

4

5

2

4

3

3

4

2

1

etc.

1

1st Inv.

3

2

1

œ œ œ œ œ œ 1

5

1

G Major ?RH#

?

2nd Inv.

3

2

etc.

1

?

RH LH

œ œ œ œ œ œ 2

1

4

5

3

4

3

2

1

etc.

?

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

1

etc.

1

1

4

1

3

2

2

3

1

4

1

RH LH

œ œ œ œ œ œ 1

2

2

3

4

5

4

3

1

etc.

1

4

etc.

RH

LH

œ œ œ œ œ œ 1

5

2

4

3

3

4

2

1

etc.

?

1

2

3

2

3

1

4

1

etc.

4

1

3

1

2

3

5

4

3

?

4

2

etc.

1

2

3

4

5

4

3

2

?

etc.

1

2

4

2

3

2

1

4

etc.

160  |  Part I: Marguerite Long’s Le Piano

?

1

2

3

4

5

4

3

2

1

etc.

1

œ œ œ ?œ œ œ 2

1

4

3

2

2

3

1

4

etc.

4

3rd Inv.

1

etc.

1

œ ?œ œ œ œ œ 2

1

2

3

4

3

2

1

4

1

etc.

4

3rd Inv.

œ œ œ œ œ œ 1

œ ?œ œ œ œ œ

3rd Inv.

1

œ œ œ œ œ œ 1

5

4

4

2

1

3

3

4

2

1

etc.

1

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

œ œ œ œ œ œ 2

1

3

2

2

3

1

4

1

etc.

4

3rd Inv.

1

1

?

4

2nd Inv.

œ œ œ œ œ œ 2

3

4

2nd Inv.

1st Inv.

E Major ? ####

œ ?œ œ œ œ œ 2

4

3

œ œ ?œ œ œ œ

4

A Major 1st Inv. ? ###

5

2

2nd Inv.

œ œ œ œ œ œ 2

œ œ œ œ œ œ 1

2nd Inv.

D Major 1st Inv. ? ##

?

3rd Inv.

etc.

œ œ ?œ œ œ œ 2

1

2

4

3

2

3

1

4

4

etc.

B Major 1st Inv. ? #### RH LH

œ œ œ œ œ œ

#

1

2

5

etc.

1

2

3

4

1

4

3

?

2nd Inv.

œ œ œ œ œ œ 2

4

3

3

4

2

1

1

2

etc.

4

F# Major 1st Inv. RH ? #### # œ œ œ # œ œ œ LH 2

3

4

1

4

3

2

1

etc.

4

?

œ œ œ œ œ œ 2

3

3

2

1

2

1

4

?

3

œ œ œ œ œ œ 2

3

3

2

etc.

2

2

1

2

3

2

1

4

3

? #### ## #

?

œœœ œœœ

LH

1

2

3

4

4

3

2

1

etc.

4

?

œ œ œ œ œ œ 1

5

2

4

3

3

4

2

1

etc.

1

F Major 1st Inv. ?RH œ œ b œ œ œ œ LH

1

3

4

5

4

3

2

1

2

etc.

1

LH

œ œ œ œ œ œ 2

1

4

4

3

2

etc.

4

1

2

3

œ œ œ œ œ œ 1

5

2

4

?

5

2

4

Eb Major

1 Inv.

œ ? RH bbb œ œ œ œ œ LH

?

3

2

3

4

4

1

etc.

4

? RHb b œ œ œ œ œ bb œ 1

LH

4

3

2

etc.

4

1

2

3

4

RH

LH

3

4

1

2

etc.

3

4

?

4

5

2

4

4

1

2

1

2

etc.

?

4

2

4

2

3

3

4

2

3

3

4

1

2

1

etc.

1

2

3

2

1

4

etc.

4

3

1

2

3

4

4

3

2

?

4

etc.

4

5

2

4

3

3

4

2

etc.

1

etc.

1

3

etc.

1

?

4

1

3

2

2

3

1

4

etc.

4

1

?

2

2

3

1

4

etc.

4

etc.

3

œ œ œ œ œ œ 2

1

2

3

4

3

2

1

4

etc.

4

2

1

1

4

etc.

œ œ ?œ œ œ œ

?

2

1

2

2

1

4

3

3

4

etc.

2

œ œ œ œ œ œ 2

3

3

2

1

2

3

5

4

3

4

2

etc.

1

œ ?œ œ œ œ œ 1

2

4

3

4

3

2

1

etc.

1

œ œ ?œ œ œ œ 1

2

3

5

4

3

4

2

1

etc.

1

?

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

1

etc.

1

?

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

1

etc.

1

1

1

2

4

œ œ œ œ œ œ 1

2

3

4

5

4

3

2

1

etc.

1

œ œ ?œ œ œ œ 1

2

3

4

5

4

3

2

1

etc.

1

œ œ œ ?œ œ œ 1

2

5

4

3

3

4

2

1

etc.

1

3rd Inv.

3

3

?

3rd Inv.

2nd Inv. 4

etc.

1

3rd Inv.

2 Inv.

3

2

3rd Inv.

2nd Inv. etc.

3

3 Inv.

œ œ œ œ œ œ 2

1

4

4

rd

2nd Inv. etc.

3

3rd Inv.

1

œ œ œ œ œ œ 2

4

1

1

?

2

3rd Inv.

1

1

1

œ œ œ ?œ œ œ

5

1

œ œ œ œ œ œ 1

2

3rd Inv.

2 Inv.

1

œ œ œ œ œ œ 3

2

3

etc.

2

œ ?œ œ œ œ œ

1

œ œ œ œ œ œ 3

2

3

2

œ œ œ œ œ œ

3rd Inv.

4

nd

2

?

4

3

3

? RH bbbbbbb œ œ œ œ œ œ LH 5

3

3

1st Inv.

2

2

1

œ œ œ œ œ œ 1

1

?

2

nd

2

Cb Major 1

3

4

1 Inv.

4

LH

3

st

œ œ ? RH bbbbbb œ œ œ œ 3

1

2

etc.

2nd Inv.

œ ?œ œ œ œ œ

4

Gb Major 2

4

4

5

1 Inv.

2

3

4

etc.

st

œ œ œ œ œ œ 1

2

5

2

3

œ œ œ œ œ œ 2

1

1

œ œ œ œ œ œ 1

5

Db Major ? bb bbb

2

1

1st Inv.

Ab Major 2

3

4

st

2

1

2

3

œ œ œ œ œ œ 1

4

3rd Inv.

2nd Inv.

1st Inv.

Bb Major ? RH bb

?

4

3

œ œ ?œ œ œ œ

2nd Inv.

2

1

2

2nd Inv.

C# Major 1st Inv. RH

1

etc.

œ ?œ œ œ œ œ 2

2

1

1

2

3

4

3

4

etc.

2

English Translation of Le Piano | 161

3 &4

(C)

? 3 œ œ œ œœ 4 œ œœ 3

2

1

1

p. 68 EXERCISE This exercise habituates the pianist to incessant changes of position, using the same fingering in both hands and eventually using the thumb on the black keys. We note that for the balance of the rhythm, the 7th arpeggios are played on three octaves, the others on four octaves. √ √ œ œœ œ œ œœ œœœœœœ œ œœœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œœ œ œ œ œ œœ œ œœ œœ œœ œœœ œœ œœœœ ?œ œ œ ?œ œ œ œœ œœ œœœœœ œœ &œ œ œœ &œ œ œœ œœ œ œœ œ œ 1

√ œ œœ œ œ œ œœ œœ œ œœ œ œ & œœ œ œ œ œœ œœœ ? œ œ œ œœ œ œ œ ? œ œ œ œ œ bœ #œ œ œ œ œœ & œ œ œ bœ #œ œ œ œœ œ œ 1

5

1

2 4

1

2

4

5

4

1

4

2

1

œ bœ #œ bœ #œ œ

œ

4

3

2

1

2

œ

œ bœ #œ 1

&

œ œ œ #œ bœ

œ œ #œ bœ

œœ œœ œ œ œ #œ bœ ? #œ bœ œ œ #œ bœ # œ b œ #œ bœ œ

√ œ œ œ bœ bœ œ œ bœ œ œ œ œ b œ b œ bœ œ & œ œ œ œ œ œ œœ œ œ bœ bœ œ œ ? œ nœ œ bœ œ nœ œ bœ ? bœ œ œ œ bœ œ œ œ œ bœ œ œ bœ ? œ œ bœ œ œ œ b œ b œ b œ bœ œ b œ & nœ œ œ b œ & b œ bœ œ œ œ œ œ œ œœ œ bœ œ nœ 1

3 2

5

œ bœ œ

œ bœ bœ œ nœ œ n œ œ 1

2

1

3

4

3

2

1

2

3

4

5

œ œ bœ œ

2

1

√

3

1

2

1

œ œ bœ bœbœ bœ bœ œbœ bœ œ bœbœbœ bœ bœbœ œ œ œ œ b œ b œ b œ b œ bœbœbœ & bœ bœ bœ œ bœ bœ œ œ œ œ bœbœ bœ bœ œbœ ? œ b œ b œ œœ b œ b œ œ ? bœ bœbœ bœ bœbœ bœbœbœ ? bœbœbœ bœbœbœ œ œ b œ œ bœ œ bœbœ œ œ bœbœ & & bœbœbœ bœ bœbœ b œ b œ œ bœ bœ œ bœ œ bœ œ bœ 4

5

1

2

4 1

5

4

2 1

3

5

1

1

2

3

4

5

4

3

2

1

1

4

3

2

1

2

3

4

N. B. From here on, concerning alterations, this exercise must be read as if each start of the arpeggio were separated from the preceding one by a bar line. &

b (D ) 2

2

1

4

bœ œ

? bœ œ bœ bœ œ bœ œ bœ

2

etc.

1

4

&

2

1

2

4

2

1

4

bœ bœ œ bœ bœ œ œ bœ 3

œ

? # œ œ œ ## œœ œ œ #œ œ 4

3

bœ œ

2

etc.

1

2

4

1

2

1

2

3

1

1

bœ bœ 3

2

4

1

bœ b œ bb œœ b œ b œ b œ bœ

etc.

2

2

3

4

3

2

1

#œ

œ # œ œ œœ œ # œ œ #œ

1

2

3

3

1

4

3

1

etc.

#œ

œ bœ #œ œ œ bœ #œ #œ œ (D)

4

1

2

2

2

3

3

etc.

#œ œ œ #œ œ œ œ œ 4

2

1

3

4

1

2

4

162  |  Part I: Marguerite Long’s Le Piano

2

3

œ # œ œœ œ # œ œ #œ 5

4

2

etc.

2

1

2

3

3

1

4

3

1

#œ

#œ nœ #œ #œ #œ nœ #œ #œ #œ 2

1

œ #œ

#œ

4

1

etc.

2

4

4

2

2

4

1

4

2

1

œ #œ # œ ## œœ œ œ # œ #œ

1

œ #œ

œ œ #œ œ œ #œ # œ œ 5

etc.

1

etc.

2

4

œ œ 1

œ œ œœ œ œ œ œ 5

3

2

etc.

1

etc.

p. 69 &

1

1

2

3

4

5

4

3

2

1

œ

? œ # œ # œ œœ œ œ #œ #œ &

b (E )

4

bœ œ

2

1

2

etc.

2

? bœ œ bœ bœ œ bœ œ bœ &

4

1

4

bœ bœ

&

1

2

3

5

4

3

4

3

bœ œ

1

etc.

2

2

3

1

2

4

3

2

1

1

5

1

bœ œ bœ œ bœ ? bœ œ bœ œ bœ &

&

etc.

5

2

4

4

4

1

3

etc.

2

5

3

2

4

3

2

3

4

5

2

3

5

4

3

3

1

2

2

1

2

4

œ œ œ 4

2

etc.

2

1

4

2

4

3

2

4

3

etc.

1

etc.

2

4

3

3

3

2

4

4

2

1

œ œ

4

3

2

2

etc.

etc.

3

5

4

3

4

etc.

œ

etc.

etc.

etc.

2

1

etc.

5

4

3

1

#œ

etc.

#œ 5

4

3

bœ bœ

1

2

4

œ œ 1

etc.

3

œ œ bœ œ œ bœ œ œ 1

4

3

2

1

2

3

4

3

etc.

2

œ œ #œ #œ 2

4

1

#œ œ #œ 3

1

2

etc.

4

1

3

5

œ #œ #œ œ œ œ #œ #œ œ œ 2

5

2

bœ bœ œ b œ œ bœ bœ œ œ bœ

5

1

3

2

1

2

œ #œ œ #œ œ œ #œ œ #œ œ

2

#œ œ œ #œ œ œ œ œ

2

#œ #œ #œ #œ #œ #œ œ #œ #œ #œ

1

5

4

5

etc.

etc.

œ œ œ bb œœ œ œ œ œ

œ bœ œ œ œ œ bœ œ œ œ

1

1

1

1

4

2

3

2

2

1

4

bœ bœ bœ bœ bœ bœ b œ bœ 4

œ #œ

1

4

2

3

4

œ bœ bœ œ bœ bœ œ œ

etc.

4

3

bœ bœ

4

1

1

2

5

4

5

2

1

5

œ

bœ œ œ bb œœ b œ œ œ œ

1

1

3

4

#œ œ #œ #œ œ #œ # œ œ

etc.

2

4

3

4

œ œ œ œ œ œ œ œ 5

œ œ #œ œ #œ œ œ #œ #œ œ 5

2

4

#œ #œ #œ #œ #œ #œ #œ #œ #œ #œ 1

5

2

1

œ œ œ #œ nœ œ œ œ #œ nœ

(1) # (F )

4

1

œ #œ

2

3

5

5

2

3

2

b œ œ bb œœ b œ b œ bœ œ 3

œ # œ œœ œ # œ œ #œ

1

etc.

etc.

1

1

2

4

2

1

œ bœ bœ bœ 1

2

3

2

#œ

œ œ #œ #œ œ œ #œ # œ #œ

2

3

œ bœ bœ bœ 1

2

2

2

œ œœ œ œ œ œ

etc.

œ #œ #œ #œ #œ œ #œ #œ #œ #œ 1

etc.

1

3

bœ œ œ b œ œ bœ œ œ œ bœ 1

bœ œ œ bœ bœ bœ bœ œ œ bœ 5

#œ #œ #œ œ #œ ? #œ #œ #œ œ #œ 1

4

1

2

4

5

2

1

#œ œ œ #œ œ œ #œ #œ

etc.

2

1

4

2

1

#œ

œ œ

3

3

1

œ # œ œœ œ œ œ #œ 4

2

(E)

4

3

2

5

1

2

4

5

etc.

1

2

4

4

1

œ œ

3

2

bœ bœ

etc.

2

4

5

4

2

œ bœ bœ œ bœ bœ b œ bœ

etc.

œ œ #œ #œ œ œ #œ # œ #œ

etc.

œ

4

1

4

2

bœ œ œ bœ œ œ œ œ

etc.

2

3

5

3

1

œ œ œ œ œ etc. œ ?œ œ œ œ œ œ œ œ œ œ œ œ &

2

3

2

1

bœ œ œ bœ œ œ œ œ

etc.

œ œ

4

2

1

3

? œ œ b œ ## œœ œ œ œ bœ (F)

5

4

œ œ

3

2

1

œ œ # œ œœ œ œ œ #œ

3

1

2

3

œ bœ œ œ bœ œ œ bœ 2

? b œ b œ bb œœ b œ b œ bœ bœ 3

2

2

1

3

2

etc.

1

œ

2

etc.

1

#œ œ œ œ 1

etc.

œ

4

3

2

#œ œ œ œ 1

2

3

4

In this arpeggio so that we do not hear the passing of the thumb, one has to approach the black key with the tip of the thumb.

English Translation of Le Piano | 163

p. 70 (G)

1

œ œ œ œ œ œ œ ? œ œ œ &

1

3

2

2

4

5

etc.

bœ œ bœ œ bœ ? bœ œ bœ œ bœ &

4

2

1

etc.

& œ bœ bœ œ œ ? œ bœ bœ œ œ

etc.

3

4

etc.

b (B )

œ 5

3

4

1

&

3

2

2

3

3

bœ bœ

2

1

5

4

2

2

2

bœ

2

etc.

1

1

5

2

4

etc.

3

2

2

2

1

4

4

5

2

3

3

2

4

3

bœ 3

etc.

etc.

bœ bœ

bœ bœ bœ 2

1

bœ bœ bœ 3

4

1

4

2

etc.

1

œ

2

4

etc.

2

3

5

4

164  |  Part I: Marguerite Long’s Le Piano

2

2

3

1

2

œ

bœ œ bœ bœ bœ bœ œ bœ bœ bœ

etc.

1

1

4

2

etc.

1

2

4

2

2

3

œ bœ

3

2

nœ #œ

1

etc.

1

2

5

2

4

3

4

3

2

1

(A)

1

2

4

1

2

4

3

2

1

3

4

1

1

bœ œ œ œ œ etc. œ œ œ œ bœ

bœ bœ bœ

œ œ #œ œ

1

bœ bœ bœ bœ bœ 4

#œ œ œ œ #œ etc. œ etc. #œ œ #œ œ œ œ œ œ #œ œ

5

œ œ œ œ 1

etc.

2

3

5

1

4

3

2

œ œ œ œ 1

2

3

4

1

˙. ˙. 5

2

4

etc.

4

1

2

4

2

1

etc.

1

4

bœ bœ 4

2

3

4

5

2

etc.

4

3

2

1

etc.

1

2

4

5

4

œ bœ bœ

3

2

1

1

1

4

2

2

1

œ œ œ œ œ œ œ œ œ œ 1

etc.

4

4

1

œ bœ bœ bœ nœ

#œ #œ œ œ #œ #œ œ #œ œ #œ 5

1

2

4

bœ nœ 4

2

1

4

5

2

etc.

4

1

1

3

4

œ œ œ œ œ etc. œ œ œ œ œ

4

2

œ bœ bœ bœ nœ

1

œ œ œ œ œ œ œ œ œ œ 2

4

1

bœ bœ nœ

#œ #œ nœ 3

œ #œ #œ 5

3

4

2

1

5

2

bœ

œ #œ

3

1

etc.

1

bœ

1

2

3

4

(B)

bœ

3

4

4

3

bœ bœ

1

2

1

2

1

2

œ œ œ œ #œ

œ bœ bœ bœ 4

3

4

œ #œ œ

2

2

1

2

3

4

œ œœ œœ etc. œ œ œ œœ œ œ # œ œ œ

1

5

œ œ œ œ œ œ œ œ œ œ 1

etc.

1

2

bœ bœ bœ 1

œ

œ bœ œ 2

1

etc.

4

4

2

œ #œ #œ œ œ œ œ #œ œ œ #œ œ #œ œ #œ œ etc. etc. œ #œ #œ œ #œ #œ œ œ œ œ œ œ œ #œ œ #œ œ #œ œ

1

3

1

etc.

2

3

5

œ bœ œ bœ œ

etc.

4

2

1

2

#œ

3

œ bœ bœ œ 2

2

4

1

4

#œ #œ

œ œ #œ #œ

œ bœ œ bœ œ

bœ bœ bœ bœ

4

1

3

œ 5

bœ œ 4

bœ bœ 3

œ œ œ #œ #œ ? œ #œ #œ œ œ &

2

1

bœ bœ bœ 1

etc.

