Optimize Your Piano Practice Time

The Art of Piano Performance

Practice Tips for Developing a Solid Technique in Piano Performance

Practicing is both an art and a science. Every student of piano performance must remember that their achievement on the instrument will be the direct result of the amount of time and the quality of their practicing.

The art and science of practicing is not just time spent at the instrument but time spent listening to the music the student is working on, studying and understanding the harmonic analysis of the music as well as researching the time period and technical characteristics of the composer of the piece you are working on.

In addition to this, it is advisable for the student to prepare a weekly plan outlining the time spent on specific techniques, repertoire, sight-reading and review of old or previously learned repertoire.


The purpose of technique is to serve the pianist’s imagination and realize his/her interpretive ideas…

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Toccata BWV 915 by Johann Sebastian Bach

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Toccata BWV 915

The toccata an extensive piece intended primarily as a display of manual dexterity written for keyboard instruments reached its apex with Johann Sebastian Bach in the eighteenth century. Johann Sebastian Bach’s seven Toccatas incorporate rapid runs and arpeggios alternating with chordal passages, slow adagios and at least one or sometimes two fugues. The Toccatas have an improvisational feel to them analogous to the fantasia. Unlike the Well Tempered Clavier, English suites, French suites and other sets, Bach himself did not arrange them into a collection. When JS Bach left Weimar the Toccata at that time was out of fashion. They became in vogue again after his death and were organized into a collection. The g minor Toccata is one of the more obscure of the toccatas and has rarely been performed partially due to the extensive second fugue with its many thorny passages of the contrasting gigue rhythm. However, this Toccata has many fascinating effects. It is one of the only pieces by JS Bach that has dynamic markings of piano and forte.

The g minor Toccata opens with a flourish, which leads into an expressive adagio with an improvisational feel. The adagio is interrupted by a lively allegro in the relative major key of Bb which includes concerto-ritornello passages of imitation and solo/tutti passages. A deceptive cadence leads back into the adagio where it was interrupted and then closes the adagio with a perfect authentic cadence in Bb major. This aspect provides a unity to the different movements of the Toccata. The other striking example of unity between movements is the beginning flourish repeated at the end of the second fugue, which leads into a formal closing of the work.

The extended fugue in a gigue has a subject of an ascending sequence combined with a countersubject of driving triplets. The subject of the fugue has twelve expository entries followed by eleven entries. There are inversions, permutations, combinations of minor with major, which is varied by modulating to the subdominant, then to Eb major and then back to the g minor tonic. The vivacious counter subject of driving triplets provides a symmetrical balance.

To learn more about Fugues please read my other Hub: The Art of Fugue


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The Art of Fugue

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In order to analyze, appreciate and comprehend the musical form called fugue, one must first know the various elements that comprise a fugue.

Every fugue has its own individual characteristic, which display a full range of human emotions. From peacefulness and tranquility to anguish and despair. JS Bach used rhythms, motives as well as melodies and harmonic movement to capture all of these human emotions. Bach used the temperaments of the different keys to establish the mood of each prelude and fugue. These same tonalities are also clearly defined in his choral works as well. Bach was acutely aware of symbolism in art and religion and used it extensively in his works and was well aware of the subtle subliminal effect it has on the listener in addition to the harmonic progressions, melodic intervals, rhythmic motives and patterns.

Bach very adept in the understanding of numerical symbolism, used numerical codes in all of his music which had a profound effect on the listener as well.

For example in the prelude in c minor from book I, of the Well Tempered Clavier, for the first thirteen bars there are subtle changes. The first note of the first and third groups are the highest and the first note of the second and fourth groups go below the mordent. At bar 14 there is a change. the melodic notes are now above the mordent.

The number fourteen was a very symbolic number for Bach. It represents his name B-2, A-1, C-3, H-8 which equals fourteen. This was Bach way of identifying himself in the music. Sometimes he did this by having fourteen notes in a motive.

