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Ganz - Exercises

The document outlines various five-finger exercises for pianists, focusing on six basic positions including chromatic and diatonic scales, diminished and dominant chords, and symmetrical inversions. It emphasizes the importance of practicing with both hands separately and together, increasing speed, and incorporating rhythmic variations. Additionally, it includes special exercises by Emile Blanchet aimed at developing finger independence and technical proficiency.

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highland25
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66 views45 pages

Ganz - Exercises

The document outlines various five-finger exercises for pianists, focusing on six basic positions including chromatic and diatonic scales, diminished and dominant chords, and symmetrical inversions. It emphasizes the importance of practicing with both hands separately and together, increasing speed, and incorporating rhythmic variations. Additionally, it includes special exercises by Emile Blanchet aimed at developing finger independence and technical proficiency.

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highland25
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© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Five-Finger Exercises SIX RASIC POSITIONS 1) chromatic (all half steps) 4] diminished 7th (all minor Srds) 2} diatonic (whole and half steps) 5] dominant 9th (major and minor rds) 8] wholetone (all whole steps) 8] extended triad (5rds and 4ths) = 2 agataiany & 1 fornailr ant Practice the exercise above and those on the three pages following, starting on every key of the eluumatic scale, hands alone, and later hands together two oe avec apart, Playing at the interval of two octaves enables the pianist to hear the tone quality in ether hand better than playing one octave apart. A slight sideways motion of the wrst is suggested for the first three positions, « mut: more pi nounced one for the remaining three to aunid etiffnecs. This rotation helps to compensate for the usual shortness of the fifth finger and the awkward formation of the equally short and recaleitrant thumb. SHIFTING ACCENTS Tee t2ip tise 9 ret INCREASING SPEEDS ‘Perform each of the six basic postions in increasing speeds, like the following: SS OMITTING ONE NOTE ‘Practice in mereasing speeds as in tive preve 1g exer 1 wp 4 baat 12% 4 5432 129% Beat 123132 Tete t tan Gy af te rites s reste 6 Te ot & sok 6 ae ake 6 peat aut ets aU 4. 5 SYMMETRICAL INVERSION (see page 12) UJ from a major 10th Ly i 8 E UJ from a minor 6th shythmie variants (lato) a PARALLEL SCALES ‘Ambitious students can practice these exercises in increasing speeds as on page 4. major 10th apart 2 [3] SS major 6th apart porfect Sth apart 2 a Reaily ambitious stulents can try playing any of thece exercicee with croseed hands or in any conceivable rhythmic pattern. : Le vs — rolyphontc Exercises ‘TWO VOICES In each of the following exercises sustain the quarter notes and practice the leignth notes both seaccaro and iegate Jhromatic 2} diatonic yee eas fa 546 Ha 16 whotetone Jaiminishea7th[5] dominant 9th vurrae se r 4 4 rfid tia toherraerer tirtir eres terrier triricer tt amis beige is af the shove avewieee hands ceparately in increasing speeds like the following: Qe es Practice exch hand alone before attempting to play hands together. 1) ——« 2] —~ 8 —-, 48 - ee tone dc cena ce [tanccanenes [ras 4 5452 12 gacane eee Sees oP 3] — >, 1 EH. 2 pF E> ana cane 21a de cata de [a tadsantaas [2 ra 4 Saar gas NN ii ee a a] I<», —~ > 21945 1945 ere accenaas [a t2ararieas ~~ NTS pf a, 4 eee ens SETS Malte Siri Gor hy Gat Pens, Ime Gat tr acon AN MRTWOSIT, UTMOST LEGATO with one finger aR} YTb_ ict Pa 5 > Sitar sider Continue the above exercise in downward chromatic sequence according to the modulation scheme of major, minor, diminished. Proceed similrly with the | following two variants 1] Eersrast rafarsiezies > Ft No.3 ‘Continue in downward sequence according to the modulation scheme of major, minor, diminished, (Note that each first inversion chord is repeated in root position in the following measure.) Special Exercises by Emile Blanchet (1877-1943) When the technical works by the eminent Swiss pian- lat, ermmpnter, ped Ernie BL lished, they created a certain stir in the pianistic cles of Europe. Their basic originality consists in the combination of two voices aun bithythms in one hand, assuring the acquiring af ahsolute independ ence of the fingers. The exercises included here are taken from Volume 4 of 64 Preludes: Exercises for the Left Hand Alone, published by Editions Mex Eschig, whose courtesy in permitting me to reproduce them I gratefully acknowledge. For the benefit of 545505 TTT I imice £, inversion tte original TT sass c sees cose onme Interested and