4

œ œ #œ #œ 2

1

2

4

2

? bœ bœ bœ bœ 4

1

œ

2

4

œ #œ œ œ œ

œ & œ œ bœ œ œ bœ bœ œ œ ? œ œ bœ œ œ bœ bœ œ 1

4

1

4

1

bœ œ bœ œ bœ œ bœ bœ bœ œ 2

1

2

2

3

œ #œ #œ #œ

2

3

3

2

#œ #œ

etc.

œ œ #œ œ 2

1

2

bœ bœ

4

1

1

2

4

5

bœ bœ bœ

4

2

3

4

5

4

etc.

1

3

2

1

œ œ œ œ œ

2

3

4

5

b (A )

œ œ œ œ œ

etc.

œ bœ œ œ œ œ bœ œ œ œ

4

3

2

1

œ œ œ bœ #œ

œ bœ bœ bœ

etc.

3

2

bœ œ bœ

1

4

2

1

bœ œ 4

#œ œ #œ œ #œ ? #œ #œ œ #œ œ &

1

2

1

œ œ œ bœ #œ

etc.

œ bœ bœ bœ

1

2

3

4

5

4

3

2

1

2

1

bœ bœ œ œ bœ bœ œ œ bœ bœ

4

3

2

1

2

3

5

4

3

2

1

2

4

5

etc.

1

4

2

1

2

4

5

1

œ œ œ œ œ œ œ œ œ œ

1

œ œ œ œ œ œ œ œ œ œ 4

2

1

3

3

2

etc.

p. 71 EXERCISE after BRAHMS No. 1 _ Work with the hands together œ œ œ œ bœ . . & 42 .. œ œ œ œ œ œ œ .. .. b œ œ œ œ œ b œ œ .. .. b œ œ # œ œ # œ œ b œ œ .. .. n œ n œ # œ n œ # œ œ œ .. .. œ œ œ œ œ œ œ œœ œ œ œ bœ bœ . . bœ nœ œ #œ œ bœ œ . . bœ œ #œ œ #œ œ nœ œ . . nœ œ #œ #œ #œ œ œ . . nœ œ œ œ œ nœ . œ œ œ ? œ œ œ ˙ . . œ . . . . . . . & .. b œ œ œ œ œ 2

1

4

5

2

3

4

3

4

5

2

1

4

3

2

3

2

1

4

5

2

4

To connect with the following exercise. No. 2 _ On the same harmonic progression as the preceding exercise. Work with the hands together. & 43 ..

4

1

? 3 .. œ œ œ œ œ œ 4 2

1

2

3

4

5

4

3

& ..

1

? .. b œ œ # œ œ 2

1

4

2

5

4

& ..

œ ? .. œ œ œ & ..

2

1

4

5

? ..

#œ œ

3

3

œ

4

1

œ #œ #œ œ #œ

1

2

œœ œœœ

4

#œ

œ ? .. b œ œ n œ & ..

2

œœ œœœ

.. ..

œ œ . . bœ œ œ œ œ . . œ 2

œ #œ œ bœ œ bœ œ bœ œ . . bœ œ bœ . . œ 4

œ œ œ œ œ bœ œ œ œ . . bœ œ œ œ bœ . .

#œ œ œœœ

nœ œ #œ #œ

œ œœœœœ œœœ œœ

2

5

4

nœ .. .. n œ œ # œ 2

1

4

5

œ .. .. b œ œ œ

#œ œ bœ œ œœ bœ œ bœ œ bœ œ . . bœ œ . .

√ #œ #œ #œ œ #œ #œ œ #œ

1

.. ..

œ

œœ œœœ

œ œ œ bœ œ bœ œ bœ œ bœ œ

..

bœ œ . .

#œ œ œ œ #œ œ œœœ œ # œ œ œ œ œ .. #œ œ #œ œœ

œœ œœœ

œ œ œ œ bœ bœ bœ œ bœ bœ bœ

..

œ b œ b œ .. ..

bœ œ #œ œ

#œ œ œ œ œ œ œ œ œ œ .. œ œ ..

√ œ œ #œ œ œ œ bœ œ bœ œ . #œ œ #œ #œ œ #œ œœ œœ.

œœœœ

√ œ œ œ œœœ œœœ &

œ œ œœœ

..

œ œ œ œ

?œ

Œ Œ

English Translation of Le Piano | 165

p. 72 TWO MODULATING EXERCISES after TAUSIG EXERCISE No. 1: After having worked slowly and hands separately _ one must be able to play this exercise soft, fast and light. œœœœœœ œ œ bœ œ œ œ œœœ œ œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ bœ œ œ œ œ œ œ œœœ œœœœ œœ œ œ œœ œ œ œœœ bœ œ œ œœ œ œ œ bœ œ œ œ œ œ œ œ œ œ œœœœœœœœœœ œ 2

2

6 &4

4

?6 4

3

2

1

2

3

4

3

3

2

1

2

5

3

4

3

2

1

4

1

2

1

5

5

3

2

1

2

3

1

4

3

2

4

3

2

1

2

3

4

3

4

2

3

3

1

3

2

1

2

5

3

2

1

5

3

2

4

3

2

1

4

3

2

1

1

1

3

1

5

2

3

2

3

2

1

3

3

1

4

1

4

3

5

1

1

bœ bœ œ œ œ œ œ bœ bœ œ œ œ bœ bœ œ œ œœ œ œ bœ œ bœ œ œ œ œœ œ œ b œ œ b œ œ œ œœ œ œ œœ œœ œ & bœ bœ bœ bœ œ œ œœ œ œ œ b œ b œ œ œ œ b œ œ œ b œ œ œ bœ œ œ bœ bœ œ b œ b œ b œ ? œ bœ bœ œ œ œ œ œ bœ œ bœ bœ œ œ œ bœ œ œ œ bœ bœ 4

3

2

3

2

1

3

3

2

1

5

2

1

4

3

2

2

1

3

5

2

3

4

3

1

5

3

2

2

1

4

3

1

2

3

5

1

4

1

2

3

1

1

2

3

#œ #œ œ œ œ œ #œ œ œ œ œ œ œ #œ œ œ œœ œ œ œœ # œ œ œ # œ œ # œ œ œ œ œ œœ œœ œ œ & nœ #œ #œ œ œ œ #œ œ œ œœ œœ œ œ n œ # œ œ œ œ œ œ œ œœ œ œ œœ œ # œ œ œ œ œ œ œ œ #œ œ nœ œ etc. # œ œ # œ # œ œ ? #œ #œ nœ œ œ œ œ œ #œ œ œ #œ œ œ œ œ œ #œ nœ œ œ œ nœ œ œ œ #œ 1

EXERCISE No. 2 œœœœœœ œ œ bœ œ œ œ œœ œœ œ œ œ œœœ b œœ œœ œ œ œ œ œ œ œ œ œ œœœ œ œ œ œœ œœœ œœœœœœœœœ œ œ bœ œ œ œ œ œ œ bœ œ œœœ œœ œœ œœ œ ?6 œ œ œ œ œ œ œ œ œ b œ œ œœ œ œ œ œ œ 4 œ œ & 46

4

2

3

4

3

2

1

2

1

2

3

3

5

1

2

3

5

3

2

1

5

3

2

1

1

5

2

3

5

1

2

1

2

3

5

3

2

1

5

œ bœ bœ œ œ œ b œœ b œœ œ œ œ œ b œ œ & bœ bœ œ bœ œ œ œ œ œ œ bœ bœ œ œ œ œ œ œ œ bœ œ œ œ bœ bœ b œ b œ œ œ ? bœ bœ œ œ œ œ bœ œ œ œ œ bœ bœ œ œ œ bœ bœ bœ 3

2

1

5

End of Chapter III

166  |  Part I: Marguerite Long’s Le Piano

etc.

p. 73 CHAPTER IV PLAYING FROM THE WRIST OCTAVES SHIFTS TREMOLO GLISSANDO p. 74 The present chapter where we bring together octaves, chords, shifts, [and] tremolo, will permit the pupil to concentrate more specifically on the mechanism of the wrist and the arm, to obtain a perfection without which there is no true virtuosity. The first condition of good octave playing is suppleness of the wrist which does not exclude, of course, the firmness of the thumb, the 4th and the 5th fingers. This suppleness, this elasticity of the wrist so obviously necessary in light and staccato octave playing facilitates also the good use of the forearm and of the arm in the brilliant and firm execution of forte and fortissimo octaves and chords _ In the latter the bravura and the firmness of the attack from above is indispensable. The chord develops the security and authority of playing. It requires the manual sensation of the interval and habituates the hand to find itself in a good position on the keyboard, as it encounters the same notes strung out in passages. It is why in working on a piece, it can be very profitable to reduce certain passages in chords so as to better determine which fingering to choose and which position of the hand is appropriate to adopt. In order for the chord to sound, it is necessary to control the attack of the fingers, particularly that of the middle fingers, which are too often neglected. In octave playing as in chord playing watch your position on the bench, do not be glued to the piano, but give yourself space, so as to ensure broad movements along the keyboard; a noble posture will give nobility to your playing. Finally, we repeat, listen to yourself; a severe ear is the best teacher of the hand. p. 75 PLAYING FROM THE WRIST The following exercises intentionally written on smaller intervals, because the span of the octave requires already a more severe control, must be worked on in a way to “break” the wrist. In order to give it all the necessary elasticity, one must not be afraid to exaggerate the amplitude of the movement _ the arm staying in the normal position and without any stiffness. Take care to not raise the wrist, but to make it play English Translation of Le Piano | 167

its articulation by raising the hand, like one raises the finger in the fiver finger exercises. EXERCISE No. 1 Work on hands together _ the left hand two octaves lower. œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ c etc. etc. œ œ œ œ & œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œœ œœ œœ ww 4 2

4 2

4 2

2 4

2 4

2 4

& c .. ? c ..

Work on with the following fingerings Right hand: 1  2 Left hand: 2  1 1 3 3 1 2 4 4 2 3 5 5 3 4 5 5 4 EXERCISE No. 2 _ Work on with all the indicated fingerings for exercise No. 1. √ √ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œ œ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œœ œœ œœ œ œ œ œ œ œ œœ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œœ œœ œœ œ œ œ & œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ ? œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ œœ œœ & œœ œœ œœ œœ œ œ œ œœ

√ œœ œ œ œœ & œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œ œœ œ œ œœ œœ œœ œœ œœ œ œ ? œ œ œœ œœ œœ œœ œœ & œ œ œœ

œœ œœ œœ œ œ œ œ .. œ œ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœ œœ œ œ ww œ œœ œ œ œœ œ œ œ œœ œ œœ œœ œœ œœ œ œ œ œœ œ œ œœ œœ œœ œ œ œœ œœ œœ œœ œœ œ œ œ œ œœ œœ œ œ œ œ œ œ œœ œœ œ œ w œ œ œœ œœ œœ œ œ œ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œœ œœœ œœœ œœ œœœ œœ œœœ œœœ œœ œœ œœ œœ .. w œœœ œœœ

EXERCISE No. 3 To work on hands together _ the left hand two octaves lower. œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œœœœœœœœœœœœ œœ œ œ œ œ œ œ etc. œ œ œ œ w & c œœ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ etc. œ œ œ œ œœœœ w 5 1

5 1

1 5

1 5

EXERCISE No. 4 √ √ œ œ œœ œœ œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œ & c .. œœ œ œ œ œ œ œ œ œ œ œ œ œ œœ œœœ œœ œœœ œœœ œœœ ? c .. œœ œ œ œ & œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ œ œ œ ? œ œ œœ œ œ œ & œ œ œ œ œ œ œ œ œ ? œ œ œœœœœœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œ 5 5 1 1

1 1 5 5

√œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œœœœœœ œ œ & œœœœœ œœ œ œ œ œ œ œœœœœ œœœœœœ œ œ œ ? œ œ & œœ œ œ

œœœœ œ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œœœœ œ œ œœœœ œ œœ œ œ œœ œœ œœ œœ ? œ œ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œ œ & œ œ œœ œ œ œ œœ œ œ œ œœœ œœœ œœ

168  |  Part I: Marguerite Long’s Le Piano

œœœœ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œœ œœ œ œ œœœœœœ œ œœ œœ œœ œœœœ œ œœœœœ œ œ œ œ & œ œ œœ œ œ œ œ œ œœ

œœœ œ œ œ œœ œœ œœ .. œœœ œ œ œ œ œ œ œ œ œœœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œ .. œœœœœœœ

w w w w

p. 76 OCTAVES EXERCISE No. 1. For executing octaves we recommend keeping the 2nd and 3rd fingers close together without stiffness, this fixes the hand and lightens it. Play the wrist as with the exercises on the previous page _ Hands separately and both hands together. r r j & c œœ ≈ ‰ Œ œœ ≈ ‰ Œ .. .. œœ ‰ LH > > > RH

1 5

j œ‰ œ >

j œ‰ œ >

3 j œ ‰ .. .. œ œ œ œ ’’ .. .. œ œ œ ’’’ .. .. œ œ œ œ ’ ’ ’ .. w œ œœœœ œœœ œœœœ w > > > > >

EXERCISE No. 2 Attack the little notes well. &c

^j œ œ

œ œ

^j œ œ

œ œ

^j œ œ

œ œ

^j œ œ

œ œ

.. ..

^ œœ œœ

^

œ œ œ œ ’ ’ .. .. œœœœ

^ œœœ œœœ

^

œ œ œ œ œ ’ ’ .. .. œœœœœ

^ œœœœ œœœœ

^

œ œ œ œ œ œ ’ ’ .. w œœœœœœ w

EXERCISE No. 3 ^j œ c & œ ‰

^j œ ‰ œ

^j œ‰ œ

^j ^ ^ ^ œ ‰ .. .. œ œ œ œ œ œ œ œ œœœœœœœ

j &c œ ‰ œ >

j œ ‰ œ >

j œ ‰ œ >

j œ ‰ . .œœœ œ . .œœœ > > >

1

2

^ ^ ^ ^ ^ ^ ^ ^ ^ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. w œ œœœœœœœœœœœœ œœœœœœœœœœœœœœœœ w 3

3

3

3

œœœœœ. . œœœœœœœœœœœœ. . œœœœœœœœœœœœœœœ œœœœœ. . œœœœœœœœœœœœ. . œœœœœœœœœœœœœœœ > > > 3 > 3 > 3 > 3 > > > >

œ. w œ. w

Then do the same work on the following formulas: j œ j œ & c œ ‰ œ ‰ œ ‰ œ ‰ .. œ J œ J 3

4 etc.

j j œ ‰ œœ ‰ œ ‰ œœ ‰ .. œ J œ J

5 etc.

j œ j œ œ ‰ œ ‰ œ ‰ œ ‰ .. œ J œ J

j œ j œ œ ‰ œ ‰ œ ‰ œ ‰ .. œ J œ J

6 etc.

j œ j œ œ ‰ œ ‰ œ ‰ œ ‰ .. œ J œ J

7 etc.

EXERCISE No. 4. Note that the accent is always placed on the sixteenth note >œ >œ œ. ˙ >œ >œ . œ. > RH > > œ . œ œ . œ œ . >œ œ .. >œ œœ . >œ œ . >œ œ . ˙ 3 œ œ œ . œ œ . œ œ . œ œ . œœ œ . œœ œ . œ œ . ˙ & 4 œ œ. œ œ. œ œ. œ œ œ œ œ. ˙ . . . . . . œ œ œ œ œ œ œ œ LH > > > 5 1

1 5

5 1

1 5

5 1

1 5

> > >œ œ . >œ œ . >œ œ . >œ œ . >œ œ . œ œ . œœ ˙˙ 3 œ . & 4 œ œ œ œ œ œ œ œ œ. œ œ. œ œ. . . . .

VARIANTS >œ >œ 3 >œ & 4 œ œœ .. œ œœ . œ œœ . . .

A

5 1

1 5

5 1

1 5

etc.

>œ œ . œ œ.

>œ œ . œ œ.

>œ œ œ œ ..

œ. > œ. > œ. > œ. > œ > œ . œ œ . œ œ . œ œ œ œ . œ œ . >œ œ . >œ ˙ œ œ œ . œ . œ œ. œ œ. œ ˙

œ. œ.

B etc.

œ œ. œ œ.

œ œœ . œ .

œ œ

etc.

œ. œ.

œ œ. œ œ.

œ œ. œ œ.

œ œ

etc.

English Translation of Le Piano | 169

etc.

EXERCISE No. 5 œ œ œ œ œ œ œ œ œ œ œ & c œœ œ œœ œ œ œ œ œ œ œ œ œ œ

VARIANTS œ œ œ œ œ œ œ œ &c œ œ œ œ œ œ œ œ œ œ 1

5 1

1 5

5 1

1 5

5 1

etc.

etc.

œ œ œ œ

1 5

œ œ œ œ. œ & c œœ . œ œ .. œ œ . œ . 2

œ œ. œ œ.

3 etc.

œ œ. œ œ.

√ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ. œ œ.

œ. œ.

4 etc.

œ œœ . œ .

œ œ œ œ

etc.

œ œœ .. œ

œ œ

etc.

w w œ œ. œ œ.

5 etc.

œ œ w œ œ w

œ œ. œ œ.

œ œ. œ œ.

etc.

p. 77 EXERCISE No. 6 _ Preparation for scales. Ex. In C major to play in all keys. 3 3 3 3 j j œj j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & c œœ ‰ œ ‰ œ ‰ œ ‰ .. .. œœ œ œ œ œœ œ œ œ .. .. œœ œ œ œ œœ œ œ œ œœ œ œ œœ .. .. œœ œœ œ œœ œœ œœ œ œœ ’ ’ .. ww

1

œœœ œœœ œœœœœ œœœœœ & c œœ œœ œ œ œ œœ œœ œœ œ œ œ œœ .. .. œœ œœ œ œ œ œ œ œœ œœ œœ œ œ œ œ œ œœ .. ww 2

3

3

3

œœœ œ œ œ œ œ œœ œ œ œ œ c & œœœœœ œ 3

3

œœœœœ œ œœœ œœœœ œ œ œ œ œ œœ

√ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œœœœœ œœœœœ œœœœœ œœœœœ w œ œœ w œœ œœœ

√ œ œœ œœœ œ œ œ œ œ œœœ œœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œœœœœœœœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 2 œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œœœ œ œœœœ œœœ œœ œ & 4 œœœœœœ œ œœœœ œœ œœœœ 4

œ √œ œ œ œœœœ œ œ œ œœ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœœœœ œ œ œ œ œ œ œœœœ œ œœœœ œ & œ œ œ œ œ œ œ œœ œ œœ œœ œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œœ œœœœœœ œ œ œ œ ww œ œœ

Scale in C major. œ œ œ ? c œœ œ œ œ 5

œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ &œ œ œ œ œ œ œ œ

√œ œ œ œ œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œ œ œ œ œ & œ œ

170  |  Part I: Marguerite Long’s Le Piano

√

œ œ œ œ œ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ œ œ œ œ

?œ

EXERCISE No. 2 Preparation for arpeggios. Work on in all keys. √ √ œ œ œ3 œœ œœœ œ 5 3 œ 5 œ œ œ œ œ œ œ œ œ œ œœ œœ . . œœ œœ œ œ œ 6 œœ & c œœ œ œ œ œ œ œ œœ .. .. œœ œ œ œ œ œ œ . . œ œ œ œ œ œ œ œ œœ œ œ œœ .. .. œœ œ œ œœ œ œ œ

œ œ 6œ œ œœœœœœœ œ œœ

EXERCISE No. 3 _ Preparation for chromatic scales. 3 3 j j œj b œj œ b œ n œ b œ œ # œ n œ b œ ‘ .. .. œ # œ œ # œ œ b œ n œ b œ ‘ .. .. œ # œ œ # œ œ œ œ etc. œ # œ œ # œ n œ # œ œ # œ . . . . c ‰ ‰ ‰ ‰ . . . . & œ #œ œ bœ œ #œ œ bœ nœ #œ nœ bœ œ #œ œ #œ nœ bœ œ #œ œ #œ œ bœ nœ bœ œ #œ œ #œ œ œ œ 5

4 1

1 4

Then work on scales and arpeggios and chromatic scales, including arpeggios from sevenths to octaves in all keys and all over the keyboard. In principle, one uses the 5th finger on the white keys and the 4th finger on the black keys, but this rule allows for exceptions in certain cases and for certain hands notably in the seventh chord arpeggios. Work also on scales, arpeggios and chromatic scales in contrary motion. Ex: Scale Arpeggio Chromatic scale œ œ œ & c œœ œœ œ œ œ ? c œœ œ œ œ œ œ œ œ œ

5

5

1

1

5

etc.