Although each fugue and prelude has its own characteristic based on the melody, rhythm and harmonic progression there are particular attributes that are common in all fugues. Each fugue will have one or several of these common attributes.

• subject-the main theme announced at the beginning of the fugue and recurring throughout the fugue.

• answer-the first entry of the second voice

• codetta-a short connecting passage between the subjects/answers

• countersubject-a secondary theme with which the first voice may accompany the second voice and recurs along with other subjects and answers

• exposition-first section of a fugue during which all the voices enter either with the subject or the answer

• episode-a passage between entries of the subject and answer often occurring with a modulation

• subsidiary subject-second or third subject introduced and also capable of being combined with the main subject

• inversion-turning a melody upside down so all existing intervals are replaced by similar intervals

• interchange-the displacement of two or more melodic lines so the lower part becomes an upper part or an upper part becomes becomes a lower part

• augmentation-altering the subjects rhythm so the subject is double the length of the original subject

• diminution-altering the subjects rhythm so the subject is half the length of the original subject

• stretto-overlapping of two or more entries of subject or answer

• coda-a passage bringing a conclusion to the fugue

With the advance of tempered tuning, JS Bach was able to compose in multiple keys, which previously had not been used. For the keyboard player of his day this meant one would need to develop greater dexterity and technique to perform works in these new keys with five, six, or seven sharps. JS Bach advanced to form of the Fugue to the highest level, from ‘The Well Tempered Clavier’ The Toccatas and Partitas and with his latest unfinished masterpiece: ‘The Art of Fugue’

Johann Sebastian Bach


Piano Lessons in Boca Raton

Piano Performance in Boca Raton
Piano Performance in Boca Raton

The Art of Piano Performance


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‘St Francois de Paule marchant sur le Flots’ Franz Liszt

‘Among the numerous miracles of St. Francis of Paola, the legend celebrates that which he performed in crossing the Straits of Messina. The boatmen refused to burden their barque with such an insignificant looking person, but he paying no attention to this, walked across the sea with a firm tread’…Franz Liszt

The story is beautifully captured in Liszt’s music. The calm strength of the opening hymn-like music is throughout the piece pitted against the roaring and crashing of the waves (represented by rushing scales and tremolos), finally emerging victorious in a glorious fortissimo restatement at the end of the piece.

