Piano GUIDED Sigh t Re ading A Ne v Approach to Piano Studv by
LEONHARD E EUTSCH NELSON-HALL COMPANY CHIC AG O Acknowledgements
For the constructive criticism and final editing of my manu script
I wish to express my gratitude and appreciation to Miss Lillian
Cooper, New York City. For the patient reading of the first drafts
and helpful suggestions my thanks go to the late Mrs. Sophia
Steinbach, New York City Miss Ruth Norden, New York City and Mr.
Mrs. Horace Champney, Yellow Springs, Ohio. Finally, I have to
thank Crown Publishers for the last retouches. For their adherence
to my ideas abroad and in this country I thank my former Vienna
colleagues and co-workers Dr. Alexander Klahr, New York City Mr.
Victor Popper, Evans ton, Illinois Mrs. Maria Treuer, Yellow
Springs, Ohio and Dr. Margaret Wolf, Brooklyn, N. Y. I feel greatly
indebted to my wife, Mrs. Danica Deutsch, for her most active
support of my work from its very beginning. She also assisted me in
applying experiences from her own field, including her study of
left-eyedness, to the psychological and emotional problems of my
students. LEONHARD DEUTSCH Table of Contents Foreword xi The Story
of the Sight-Reading Method 3 The Problems of Sight-Reading 13 What
is the correct way to practice sight-reading 14 How is the ability
to practice sight-reading in this - man-ner developed 15 What is
the effect of sight-reading exercises 17 The Basis of Pianistic
Skill 19 1. Musical Ear and Manual Dexterity 19 What is musical ear
20 How is musical ear developed 22 What is manual dexterity 25 How
does manual skill develop 26 2. Notes and Keys 27 Why is the
alphabetical method, applied to music reading, ineffective 29 How
to break away frompiecemeal reading 31 3. Time and Rhythm 32 Why
are the usual expedients ineffective 32 How does a student learn to
keep time 33 vn TABLE OF CONTENTS 4. Fingering 34 Unnecessary
finger marks 36 Complicated fingering 36 5. Velocity 38 How does
repetition work 39 How does the dissecting method work 41 How is
velocity developed 42 6. Finger Agility and Technical Exercises 43
The piano hand 44 Planning of finger movements 45 Relaxation 47
Finger control 48 7. Expressive Playing 49 Colorful tone or
colorful performance 49 The sources of expressive playing 50
Analytical approach 50 Romantic approach 51 Psychological approach
52 8. Pianistic Memory 53 What is pianistic memory 54 How is
pianistic memory developed 55 Sight-Reading versus Repertoire 57
Rich study material 58 Approaching the whole 58 Concentrated effort
60 How does natural talent develop 61 Building up talent by means
of instruction 62 Gypsy method 63 Self-Instruction 64 Sight-reading
program, 67 Repertoire Study 73 VIII TABLE OF CONTENTS Suggestions
for the Teacher 76 1. Guiding Your Student 79 2. New Students and
Problem Students 82 3. Elementary Instruction 88 Melody 89 Bass
parts 91 Fingering and hand positions 91 Touch and expression 92
Sharps and flats 92 Chords 93 Jumps 93 Playing with both hands 94
Time values 95 Embellishments 96 Rhythmical subdivision 96 4. Study
Material 98 5. Homework 99 6. Playing by Ear and Written Exercises
100 7. Approach to Children 101 Ear training 102 Special handicaps
103 Maturity level of the child 104 Ambition 105 IX Foreword A NEW
approach to piano study Why the reader may well ask. Hasnt the old
approach produced hundreds and thousands of excellent pianists
True, for such successfulstudents, usually professional mu sicians,
no change is necessary but for the others, less fortunate, the
legions of lay musicians, playing the piano can acquire a new
meaning. Formerly the non-professional pianist had the same mission
as the virtuoso to share his musicianship with an audience. And
usually he was just as eager for publicity. He labored many hours
over technical exercises and spent years building a reper toire of
pieces carefully prepared for performance. Nowadays such toil
hardly seems worth while...
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