& c œœ ? c œœ 1

1

5

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

5

etc.

& c œœ ? c œœ 1

1

5

#œ œ #œ œ #œ œ #œ œ 4

œ bœ œ bœ œ bœ œ bœ

etc.

4

p. 78 CHROMATIC SCALE IN ALTERNATING OCTAVES 1

&c

œ

#œ ? c # œ # œ œ œ œ œœ n œ ## œœ n œ # œ œ œ œ œ # œ # œ œ # œ œ # œ œ œ ## œœ # œ # œ n œ n œ œ œ œ œ

etc.

œ œ œ œ b œ œ b œ œœ b œ œ b œ b œ n œ n œ œ œ b œ b œ b œ œ œ b œ œb œ œn œb œn œ b œ œ œ œ œ bœ

bœ

etc.

œ œ # œ œ ## œœ œ ## œœ #œ œ #œ œ œ #œ œ #œ #œ œ œ

etc.

2

& ?

English Translation of Le Piano | 171

Work with the thumbs alone to ensure the melodic continuity of the line. 1

?c

œ œ #œ œ #œ œ œ #œ 1

1

2

?c

1

etc.

1

œ #œ #œ œ #œ œ œ #œ 1

1

1

etc.

1

ARPEGGIOS IN ALTERNATING OCTAVES Work with bravura, with an identical attack in both hands. 2 & 4 ..

œ

œ

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

? 2 .. œ œ œ œ œ 4 œ œ

œ

# . . ## # ## œ . . #

œ

œ

œ œ . . #### # œ œ œ œ œ . . ## œ œ

etc.

Continue in all keys. Work also with thumbs alone.

ARPEGGIOS IN ALTERNATING OCTAVES IN CONTRARY MOTION œ œ œ œœ œ œœ œ œ œ œ œ œ œ œ œ ## # œ & 43 œ œ œ œ œ œ # ## # œ œ œ œ etc. Continue in all keys. œ # # # # # œœ œ ? 3 œœ œ œ œ œ œ 4 # # œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ œ œ œ œ & 42 œœ œ

EXERCISE FOR OCTAVE SKIPS Exercise RH bœ bœ œ œ bœ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ œ bœ œ œ œ bœ

? 42 ˙˙˙

b ˙˙˙

˙˙ & 42 ˙

Exercise LH b ˙˙˙ b bb ˙˙˙

? 42 œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ ◊ ◊

b b ˙˙ b˙

œ œ œ œ œ œ œ œ ◊ ◊

√# œ # œ #œ #œ œ œ #œ œ

œ √œ œ œ œ œ œ œ

b b ˙˙˙

b b b ˙˙˙

n n ˙˙ n˙

# ˙˙˙

b b ˙˙˙

b b b ˙˙˙

n nn ˙˙˙

# ˙˙˙

bœ bœ bœ œ œ bœ bœ œ

172  |  Part I: Marguerite Long’s Le Piano

bœ bœ bœ œ œ bœ bœ œ ◊

#œ #œ œ œ #œ #œ œ #œ ◊

œ œ œ œ œ œ œ œ

etc.

etc.

p. 79 LEGATO OCTAVES e PREPARATORY EXERCISES OF THE ARM AND THE WRIST after KULLAK In the following exercises, intended naturally for both hands, the letter H indicates to raise the wrist, the letter B to lower it. The exercise number 1 performed on a held octave allows one to understand the mechanics of this movement. 1

& c ww

2

œ œ œ œ .. œ œ œ œ B

5 1

1 5

H

B

H

H

B

3

œ œ œ b œ .. œ œ œ bœ

œ œ œ #œ œ œ œ #œ B

B

H

H

B

˙. ˙.

H

˙. ˙.

#œ #œ

B

bœ . w bœ . w

B

H

H

In chromatic scales we note that the wrist stays low on the two consecutive white keys, the hand must glide in a way from one octave to another. B

2

œ #œ œ œ & c œ # œ œ œ .. 1

B

H

5

5

4

B

H

4

B

B

5

B

H

5

B

4

5

3 4 4

B

4 4 5

5 5

H

B

3 4 4

B

H

5

4

B

H

5

B

4

5

B H B # œ œ b œ n œ œœ œ b œ œ b œ n œ œ b œ œ #œ œ

B

H

5

4

œ bœ œ bœ . w œ bœ œ bœ . w

œ #œ œ #œ œ #œ œ #œ

H

5

œ œ #œ œ & c œœ ## œœ œœ ## œœ œ œ # œ œ 4

3

#œ nœ œ bœ w # œ n œ œ b œ .. w B

H

5

4 4 5

B 5

5

4

B

H 4

H

B

H

b œ Bœ # Hœ n Bœ Bœ b Hœ B H B b œ œ # œ n œ œ b œ œ b œ .. w œ bœ w H

5

4

5

4

5

5

4

5

4

Diatonic scale with the same movement of the wrist. B H B B œ œ œ œ œ œ œ Hœ Bœ Hœ œ œ œ & c œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ B H 4 B H 5 4 B H B H 5 4

1

5

4

5

5

4

5

4

5

H B H B H H B H œ œ œ œ œ œ œ Bœ Hœ Bœ œ œ œ & œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œœ

2

5

4

H 4

B H 5

4

5

4

5

4

B 5

4

5

4

5

4

4

5

This movement of the wrist is very useful in playing repeated octaves; in the following exercise the fingers do not leave the key, the alternating raising or lowering of the wrist gives suppleness and avoids fatigue. & 42 œœ

B

H

B

H

B

H

B

H

œ .. œ œ œ œ .. œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ .. œ œ œ œ œ œ œ œ œ œ œ œ .. wB œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w

5

5

1

3

1

3

3

3

3

3

Do the same work on the chromatic scale. B

H

œ œ #œ & œœ œœ ## œœ œœ œ œ # œ B

H

B

H

œ œ œ #œ œ œ œ œ œ #œ œ œ œ # œ œ œ œ œ3 œ # œ B

etc.

H

3

3

B etc.

B

H

œ œ œ œ #œ œ œ œ œ œ #œ œ

etc.

H

œ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ 6

etc.

English Translation of Le Piano | 173

PREPARATORY EXERCISES FOR THE THUMB and the 4th and 5 FINGERS EXERCISE No. 1_ Substitution work ensuring legato in the upper part in the right hand and in the lower part in the left hand _ to work on in all keys. f

th

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ & c œ œ œ ‰ œ œ œ Jœ œJ œJ œJ œJ œ œ œ œ ‰ œ .. w œ‰J‰J J‰ J‰J‰ ‰ ‰ ‰ ‰ ‰J‰ J‰J‰J J‰ w J

Right hand example e

54

54

54

54

1

1

1

1

5

5

4

45

45

j j j j j j j j j j j œ‰ j œ‰ ? c œj ‰ œj ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ ‰ œ œ ‰ œ œ ‰ œ ‰ œ ‰ œ ‰ œj ‰ œj ‰ .. w œ œ œ œ œ œ œ œ œ œ œ œ œ œ w

Left hand example f

1

1

1

1

45

45

45

45

EXERCISE No. 2

4

5

√ œ œ œ œ œ & c œœ ‰ œ ‰ œ ‰ œJ ‰ œ ‰ œ ‰ J J J J J 1

Right hand example

4

54

54

53

54

54

j j j œ ‰ œj ‰ œ ‰ œ ‰ œj ‰ j ‰ œ œ œ œ œ œ w œ w 5

12

5

12

12

j œ ‰ œj ‰ j ‰ j ‰ œ ‰ j ‰ œ œ j ?c œ œ ? œ œ œ œ œ w œ ‰ œJ ‰ & œ ‰ œ ‰ œ œ œ ‰ œ w ‰ œ J J œ œ œJ J J 2

Left hand example

12

12

12

1

1

1

54

53

54

p. 80 EXERCISE No. 3 _ Work first with a light staccato thumb, articulating, then legato and closely _ very slowly while listening to the sound. œ œ bœ œ bœ œ #œ nœ #œ œ #œ œ œ œ #œ œ & c œ # œ œœ œ ## œœ œ œ # œ œ œ œ œ # œ # œ œ œ # œ œ # œ ‹ œ œ œ # œ œ # œ ‹ œ œ œ # œ œ œ b œ œ œ œ œ b œ b œ œ œ b œ œ b œ ∫ œ œ œ b œ œ # œ œ œ n œ b œ œ œ œ œ #œ #œ œ #œ ‹œ 1

5

5

4

3

1 1 1

1

3

1 1 1

3

3

1 1

5

4

3

3

4

3

3

3

1

1 1 1 1 1

œ bœ & œ œ œ b œ b œ œ œœ b œ œ bb œœ ∫ œ œ .. w w

EXERCISE Left hand ? c œ b œ œ # œ n œ œ œ b œ œ # œ n œ œ œ œ œ œ b œ œ # œ n œ œ œ b œ œ # œ œ œ œ b œ œ # œ n œ œ œœ œ œ œœ œ œ œœ # œ œ bb œœ n œ œ œ # œ œ b œ œ œ œ # œ œ # œ # œ œ n œ n œ œ œ bœ œ #œ nœ #œ œ #œ œ œ #œ œ œ #œ œ #œ 2

1 1 1 1

1

1 1

1

4

5

4

? œ # œ œ b œ n œ œ œ # œ œ b œ n œ œ .. w œ bœ œ bœ w

174  |  Part I: Marguerite Long’s Le Piano

1 1

EXERCISE No. 4 Ex: Right hand bœ nœ œ œ œ œ œ œ œ # œ œ bœ nœ œ œ # œ œ bœ œ œ œ# œ œ# œ œnœ œ b œ n œ œ b œ œ # œ n œ œ œ œ œ œ b œ œ # œ n œ œ œ b œ œ # œ œ œ œœ œ ## œœ œ œ œ œ bœ œ bœ œ # œ# œ nœnœ & c œ œ#œ œœ #œ œ # œ œ œ #œ œ #œ 1

5

4

4 5

1

3

1

1

3

4 5

4 3

5 4 5 4

4 3

3 5

4

5 4 5

4 5

5

4

4

5

5

4

1

œ#œœbœnœ œœ œbœ œ & œ b œ œ # œ b œ n œ .. w w 4

3 5

4

5

5

4

4

5 4

5

Ex: Left hand œ ? c œ #œ œ #œ œ #œ œ #œ œ œ bœ œ œ œ bœ bœ œ bœ œ #œ nœ œ œ #œ œ œ œ œ bœ œ œ œ œ bœ∫œ œ œ œ œ #œ œ œ nœ bœ œ œ œ # œ œ œ œ œ œ #œ #œ œ œ œ œ #œ ‹œ œ œ #œ œ œ œ œ#œ #œ œ œ œ œ #œ ‹œ œ œ ‹œ 2

1

1

1

3

4 5 4

3

3

5

1

3

4 5 4 5

3

3

4

5 4

3

4 5 4

3

3

5 4 5

3

4

5 4

5

4

5

5 4 5

4

3 4 5 4

4

5

5 4

4

5

5 4

4 5

5

3 4

? œ bœ œ bœ .. w œ œ œ bœ bœ œ œ œ œ bœ ∫œ œ w 5

5 4

4

5

5 4

4

5 4

Scales, Arpeggios and chromatic scales must be worked on legato; for large hands, use the 3rd finger _ substitution fingering in Arpeggios. COMPLEMENTARY EXERCISES Work first hands separately. To be played in all keys. bœ nœ œ #œ œ #œ œ œ # œ œ # œ œœ b œ œ n œ œ œ œ # œ œ œ œ # œ œ œ # œ œ œ œ œ œ œ œ œ œ œ # . . c œ . . & œœœœœœœœœœœœœœœœ œ œ #œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ œ œ #œ œ ? c œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ .. .. œ œ # œ œ œ œ # œ œ œ œ œ œ # œ œ œ œ # œ œ œ œ bb œœ œ nn œœ œ œ # œ œ # œ œ œ # œ œ œ œ œ œ œ œ œ œ #œ œ #œ œ œ #œ 1

2

5

1

2

2

2

1

2

2

2

2

2

2

2

2

2

2

2

2

œ bœ œ bœ œ œ bœ 3 œ œ bœ œ œ œ bœ œ œ œ œ œ bœ œ œ œ bœ œ œ #œ nœ œ bœ œ bœ . . œ œ œ œ œ œ bœ œ œ #œ œ nœ œ œ œ bœ œ œ œ bœ œ . . œ œ œ œ œ œ œ œ & œ œ œ œ bœ œ œ œ bœ œ œ œ œ œ bœ œ œ œ bœ œ œ œ #œ œ nœ œ œœœ ? œ bœ œ bœ œ œ bœ b œ b œ œ # œ n œ œœ œ b œœ œ œœ œ bb œœ œ .. .. œ œ œœ œ œœ œ œ œ œ œ √ œ œ œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ 4 œ œœœœœ œ œœœœœ œ œ œ œ œ œ œ œ œ œ œ . . . œ œ œ œ œ œœœœ œœœœœ. . œœ & .œœœœœœ œœœœœ œ œ √ œ œ œ œœ œ ? .. œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œœ œ œœ œ œ œ œ œ œ œ œœ œ œ œ œ œ .. .. œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

2 2

œ œ œ . œœœœœœ. œ œ œ œ œ œ .. œ œ œ . w œ. w œ .. w w

English Translation of Le Piano | 175

p. 81 Broken Octaves Broken octaves must be worked on slowly at first with a large and supple oscillating motion of the wrist, but at the same time the thumb and the 5th finger must articulate energetically; in other words, despite the motion of the wrist, one needs the individual attack of the finger. All the scales, arpeggios and chromatic scales must be worked on with broken octaves. Ex. In C major. Scale in broken octaves. œ œ œ œ œ œ œ 1 œ œ œ œ w œ œ œ œœœœ œ œ œœ œ œ œ œ œ œ œ œ œ ?c œ œ œ œ œ ? œ œ œ w œ œ œ œ œ œ œ œ œ & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

1

5

1

5 1 5 1

Arpeggios in broken octaves √ 2 œ œ œ œ œ œ & 43 œ œ œ œ œ œ

Chromatic scale in broken octaves œ #œ œ œ #œ œ & œ œ #œ #œ œ #œ œ œ #œ œ #œ 3

etc.

6

6

1

5

1

1

5

4

Then starting with the upper note. Arpeggio √ 1 2 œ œ œ œ 6 6 œ ?c œ œ œ œ œ œ œ etc. œ œ & œ & œ œ œ œ œ œ

1

4

1

5

1

1

5

1

1

1

etc.

1

4

3

5

&œ 5

etc.

5

5

4

Chromatic scale

5

1

1

1

5

Scale 5

5

1

1

1

œ 5

#œ 4

1

œ

1

#œ 4

œ

#œ

#œ

œ

etc.

The two modulating exercises that follow can be worked on in octaves and in broken octaves. EXERCISE No. 1 Right hand 1

& œ

œ

? ww

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

www

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ bœ bœ œ œ bœ bœ bœ œ bœ bœ œ bœ bœ bœ bœ bœ œ œ œ b œ b œ & bœ œ bœ bœ œ bœ bœ œ bœ ? b b ww bw

& #œ #œ #œ #œ œ ? # # www

œ

#œ

#œ

#œ

#œ

#œ

#œ

b ww

#œ

#œ

œ

#œ

œ

œ

b www

œ œ œ œ bœ œ œ œ œ œ œ bœ œ œ

bœ bœ œ bœ bœ œ bœ bœ bœ bœ bœ œ bœ bœ œ bœ

b b www

#œ nœ #œ nœ œ œ œ œ #œ #œ œ œ œ œ œ #œ

n nn www

176  |  Part I: Marguerite Long’s Le Piano

œ

# ww

œ

œ #œ œ #œ

etc.

Left hand

1st Right hand

ww & w

ww w

2

b www

œ ? œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ

œ œ &c œœ œ œ

etc.

3 &4

œ

œ

√ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

œ

? 3 ˙˙˙ ... 4 √œ œ bœ œ bœ & œ œ bœ œ œ bœ œ

œ

œ

˙˙˙ .. .

bœ

bœ

b ˙˙˙ ...

ww &c w

etc.

? c ww

p. 82 EXERCISE No. 2 œ

2nd Left hand

œ

?c œ œ œ œ œ œ

œ œ œ √ bœ œ œ bœ

b œ√ b œ b œ b œ œ √ bœ œ bœ b œ b œ b œ œ œ œ b œ b œ b œ b œ œ bœ œ bœ bœ œ bœ bœ œbœ bœ bœbœ œ bœ bœ œ bœ bœ bœ œ œ bœ œ

? ˙˙˙ ...

b b ˙˙ .. b˙.

. b b ˙˙˙ ..

˙˙ .. ˙.

˙˙˙ ...

This exercise and the following variant must be also worked on with the left hand. œ √ œ œ œ œ œ œ œ œ œ bœ œ 3 œ &4 œ œ œ œ œ œ œœ œ œ œ œ œ œ œ œ bœ VARIANT ˙˙ .. ? 3 ˙˙˙ ... b ˙˙˙ ... ˙. 4

etc.

etc.

EXERCISE No. 3_ To work loud while attacking with precision, then piano while attacking more closely, but always ensure the perfect sequencing of the two hands and their equal sonority. Hear the four successive notes well. Do not abbreviate the last note of each hand. 1

&c ?c

1

œ 5

&

? œ œ

œ

œ

œ

œ

œ

5

1

œ

œ

1

œ

œ

œ

œ bœ

œ

œ 5

œ

1

5

bœ

bœ

bœ œ

œ

œ œ

œ

œ œ

œ œ

œ

œ

œ

œ

œ bœ

œ œ

œ bœ

bœ

bœ bœ

œ

œ

œ bœ

bœ

œ

œ

œ

bœ œ

œ

œ

œ

œ

œ

œ

œ

œ bœ

bœ

bœ

œ

œ

œ

œ

bœ œ

œ

œ

œ

œ bœ

bœ

bœ

œ

œ

œ

œ bœ bœ

bœ

bœ

etc.