Beethoven’s Tempest

Ludwig van Beethoven’s Seventeenth Piano Sonata
The Tempest
In 1800-1802 Ludwig van Beethoven experienced devastating internal turmoil in trying to come to terms with his hearing loss. To the outside world, his life seemed to be ideal, with his success as a virtuoso pianist and as a successful, sought after composer in Vienna. He gradually began to withdraw from society and friends, however, as he felt it would be detrimental to his successful career as a musician if people found out he was going deaf. People felt he was being misanthropic, yet it was quite the opposite. Beethoven lived in a great deal of solitude and loneliness due to his impending and eventual complete deafness, which would eventually have a profound effect on his spiritual and creative growth as a composer and a musician. The years of 1800-1802 were a transformative period in Beethoven’s life, and marked the beginning of his second stylistic period. As Beethoven’s outer hearing deteriorated, his inner hearing continued to grow.
Beethoven sought treatment in the village of Heilgenstadt in the late spring of 1802 until October of that year. Full of despair over the unsuccessful treatment, he considered ending his life. In a famous letter known as the Heilgenstadt Testament written to his brothers, he wrote “Thanks…to my art I did not end my life by suicide.”
Over and over in Beethoven’s music themes of victory over tragedy abound. In the internal struggle he faced, although his music showed the greatest despair and sorrow, it always transcended into triumphant victory. With that same inner struggle, Beethoven learned to transcend deafness and still be victorious in creating greater and greater masterpieces. During the late 1790s, Beethoven’s music began to show changes, as well as enlargement of form. After the Heilgenstadt Testament, Beethoven expressed dissatisfaction with his compositions and according to Czerny was “determined to take a new path.” [1] The changes included strong links between sonata movements, intensified drama, harmonic instability, motivic elements affecting the larger form, twelve measure structures, registral gaps, recitative and pedal effects.
Beethoven’s “Tempest” Sonata no. 17 Opus 31 No. 2, written in the somber key of d minor, is reminiscent of a violent storm with periods of calm and peacefulness. This Sonata is based on three different motives, which are then developed and used in different variations throughout the entire first movement, and continue throughout the entire sonata. The Sonata begins with a slow rolling arpeggio marked Largo on a dominant chord of A Major. This ascending arpeggio is the basic idea and the antecedent phrase of the exposition. This arpeggio is the dominant motive of this entire Sonata with an arpeggiated chord beginning the second movement and arpeggiated chords dominating the third movement as well.
Beethoven inner turmoil is clearly exposed in the tumultuous first movement, as well as the striving for inner peace in the impressionistic recitatives. The strong links between sonata movements is shown again as Beethoven uses the idea of the recitatives for the lugubrious second movement. Although the adagio illuminates the composer’s feelings of despair, at the same time shows transcendent spiritual growth with the beautiful lyricism in the second theme group of the Adagio.
Beethoven pushes the boundaries of harmonic instability by delaying resolution in the sonata to the very end of the finale. Beethoven has used the sonata form to support his creative demands instead of him conforming to the sonata form. It is as though the first movement is an introduction and transition for the upcoming finale which will take up in d minor where the first movement left off with the rolling arpeggios on the d minor tonic.
The finale gives way to a feeling of equilibrium with the principal motive of the arpeggio fading away on the d minor tonic. It is in the magnificent finale of the “Tempest” sonata where Beethoven shows victory over the funereal overtones of the Adagio which could be interpreted as a spiritual death and rebirth.
This sonata could be interpreted as Beethoven beginning to come to terms with his impending eventual deafness. The anguish and despair of the Adagio, the rage of the stormy moments of the first movement, contrasting with moments of calmness with inserted recitatives, the ferocious cadences and rhythms of the finale were his way of expressing how he felt about this affliction of deafness while writing the most extraordinary music and not being able to hear it.
Beethoven would live most of his life in a great deal of loneliness and despair with most of his life devoted to the development of his art and creativity. As this sonata was written towards the beginning of his second stylistic period many masterpieces would follow the “Tempest” sonata.

[1] Timothy Jones, BEETHOVEN The “Moonlight” and other Sonatas, Op 27 and Op 31, p. 15
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Kossuth-A Symphonic Poem

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Bartok’s Kossuth, A Symphonic Tone Poem
Kossuth, a symphonic poem written by Béla Bartók in 1903, was written in honor of the Hungarian politician Lajos Kossuth, a hero of the Hungarian Revolution of 1848. Bartók’s symphonic poem music tells the story of Kossuth, starting with a portrait of him, recounting the revolution and in the eight movements paints a picture of the Austrians approaching by using a minor key parody of the Austrian National Anthem, the ensuing battle and defeat of the Hungarians.
The music of Richard Strauss had a strong influence on Bartók, in particular his symphonic poem Ein Heldenleben, which literally means a heroic life or a hero’s life. Ein Heldenleben movements are as follows:
1. Der Held (The Hero)
2. Des Helden Widersacher (The Hero’s Adversaries)
3. Des Helden Gefährtin (The Hero’s Companion)
4. Des Helden Walstatt (The Hero at Battle)
5. Des Helden Friedenswerke (The Hero’s Works of Peace)
6. Des Helden Weltflucht und Vollendung (The Hero’s Retirement from this World and Consummation)
Throughout Ein Heldenleben, Strauss employs the technique of leitmotif that Richard Wagner used so liberally, but most always as elements of its enlarged sonata-rondo symphonic structure. With the influence of Strauss in addition to Bartok’s strong nationalistic feeling towards Hungary Bartok later wrote in his autobiography “…It was worth while creating something specifically Hungarian in music.” [i]
Lasting around twenty minutes, Kossuth is in ten movements, as follows:
1. Kossuth
2. What sorrow weighs on your soul, dear husband? (Kossuth’s wife)
3. The fatherland is in danger
4. Once we lived better days
5. But our plight grew worse
6. To battle
7. Come forth, ye Magyar heroes of true valor
8. …(Theme of the Austrian army slowly approaching)
9. All is over
10. A hopeless silence reigns
The Kossuth premiered in Budapest January 13, 1904 and created a sensation at its Budapest premiere. Bartók’s own program notes for the piece were as follows:
The year 1848 is one of the most eventful in Hungarian history. It was the year of the Hungarian revolt-a life and death struggle of the nation for freedom. The leader, the heart and soul of this struggle, was Lajos (Louis) Kossuth. As Austria saw, in 1849, that the war was going against her, she concluded an alliance with Russia. A crushing blow was inflicted upon the Hungarian Army, and the hope of an independent Hungarian kingdom was shattered-apparently forever. These events serve as the basis for the symphonic poem. [ii]