ambitious students of the piano—gour- sa presencing sym metrical inversions for th right hand to prevent the left hand from becoming self-satisfied with the good results it has achieved, Mr. Blanchet was my very close friend with whom I shared many experiences, including the successful scension of the Mattesrn. I often played his com- positions in public: the Turkich Piscee, the Konzert sliick No. 4, and many smaller pieces Were eee EE ao TTT TA TT ae gh ee TE TET cee — inversion zeta o Ff ft tof : ‘J i ongimat (5 36 ses by seman af the copra omer, sons Max Cah Gata aap at nl are Gis or ast op ain @ are iSPia 2iS2 Paes ae1 ese tatiazia pase Pp Pdeveriagis2 1991 s213 aise ‘or First practice iss Tasitcabiaasicatioaiisay bass uae inversion original OCs See aS ASE SST Aa RARE SF Tas aM Utes by pemison of esa omer, atone Hae Ean wy eel by parison ote const owner, Felons Max Ee. inversion a Pi original 38 sed by permis ote coy om atone Max esti be tom simite ‘mile 1 of 2 opr goa g bot Gobo to 2 fb é 5 é é Blanchet exrie rom Op. 7 (ble sia above ie rproauce by ormistan ofthe ia! puihe, practice variants 12121 rt ad a-s-4-b 4 ne 8 6 a a) t Practice hands alone slowly at first. piano, with a light wrist and without any tension. Both voices in each hand are to be played legato, a ttt edie gag Breoogt Si fate se a a at st bi siti 3 ett tat abe) repronuce ty permit ofthe ti! ue, Practice variants ee ee aca tb tk Gb te td A challenging study of the following two exercises would be to play the dotted thth-eixteenth groups legato id the even eighths staccato, Bi-Tonal Scales Playing two different scales simultaneously produces tudente for ver thirty years, often talsoduacing them interesting sounds and is excellent training for mind by asking the student to play a scale at ane plana and ear. T have been teaching bi-tonal scales to my while I play another at 2 second piano. (d= 6 RMajor aa eat ec 2 re! | | D Major ‘ ‘ | | =i ea TS a ate | ¥ Major (logical fingering) @ Major ? 5 oT EbMajor Major [joe ME UTERATURE OFTHE Pano oy raat uenson, Tie Ea G Major Db Major Boa: T CMajor DiMajoryip) ' * edbles go 2iacar ie (gape = a SSS See ie Whole-Tone Exercises Some forty years ago a young Italian published a Scale, but he used only the whole-tone scale beginning small volume of exercises entitled The Whole-vJone on C and forgot to mention the one starting on B. bo SSS ES = — ‘on on B ‘An early use of a whole-tone scale appears as a (1804-1857) overture to Russlan and Ludmila deccending bass from Din the fast coda of Clinka’s ¥ List, too, used this scale in Sursum Corda as five ing into the recapitulation of the principal theme in ‘ bars of double octaves, ascending and then descend- E major: len, at the and af the “ante!” Sonata: “ ‘Thus, Liszt inaugurated a new era in music for the piano. Then the use of the whole-tone scale declined for obvious reasons, primarily because of its lack of the half steps which permit all kinds of modulations and. passing notes. ‘The Impressionists Debussy, Ravel, and their fol- lowers created a new harmonic form of whole tones. Sawer Tt It may be of interest for performers of Debussy’s ‘music that I use only one pedal forthe entire Prélude called "Volles.” (The late Alfred Costot, who must Fave known, tranclated thi title as “Sailboats.” I. for my own pleasure, hear this inspired and extremely sensitive soundplece as “Veils.”) the first forty-one bars are completely whale tone with the exception of ‘measure 31, where four short chromatic passing notes ‘The vety frst theme in Debussy’s “Prélude” from the suite Pour le piano (the first important work for the instrument from his pen, 1901) served as a bridge between the old diatonic and the newer whole-tone sale, The following excemt chowe the same theme in both diatonic and whole-tone style: in the right hand could not possibly affect the pedal Six measures, en animant, of the pentatonic, or Chi- nese scale in which three of the five notes alsa belong. to the whole-tone scale do not need a change of pedal In the following au mouvement measure there is a return t0 the whole-tone scale, and the Prélude ends ‘Transpose all of the following, exercises to the whole-tone scale on B. SCALES parallel motion mm oras sas Bt Ate TER cases in 6ths ‘ Grete itera, >t 7 T a contrary motion 3 t froma 3rd; from a 6th _ ‘ 7 + 5 t2t20 asanere|s ' 7 in rhythms Slow, quasi martellato e double rds, parallel motion 4 Sab bag , ts $i thes Geet titi a [sed a double Srds, contrary motion, symmetrical inversion “ { 13 fof ot 2) t ttt § at Ff cHoRDS triad in scale succession triad im chordal succession wien octave; s fos 3 $i 4 oy og f Hoa yi : tri 4 f; i hag hid aiaatas 7th chord in chordal succession woken 7en chord (pee sereer terete : Daa ceraaasi2ad 6 esi Teh chord arpoggio 1 Sue oar daareals aa cre gare

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