HANS-GÜNTER HEUMANN
LESSON 61:
CHORDS
On these pages, Pianist covers the most basic stages of learning through a series of lessons by Hans-Günter Heumann. The short exercise below, by Danish composer Ludvig Schytte, concentrates on two- and three-note chords in both hands.
Schytte Melodious Study Op 108 No 25
Start out by practising hands seperately at a very slow tempo, making sure that the notes of each chord, whether in the LH or RH, are played simultaneously. The fingerings should be able to help. The RH part requires a more legato touch.
Félix LE COUPPEY (1811-1887)
No 17 from ABC du piano
TRACK 1
BEGINNER
French music teacher, pianist and composer Félix Le Couppey wrote a series of elementary studies for piano students. This pensive study, from the popular ABC du piano set, is sometimes referred to as ‘Air tendre’ or ‘Melody’. How the ‘Air tendre’ came about, we aren’t sure; but it could be due to the piece’s tender quality.
The key is C major, which means no sharps or flats. However, you will come across the odd accidental when the key briefly changes.
Look at the technical tips on the score.
When you start out, practise hands separately and at a very slow tempo.
Andantino q = 98
Make the melody sing out about the LH accompaniment. Always follow the phrasing and see where the high points arise.
Melanie SPANSWICK
Mountain Stream
TRACK 2
BEGINNER
Notes from the composer: The flowing arpeggios in this little piece inspired its title. Sweeping quaver passages in the first four bars pass between the hands, consisting of dominant seventh note patterns; this is the stream just trickling down the mountain. By bar 5, the arpeggios move insistently around the keyboard, representing the stream in full flow. Whilst the note patterns in the final five bars return to those found at the opening, the dynamics are now more powerful; the stream has found new channels as it roars down the mountain.
Practise and play each bar as one chord – this is a good way to learn note patterns and fingerings. Note that the RH crotchet on the fourth beat in bars 1-4 and 11-13 has a tenuto marking. This note creates the melodic line, so try to ‘lean’ into it as it requires a deeper touch. Also note the tenuto markings on the first quaver beat in the RH part of bars 6, 8, and 10. These markings provide shape to those arpeggio figures. Pedalling is paramount, as it provides resonance. Finally, remember
