This page © 1997 by Kevin Purrone


B. Theodore Leschetizky (this technique may produce tension; approach with care and wisdom)

1. Bree, Malwine. "The Groundwork of the Leschetizky Method." New York: Haskel House Publishers Ltd., 1969

2. Ingredients of the technique


a. Finger touch
b. Hand touch
c. Horizontal and vertical wrist movement
d. Wrist tension and release
d. Horizontal and vertical arm movement


3. Technical Methods of Performing


a. Staccato


1. Strike the Keys from above, don't press down

2. Finger Staccato


1. Raise the finger, then strike the key swiftly and then throw the finger upward


3. Wrist Staccato


a. Curve the finger, them thrown the wrist down and then instantly withdraw the wrist


b. Portamento


1. Press the key slowly, hold it firmly for a moment, and then lift the key by slowly raising the hand and forearm


c. Legato


1. Lift the finger only when the next finger has struck its key
2. Reinforce the finger with wrist pressure
3. The wrist moves upward thus forcing the finger downward for each note [ouch!]
4. Also use a rapid down stroke of the wrist
5. After striking the tone, the wrist returns to its normal position while the finger holds the key lightly


d. Chords


1. Press, don't strike
2. Prepare the fingers in advance
3. Use wrist movement upward or downward
4. With loud chords, raise and lower the arm


e. Voicing


1. Play the important note with a flattened finger [this advice is not for everyone]
2. Bear the wrist down on the finger of the important note


f. Fingerings [GOOD ADVICE HERE]


1. Good fingerings are easy fingerings
2. Fingerings must fit the size and stretch of the hands
3. Loud tones should be played by strong fingers when possible
4. Do not avoid the thumb and 5th fingers on black notes
5. Alternating fingers on repeated notes in a slow tempo is obsolete.


g. Hand and Arm Movements


1. Movements depend on the piece


a. Wide leaps


1. Hand should not describe a curve, but glide on the edge of the keys
2. Use the 5th finger to leap up to a white note
3. Use the 3rd finger to leap up to a black note


b. Wrist


1. Should help execute the phrase
2. Should help support the rhythm


c. Hand


1. Should turn right to left, following the note figurations


d. Arm


1. They are thrown upward by an involuntary reflex movement after striking vigorously

2. All Movements should have freedom and grace


h. Tone


1. Strong, Full tone achieved by wrist pressure [be carefull]
2. Loud playing cannot be achieved by the fingers alone
3. The wrist is not loose
4. Soft passages: press the keys slowly
5. Fluttering passage: use flat fingers
6. To get louder


1. Start with a loose wrist and gradually increase the wrist tension


7. To get softer


1. Start with a tense wrist and gradually decrease the wrist tension


4. General Opinions


1. Practice independence exercises [be carefull with tension]


a. One finger plays while the others hold down notes


2. Practice Scales, double thirds and sixths, and arpeggios

Continue with: Tobias Matthay and the Weight Approach |Home| Clementi| Horowitz| Ortmann| Kochevitsky|