AN ESSAY ON THE TRUE ART OF PLAYING KEYBOARD INSTRUMENTS

Do you know anything around C.P.E. Bach (1714-1788)? He was the second surviving boy of J.S. Bach and Maria Barbara Bach. He had graduated with a law degree at the age of 24 before he started working for Fredrick the Great as a harpsichordist. He came to be among the significant clavier players in Europe and also he written pieces for harpsichord and clavichord as well.


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C.P.E. Bach's musical works linked the Baroque and also the Classical periods. Perhaps his greatest achievement, the Essay on the True Art of Playing Keyboard Instruments (Versuch über die wahre Art das Clavier zu spielen), reinserted some old principles through new thoughts that we are still adhering to now. The writing remains the many famous writing of its type.



Some human being described the treatise as a bible for pianists. Haydn explained it as "college of all colleges." I agree with this opinion and also actually, learning even more about this book (unfortunately I haven't review all the chapters) has made me interested in finding even more about piano pedagogy. The treatise has actually 2 parts. Part I concentrated on fingerings, embellishments and performance and component II focused on counterpoints which might be an instruction book for complace. When Part I appeared in 1753, very shortly it ended up being a well known instruction book and many type of teachers and students studied the book. It has been estimated that around 1800, over 1000 duplicates were distributed. This number was high during that time once the majority of world just borrowed and duplicated publications without owning them. Many type of composers, consisting of Beethoven, Mozart, and also Clementi, very recommfinished the book. Beethcooktop adhered to the book very closely as soon as he gave lessons to Czerny.



Correct fingering is established as among the 3 factors upon which the True Art of Playing Keyboard Instruments depends. The others being excellent embellishment and also excellent performance. He also put fingerings as the beginning chapter of the "bible." While the application of thumbs in Rennaissance and also Baroque keyboard playing was rare and inexplicable, C.P.E. Bach asserted thumbs were essential to keyboard playing and also they were the vital to all fingerings. C.P.E Bach complied with Francois Couperin's concept of legato playing. According to the Essay, thumbs are designed to play on the white keys and bereason of that, the thumb dictates position and also our third finger is a black key “pivot”. So when we play scales, we have more finger alternatives playing C significant compared to B significant wright here it has 5 sharps:


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The fingering on B major is our conventional fingering now. While we tfinish to usage typical fingering on playing a c significant scale, the various other fingering choices argued by C.P.E Bach are useful once we play it in various groupings. That being said, C.P.E Bach likewise recommended us to usage fingerings to create musical teams and phrases.


In enhancement to the consumption of thumbs, C.P.E Bach additionally had actually various other imaginative concepts about fingerings. For instance, he said keyboardists use the exact same finger once moving from a babsence crucial to a white vital (Essay, p.73, fig. 61):



C.P.E. Bach's commented on just how to usage our fingers differently on sluggish or quick passperiods. When playing long and also fast repetitive notes prefer trills, C.P.E. Bach sassist using non-nearby fingers are even more reliable.


In the Essay, Bach also said alternating fingers when we have to repeat a note quickly.

Slight transforms of fingers on playing ascfinishing and descfinishing arpeggios are much better than keeping the fingers the very same in both directions.

Using 5-2 &4-1 for double notes of 4th or 6th apart; Alternative 1-4 &1-5 for playing octave passages