œ

œ bœ

bœ

bœ

bœ

bœ

bœ

bœ

bœ œ

œ bœ bœ

bœ

bœ

œ

œ

bœ etc.

English Translation of Le Piano | 177

2

œ

&c ?c

œ

œ

3

œ œ

&c ?c œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ

œ

œ

œ

œ œ

œ

œ

œ

œ œ

œ

œ

œ œ

œ

œ

œ œ

œ

œ

œ œ

4

œ

&c

etc.

?c œ

œ

œ

œ

œ

œ œ

œ œ

œ

œ

œ

bœ

œ bœ

œ œ

œ

bœ

œ

bœ

etc.

œ etc.

œ

These four alternating broken octave formulas must be also worked on with arpeggios. Example formula 1 & 43 ?3 4

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ bœ

bœ

bœ

bœ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

bœ

œ bœ

bœ

bœ

œ

œ

œ

œ bœ

bœ

bœ

bœ

bœ

bœ

bœ bœ

œ

œ

œ

œ

bœ

bœ

bœ

bœ

bœ bœ bœ bœ

bœ

bœ

bœ

bœ

etc.

p. 83 CHORDS All chords, whether they be composed of 3–4 or 5 notes, are worked on according to the same principles and with the same formulas. We are therefore going to use a series of standard chords to indicate these formulas to which we will always be able to refer. Once more, we only write for the right hand, the same work always needing to be done in the left hand. The group of modulating chords with which one will work on the 6 following formulas. & wwww

w b www

w b b www

#w #w #w & # # # www n # # www n n # www

b bb wwww

ww ww

# ## wwww w b www

n ## wwww

w b b www

w # www

w n www

b wwww

b bb wwww b b bb wwww # www #w

178  |  Part I: Marguerite Long’s Le Piano

b bb wwww

w # www

bw #w b b b www # # www

w n www

b wwww

b ww b ww

w # www

w n www

bw #w b b www # # www

b wwww

ww ww

w b www

w w w # # www n # www n www

#w # # www

ww ww

FORMULAS OF WORK To work on slowly, hands separately and hands together 5 3 2

j œœ ‰ œ

1

&Πw > 1

& wΠ> 2

4

Π&w > Π& w> 2

1 2 4

3 2

j œœ ‰ œ

j œœ ‰ Œ œ w >

j œœ ‰ œ

2

j Œ œœ ‰ w bœ > j j j j œ ‰ œ ‰ œ ‰ Œ œœ ‰ b œœ œœ œœ bw œ > j ‰ j ‰ j ‰ Œ œj bw bœ œœœ œœœ b b œœœ > œ 5

j œœ ‰ œ

j œœ ‰ œ

j œœ ‰ œ

4

1

5

j œœ ‰ œ

j œœ ‰ œ

j œœ ‰ œ j ‰ œ œœ

j œœ ‰ wŒ œ > 3

j j j Œ œ ‰ œ ‰ œ ‰ w > œœ œœ œœ

j j j Œ j œœ ‰ œœ ‰ œœ ‰ w œœ ‰ œ œ œ > œ j j j j j j Œ œœ ‰ œœ ‰ œœ ‰ wŒ œ ‰ œ ‰ œ ‰ w œj ‰ > b œœ œ œ œ > b œœ œœ œœ 5

j œœ ‰ Œ œ bw > j j j j œœ ‰ Œ b œœ ‰ œœ ‰ œœ ‰ b œ œ œ œ w > j j j ‰ œ ‰ Œ b œœ ‰ œœ ‰ œœ bw œ œ > 2

2 4

1

2

j Œ œ ‰ b w b œœ > j œœ ‰ .. Œ bw œ >

5 1

& c œœ œœ œœ œœ ’’ ’ b œœ œœ œœ œœ ’ ’ ’ b b œœ œœ œœ œœ ’ ’ ’ b œœ bb œœ A

3

j j j œœ ‰ œœ ‰ b Œw œ ‰ b œ œ œ > œ j j j b b œœœ ‰ œœœ ‰ œœœ ‰ Œw >

j j œ ‰ œ ‰ œœ œœ

j j œœ ‰ œœ ‰ œ œ j œ ‰ œœ j b b œœ bœ

j œ ‰ œœ

‰

etc.

œ œ œ œ ’’’ œ œ œ œ ’’’ œ b œ œœœœ œ bœ œ œ œb œ

B etc.

1 5

6

etc.

& c œœ œœ œœ œœ œœ œœ ’’’ b œœ œœ œœ œœ œœ œœ ’’’ b b œœ œœ œœ œœ œœ œœ ’’’ b œœ bb œœ etc. œœ œœ œœ œœ œœ œœ ’’’ œœ b œœ œœ œœ œœ œœ ’’’ œœ b b œœ etc. 6

6

A

6

6

B

6

6

B A & c œœ œœ œœ œœ œœ œœ œœ œœ ’’’ b œœ œœ œœ œœ œœ œœ œœ œœ ’’’ b b œœ œœ œœ œœ œœ œœ œœ œœ ’’’ b œœ bb œœ etc. œœ œœ œœ œœ œœ œœ œœ œœ ’’’ œœ b œœ œœ œœ œœ œœ œœ œœ ’’’ œœ b b œœ etc. 3

& c œœ œœ œœ œœ ’’ ’ b œœ œœ œœ œœ ’’ ’ b œœ b œœ œœ œœ ’’’ b œœ b b œœ 4

& c œ œœœ œ œœœ ’’’ œ b œœœ œ œœœ ’’’ œ b b œœœ œ œœœ ’’’ b œ b b œœœ

œœ œœ ’’’ œœ œœ ’’’ b œœ œœ œœ b œœ œœ b œœ

etc.

œœ œœ ’’’ œœ œœ ’’ ’ b œœ œœœœ bœ œ œ œ bœœ

etc.

B

A

etc.

B

A

etc.

The notes in the middle of the chord have an importance too often neglected; work on the following exercise while respecting the fingering of the chord, articulate, attack and raise the fingers with the same energy and the same precision. This exercise gives much strength to the fingers. œ œ œ j bœ œ j j œ œœ œ œœ œ j j b œ œœ œ b œœ œ j j b œ b œœ b œ b b œœ œ & c œœ ‰ œœ ‰ Jœ ‰ J ‰ J ‰ J ‰ Jœ ‰ œœ ‰ b œœ ‰ œœ ‰ Jœ ‰ J ‰ J ‰ J ‰ Jœ ‰ œœ ‰ b b œœ ‰ œœ ‰ Jœ ‰ J ‰ J ‰ J ‰ œJ ‰ b œœ ‰ b œœ ‰ Jœ ‰ Jœ ‰ etc. J J J 5

3 2

2 4

4 2

2 4

4 2

2 3

3 2

2 4

4 2

2 4

3 2

2 4

4 2

2 3

4 2

2 4

3 2

2 4

English Translation of Le Piano | 179

Root position. Re-read our foreword (page 74) for chord attack. 2nd Inv. 1st Inv. j j œ œ œœœ & c œœœœ Œ œœœœ Œ .. .. œœœœ œœœœ œœœœ œœœœ .. .. œœœœ œœœœ ’’’ .. .. œœœœ œœœœ œœœœ œœœœ ‰ ‘ .. .. œœœœ œœœœ œœœœ œœœœ œœœœ ‰ ‘ œœœ Œ œœœ Œ .. .. œœœ œœœ œœœ 3 6

etc.

œœœ œœœ œœ œ Œ œ Œ .. .. œœ

œœœ œ

œœœ œ

etc.

p. 84 COMPLEMENTARY EXERCISE Attack the octaves with firmness, play the middle notes with energy with articulation from the finger; raise the third sixteenth note as the first two [i.e., articulate it in the same way] to avoid being connected to the octave that follows, the left hand must be performed two octaves lower than the right hand. To be useful, this exercise must be played in a very moderate tempo.

œ œ œ œ œ œ œ œœ œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ 3 œ œ œ œ œ œ & 4 œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ 3 2

4 2

2 3

2 4

œ œ œ œ œ œ œ œ œ œœœœ œ œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ œ œ œ œ œ œ œ . œ œ œ≈ &≈ ≈ œ≈ œ œ œ œ œ œ œ œ œ œ œ œ . œ œœ œœ œœ œ œœ œœ œœ œ≈ œ œ œ ≈ ≈ ≈ ≈ ≈ ≈ ≈ √ œœ œœ œ œ œ œ œ œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ b œ œ œ œ œ œœ œœ œœ œ œ≈ œ≈ &≈ ≈ œ œ œ œ œ≈ œœœœ ≈ œ œ œ œ œ b œœ œœ œœ œ œ œ œ œ≈ ≈ ≈ ≈ ≈ ≈ √ œ œ œ œ œ œ b œ œ œ b œ œ œ œ œ b œœ œœ œœ œ b œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ b œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ b œ œ œ œ b œ œœ œœ œœ œ &≈ œ≈ œ≈ ≈ b œ œ œ œ œ≈ bœ œ œ œ ≈ b œ œ œ œ œ b b œœ œœ œœ œ œ œ œ œ≈ ≈ ≈ ≈ ≈ ≈ √ bœ œ bœ œ œ œ œ œ œ œ œb œ œœ œœ œœ b œ b œ œ œ b œ œ œ œ b œ œœ œœ œœ œ b b œœ œœ œœ œ œœ œœ œœ œ œ œ œ œ b b œœ œœ œœ œ œœ œœ œœ œ œ œ œ b œ etc. œ b œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ b œ œ œ œ & ≈œ ≈ ≈ bœ bœ bœ b œ≈ œ œ œ œ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈ ≈

& b # wwwww

The group of diminished 7th chords upon which one will work using the preceding six formulas. (page 83) w b www b wwww www # www # wwww b # wwww # # wwww # b w # b # wwww b wwww # # wwww b # wwwww b wwwww b w w w b w w w # w # w w #w #w

180  |  Part I: Marguerite Long’s Le Piano

Examples of six formulas indicated (page 83) j j j j j j j j j ‰ & c w‰ b # œœœœ ‰ œœœœ ‰ œœœœ ‰ œœœœ b w‰ # œœœœ ‰ œœœœ ‰ œœœœ ‰ œœœœ # w b œœœœ etc. 1

1

5

3

&c

2

3

4

3

œ œ b # œœ b œœ # œœ œœ œœ ’’’ # n œœ œ 4 3 2

2 3 4

& c b # œœœ œœ œœœ œœ ’’’ n b œœœ ## œœ œœœ œœ ’’’ b œœœ œœ & c œ b # œœœœ œ œœœœ ’’’ # œ nb # œœœœ

etc.

4 3 2

2 3 4

etc.

Eb Major b œ œ & b b c œœœ œœœ

2nd Chromatic scales with minor thirds 1 œ œ #œ œ #œ & c b œœ n # œœ œœœ # ## œœœ œœ n b œœ n # œœ b œœ # œœ œ #œ œ œ # œ œœ # # œœ & c b œœœ n # # œœœ œœœœ # # ## œœœœ # œœœ b n n œœœ n # # œœœ b œœ n # œœ œ #œ 2

œœ œœ

etc.

6

bœ œ & c b # œœœœœ Œ œœœœœ Œ .. .. b # œœœœœ œœœœœ etc. # b œœœœ Œ œœœœ Œ

SCALES AND ARPEGGIOS IN CHORDS 1st Scale √ œœ œ œ œœ œ œ œœ œœ œœ œ œ œœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œ œ c œ & œœœ œœ œœ œ œ œ œ œœ œ œ œœ œœ œœ œœ œ œ D Major # œ œ œœ œœ & # c œœœœ œœœ œœœ œœ œœ

etc.

4

j j j b œ b # œœ b # œœœ œœ œ j & c b # œœœ ‰ # œœœ ‰ œœJ ‰ Jœ ‰ J ‰ Jœ ‰ œœ ‰ # œœœ ‰ n b œœœ ‰ etc. J 5

2

C# Major etc.

## # & # # # # c œœœœ œœœœ

etc.

œ œ œœ œœ œœœ œœœ œœœœ œœœ œœœ œœ œœ œ œ

etc.

etc.

œ œ bœ b œœ œœ b b œœ œœœ b bb œœœ œ œ bœ b œœœ # œœœ b n b œœœ # œœœœ b n bb œœœœ

w b ww w b www

with major thirds bœ nœ œ #œ œ bœ & c œœ # # œœ # œœœ b œœ # n œœ n œœ # # œœ n œœ b œœ œ #œ 1

b œ n œ œ # œ œœ b œœ & c œœœ # # # œœœ # œœœœ n b œœœ # # n œœœ n n œœœ # # # œœœ œœ b œœ œ #œ 2

œ œ bœ œ bœ œœ # œœ n b œœ # œœ n b œœ œœ # œœ n b œœ œ b œ œœ # œœ n b œœ # # œœœ n n b œœœ

w ww ww ww

English Translation of Le Piano | 181

p. 85 3rd Arpeggios C Major œœœ œ

œ & c œœœ œœœ œ

√ œœ œ œœ œœ œœ œœ œ

œœ œœœ œœ œ œœ œ œœ œœ œœ œ œ œœ œœœ

C# Major œœœ œœ œ # ## # œ œ œœ œœœ œœœ .. .. # # # œœœœ œœœ œ

œœœ œ

œœ √ œ œœ œœ œœ œœ œ

D Major etc.

œ√ # # œ œœ œœœ œœœ œœ œœœ & œœœ œœ œ œœ œ

Eb Major

√ œ œœ œ bb b œœ œœœ œœœ œœ œœœ œœœ & œœ œ œ

etc.

etc.

MODULATING EXERCISES EXERCISE No. 1 _ Work with the two fingerings indicated. œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœœ œœœ œœ œœ œ œ b œ œ œœ œœ œœ b œœ œœœ œœœ œœ œœ œ œ b œ œ b œœ œœ œœ b b œœ œœœ œœœ œœ & c œœ œœœ œœœ œœ œœ œ œ œ œ œœ œœ œœ b œœ œœœ œœœ œœ œœ œ œ œ œ b œœ œœ œœ b b œœ œœœ œœœ œœ œœ œ œ bœ œ œ œ œ œ 3 2 1

3 2 1

? c ww

5 3 2

4 2 1

5 4 2

5 3 2

5 3 2

4 2 1

5 4 2

4 2 1

5 4 2

4 2 1

3 2 1

5 3 2

5 4 2

3 2 1

ww

ww

ww

#w # w

#w # w

bw bw

w w

œœ œ œ œ b œœ œœ œœ œ

bœ bœ # œ œ # œœ # # œœ œ œ n œ œ # œœ # œœ œ œ œœ œœ b œœ œœ œœ b œœ b œœœ œœœ œœ œœ œ œ b œ œ œœ œœ œœ # œœ # œœœ œœœ œœœ œœœ œœ œœ œ œ # œœ œœ # œœœ œœœ œœœ œœœ œœ n œœ # œœœ œœœ œœœ œœœ œœ œœ œ œ # œœ œœ œœœ œœœ œœœ œœœ œœ & b b œœœ b œœœ œœœ œ œ œ œ bœ # œ #œ # œ #œ ? b b ww

b b ww

Do the same work for the left hand.

w &c w ?c

ww

ww

ww

2 2 3 3 5 5

w w

w w

bw bw

bw bw

b b ww

œ œ œ œ œ œ œ œ œœ œœ œœ œœ œœœ œœœ œœ œœ œ œ b œ œ œœ œœ œœ b œœ œœœ œœœ œœ œœ œ œ b œ œ b œœ œœ œœ b b œœ œœœ œœœ œœ œœ œ œ œ œ œœ œœ œœœ b œœœ œœœ œœœ œœ œœ œ œ œ œ b œœ œœ œœœ b b œœœ œœœ œœœ œœ œœ œ œ b œ œ b œœ œœ œœœ b b œœœ b œœœ œœœ œœœ œœœ œœ œœ œ œ 2 4 5

2 4 5

1 2 4

1 2 4

1 2 4

2 4 5

jœ & c œœœ œœœ œ J ? c ˙˙ ..

1 2 2 3 4 5

œœ œœ J

œœ œœ J

etc.

etc.

1 2 3

œœ œœ J

œœ œœ J

EXERCISE No. 2 œœ œ œœ œœ œœ œ œ b œœ j J œJ œœJ œœœ œœœœ œœœ œœ b œœœ œœœœ œœœ Jœœ J J œ b œœ œ J J J J ˙˙ . .

√ j œ b œœ b œœœ œ b œœ b b œœœ œœ œ b b œœœ œœ b œ œ œ œ & b b œœœ œœ Jœ J b b œœœ Jœœ b Jœ b Jœœ œœœ b Jœ b Jœœ J J J . ? b b ˙˙ .. b b ˙˙ .

˙˙ . .

œœ b œœœ œœ œ œœ œ œœ œœ œœ œ j j bœ J J J b œJ œœ œœœ œœœ b œœ b œœœ œœœ J J b œ b œœ œ J J ˙˙ . .

b˙. b˙.

√ œœ # œj œœ # œœœ # œœœœ # œœ # œœœ # ## œœœœ œœœ œœ # ## œœœœ œœœ œœ # œ œ œ # œ œ #œ œ #œ J # œœ Jœ J J Jœ J J J Jœ J J # # ˙˙ .. # # ˙˙ ..

182  |  Part I: Marguerite Long’s Le Piano

œœ œœ J

b œœ œœ J

b œœ œœ J

œ b b œœœ J b˙. b˙.

œœ b œœ J

œœ b œœ J

œœ œœ J

œœ b œœ J

œœ b œœ J

#œ √ #œ #œ œœ # œj œœ n œœœ œœœ # œœ n œœœ # œœœ œœœ œœ n # œœœ œœœ œœ œœ n # œœœ œœ œ J n œœ œ J œ œœ J n œ œœ JJ JJ J J J J J ˙. ˙. ˙. ˙.

etc.

Do the same work for the left hand. ˙. & 43 ˙ .

œ ? 3 œj œœjœœœ œœœœ œœœ j 4 œ œ œ J & œœ œœ œ J J œœ

˙. ˙.

˙. ˙.

˙. ˙.

j b b j jœ œœ œœœ j j j œœœ œœ b œœœ œœœ œœ Jœ & b œœ b œœœ œœ ? b œJ b œœ œ J œœ œ œœ

j œœ œ j œœ œj? œœ œœœ œœœ œœ œœ œœœ J J œJ œœ

p. 86 EXERCISE No. 3 √ œ œœœ œœœœ œœ œœœ œœœœ œœœ œœœœ œœœ œ œ œ œœ œ œ & c œœœ œœ œ ? c œ œœ œœœ œœ

œœœ œ

œœ œœ

œ b œœ b œœœ œœœ œ . . & b b œœ œœ œ œ

œœ œ œœœ œœ œ œœ œœ œ œœ œœ œœ œ œ œœ œœ œ œœ œ ? œœ œœœ œœœ œœ œ œ œœ œœœ œœœ œœ œœœ œ

œ œ œœ œ œœ œœœ œœ œœ œ √ œ b œœ œ b œœ b œœœ œœœ œœ b b œœœ œœœ bœ b b œœ œ &œ

œœ œœ & b œ bœ œ b b œœœ œœ

? .. œ b œœ b œœœ b b œœœ œœ œ

œœ b œœ

b œœ œœ b œœœ b œœ œ ? b b œœ œœ œ b œœ œœ bœ

œœ b bb œœœœ œœœ œœ b œ œœ œœ

b˙. b˙.

