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Index
DEDICATION
A FOREWORD
THE PIANO AND ITS PLAYER
THE PIANO AND THE ORCHESTRA
THE PIANO AND THE PLAYER
THE PIANIST AND THE COMPOSITION
GENERAL RULES
CORRECT TOUCH AND TECHNIC
THE USE OF THE PEDAL
PLAYING "IN STYLE"
HOW RUBINSTEIN TAUGHT ME TO PLAY
Indispensables in Pianistic Success
I
II
III
IV
V
A FOREWORD
TECHNIQUE
1. GENERAL
2. POSITION OF THE BODY
3. POSITION OF THE HAND
4. POSITION OF THE FINGERS
5. ACTION OF THE WRIST
6. ACTION OF THE ARM
7. STRETCHING
8. THE THUMB
9. THE OTHER FINGERS
10. WEAK FINGERS, ETC.
11. STACCATO
12. LEGATO
13. PRECISION
14. PIANO TOUCH vs. ORGAN TOUCH
15. FINGERING
16. THE GLISSANDO
17. OCTAVES
18. REPETITION TECHNIQUE
19. DOUBLE NOTES
THE INSTRUMENT
THE PEDALS
PRACTICE
MARKS AND NOMENCLATURE
ABOUT CERTAIN PIECES AND COMPOSERS
BACH
BEETHOVEN
MENDELSSOHN
CHOPIN
EXERCISES AND STUDIES
POLYRHYTHMS
PHRASING
RUBATO
CONCEPTION
FORCE OF EXAMPLE
THEORY
THE MEMORY
SIGHT READING
ACCOMPANYING
TRANSPOSING
PLAYING FOR PEOPLE
ABOUT THE PIANO PER SE
BAD MUSIC
ETHICAL
PITCH AND KINDRED MATTERS
THE STUDENT'S AGE
TEACHERS, LESSONS AND METHODS
MISCELLANEOUS QUESTIONS
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