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As I have said in my Methodik des Klavierspiels: "The musical and tonal monotony of technical exercises may be lessened in a measure by progressive modulations, by various rhythmical alterations, and further through frequent changes in contrary motion." Great stress should be laid upon practice in contrary motion. The reason for this is obvious to all students of harmony.
I have written quite extensively upon the subject, and my ideas have been quite definitely expressed in my book, Methodik des Klavierspiels: Systematische Darstellung der technischen und æsthetischen Erfordernisse für einen rationellen Lehrgang. I have also come in close contact with this branch of musical work in the Klindworth-Scharwenka Conservatory in Berlin.
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