˙. ˙.

œœ œj j j j b œ œœ b œœœ j j j b b œœœ œœ œœ œœ œ b œœ œœ œœ œ & b œ b œœ œ ? b œ J J œ b œœ b b œœœ œœ œJ J J b œœœ b œœ b œœœ

√ œœ œ œ œœ .. .. œœ b œœœ œœœ œœ b œœœ œœœ œœ bœ b œœ œ

œœ œ . . b œœ b œœœ œœœ œœ . . b bb œœœœ œ b œœ

b œœ œ œœ b œœœ œœœ œœ œ b œœ

œœ œ j j j œœ œœ œœ b œ œœ J b œJ b œœ b b œœœ œœ

etc.

œ œœ b œœœ œœœ bœ œœ

œœ œœ

b œœ œ œœ œœ & œ œœ b œœœ œœ œ ? b œœ œœœ œœœ œœ œ b œœ œœ œœ œ b œœ œœ œ b œœ œœœ œ b œœ œ b œ √ b œ œœ b œ b b œœ œ œœ b œœœ œœœ b œœ b œœœ œœœ œœ b b œœœ œœœ œœœ b œœ b œœœ œœœ œœ œ .. bœ œœ œ b œœ œ œ œ b œœ œœ bœ œœ œ b œ b œœ b œœœ œœœ & b œ b œœ œœœ b b œœ œ ? b œœ b œœœ œœœ œœ œ .. œ œ œ œ b œœ œœ b œ œœ b œœœ œœœ œœ œ b b œœœ œœ œ bœ bœ

.. .. œ b œœ b œœœ œœ

œœ œ .. .. b b œœ œœ œœ b œœ bœ

b˙. b ˙.

œœœ œ

œœœ .. œ . œœœ . œ

bœ b b b œœœ

etc.

bœ b b b œœœ

EXERCISE No. 4 _ In the following exercises, it is very important to pronounce well the sixteenth note on which we have intentionally marked an accent _ Analogous exercises can be performed with chords of four and five notes.

> > > > >œ # œ .>œœ # # œœ .. >œœ n nb œœœ ... # #n >œœœ œœœ ...# # >œœœ n nb œœœ ... >œœ b b œœ .. >œœ # œ . n œ œ . b œ œ . b œ œ b œ . . œ œ # œ n œ . œ # # œœ .. n n œœ # œœ .. b n œœ # œœ . b œ œœ . œ n b œœ . n œ # œ . . . b œ œ b œ n œ c & b b œœ ... n n œœ œœ .. # # œœ œœ .. # # œœ # œœ .. n œ # œ . œœ # # œœ .. œ # œ . # œ . n œ œ ..# # œœ n œ ..# œœ œ #œ 4 2 1

5

1 2 5

1 2 4

4

5

5

4

4

5

5

5

5

4

5

5

4

5

4

5

4

5

5

. b œ n œ . n œ b œ .. œ œ . b œ . œ b œ . n œ œ . # œ œœ .. # œ n œœ . n n œœ # # œœ .. n n œœ b n œœ . œœ # # œœ .. n n œœ # n œœœ .. b nb œœœ œœœ ... # ## œœœ n nn œœœ ... n œœ b nb œœœ ... œœ b b œœ .. œ n œ . b œ etc. & # œœœ ... b œœœ # #n œœœ ... œœœ # ## œœœ ... # œœ b n œœ .. n # œœ œœ .. # # œœ œ . # # œœ œ . # œ # œ n œ . n œœ # # œœ .. n n œœ

EXERCISE No. 5

> > > > œ #œ . œ # œ # œ . . c œ # œ b & b œœœ ... n # # œœœ œœ .. # # œœ œœ .. n b œœ n # œœ .. œœ # œœ

etc.

EXERCISE No. 6 > > > > œ œ . œ # œ œ # œ . . c œ & œœœ ... # # # œœœ # œœ .. b œœ # n œœ .. n n œœ # # œœ .. n œœ b œœ

etc.

English Translation of Le Piano | 183

In order to acquire authority, one can profitably apply this rhythmic formula to the modulating exercises from the preceding page. Example: Exercise No. 1 (page 85) œ œ. œœ œœ .. œœœ œœœ ... œœ œœ .. œœœ œœœ ... œœ œœ .. œ œ . œ œ . c & œœœ ... œœ œœ .. œ œ . œ œ . œœ œœ .. œœœ b œœœ ... œœœ œœœ ... 5 3 2

5 2 1

5 4 2

4 2 1

4 2 1

? c ww

5 4 2

3 2 1

5 3 2

5 3 2

5 4 2

3

w w

w w

etc.

EXERCISE No. 7 Attack with firmness, respecting the marked accent. [Translator’s note: Ascend chromatically. This exercise has been shortened due to space considerations.] √ K K K K K rK rK rK 2 Œ ‰ .. œœr .. œœ ‰ .. œœr œœ ‰ .. œœr .. .. œœ ‰ .. œœr œœ ‰ .. œœr .. œœ ‰ .. b b œœœ .. b b œœ ‰ .. b b œœœ b b œœ ‰ .. b b œœœ .. &4 œœ œœ œœ œœ œœ œœ b œœ œœ b œœ œ b œœ b œ b œœ bœ b œœ > > > > > rK rK rK rK rK rK rK rK ? 2 Œ ‰ .. œ .. œ ‰ .. œ œ ‰ .. œ .. .. œ ‰ .. œ œ ‰ .. œ .. œ ‰ .. b œ .. b œ ‰ .. b œ b œ ‰ .. b œ .. 4 bœ bœ bœ bœ bœ œ œ œ œ œ œ > œ > œ > > œ > œ √ Kr Kr Kr Kr Kr Kr Kr rK bœ b œ b œ b œ n œ œ œ œ œ œ œ œ # œ # œ # œ # œ # œ . . . . . . .. .. .. .. .. .. .. .. ‰ ‰ ‰ ‰ ‰ ‰ ‰ ‰ b œ b œ b œ n œ œ œ œ œ b œ b œ b œ n œ œ œ œ œ b œ . . . . . . œœ # œœ œœ œœ œœ œœ œœ & b b œœ b b œœ b p. n œœ œ .. b b œœœ b œœ 87b b œœ b b œœ n n œœ # n œœ No. 8 Kr etc. Kr EXERCISE Kr Kr Kr Kr Kr rK bœ bœ . n œ œ œ œ œ √ ? .. b œ ‰ .. b œ b œ ‰ .. √ √ √ b bœ b œ . b œ ‰ .. n œ# .. njœ œ ‰ .. œ œ ‰ .. œ .. j ..œ œ ‰ .. œ œ ‰ .. œj œ.. œ ‰ .. b œ .. b #œœ bœ b œ . œj œ b œ . . # # # # œn œ œ . . ## œ œ œ. b œ œ # 2 # . . . Œ Œ Œ . . b b œœ Œ . . # .œ . . ## œ . . œœ &4 ∑ 3

œ

?2 4

∑

5 3 2

..

œ œ œ J

œ ◊ 3

3

3

Œ

.. .. # # # # # # #

œ

œ œ œ J

œ ◊ 3

Œ

.. .. # #

œ œ œ J

.. .. b b b

œ ◊ 3

œ œ œ J

œ ◊ 3

Œ

.. .. # # # #

etc.

œ œ bœ œ bœ œ & c œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ b œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ b b œœ b œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œœ œ œœœ œ œ œ œ œ œ œ 1

1

1

1

? c œœœ œ œœ œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ b œœœ œ œœ œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ b b œœœ œ œœ b œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ œ œœ œ œ œœ œ œ b œœ œ œ œœ œ b œ b œœ œ œ œœ œ 1

1

1

1

2 3 5

œ œ œ œ b œ œœ œ œ œœ œ & b b œœœ b œ œœ b œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ n # # œœœ # œ # œœœ # œ œœ œ œœœ œ œœœ œ œœœ œ œœ œ œœœ œ # n œœœ n œ # œœœ # œ œœ œ œœœ œ œœœ œ œœœ œ œœ œ œœœ œ 1

1

? b b œœœ b œ œœ b œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ n # # œœœ # œ œœ # œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ # n œœœ # œ œœ n œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ b œ œœ œ œ œœ œ # œ œœ œ œ œœ œ n œ œœ œ œ œœ œ 1

1

#œ œ nœ œ œ & # œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœœ œ œœ œ œœœ œ n œœœ œ œœœ œ œœ œ œœœ œ œœœ œ œœœ œ œœ œ œœœ œ b œœœ b œ œœœ œ b œœ œ œœœ œ œœœ œ ? # œœœ œ œœ œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ n œœœ œ n œœ œ œ œ œœ œ œœœ œ œœ œ œ œ œœ œ b œœœ œ œœ b œ œ œ œœ œ œœœ œ œ # œœ œ œ œœ œ œ n œœ œ œ œœ œ b œ œœ œ 184  |  Part I: Marguerite Long’s Le Piano

etc.

EXERCISE No. 9 ^ ^ ^ œ œ œ œ œ œ œ œ & c œœœœ œœ œ œ œœ œ œ œ œœœ ^ ^ ^ œ œœ œ œœœ^ œ œœœ œœ œœœ œ œœ^ œ œ^ œ œ^ œ . œ œ œ œœ œ œœ œ œ . & œœœ œ œœ œ œ œ œ œœ

^ ^ œ œ œ œ œ œ œ œ œ œ œ . . œ . . œ œ œ œœ œ œ œ œœœ œ œ œ ^ œ^ ^ œ ^ ^ œ^ ^ œ ^ œ .. .. œœ œ œœ œœœ œœœœ œ œœ œœœœ œœ œ œœ œœœ œœœœ œ œœ œœœœ .. œ œ œœœ œ œœ œ

^ œ^ œ œ^ œ œ^ œ œœ^ œ^ œœ^ œœ^ œœ œ œ œ ^ & .. œœœœ œœ œœœ œ œœœ œ œœœ œ œœ œ # œœ œœ œœ œ œ œ .. .. œœœœ œ œ œ œœœ

^ œ^ ^ œ œ^ œœ^ œ œ # ## œœœœ œœœ œ # œ # œ œœœ œœ œ n # œœœ .. œœ œ œ œ #œ #œ œ

^ ^ œœ œ œ œ œœœ œ œœ œ œ œ œ œ ^ œ œ b œœ œ .. œœ^ œ œ œ œœœ b œ œœ œœ œ

^ œ œ œ œ œ œ œœœ œ b œ n œ^ œ œœ^ œ œœ b œ n œœœ œ œœ œ

œ œ . œ œ .

œ œ^ œ . œ n œœœ œ .

œœ^ œ œ # œœ^ œœ^ œ œ # œ^ œ^ œ n œ œœ œ œ œœ œœ œ œ # œœ œœ œ n œ œ œ œ œ w #œ œ nœ nœ œ œ œ w œ

EXERCISE No. 10 _ after KULLAK p. 88 COMPLEMENTARY EXERCISES FOR SHIFTS AND THE MASTERY OF THE KEYBOARD 5 3 2

>œ >œ >œ œœ œœ œ b œœ œ œœœ b b œœ œ œœœ œœ œ 2 œ œ œ œ œ &4 œ œ œ œœ œ œ œ b œ œœ œ b œ œœ b œ œœœ œ 5 4 2

1

5 4 2

1

? 2 ˙˙ 4

b˙ b˙

˙˙

> b b œœœ b œ œœœ œ b œ œœ œ œœœ bœ b b ˙˙

>œ >œ > > > b œœœ œ œœœ œœ œ # n # œœœ # œ œœœ œ œ n # œœœ # œ œœœ œ œ # œœ œ œœœ œœ œ n œœ œ œœœ œœ œ œ œ œ œ œ œ œ œ b œ œ œ œœ œ & # œ œ œ œœ # œ œ œ œ œœ # œ #œ œ œ nœ œ œ n˙ n˙

? # # ˙˙

˙˙

EXERCISE No. 1

˙˙˙ ˙ & 42 ? 42

œ œ œ œœ œœœ œ œœœ œœ œ > 1

2 4 5

2 4 5

&

b bb ˙˙˙˙

b ˙˙˙ ˙

1 2 3 5

œ

œœ œ œ b œ œœ œœ b œœœ œœ œ >

œ

bœ œ œ œ b œ œœ œœ b b œœœ œœ œ >

Do the same work for the left hand w b www c ww

˙˙

˙ b bb ˙˙˙ œ

# ## ˙˙˙˙

1

1

5

1

5

b bb www

etc.

˙ # ˙˙˙

#œ #œ bœ œ bœ œ œœ # œ œœœ œ œœ n œ œœœ b œ œœ œ œœœ œœ # œ œ # œ œ b œ #œ nœ b œœ œ # œœ œœ œ # œœ œœ œ > > >

> > >r >r >r >r >r > > > r r r r r ? c r œr r œr r œ r œ r œ r œ r œ r œr r œr r œr rb œ rœ rœ rœ rœ rœr œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

b˙ b˙

etc.

b b www

etc. r r r b œr œr b œr œr œr r r œ r b œ r r r r r r œ rb œ œ œ œ œ œ œ œ œ bœ

English Translation of Le Piano | 185

& 42 ?2 4

EXERCISE No. 2 Attack from above _ Respect the accents. b˙ b bb ˙˙˙ ˙˙ b ˙˙˙ b ˙˙ ˙ > > > > > > >r r r œr r r >r >r r œr r >r >r >r r œr r >r r r œ œ œ œ œ œ bœ œ œ b œ rœ r r r r r rœ r r r r r r œ r bœ r r r r œ r bœ r œ bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 6 1

1

5

5

etc.

1

6

5

6

6

6

6

6

EXERCISE No. 3 > > r >r >r >r >r r >r >r >r >r >r >r >r r r r r r r r b œr œr b œ œr œr r œ œ œ œ œ œ œ œ œ œ b œ œ œ œ b œ œ œ œ c r r r r r r r r r r r r r r r r r rœ r bœ r r r r r r & bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

5

5

1

1

1

? c www

b b www

b bb www

b www

etc.

EXERCISE No. 4 6 6 6 6 r r6 r r6 r r6 r r r r r r r r r r œ œ œ r œr b œ r œ œ > œ œ r bœ œ > œ œ r bœ bœ œ œ 2 b œ œ œ œ > > > > r r r & 4 > œr > œr œr œr œr > œr > œr > œr œr œr œr > œr > œr œr œr œr œr œr bœ œ œ 5

5

1

1

? 2 ˙˙˙ 4

b ˙˙˙

b b ˙˙˙

b bb ˙˙˙

etc.

EXERCISE No. 5 p. 89 œ œ œ œœ œœ œ œœ œœ ? 43 œœ œœ œœ œ œœœ œœœ œœœ b œœœ œœœ œœœ œ b œœœ œœœ œœœ b b œœœ œ œ œ b b œœ œ œ œ œ œ bœ bœ bœ bœ bœ œ œ œ œ bœ œ œ ?

bœ

b b œœœ

œœ œ

œ bœ

œœ b b œœ œœ œœ b b œœ œœ œœ b b œœ œ bœ œ œ œ bœ œ œ bœ bœ œ bœ bœ bœ bœ bœ

œœ œ

bœ

œœ œ

#œ

# œœ œ

œœ œœ # œœ œœ œ œ #œ œ œ œ nœ œ

œ

œœ œ

œ # œœ

œœ œ

nœ #œ œ

œœ œ

EXERCISE No. 6 _ For the left hand alone √ √ √œ √œ bœ bœ bœ œ œ œ œ œ œ œ œ œ b œ œ b œ œ œ œ b œ b œœ œ œ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ œ bœ œ œ bœ œ œ & 43 œ œ œ œ œ œ œ œ œ œ œ œ bœ œ œ bœ bœ œ bœ bœ œ bœ

etc.

5 2

1

? 43

œ >

œœ œ

œ >

œœ œ

œ >

œœ œ

œ >

œ b œœ

bœ >

œœ œ

œ >

œœ œ

186  |  Part I: Marguerite Long’s Le Piano

œ >

œ b b œœ

bœ >

œœ œ

bœ >

œœ œ

bœ >

b b œœœ

œ >

œœ œ

bœ >

œœ œ

etc.

EXERCISE No. 7 √œ^ >œ œœ œœ œ œ >œœ c & œ œ > œœ ?c œ w w √^ > b b œœœ b b œœœ b œ œ b >œœ & œ bœ > b b œœœ ? bœ bw bw

√^ œ b œœ œ

√^ œ b b œœ

>œ œ œ b œ œ >œœ bœ œ > œ b œœ

w w

œ

> b œœ œ bœ

œ b >œœ bœ

bw bw

√^ > n # œœœ # œ # œœœ # œ >œ œœ #œ > # œœ œ #œ w w

√^ > # # œœœ # œ # # œœœ # œ >œ # œœ #œ > # # œœœ #œ #w # w

œ

> œ b b œœ

œ

œ^ >œ # œœ œ œœ œ >œ # œœ

etc.

w w

EXERCISE No. 8 The fifth finger firm and well attacked. >r œœ œ œœ

>r œœ œ œœ

LH 2

&c

2

4 2

?c œ œ > > LH r r r & b œœ œ œœ œœ œ œœ œœ œ œœ 5

5

?œ

œ

bœ

>r œœ œ œœ 2

œ > 5

5

r & c œ œœ

r œœ œ œœ

RH

5

5

2 4

?c

LH

œ 2

œ

œœ

r œ

œ >

œ

œœ

r œœ œ œœ bœ

œ

œœ

œ

r œœ b œ bœ œ

EXERCISE No. 9 p. 90

r œœ œ œœ

2

5

r œœ œ œœ

œ

>r œœ œ œœ

5

r œ

œœ

œ

œœ

bœ

œ

r œœ œ œœ

r r œœ œ œœ œœ œ œœ œ

5

r œ

œœ

œ

œ

œœ

r œ

œœ

œ

œœ

r œ

r œœ œ œœ

r œœ œ œœ œ

bœ

œœ

œ

r œ b œœ œœ œ

r r œœ œœœ b œ bœ œ œ œ œ

r œœ œ œœ

œ

r œœ œ œœ

4 2

bœ

r œœ œ b œœ

r œœ œ œœ

œ

œ

bœ 5

r œœ œ œœ

r œœ œ œœ

r b œœ b œ œœ

bœ

bœ

r œœ œ œœ

r bœ 5

œ

œœ

r r r r r r r r r r r r r bœ œ œ œ œ bœ bœ bœ œ bœ bœ bœ œ & b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b b œœ œœ œœ œœ œœ œœ œœ œœ b œœ ?