The Kossuth funeral march is Bartók’s piano transcription of the ninth and tenth movements of the symphonic poem. Bartók indicated in his program notes that “the thematic material beginning in bar 23: is a direct borrowing of the theme of Liszt’s Hungarian Rhapsody No. 2.” [iii]
The Hungarian Gypsy Scale is a name given by different authorities to two different scale forms. The more commonly used of these scales is the fourth mode of the Double Harmonic Scale, it can be formulated by sharpening the 4th degree of the harmonic minor scale to introduce an augmented second.

Scale in Corresponding key of Kossuth:
A: A B C D# E F G# or A B C D# E F G
The thematic material or Leitmotif of Kossuth is derived from the Hungarian Scale and reappears with different variations and represents both Kossuth as well as the concept of Magyar nationalism. Dance rhythms called verbunkos are hybrids of original musical materials, which are derived from diverse ethnic sources, which originated in the seventeenth century and developed into the nineteenth century Viennese classicism described as style hongrois. Verbunkos are regarded as the ‘soul’ of Hungarian/Magyar Music and contribute to the strong Hungarian nationalistic feel of the Kossuth Symphonic Poem. These rhythms include long-short-short-long choriambus, an accented short-long ‘Scotch Snap’ as well as Kuric fourths, which use a rhythmic rebound between the dominant drone and the tonic in the upper voices.
Kossuth Funeral March has an ABA1 form in a minor. An introduction leads into the A section. The Kossuth Leitmotif comes in and is played over the somber double dotted funereal rhythm along with the short short long rhythm of the style hongrois. An ascending sequence with a melodic variation, which is derived from Liszt’s Hungarian Rhapsody No. 2, is the B section. The concluding A section is a coda, which uses a similar chord progression of the introduction.
Bartók continued to collect, study and do extensive research on Hungarian folk tunes as well as other countries such as Romania, Transylvania and North Africa. His compositions often reflected his research, and Bartók managed to develop a style that was uniquely his own, which was a combination of his ethnomusicology research of folk tunes and rhythms, a virtuosic and percussive technique, which he managed to skillfully incorporate along with the training he received at the Budapest Conservatory. Bartók eventually migrated to New York City in the USA, sadly due to political turmoil of the time, and struggled to earn a meager living with his ethnomusicology research, piano performances, concerts and compositions. His deep respect of humanity life and nature will always be admired. Although, his music received more praise posthumously, Bèla Bartók’s music continues to educate inspire and delight music lovers worldwide.

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[i] BÉLA BARTÓK, Lajos Lesznai, 1961, Great Britain J.M. Dent & Sons Ltd Aldine House, p. 28
[ii] Béla Bartók, Piano Music of Béla Bartók, The Archive Edition, Edited by Dr. Benjamin Suchoff
[iii] Béla Bartók, Piano Music of Béla Bartók, The Archive Edition, Edited by Dr. Benjamin Suchoff