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In the following examples l'd like to clarify my statement " Immediacy, challenge to new piano lessons" with just two of all ways of working at the piano.

The examples can be applied to the practising as well as to educational purposes for the demands of teaching beginning students of piano as well as teaching advanced students.

The two examples, presented here, can also be carried out if there is no grand piano, but only an upright piano is available. In the case of example 2, the piano would then have to stand detached from the wall, and the second player could act from behind the piano using a chair.

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Example 1:

To use the pedal in coordination with the sound of the instrument

When you play with the loud pedal on a differenciated way, the reverberation of the strings is experienced, if it is combined with calling and singing into the interior of the piano.

The posture changes, moving to and fro to the choir of strings in a way almost like a dance.

The breath is controlled and guided in accordance with the wave of the body which takes its force from the left foot.

The percussive playing of the wooden parts of the instrument as well as the direct playing of the strings with the hands should be included in the sound-action besides the isolated, particular and impulsive playing of the keys (single note, sound, cluster).

Example 2:

Playing together, at the keys and in the hollow moulding of the piano standing.

In what I call a "dialogic chambermusic", the playing of the first player who is sitting in front of the keyboard is taken up and reciprocally developed by the second player standing in the hollow moulding of the grand piano:

The closed top of the instrument serves as a means of percussive action or as a stage for choreographically structured movements. The percussive actions of the second player (using his hands) is combined with the use of the pedal by the first player and thus transformed into a soundformation of the resonance of the inner box.

The choreography which uses the wide open space of the closed grand piano contrasts with what is played on the keyboard. The action can be enriched by plain voice, singing or by texts of different extension.

© Klaus RUNZE

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