œ

œœ

RH

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

œ

r œœ œ œœ

bœ

5

œœ

œ

r œœ œ œœ

bœ

œœ

r œ

r bœ

œœ

œœ

bœ

œ œœ

etc.

œœ

etc.

English Translation of Le Piano | 187

EXERCISE No. 10 &c ?c œ LH

& ?

bœ

r œœ œ œœ LH 2

4 2

r œœ œ œœ 2

œ

5

5

œ

r œœ œ œœ

œ

r r r r œ œ œ œ b œœ œœ œœ œœ œœ œœ œœ œœ œ

œ

r œœ œ œœ LH

4 2

?c œ

œ

5

œ

bœ

œ

r œœ œ œœ

œ

œ

œ

œ

œ

œ

œ

r œœ œ œœ

r r œœ œ œœ œœ œ œœ

2

r r r bœ r œ œ bœ & b œœ œœ œœ œœ œœ œœ œœ œœ œ

bœ

EXERCISE No. 11 r r r œ r œ œ œ œœ œœ œœ œœ œœ œœ œœ œœ

LH

?

œ

r œœ œ œœ

r r œ œ b b œœ œœ œœ œœ œ

2

2

&c

bœ

r œœ œ œœ

œ

œœ

œ

bœ

r œ

r œ

œœ

œ

œœ

r r r œ r b œ b œ œ b b œœ œœ œœ œœ œœ œœ œœ œœ œ

œ

œ

œ

œ

r œœ œ œœ

b œœ œ

r r œ œ b b œœ œœ œœ œœ

œœ

œ

œœ

r œ œ œ

r œœ œ œœ

œ

bœ

r œ

r œ b œœ œœ

œœ

bœ

bœ

r œœ œ œœ

r bœ

œ

œœ

œœ

œ

œ

r œœ œ œœ

œ

r r b œœ b œ œœ œœ œ œœ œ

bœ

r r r bœ r œ bœ bœ b b œœ œœ œœ œœ œœ œœ œœ œœ œ

œ

r œœ œ œœ

2

2

œ

r œœ œ œœ

œ

bœ

œœ

r œ

œœ

r œ

œœ

œ

r r œ b œœ b œ œœ œœ œœ œ

etc.

œœ

etc.

EXERCISE No. 12 p. 91 EXERCISE No. 13 For the firmness of the fifth finger and playing the

√> >œ œ œ œ œ œ œ œ œ œ œ œ & œ >œ œ œ b >œ œ œ œ œ œ b œ œ œ œ œ œ # œ œ œ n œ œ œ œ œ œ b œ œ œ œ œ œ b œ œ œ œ œ 1

5

1

2

1

5

1

2

1

5

1

2

1

1

√œ œ œ œ œ œ œ œ œ œ œ œ w & œ #œ nœ œ œ œ œ #œ œ œ œ œ œ œ œ œ #œ œ œ œ œ œ #œ œ œ œ œ œ bœ œ œ nœ œ œ 2

√ #œ #œ #œ & #œ #œ #œ #œ nœ #œ #œ 5

thumb. Variant:

1

2

188  |  Part I: Marguerite Long’s Le Piano

etc.

œ bœ nœ œ œ #œ œ bœ œ œ nœ œ œ bœ œ œ nœ œ œ œ œ œ #œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ > > > > > > ? œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ bœ œ œ œ œ œ bœ œ œ œ œ œ œ œ œ œ œ œ œ w ? 5

5

1

1

1

5

2

2

2

1

5

5

?

E X E RVariant:

5

1

1

2

2

5

#œ

5

1

1

2

2

#œ œ œ 2

1

#œ

1

5

2

1

1

2

#œ #œ œ

1

5

2

#œ

1

2

1

2

#œ

1

2

1

2

1

2

1

2

2

2

1

2

1

2

2

1

1

5

1

2

2

CISE No. 14

etc.

TREMOLO The preparatory exercises for chords Nos. 3 and 4 (page 83) will be useful for working on the tremolo. One must start slowly, as we say in the preceding note on broken octaves, then one progressively augments the speed to attain the rapidity of timpani rolls, the fingers never leaving the keys. That said, we note how quite often in works, the quality of a tremolo depends more on its regularity and its legato (notably in the passage from one chord to another) than on its rapid execution. We have made an analogous observation for the trill (p. 23). As with the trill one must also mark the time clearly. A beautiful trill and a beautiful tremolo are always measured, as rapid as they may be. 5 2

5 2

& 44 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ 1

1

œœ œœ œœ œœ ’ bœ œ œ œ

? 4 œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ b œœ œ œœ œ œœ œ œœ œ 4 ’ 2 4

1

2 4

1

& b b œœœ b œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ œœœ œ ?

bœ

bœ

œ

œ

œ

œ

œ

œ

bœ œ œ œ & b œ bœ œ œ œ œ œ œ ’ ? b b œœ b œ œœ œ œœ œ œœ œ ’

œ

œ

œ

œ

’

’

’

’

œ

œ

œ

œ

’

’

’

’

b œœ

’

’

’

’

nœ

œ

œ

œ

œ

œ

’

bœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’

’

œ

’ ’

b b œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ œœ œ ’

n # œœœ œ œœœ œ œœœ œ œœœ œ ’ nœ

’ ’

œœ œœ œœ œœ #œ œ œ œ

# œœ œ œœ œ œœ œ œœ œ

’ ’

etc.

’

EXERCISE No. 1

English Translation of Le Piano | 189

p. 92 EXERCISE No. 2 4 bœ œ œ œ & 4 œœœ œœœ œœœ œœœ œœœ œœœ œœœ œœœ ’ ’ b œœœ œœœ œœœ œœœ ’ ’ ’ b b b œœœœ œœœœ œœœœ œœœœ ’ ’ ’ b œœ b œ œœ œ œœ œ œœ œ ’ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ?4 œ œ œ œ œ œ œ œ 4 œœ œœ œœ œœ œœ œœ œœ œœ ’ ’ œœ œ œœ œ œœ œ œœ œ ’ ’ ’ bœ œ œ œ œ œ œ œ œ œ œ œ

bœ

bœ

œ

œ

œ

œ

œ

œ ’ ’ ’ b b œœœ b œ œœœ œ œœœ œ œœœ œ ’

etc.

EXERCISE No. 3 4 bœ œ œ œ & 4 wwœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’ ’ b wwœ œ œ œ œ œ œ œ ’ ’ ’ b b b wwwœ œ œ œ œ œ œ œ ’ ’ ’ b b wwœ œ œ œ ’ ? 44

wwœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’ ’ b wwœ œ œ œ œ œ œ œ ’ ’ ’

& 44 www ?4 4 & b b www ?

b œ œ œ œ ’ ’ ’ b ww b œ œ œ œ ’ bœ œ œ œ bœ œ œ œ

etc.

EXERCISE No. 4 Do the same work with the tremolo in the right hand and the chords in the left hand. b www

œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ’’ ’ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ

bœ œ œ œ ’ ’ ’ bœ œ œ œ

# # www #œ

#œ œ œ œ ’ ’ ’ œ œ œ

190  |  Part I: Marguerite Long’s Le Piano

b b b wwww bœ

bœ œ œ œ ’ ’ ’ œ œ œ

w # n www œ œ œ œ’ ’ ’ œ œ œ œ

# www

œ œ œ œ œ œ

etc.

The two following exercises realized on the tremolos of “LA VILLA D’ESTE” of Franz Liszt are borrowed from the virtuoso exercises of Roger Ducasse (1) (1—Edition DURAND) EXERCISE No. 5 “Les jeux d’eaux” √ #œ œ œ #œ œ œ œ nœ œ œ œ œ œ œ bœ œ œ œ œ bœ œ œ 3 & 4 # œœ œœ œœ œœ n œœ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ # œœ # œ œœ œœ œ œœ 2 1

4

5

3 & 4 # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œ #œ œ œ œ nœ œ œ bœ œ œ œ bœ √ #œ nœ œ œ œ nœ œ œ œ œ œ œ bœ œ & # œœ œœ œœ œœ n œœ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ 1 2

4

5

& n # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ b œœ œœ œ #œ œ œ œ nœ œ œ bœ œ œ œ bœ œ √ œ œ bœ œ œ œ nœ & œœ n œ œœ œœ œ œœ b œœ œ œœ œœ œ œœ b œœ œ œœ œœ œ œœ # # œœ & n œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ bœ œ œ bœ œ œ œ

p. 93 √

& œœ b œ œ ? bœ œ

œœ œœ

& bœ bœ œ ? b œœ b œ

œœ œœ

√

√

œ

œ bœ œœ œ œœ b œœ œ œœ œœ œœ b œœ œœ œ œ œ œ bœ

œ œœ œ œœ b œœ œ œœ œœ œœ œ œ bœ

œ

œ œœ œ œœ n œœ # œ œœ œœ # œœ œ œ nœ

œ bœ œœ œ œœ b œœ œ œœ œœ œœ b œœ œœ œ œ œ œ bœ

?

œœ œœ b œœ œœ œœ œœ # # œœ œœ œœ œœ œ #œ œ œ œ œ œ œ bœ œ œ œ bœ œ nœ œ œœ œ œœ b œœ œ œœ œœ œ œœ n n œœ # œ œœ œœ œ œœ œœ œœ b œœ œœ œœ œœ # n œœ œœ œœ œœ œ œ œ bœ œ œ nœ nœ œ œ œœ

n # œœ # œ œœ

#œ œ œ œ nœ œ œ œ œ œ œ œœ œœ n œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ #œ œ œ œ nœ œ œ nœ œ œ œ

œ

œ œœ œ œœ # n œœ œ œœ # œ œœ œ œœ œ n œœ œ œœ n œ œœ œ œœ œ b œœ œ œœ œ œœ œ œœ œ œœ œœ # œœ œœ œœ œœ n œœ œœ œœ œœ œœ œœ œœ œœ œ #œ œ œ œ nœ œ œ bœ œ œ œ œ œ œ

œœ œœ œœ œœ

nœ

œ nœ œ œ œ œ bœ œ œ œ œ œ œ œœ œ œœ œœ œœ œœ œœ b œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ n œœ œœ œœ œœ b œœ œœ œœ œœ œœ œœ œœ œœ œ œ œ œ œ bœ œ œ bœ œ œ œ nœ œ œ

& #œ #œ œ #œ œ œ œ œ œ œ œ nœ œ œ œ œ nœ œ œ œ œ œ œ œ # œ œ œ œ nœ œ œ œ œ œ œ œ ? # # œœ # œ œœ œœ œ œœ n œœ œ œœ œœ œ œœ œœ n œ œœ œœ œ œœ #œ œ nœ œ œ œ

œ œ bœ œ œ œ œœ n œ œœ œœ œ œœ b œœ œ œœ œœ œ œœ b œœ œ œœ œœ œ œœ n œœ œ œœ œœ œ œœ b œœ œ œœ œœ œ œœ œœ b œ œœ œœ œ œœ œ œ bœ œ œ œ

j‰ n # œœœ œœœ #œ œ j n œœ œœ ‰ nœ œ

English Translation of Le Piano | 191

EXERCISE No. 6 “Les jeux d’eaux” # # œœ œœ œœ œœ œœ œœ œœ œœ # # ˙˙ 2 # # œœ œœ œœ œœ œœ œœ œœ œœ n # ˙˙ &4

#˙ # # ˙˙ # ˙

5 3

2 1

#˙ n # ˙˙ # ˙

n˙ n n ˙˙ n ˙

˙ b ˙˙ ˙

n ˙˙

˙˙

˙ b ˙˙ ˙

2 & 4 # œœ # œ œ œ# œœ œ œ œ œœœ œ œ œœ œ œ œ # # ˙œ # œ# ˙œ œ # ˙œ # œ# ˙œ œ # # ˙œ # # ˙œ œ b n ˙œ n œ n ˙œ œ ˙œ œ ˙œ œ b ˙œ œ ˙œ œ ˙œ ˙œ œ &

˙ # # ˙˙ # ˙

3

4

3

˙ n # ˙˙ # ˙

˙ # # ˙˙ # ˙

& n ˙œ # œ# œ˙ œ # ˙œ # œ# ˙œ œ ˙ # ˙˙ & n˙

4

legatissimo

b ˙˙ b ˙˙

5

˙ n # ˙˙ # ˙

4

5

4

n ˙˙ b ˙˙

b˙ b ˙˙ ˙

b˙ n ˙˙ ˙

b˙ b ˙˙ ˙

˙ # ˙˙ # ˙

˙ n ˙˙ # ˙

˙ # ˙˙ # ˙

˙œ # œ# œ˙ œ # ˙œ # # ˙œ œ b b ˙œ n œn œ˙ œ b ˙œ œ ˙œ œ b b ˙œ œ œ˙ œ b ˙œ œ˙ œ ˙œ # œn ˙œ œ ˙ # œ ˙ œ ˙œ # œ ˙œ œ œ œ

b˙ b b ˙˙ ˙

n b ˙˙

b ˙˙

b˙ b b ˙˙ ˙

n ˙˙

˙˙

˙ b ˙˙ ˙

˙˙

n ˙˙

˙ b ˙˙ ˙

#˙ # # ˙˙ # ˙

#˙ n # ˙˙ # ˙

& ˙œ # ˙œ œ b b ˙œ œb ˙œ œ b b ˙œ œb ˙œ œ b b ˙œ œb ˙œ œ b b ˙œ b œ˙ œ ˙œ n œn œ˙ œ ˙œ œ ˙œ œ ˙œ œ ˙œ œ ˙œ ˙œ œ # ˙œ # œ# ˙œ œ # ˙ # œ# ˙ œ # œ œ #˙ & # # ˙˙ # ˙

#˙ n # ˙˙ # ˙

n ˙˙ n n ˙˙

˙ b ˙˙ ˙

n ˙˙

˙˙

˙ b ˙˙ ˙

# ˙˙

# ˙˙

˙ n ˙˙ # ˙

# ˙˙

# ˙˙

˙ n ˙˙ # ˙

b ˙˙ n b ˙˙

& # ˙œ # œ# ˙œ œ # # ˙œ # # œ˙ œ b n ˙œ n œ ˙œ œ ˙œ œ ˙œ œ b ˙œ œ ˙œ œ ˙œ œ˙ œ ˙œ # œ# ˙œ œ ˙ # œ# ˙ œ ˙œ # œ# ˙œ œ ˙ # # ˙œ b b ˙œ œn ˙œ œ œ œ œ œ b˙ & b b ˙˙ ˙

n b ˙˙

b ˙˙

b˙ b b ˙˙ ˙

& b ˙ œ ˙ œ b b ˙œ œ ˙œ œ b ˙ ˙œ bœ œ bœ œ

# ˙˙

n ˙˙

˙œ n œ n ˙œ œ

n ˙˙

˙˙

˙œ œ ˙œ œ

# ˙˙

˙˙

˙œ œ ˙œ œ

˙ n ˙˙ ˙ ˙œ ˙œ œ

?

‰œ œ œœ œœ œ b œœ n œ œœ # œ bœ œ œœ œ b œ œ b œj œ n œj œ b œ nœ

œœ œ œ œ

j œœ ‰ œ j œ œ‰ J

p. 94 GLISSANDO Glissandi are difficult and dangerous: one must avoid scraping the fingers. RIGHT HAND: Begin with the glissando soft while ascending. Exercise with all the fingers successively, except for the thumb. Bring the wrist back inside so that, from the start, the back of the hand is, as much as possible, parallel to the keyboard and so that the bent finger rubs the keys with the nail only. In the execution you will choose the finger that suits you best, presumably the third. For the glissando loud while ascending, one can use the third finger supported by the thumb but, of course, without the thumb touching the keyboard.

192  |  Part I: Marguerite Long’s Le Piano

2nd Work on the same exercise forte, the thumb supporting the third finger &c j œ œ 13

f ? c ˙˙˙

√œ . J ‰ Œ g s lis

j œ œ

ss.

ss.

gli

3rd Then pianissimo leggiero, the fourth and the third fingers playing together. &c j œ œ

13

œœœ œœœ œœœ œœœ ˙˙ ˙

gli

gli

gli

ss.

5 4 3 2

5 4 3 2

ss.

For the glissando pianissimo while ascending, one can profitably use the third and fourth fingers at the same time rubbing the keys simulta­ neously with the fingernails and without any support of the thumb naturally. This results in more suppleness and elasticity and allows one to touch the keyboard with greater security. Glissandi must always be measured and, particularly in pianissimo glissandi, one must come to string out the last notes delicately. The formula of the following exercises that oblige one to count are borrowed from Czerny. 1st Work with an average dynamic nuance without forcing, exercise the four fingers successively. √ glissando √œ √œ √œ √œ œ œ œœ œ œ œ œ œ œ œ œ œ œ J J J J J‰Œ œ j ‰Œ j ‰ Œ œ œ ‰Œ j ‰Œ j & c j œœœœœœ œ œ œ œ œ œ œ œ F œœœ œœœ œœœ œœœ ˙˙ œœœ œœœ œœœ œœœ ˙˙ œœ œœ œœ œœ ww œœ œœ œœ œœ ˙˙˙ ? c ˙˙˙ ˙ œ œ œ œ ˙˙ œœ œœ œœ œœ w

43

π ? c ˙˙˙

etc.

√œ . J ‰ Œ g s lis

j œ œ

π œœœ œœœ œœœ œœœ ˙˙ ˙

etc.

In the descent and always with the right hand, the glissando is very easy with the thumb nail. But one can also use the pad of the other fingers as one will be well obliged to do in descending glissandi in sixths and in octaves. It is much more difficult. One must fold the small phalanx of the finger [the nail joint] and keep it supple so that it attacks each white key in as flexible a manner as possible. Work the five fingers successively. 5 4 3 2 1

.

ss gli

ss.

œœœ œœœ œœœ œœœ ˙˙˙

√œ œ √œ œ J j‰ Œ J j ‰ Œ j‰ Œ œ œ œ gli

œœœ œœœ œœœ œœœ ˙˙ ˙

j‰ Œ œ

√œ œ J

s.

√œ œ J œ œ œ œ œj‰ Œ

s gli

F ? c ˙˙˙

5 4 3 2 1

ss. gli

&

√ œ œ œ œ œœ œ œ œ œœ œœ œœœœœ c J glissando

œœœ œœœ œœœ œœœ ˙˙ ˙˙

œœ œœ œœ œœ www œœ œœ œœ œœ

English Translation of Le Piano | 193

GLISSANDI IN DOUBLE NOTES IN ONE HAND The less difficult are the glissandi in sixths. Ascending, in the right hand, use the fingernail of the fifth finger curved for the upper note, for the lower note use the internal side of the extremity of the thumb. p. 95 Descending, use the fleshy pad of the fifth finger with the last phalange curved and the thumb nail. The glissandi in octaves are done in the same way _ but for certain hands, the difficulty is great. For glissandi in fourths or in thirds, one replaces the fifth finger with the fourth, the third or even the second _ one can also put the second in the place of the thumb _ but it is very difficult to give advice in advance. & c œœ J ? c ˙˙˙ 5 1

√ œ œœœœœ œœœœœ œ œ œ œ œ œœœ œ œ œ œ œœœœœ J œœ œœœœœ œ J F œœœ œœœ œœœ œœœ ˙˙ œœ ˙˙ œœ

œ œ œ œ√ œ œ œ œ œ œ œ œœ œœ œœ œ œ œ œ œœ œœ œœ œ œ œ œ œJ ‰ Œ œœ glissando

5 1

glissando

..

