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Updated: May 31, 2025
Thuel Burnham says: "Of my practise hours at least one is given to technic, scales, arpeggios, octaves, chords, and Bach! I believe in taking one selection of Bach and perfecting it transposing it in all keys and polishing it to the highest point possible. So with études, it is better to perfect a few than to play at so many."
Champney, apparently unheeding her unresponsiveness, rose quickly, shook himself together, and suddenly burst into a mighty laughter that is best comparable to the inextinguishable species of the blessed gods. He laughed in arpeggios, peal on peal, crescendo and diminuendo, until, finally, he flung himself down on the short turf and in his merriment rolled over and over.
Not one separate word could he catch.... But it was the voice of Clara. Aratov opened his eyes, raised himself, leaned on his elbow.... The voice grew fainter, but kept up its plaintive, hurried talk, indistinct as before.... It was unmistakably Clara's voice. Unseen fingers ran light arpeggios up and down the keys of the piano ... then the voice began again.
As he passed the drawing-room, loud music reached his ear; chromatic fireworks, scales running with the rapidity of the cataract of Niagara, extraordinary arpeggios, hammering in the bass with a petulance and frenzy which proved that the 'furie francaise' is not the exclusive right of the stronger sex.
Of course scales must be carefully studied, with various accents, rhythms and tonal dynamics; arpeggios also. Many arpeggio forms of value may be culled from compositions. "There are, as we all know, certain fundamental principles that underlie all correct piano study, though various masters may employ different ways and means to exemplify these fundamentals.
In the beginning, the whole four hours must be devoted to technic practise. When some degree of facility and control have been attained, the amount may be cut down to two hours. Later one hour is sufficient, and when one is far advanced a very short time will suffice to put the hand in trim; some rapid, brilliant arpeggios, or an étude with much finger work may be all that is necessary.
Rather is Niecks more to my taste: "No. 12, C minor, in which the emotions rise not less high than the waves of arpeggios which symbolize them." Von Bulow is didactic: The requisite strength for this grandiose bravura study can only be attained by the utmost clearness, and thus only by a gradually increasing speed.
Then I am old-fashioned enough to still believe in scales and arpeggios. Some of the players of the present day seem to have no use for such things, but I find them of great importance. This does not necessarily mean that I go through the whole set of keys when I practise the scales; but I select a few at a time, and work at those.
We have so far studied ascending and descending movements or arpeggios. Place yourself in a free, flexible manner upon a level with the tone by the use of the movements as before described; lift, expand, and let go without hurrying or without hesitation, and just when you reach that which you feel to be the level of the tone let the voice sing.
The point which most concerns us is: How shall one practise so as to make the most of the time and accomplish the best results? What études, if any, shall we use, and what technical material is the most useful and effectual? Wilhelm Bachaus, whose consummate technic we have so often admired, says: "I am old-fashioned enough to still believe in scales and arpeggios.
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