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Updated: June 15, 2025
As I said, the nail joint must remain firm, and never be crushed under by the weight of powerful chords, as is apt to be the case with young players whose hands are weak and delicate. "Yes, I am certainly in favor of technical practise outside of pieces. There must be scale and arpeggio study, in which the metronome can be used.
The former could play Field's concertos and Beethoven's sonatas excellently, whereas the latter indulged in variations and waltzes, retarded the time, and used the pedals continuously not to mention the fact that, before she began, she invariably struck three chords in arpeggio. Nevertheless, in those days I thought Katenka much the grander person of the two, and liked her the best.
Give Memory an old love letter and listen to her singing. There is quiet at first, as though she were waiting for some step to die away, or some childish laughter to cease. Then there is a hushed arpeggio, struck from strings which are old and worn, but sweet and tender still. Sometimes the song is of an old farmhouse on the western plains, where life meant struggle and bitter privation.
A wind blows in from the sea, and the lilacs nod from over the hedge. The tender corn rustles its soft little chimes, and all across it the wind sends arpeggio chords of delicate music, like a harp played on silver strings.
"As you see, I slant the hand considerably across the keys," he said, "but this oblique position is more comfortable, and the hand can accommodate itself to the intervals of the arpeggio, or to the passing of the thumb in scales. Some may think I stick out the elbow too much, but I don't care for that, if by this means the scale becomes smooth and even.
Now, if you will practice this arpeggio with a free, flexible movement of hands and body, getting under the tone, as it were, and moving to a level of every tone, you will soon find by practice and experience that these movements are perfectly natural, that they arouse all the forces which nature gave us for the production of tone, that they vitalize the singer and give freedom to the voice.
Presently there came sounds of clapping from the body of the hall; some of the audience were growing impatient, and the news that there was a packed house filtered into the artistes' room. Almost as in a dream Diana watched Kirolski lift his violin from its cushiony bed and run his fingers lightly over the strings in a swift arpeggio.
It was masterly; the firm and graceful bowing, the rich, pure, refined tone, the light and shade, the easy control of arpeggio, staccato, double stops, etc., were all such as we could only have expected from the maturest masters we have heard. We could scarcely credit our own eyes and ears.
We now come to the important stage of extemporizing on the piano. It must be remembered that a very thorough foundation of the knowledge of chords has been laid by the ear-training work, leading up to the power to write down chords from dictation, and to sing them in arpeggio.
It drums on the window-panes, chuckles and gurgles at corners of houses, tinkles in spouts, makes mysterious crescendoes and arpeggio chords through the air; and all the while drops from the eaves and upper window-ledges are beating time as rhythmical and measured as that of a metronome, time to which our own souls furnish tune, sweet or sorrowful, inspiriting or saddening, as we will.
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