‰ Œ œœ œœ

œœ œœ

œœ . œœ .

Glissandi on the black keys. Glissandi on the black keys, in the right hand, are done, ascending with the contiguous fingernails from the second, the third and the fourth fingers or from the third, fourth and fifth. One must proceed as has been said for the white keys, that is to say to bring the wrist back inside and keep the back of the hand parallel to the keyboard _ Descending, one uses either the fleshy pad of the same fingers, or the thumb nail as on the white keys. fingernails

10

345

b & b bbb r œœœœ œ œœœœ 3

j œœœ

pads

j r r œ œ œœœ œ œœœ œ œ œœœœ ‰ ‰ œœœœ ‰ r œœœœ œ œ œ œj ‰ œ œ œ œj œ œ œœœ

2 (?)

34 5

3

10

2

etc.

In the above exercise, we will note that it is appropriate to attack the note normally from the start with the 3rd finger, the system of the contiguous three nails coming into play only from the second note. On the other hand, it is a good idea to end the glissando by using one single finger normally striking on the last key. We give below an example of a glissando up and down taken from “SONG OF THE SEA” by Gustave Samazeuilh. Repeat several times, connecting the rise and descent smoothly.

√œ œ œ nœ √ œ nœ nœ nœ œ œ œœ œœ œ œœœ œnœ nœ nœnœ œ nœ nœ nœnœ œ nœ nœ # ## # 3 œœœ œœœ n œ n œ n œ œ ? n œ n œ nœ .. œnœœ œœœ & # 4 & œnœnœnœœ œ slide on the white keys while turning your hand

slide on the black keys

11

12

194  |  Part I: Marguerite Long’s Le Piano

33

LEFT HAND: The glissandi are less used in the left hand. They will be executed by inverting the fingers given for the right hand—the descent with the left hand corresponding to the ascent with the right hand and reciprocally. gliss. œ œœœœ ?c œœœœœ & œœœœœ Œ œ œ œ œ œ œ œ œ >œ œ œ œ œ œ œ œ œ œ œœœ 3

◊

18

17

gli

ss.

GLISSANDI IN BOTH HANDS One works with the fingerings, the dynamics and the rhythmic formulas indicated above in the glissandi at the octave executed by both hands, each hand playing one of the notes of the octave. This exercise is very profitable for ensuring the perfect regularity of the shift of the arm along the keyboard. √ √ œ œ œ œ c c Œ Ó Œ Ó & & s. lis Œ

Ó

?c Œ Œ &c ?c œ œ

◊

rK œ œ RÔ

Œ Ó

ss.

rK œ œ RÔ

Kr œ œ RÔ

gli

?c œ œ

g

√^ œœ œœ œœ v

Œ

Ó

Œ

Ó

Finally, it will be good to work on glissandi in contrary motion. p. 96 BEFORE putting the final word on the last page of this book, I still wish to address all the pianists of good will who will seek to profit from it. I ask them to read again the advice I gave them in my long foreword. I said there was no absolute method to learning the art of piano. The choice of exercises contained in this volume is not a method. It is necessary to see rather the elements, classified by type of difficulty, of the method that each one will be able to realize for his own use and according to his needs. All the exercises I have selected have their use. Through them we will acquire the basic vocabulary of the virtuoso. But, once again, I repeat that they are not enough. Études and, I insist, particularly those of Czerny (1) (1—Igor Stravinsky writes in the second volume of the Chronicles of My English Translation of Le Piano | 195

Life: “I therefore put before me first of all to loosen my fingers by playing a quantity of exercises from Czerny, which not only were very easy, but also provided me a real musical pleasure. In addition to the remarkable pedagogue, I have always appreciated in Czerny the thoroughbred musician.”) are the necessary complement. They make it possible to dominate the difficulties that have been tackled and already partially overcome. Too many pianists neglect this indispensable intermediary step between exercises and the performance of great piano works. It has often been said that technique is a matter of imagination. This is only part of the truth. One can, for example, invent for oneself clever practice formulas starting from the work that one studies. These innumerable little discoveries have their interest. They become dangerous if the artist believes he can use them as a replacement for traditional exercises and studies. On the other hand, in the study of a work, there is something else to consider beyond simple mechanical progress. Sound, style, elegance of phrasing, fullness of chords, nobility of rhythm, balance of proportions, these are the concerns that a pianist must have when he seeks to interpret a great composer. For this, he must first be free of any technical concerns. This freedom he will obtain by the constant practice of texts admirably conceived for the perfection of the hand, as are the études of the great pedagogues of the piano. p. 97 For example, as indispensable as the “Well-Tempered Clavier” or the Études of Chopin are to the training of a virtuoso and a musician, these summits of the piano literature do not replace “The Art of Finger Dexterity” or “The School of Virtuosity.” To learn a trade, it takes a lot of work, a lot of patience. It also requires a lot of modesty and respect for tradition. It is these simple truths that I will give as a conclusion to this work. It is to them that I submitted myself in making it. [in her handwriting] Marguerite Long

196  |  Part I: Marguerite Long’s Le Piano

p. 98 Table of Contents Pages THE PIANO by Marguerite LONG.................................... I to XXI EXERCISES Preface..................................................................... 1 CHAPTER I  Held Notes.............................................................. 5 CHAPTER I  Five fingers.............................................................. 8 CHAPTER I  Five fingers with held notes....................................17 CHAPTER I  Repeated notes.......................................................21 CHAPTER I Trills......................................................................23 CHAPTER II  CHAPTER II  CHAPTER II  CHAPTER II 

Double notes........................................................ 29 Thirds...................................................................31 Fourths and Fifths................................................37 Sixths....................................................................39

CHAPTER III  Scales...................................................................45 CHAPTER III  Arpeggios............................................................56 CHAPTER IV  CHAPTER IV  CHAPTER IV  CHAPTER IV 

Playing from the wrist.........................................75 Octaves............................................................... 76 Chords.................................................................83 Exercises for shifts and mastery of the keyboard......................................... 88 CHAPTER IV  Tremolo...............................................................91 CHAPTER IV  Glissando............................................................ 94 CHAPTER IV  Conclusion......................................................... 96

English Translation of Le Piano | 197

Part II La Petite Méthode de piano: An Analysis of Long’s Approach to Teaching Children

1 La Petite Méthode de piano by Marguerite Long (1963) A Forgotten Connection to the French School

Famed French pianist and teacher Marguerite Long is perhaps best remembered by the competition that includes her name, the LongThibaud Competition (as of 2011, the Long-Thibaud-Crespin Competition). But she was also, as we have seen, an important transmitter of the French piano school through her playing and teaching. Her pedagogical impact was felt beyond the borders of France when her grand opus, Le Piano (1959), discussed and translated into English in part I of this book, was translated into Russian and adopted by the Moscow Conservatory as its technical manual.1 French critic René Dumesnil, writing in Le Monde in 1959, called the work “much more than a method. It is the very soul of an instrument and the spirit of its artist.”2 Mme Long advocated for the reform of French piano pedagogy for children. She began teaching at the Paris Conservatory in 1906, and the depth and range of her teaching was without peer. This fact was made manifest to me when, several years ago, I came across La Petite Méthode de piano by Marguerite Long at a music store in Lyon, France. I quickly leafed through this “little piano method” and found a children’s method promising to take the student (and teacher) from very beginning lessons into playing intermediate music. It contains a valuable collection of exercises deployed in a rational sequence and accompanied by photographs of young students. Its most notable characteristic is the careful interspersing of twenty compositions written by an array of contemporary French and Francophile composers including Poulenc, Milhaud, Auric, Dutilleux, Jolivet, and Mompou.3 201

This method contains much that would be of use to private teachers in the United States, the UK, and Canada. While the pacing and sequencing is fast and demanding, the quality of the instruction given, the interest and focus of the exercises presented, and the variety of the repertoire commissioned by Mme Long all make it a worthy volume for any pedagogical library. Editions Salabert, which still publishes the book, has no plans to offer an English translation in the near future. Therefore, in the interest of disseminating this important link to our pedagogical past, I offer a short guide for its use as well as my own translation of the book. In this chapter, I focus on a selection of distinguishing features that demonstrate the foundations of the old French school as well as Long’s modern approach. Known primarily as a pianist with a deep connection to French composers, Marguerite Long became one of the most renowned piano teachers in French history, with students such as Jacques Février, Lucette Descaves, Jean Doyen, Samson François, Gabriel Tacchino, and Marielle Labèque. In addition to her studio at the Paris Conservatoire, she taught at the École Normale de Musique and started her own school in Paris. The Petite Méthode was written as she was approaching ninety years of age and shows her deep devotion to furthering the great traditions of French pianism from the most basic level. She gained entrée to this tradition first through her older sister and then at the Paris Conservatoire. But she developed her own opinions about teaching children that ran counter to conventional procedures in France. These opinions are reflected in the Petite Méthode and, in many respects, make it compatible with modern North American approaches. Marguerite Long’s ideas concerning the teaching of beginners were at once traditional and innovative. Her technical pedagogy is rooted in the development of a jeu perlé (pearly playing) and therefore based on independent and supple fingers, flexible wrists, and a stable hand for the execution of brilliant passagework, cantabile melodies, and colorful sonorities. This description might also serve as a summary of the attributes of the old French school of piano playing. But Mme Long branched out from this approach in two distinct ways. First, she had a basic disagreement with the French way of beginning students in piano study. In the French system of her time, children started with solfège classes (a mixture of music theory and ear training), learning to read notes away from the instrument. She was convinced that piano lessons for the beginner should incorporate theoretical knowledge and ear training to give the student a chance to understand what they are playing. She states in her preface: “The theory of music presents itself in the form of a keychain of a thousand keys destined to a thousand different locks. Entrusting all this heavy material to a beginner is disconcerting and discouraging. But one will easily interest him in exploring the mysterious domain that he 202 | Part II: La Petite Méthode de piano

wants to conquer if one gets him to open the closed doors, one by one, by sliding into his hand, each time, the appropriate key.”4 Consequently, she went to great pains to introduce notational and theoretical concepts in concert with the development of musical skills. As she writes, “this is the spirit in which this work cautiously mixes, if I dare say, drop by drop, into the study of the keyboard and into the development of the muscular mechanism, theoretical notions the knowledge of which is indispensable to all careful executants in acquiring a rational ‘craft.’” For American and Canadian teachers and students, this notion is not a foreign one. Thanks to Frances Clark, Robert Pace, and their successors, most methods now strive to integrate theory and ear training into basic elementary piano courses. Mme Long’s one volume moves quickly from the first steps at the piano to intermediate technique and repertoire. Use of the book in a North American context, where most children do not have separate theory and ear-training classes on a regular basis, would require supplementary materials in these domains. Many American and Canadian piano teachers already use materials for this purpose and are therefore in accord philosophically with Mme Long’s method in this regard. The second way in which Marguerite Long differed from the norms of French piano teaching in her day was through her firm conviction that beginners need to be in contact with the music of their own time. Her belief in the importance of contemporary music is evidenced in La Petite Méthode through her commissioning of the twenty pieces mentioned previously. These pieces are astonishing in their freshness and by themselves make the volume worth owning. It is the only method available that offers such an introduction to playing French music of the mid-twentieth century. To begin using the method properly, one must undertake a reading of Mme Long’s preface. Alternately bold and charming, it provides the philosophical basis for each page of the book. The four main notions she communicates in the preface are as follows: (1) understanding the journey of the learner; (2) developing the ear; (3) mixing theory and practice carefully; and (4) presenting students with the music of their time. I have translated the sections of the preface that relate to these ideas. Install the child then in front of the keyboard and leave the instrument to propose progressively to him a certain number of enigmas that he will feel the desire to elucidate. Thereby, by some very simple theoretical revelations, we will give him the means to get over these obstacles. Do not insist. Do not go too far. Do not weigh down the baggage of the young voyager. Interested and amused by his discoveries, he will voluntarily pursue his route that will enlarge his horizon. Thus, bit by bit, and so to say at his request, he will see opening up in front of him, La Petite Méthode de piano by Marguerite Long  |  203

one after the other, the barriers that seemed to him to block the access to the Promised Land. . . . Closely associate theory and practice, do not let the one take precedence over the other, oblige them both to support and assist one another, taking solfège for a means and not an end, such is the method that I apply in these pages that will follow.

Regarding contemporary music, she writes, “It appears to me desirable to put the child, from the beginning, in contact with music of his time. It is why I want to express my gratitude to all the composers who, at my request, have accepted with much kindness and modesty to put their great talent to the service of young pianists by composing for them the little pieces featured in this work.” To this end, she thanks Jacques Castérède (b. 1926, Paris), the French composer who assisted her in contacting the composers, editing their works, and overseeing the overall publication of the method. She then proceeds to unfold her pedagogical opus.

First Part After an initial discussion of notation and posture, Long moves to the first distinguishing feature of her approach. On page iv, there is a photo of a young boy seated at the piano, used as an exemplar of a good position at the keyboard. “Posture at the piano Seat the child, the feet supported, so that when the hands are placed on the keyboard, the wrist and the forearm are horizontal.” (iv)

204 | Part II: La Petite Méthode de piano

She goes on to describe proper hand placement on the keyboard. The good position of the hand is the essential condition for the proper phalanx mechanism. In placing his hand on the keyboard, one must not lose sight of the following principles: 1) The piano is played with the five fingers; consequently, these five little hammers must always be in a good position for playing the key with liberty and independence. 2) The fingers must work alone, that is to say, without calling upon the action of the forearms, the elbows, the shoulders, the head, and the torso. The attack must be natural. Never forget that the good position of the hand depends, before all else, upon the correct holding of the arm.

Long continues with a close-up photograph of the student’s left hand, demonstrating how the “hand, well-placed on the keyboard, lets naturally drop the finger that pushes the key down.” (v)

This photo offers a chance to discuss some differences in technical approach that need to be reckoned with and adjusted when utilizing the method. It shows what the followers of Dorothy Taubman’s approach would refer to as a “dual muscular pull.” The French school has historically emphasized finger independence and instructed students to achieve this through isolation exercises and relatively high finger positions. As we shall see, though, the directions Mme Long gives for the execution of her exercises are difficult to discern in still photos, as the directions describe the quality of motions rather than held positions. Taken on its own, this photo seems to display the opposing contractions of adjacent fingers that Taubman warns about. Edna Golandsky, Taubman’s close associate, asserts the following. La Petite Méthode de piano by Marguerite Long  |  205

We need to know about the flexors, and they are the muscles that move the fingers downward. And we need to know about the extensors. Those are the muscles that lift our fingers. And we need to know that both of them are situated in the forearm and that they pull in opposite directions. So clearly, they can never be used at the same time because if they are, what results are what we call “dual muscular pulls,” which is another name for tension. Any time you move in a way that activates those two muscles at the same time, you’ll end up with tension.5

Gyorgy Sandor also warns against finger isolation exercises in chapter 11, “Independence and Interdependence,” of On Piano Playing: “There is a great deal wrong with this approach. The role of the forearm muscles is to act as an antagonistic set—the flexors pull the fingers down, and extensors raise them. When the four inactive fingers in the exercises continually press down the keys instead of resting, their flexors are under continuous tension; this state is not only unnecessary but harmful. . . . We need the horizontal, vertical, and depth adjusting motions to place the finger properly.”6 While the photo does not show a held-note isolation exercise, it does show a case of dual muscular pull. In the course of using Mme Long’s book, the student and teacher should remember that any photograph represents a position frozen in time, as it were. Careful attention should always be paid, as she notes, to avoid tension and fatigue. Another notable aspect of this photo regards what Taubman refers to as “curving.” Edna Golandsky describes it as follows: “I’ll make a distinction between curling, which is negative, and curving, which is just the normal curve of the fingers when the hand is at your side and you put it on the keyboard. This is the normal curve that is correct. When I talk about curling, I’m talking about . . . pulling in this phalange here at the nail joint so that this is sticking out practically. And this is I would say the basic position that we are taught all over the world.”7 It is not clear from the photo whether this position is the normal curve of this child’s fingers or whether a contraction is taking place; one would have to work with the child to make that determination. In my experience, students all have different natural hand shapes and structures that need to be taken into account. But this photo provides an excellent opportunity to address the issue with a student without having the student try to copy the position. Indeed, this would be a prudent strategy with all the photographs, as images are more powerful than explanatory notes and can lead students to make exaggerated positions at the keyboard. Before teaching melodic playing, Mme Long gives a conceptual introduction to melody: “There is a melody when successive sounds link together in such a way as they constitute a phrase or a member of a phrase presenting a progression of notes agreeable to the ear and having

206 | Part II: La Petite Méthode de piano

an expressive character. A melody can, in effect, express a sentiment of joy or of sadness, of grace or of force, of vivacity or of meditation, and the executant must later take this into account in his playing.” (p. 2) This variety of emotional states calls for a refinement of feeling on the part of the student and teacher right from the start. The search for tonal nuance in the service of melodic expression is one of the most sophisticated aspects of Long’s method. The section on ear training is the natural consequence of an approach to playing melodies that requires attention to subtle gradations of emotion. It is also the second element that distinguishes this approach from current American methods. It is indispensable that the pianist ought to control himself the quality of his execution by his own ear. For this, he must acquire the science of listening to oneself play. If this control is lacking in him, he will not be able to rectify his errors, his wrong notes, his mistakes in counting and he will never be able to improve his sonority. To begin, he must get used to discerning all the notes on the piano with only the aid of the ear. EXERCISE—The teacher will play the following notes slowly, inviting the pupil to sing them at the same time. Observe the correctness of the intonation, above all for the intervals E-F and B-C because the beginner, not yet having the notion of tone and semi tone, finds himself thrown off by these 2 intervals that are smaller than the others. Even with students who appear with mediocre gifts, this education of the ear is rather rapid. Therefore, this exercise must then be repeated with perseverance until it can be executed correctly. (p. 4)

1

&

2

&

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

w

..

w

w

w

w

w

w

w

w

w

w

w

w w

w

w

w

w

w

..

Insist on the notes constituting the major triad. RH

&w 1

w 3

w 1

w 3

w 5

w 5

w 3

w 5

w 3

w 1

..

..

w

w

w

w

w

w

w

w

..

w

Beneath the last exercise in this example, Mme Long instructs the teacher to “repeat this exercise without letting the pupil look at the music or the keyboard. One can work in this manner on the exercises and melodies that follow before their study on the piano, thus permitting us to carry out the education of the ear and the study of piano at the same time.” (p. 4)

La Petite Méthode de piano by Marguerite Long  |  207

Note the emphasis on learning the exercises by ear before attempting them at the piano. This pedagogy develops critical listening as well as a connection between the voice of the pianist and the singing tone that is produced. The counting of rhythmic values within time signatures is dealt with in a global fashion. Mme Long starts with the whole note, the half note, and the quarter note, explaining their values and relations to one another. She suggests three different approaches to counting in the first exercise. (p. 6) “Example: a half note equals 2 quarters” (p. 6). 1. Say the value of the note on each beat. 2. Call each beat the note. 3. Play and count 1, 2.

