Introduction

Fundamental piano lessons
Beginning at the instrument and musical development

Part I (DVD I)

My objective is for the students to deal with piano playing consciously from the very beginning, first to learn simple pieces in a certain manner. The way of sitting on the piano is important. The body has to have the ability to be concentrated as well as free, in order to be able to execute the appropriate way of piano touch. We will cover the various arm, hand, and finger movements - separately and in combination- that are necessary for the specific results. The muscles which are not used have to be maximally relaxed. - The students who have been filmed in the lessons know the basic exercises and are supposed to repeat them now.

In the first lesson our major concern is the armweight. It is supposed to depress keys with the necessary hand concentration. This is shown first as an exercise, and then applied to the C-Minor Prelude by Chopin. The appropriate dynamic is also realized.

The second student has to use finger activity while always keeping contact to the key. First we have a conscious exercise, afterwards the sound result is applied to the two-voice Bach invention in C-Major. The phrasing is discussed as well, and the necessary information is given.

In the third lesson the combination of finger activity and armweight is explained. It is used in the Bach Invention in D-Minor. Here, too, the different ways of contact between finger and key for legato and portato playing are demonstrated and applied to the music.

The forth student has to learn completely new kinds of piano touch in the Bach Invention in F-Major. After the finger makes the contact with the key it has to lift, not only because of the staccato, but also in order to achieve a bigger sound for the phrasing. Observing the two-voice polyphony here is as important as in the earlier Inventions.

With the Prelude in E-Minor by Chopin we have a piece in the fifth lesson that, in every respect, is a complete contrast to the Bach Inventions. The chord repetitions of the left hand - the harmonic accompaniment - has to be studied with a specific combination of hand and forearm. The right hand is going to achieve melodic freedom through intensive finger legato. The way of phrasing is also discussed.

The lessons of the first DVD are concluded with the Chopin Prelude in B-Minor. Here, for the first time, the left hand has to master an intensive melodic line, while the right hand is achieving a particular accompaniment with accented repetitions of the upper voice through the use of wrist activity. In conclusion memorization is discussed.

Part II (DVD II)

During the lessons of the first part the exploration of the ways of sound production and piano touch gradually brought about better musical results. In the second part the students are supposed to develop own ideas about the musical interpretation, as a prerequisite for thier personal development. The consciousness of piano touch has to stay present.

In the seventh and eighth lesson the French Suite in C-Minor by Bach is worked on with two students. Both of them have their special musicality, and through that the possibility to develop an individual interpretation. For putting their ideas into practice, meaningful and effective practising is discussed.

Chopin's Nocturne in F-Minor is played in the last session with a student. This piece is suited extremely well to stimulate the musical imagination of the student because of its romantic character and the numerous markings of the composer. On the other hand the consciousness for the pianistic execution still has to become stronger. This is discussed in the lesson.

In conclusion I myself work on the Moment musical in A-Flat Major by Schubert. With my comments I explain the tasks I've set myself. For studying a composition it is of importance to me first to analyze the piece, then to read the score in order to get an idea about the musical content (the way a conductor reads a score), and only afterwards to sit down at the piano and to practise. I'm demonstrating that kind of work in this session.

Hans Leygraf