&œ

black,

&œ

œ

˙

black

whi

œ

˙

do

do

do

&œ

œ

˙

2

1

1

-

te

o

2

œ

œ

black,

black

œ

œ

do

do

œ

œ

1

2

etc.

Like the Music Pathways method (Bianchi, Blickenstaff, and Olson),8 Long advocates the simultaneous application of unit counting, syllabic counting (in this case, with solfège syllables), and metric counting. The student thereby understands that rhythm has various functions and learns to be aware of its multidimensional character. After exercises using the thumb, second, and third fingers and an explanation of ledger lines, Mme Long moves to another distinguishing characteristic of her method. Starting with finger technique on the white keys, she continues to a unit on wrist technique. For her, wrist technique is crucial to giving “a beautiful authority to the execution.” (p. 10) Photos show the positions of the hand before and after a wrist attack. The flexing of the wrist to the extent presented in the photo would most probably be questioned by Taubman. Golandsky invokes Otto Ortmann to inform the Taubman point of view. We also need to know . . . ‘the physiologically best movement is one permitting motion in the mid-range of motion. It is easiest and smoothest near the middle range, increasing in difficulty as it approaches either extreme of the range.’ And this is something that Otto Ortmann wrote in 1927 in his book The Physiological Mechanics of Piano Technique. And what he’s saying is this . . . that if your hand goes all the way up, you feel the tension very quickly right here [Golandsky points to the back of her hand at the bottom, where it joins at the wrist]. If your hand goes . . . all the way down, going to the extreme range of motion, you feel a pull here also. But if you want only halfway up and halfway down—mid-range—you’ll see that it’s very easy to move.9

208 | Part II: La Petite Méthode de piano

Sandor also warns against raising the hand from the wrist too high while maintaining an immobile forearm when he refers to the “fallacy of playing a ‘wrist staccato.’ . . . First, if we use the wrist alone, we are utilizing exclusively and overburdening our comparatively weak forearm muscles. Furthermore, when the lever that is used (the hand) is very short, the curved line traced by the fingertips is rather pronounced; consequently the desired straight vertical descent of the fingertips cannot be attained.”10 His caption to a similar photo of “wrist staccato” as the one seen in La Petite Méthode explains his opinion clearly: “Excessive raising of the hand while keeping the forearm immobile causes excessive tension (wrong position).”11 This may be the unit that causes the most difficulty for children who are younger beginners; their wrist attack may not possess enough force to depress the key, and their fingers may not yet be stabilized in their shape to handle such an attack. A wrist attack using the midrange of motion is more advisable. Alice G. Brandfonbrener writes, “How the wrist is held is also partially a function of one’s pedagogical school, although as physicians, we generally recommend that the wrist be maintained as closely as possible to a neutral position—in a relatively straight line with the forearm, neither bent toward the thumb (radially) nor toward the small finger (ulnarly).”12 While I doubt that the intention of the photo is to indicate a held position, it nonetheless acts as a model that could lead students to aspire to overextended wrist flexion, potentially damaging unless the height of the hand’s rise above the wrist is lessened. (p. 10) “Wrist technique takes an important place in the piano. Good wrist playing is necessary for a complete interpretation. On it depends equally the quality of the attacks, successfully done, later giving a beautiful authority to the execution. Position of the hand before the attack of a note by the wrist.” (p. 10)

La Petite Méthode de piano by Marguerite Long  |  209

“Position of the hand after the attack of a note by the wrist.” (p. 10)

The position of the thumb in the second photo (after the wrist attack) would also be questioned in the Taubman approach. As Golandsky asserts, “when [the thumb] isolates like this, it tends to slow the other fingers up.”13 The position she demonstrates in the video at this point is almost exactly the same as in the photo. In addition, the raising of the fingers above the bridge and the curling at the nail joint would also increase tension in this position. This position could be easily modified in practice. Independence of the hands is addressed in the next section through holding notes in one hand and using the newly acquired detached wrist notes in the other. (p. 18) “EXERCISE 1: play the right hand from the wrist.” (p. 18) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ w &4 œ œ œ œ œ œ œ œ 1 2 3

?4 w

1 2 3

1 2 3

1 2 3

etc.

w

w

w

w

w

w

w

w

Second Part The second part of the method begins with a discussion on finger independence. Here, again, we find the need for clarification. The first picture (p. 21) appears, once more, to display a dual muscular pull, this time caused by depressing the fifth finger and lifting the others. The photograph shows the student playing the left hand of the exercise beneath the photo. (p. 21) 210 | Part II: La Petite Méthode de piano

“Manner of working Depress and hold the 5th finger, pose the others lightly on the keys. Raise the finger which is going to play while keeping it curved, but without forcing, make it attack the note clearly without the intervention of the slightest action of the arm that should remain immobile. The finger resumes its place immediately, resting on the key. Work slowly (metronome 60). Check that the hand does not collapse toward the 5th finger and that the fingers stay curved. The thumb must articulate everything like the other fingers; lift it well without the aid of the arm.” (p. 21)

w w w w wœ œ œ œ wœ œ œ œ wœ œ œ œ wœ œ œ œ ww &Œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ 5

1

1

1

1

1

1

1

1

1

1

1

1

2

2

2

2

2

2

2

2

2

2

3

3

3

3

3

3

3

3

2

2

2

2

2

2

2

2

1

? Œw œ œ œ œw œ œ œ œw œ œ œ œw œ œ œ œw œ œ œ œw œ œ œ œw œ œ œ œw œ œ œ ww 3

2

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La Petite Méthode de piano by Marguerite Long  |  211

Held notes: Exercises with held notes are of great importance; they give independence and strength to the fingers. It is indispensable, at the beginning, to give 5 to 10 minutes over to this every day. However, we advise to observe the hands of the pupil well before starting these exercises. In effect, if they are indispensable to normal or weak hands, on the other hand they are dangerous for stiff hands that have a tendency to tense more. For these hands, do not begin to do the held notes until the teacher has succeeded in making them more supple through suppleness exercises for the wrist and the forearm. (p. 21, emphasis mine)

Her instructions indicate that she may have encountered teaching that used isolation exercises with insufficiently prepared hands. She sees this lack of preparation as the cause of tension, not the held-note exercises themselves. Indeed, it can be said that this instruction is one of the most critical parts of the text. If the teacher does not utilize sufficient observation and direction, injury can ensue. Mme Long’s suggestions on the point are worth emphasizing: “Raise the finger that is going to play while keeping it curved, but without forcing. . . . Check that the hand does not collapse toward the 5th finger and that the fingers stay curved.” (p. 21, emphasis mine) The passing of the thumb under the hand during the execution of scales and arpeggios is given special consideration in La Petite Méthode. Once again, a careful review of Long’s instructions vis-à-vis the accompanying photographs is merited. She introduces the topic: “Passing of the thumb: Most works on teaching make of the passing of the thumb a veritable scarecrow which terrorizes the young pianist, gives him a ‘complex’ that risks to pursue him for a long time. The unfortunate student loses precious time on numerous useless exercises.” (p. 41)

212 | Part II: La Petite Méthode de piano

Here we see, once more, an apparent isolation involving dual muscular pulls. Since the photo is displaying the thumb moving under the hand during a chromatic scale exercise, this position would not be held. Ideally, if performed according to Long’s earlier instructions on finger independence, the thumb would pass through without tension. Her concern for an easy execution of thumb passage is further enhanced by the fact that she begins with an étude on the chromatic scale that demands less of a distance for the thumb to navigate. Long’s conception of the thumb’s role in scale playing contrasts with Sandor’s, who states that “one of the most damaging technical errors is the habit of placing the thumb under the palm. It is usually done when playing scales and passages. This widespread and erroneous routine causes most of the problems in piano playing. Uneven passage-work, involuntary accents, a cramped feeling in the hand, and clumsiness and unsureness are caused by the fact that once the thumb is placed under the palm it is not only in an uncomfortable position but it simply has no equipment, no muscles available to bring it down vertically.”14 He suggests arm adjustments to bring the thumb to the desired key. The Taubman approach to the thumb in scale playing also differs from that presented in Mme Long’s method. As expressed by Edna Golandsky, “in the ascending scale, when the thumb plays rotated in its direction, it is moved directionally back away from the hand, behind the second finger. . . . Although the rotational movements assist in bringing the thumb behind the fingers, they do not eliminate thumb flexion but minimize it.”15 The fundamental reason for this rotational approach to the thumb in scale and arpeggio pedagogy is noted by Golandsky: “The whole training of the thumb under when we play scales, when we’re told to put the thumb right under, can be very injurious because when you put the thumb under like this, you’re flexing. When you play down, you’re extending. So you’re creating dual muscular pulls that are incredible as you go fast in scales and arpeggios.”16 After advancing through technical preparation, Mme Long takes the student into her approach to diatonic scale playing. She does this through a series of exercises such as Hanon-inspired mixed finger patterns and held-note and blocking exercises, teaching the scale patterns and habituating the hand to the passage of the thumb. A thumb-under blocking exercise prepares the student for a charming piece called Cat on the piano. (p. 54) RH

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To complete the book, Marguerite Long introduces a variety of finger exercises, scales, and arpeggios in all keys (although the only form of minor scale she teaches is harmonic minor). A series of seven more advanced pieces ends the volume: Exercice by Darius Milhaud, Danse Caraïbe (Caribbean Dance) by André Jolivet, Tous les chemins . . . mènent à Rome (All Roads . . . Lead to Rome) by Henri Dutilleux, La jeune ballerine (The Young Ballerina) by Raymond Loucher, Berceuse pour Mirabelle (Lullaby for Mirabelle) by Jean Rivier, Petite marche (Little March) by Georges Auric, and Rock ’n Roll du Commandant Touquedillon et du Capitaine Riflandouille by Jean Françaix. The titles and names of the composers give us an indication of the diverse styles presented, accomplishing what Mme Long expected of pupils and teachers who follow her method. Though La Petite Méthode was written almost fifty years ago in France, it has many beneficial attributes for contemporary North American students. It provides a clear pathway for children to develop a stable and nuanced technique while connecting technique to theory, ear training, and contemporary repertoire. Special effort is necessary to execute the exercises properly, to adapt them to a different technical approach if desired, and to decide which are appropriate at any given time. But this kind of effort brings student and teacher closer to one of the great traditions in the history of pianism and, thus, makes it a worthwhile journey. The technical discussions provoked by the photographs do not assert an ideological preference, nor are they meant to prove one author’s correctness over others. A thorough review of both books by Long translated and analyzed in this volume will lead one to a judicious and careful application of her approach, particularly regarding the use of the photographs in La Petite Méthode de piano. Indeed, the photographs can mislead students who may be lacking the broader contextual framework of her method. Her injunction to “let then no violence be done to one’s hand”17 can be easily forgotten when observing the fixed and stretched positions 214 | Part II: La Petite Méthode de piano

presented in the photographs and applying them to her exercises. Rather, the discussions in this chapter and book as a whole are designed to show how research and analysis can span methodological gulfs that might, at first blush, seem unbridgeable. Through these discussions, the teacher and student can gain access to Mme Long’s progressive guiding principles, which seek to educate complete musicians from the beginning of their study and to put them in touch with the music of their time. These guiding principles led to the production of a unique piano method that remains relevant.

Notes Marguerite Long, La Petite Méthode de piano (Paris: Editions Salabert, 1963). 1. Cecilia Dunoyer, Marguerite Long: A Life in French Music, 1874–1966 (Bloomington: Indiana University Press, 1993), 203. 2. Quoted in Dunoyer, Marguerite Long, 202. 3. These twenty compositions have been packaged under the title L’Album de Marguerite by Salabert, available through Hal Leonard Corporation. 4. All translations by the author. Page numbers are given in the text for locations of examples and quotations cited from Long, La Petite Méthode de piano. There are no page numbers for the excerpts from the preface, as none exist in the text. 5. Edna Golandsky and Dorothy Taubman, The Taubman Techniques and Addenda to the Cassettes on the Taubman Techniques, ed. Shirley Schnitzer, vol. 1, Introductory Principles & Concepts (Medusa, NY: Taubman Institute, 1995 [VHS], 2001 [DVD]), timecode: DVD: 29:36-30:10 and VHS 1:26:36: 1:27:10. All following citations from this source are the author’s transcriptions of excerpts from the DVD collection or quotations from the Addenda booklet, as noted. 6. Gyorgy Sandor, On Piano Playing (New York: Schirmer Books, 1995), 159. 7. Golandsky and Taubman, The Taubman Techniques, vol. 1, Introductory Principles and Concepts, timecode: DVD 49:09–49:36 and VHS 1:49:08– 1:49:34. 8. Louise Bianchi, Marvin Blickenstaff, and Lynn Freeman Olson, Music Pathways (New York: Carl Fisher, 1983). 9. Golandsky and Taubman, Taubman Techniques, vol. 1, Introductory Principles and Concepts, timecode: DVD 28:55–30:00 and VHS 1:28:55– 1:30:09. 10. Sandor, On Piano Playing, 94. 11. Ibid., 97. 12. Alice G. Brandfonbrener, “Epidemiology of the Medical Problems of Performing Artists,” in Textbook of Performing Arts Medicine, ed. Robert Thayer Sataloff, Alice G. Brandfonbrener, and Richard J. Lederman (Raven Press, New York: 1991), 39. 13. Golandsky and Taubman, Taubman Techniques, vol. 1, Introductory Principles and Concepts, timecode: DVD 1:11:56–1:11:59 and VHS 2:11:54– 2:11:57.

La Petite Méthode de piano by Marguerite Long  |  215

14. Sandor, On Piano Playing, 57–58. 15. Golandsky and Taubman, Taubman Techniques: Addenda to the Cassettes on the Taubman Techniques, vol. 2, Forearm Rotation, 14–15. 16. Golandsky and Taubman, Taubman Techniques, vol. 1, Introductory Principles and Concepts, DVD 1:08:37–1:08:57 and VHS 2:08:34–2:08:54. 17. Long, Le Piano, iv.

216 | Part II: La Petite Méthode de piano

2 English Translation of La Petite Méthode de piano

To Mademoiselle Lucile THIN Text of Madame Marguerite Long Foreword Teaching preparatory piano runs into two stumbling blocks. It disappoints many students by its complexity and its slowness: the complexity of its theory and the slowness of its practice. In composing this work, I am proposing to render this thankless apprenticeship at once more simple and, above all, more rapid. I have not wanted to add to the already long list of works of the same genre either a solfège, a theory of music, a workbook of exercises, or an album of etudes. I have tried to put my professional experience to the service of beginners, of their families and their teachers specialized in the teaching of elementary piano, in order that they may avoid all stagnation, all wasting of time, this time that the children of today no longer have the right to waste in a study so disappointing and off-putting of the first principles of musical grammar and of the handling of the keyboard. These two techniques must go together and constantly back each other up. Now, we commit the fault too frequently of separating them at the beginning of piano study. We place the child in the presence of abstract theoretical notions, we teach them solfège in the absolute, in the void, without contact with the instrument that it proposes to cultivate. We give, thus, to this rudiment a fastidious and discouraging character. And as one finally permits a neophyte to confront the acquisitions of his

217

brain and those of his fingers, it is often too late for making a harmonious synthesis between these two essential elements of his formation. Solfège, vocabulary, grammar and the syntax of musical language pose an infinite number of difficult problems to the beginner. It would be absurd and dangerous to pretend to furnish him with all of the solutions immediately. Therein resides the irreparable loss of time that handicaps the apprentice. The theory of music presents itself in the form of a keychain of a thousand keys destined to a thousand different locks. Entrusting all this heavy material to a beginner is disconcerting and discouraging. But one will easily interest him in exploring the mysterious domain that he wants to conquer if one gets him to open the closed doors, one by one, by sliding into his hand, each time, the appropriate key. Install the child then in front of the keyboard and leave the instrument to propose progressively to him a certain number of enigmas that he will feel the desire to elucidate. Thereby, by some very simple theoretical revelations, we will give him the means to get over these obstacles. Do not insist. Do not go too far. Do not weigh down the baggage of the young voyager. Interested and amused by his discoveries, he will voluntarily pursue his route that will enlarge his horizon. Thus, bit by bit, and so to say at his request, he will see opening up in front of him, one after the other, the barriers that seemed to him to block the access to the Promised Land. This is the spirit in which this work cautiously mixes, if I dare say, drop by drop, into the study of the keyboard and into the development of the muscular mechanism, theoretical notions the knowledge of which is indispensable to all careful executants in acquiring a rational “métier.” It is voluntary that this elementary and uniquely pianistic musical grammar does not seek to be complete. It has no other ambition than that of inviting the pupil to deepen the mysteries of theory in the numerous pedagogical works treating this delicate science. Closely associate theory and practice, do not let the one take precedence over the other, oblige them both to support and assist one another, taking solfège for a means and not an end, such is the method that I apply in these pages that follow. I have obtained, in the course of my long career as an educator, such convincing results by using this process that I believe its popularization useful, because it will have the certain effect to make more attractive and effective and, above all, infinitely more rapid, an instruction whose exaggerated formalism has turned away so many young artists of good will from music. Marguerite Long It appears to me desirable to put the child, from the beginning, in contact with music of his time.

218 | Part II: La Petite Méthode de piano

It is why, I want to express my gratitude to all the composers who, at my request, have accepted with much kindness and modesty to put their great talent to the service of young pianists by composing for them the little pieces featured in this work. Finally, I want to give particular thanks to Mr. Jacques Castérède whose precious collaboration has permitted me to realize this elementary method for piano. I First Part: Music is a language in which the role of words is played by sounds. The sign that represents a sound is called a note. Notes are presented in the form of little circles. To specify the duration of a sound, one adds a stem to the note, with or without a flag, that indicates the exact value. To specify its pitch one arranges the notes on the rungs of a ladder called a staff. The different values of notes, whose exact signification we will indicate next, are, proceeding from longer to shorter values: the whole note 𝅝, the half note 𝅗𝅥, the quarter note 𝅘𝅥, the eighth note 𝅘𝅥𝅮, the sixteenth note 𝅘𝅥𝅯, the thirtysecond note 𝅘𝅥𝅰, and the sixty-fourth note 𝅘𝅥𝅱. The flags can be replaced, in a succession of notes, by an equal number of bars called beams. r r rK rK rK j j j j œ œ œ œ = œ œ œ œ œ œ = œ œ œ œ œ = œ œ œ etc... For now, neglecting the duration of sounds in order to study first their position on the staff, we will only use the sign signifying the whole note. The staff is the meeting of five horizontal lines.

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English Translation of La Petite Méthode de piano | 219

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Exercises Demonstrate to the child how one can construct a staff with the five Faire observer a l'enfant qu'avec les cmq doiigts de la mam on peut construire une portee. Par fingers of a hand. For the sake of the game, he can consider his thumb as 1eu on lui £era considerer son pouce comme la premiiere ligne, son index cornme la seconde, son medium the first line, his index finger as the second, his middle finger as the third, comme la et son petit fifth doigt(it comme cinquiieme troisierne, son annulaire comme la his ring finger as the fourth anduatrieme his pinky as the is, bylathe way, (c'est in this that,plus later, number the “fingerings” of his pieces). d'ailleurs dans cet order ordre que, tard,one on will chiffrera les