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A PEDAGOGICAL GUIDE to EXTENDED PIANO TECHNIQUES a Mono A PEDAGOGICAL GUIDE TO EXTENDED PIANO TECHNIQUES ________________________________________________________________________ A Monograph Submitted to the Temple University Graduate Board ________________________________________________________________________ In Partial Fulfillment Of the Requirements for the Degree of DOCTOR OF MUSICAL ARTS ________________________________________________________________________ by Jean-François Proulx May, 2009 © Copyright 2009 by Jean-François Proulx ii ABSTRACT A PEDAGOGICAL GUIDE TO EXTENDED PIANO TECHNIQUES Jean-François Proulx Doctor of Musical Arts Temple University, 2009 Doctoral Advisory Committee Chair: Charles Abramovic Extended piano techniques, which mainly involve playing directly on the internal components of the piano, emerged early in the twentieth century, mainly in the United States. Henry Cowell (1897-1965) explored some of these techniques in short piano pieces such as The Tides of Manaunaun (1917; clusters) The Banshee (1925; glissando, pizzicato) and Sinister Resonance (1930; mute, harmonic). Several contemporary composers followed this path. Notably, George Crumb’s (b. 1929) mature works combine conventional techniques with an unprecedented variety of extended techniques, including vocal and percussive effects. Although extended techniques are no longer a novelty, most pianists are still unfamiliar with them. Extended piano works are rarely performed or taught. This situation is regrettable considering the quality of these compositions, and the great potential of extended techniques to expand the piano’s coloristic resources. A Pedagogical Guide to Extended Piano Techniques is designed to help pianists learn this idiom and achieve fluency. Teachers may also find it useful in planning courses at the undergraduate college level. Chapters 1 and 2 provide general information such as the development and classification of unconventional techniques, and the construction of the grand piano. Chapters 3, 4 and 5 form the core of the monograph. They contain practical exercises, composed by the author, presented in a progressive order and accompanied by detailed instructions explaining how to execute and practice each technique. iii From a technical point of view, natural string piano techniques—pizzicatos, glissandos, mutes and harmonics—are the basis upon which most other extended techniques are founded. Therefore, this document focuses mainly on mastering these string techniques through the acquisition of two important skills: visual techniques and aural-motor coordination. The following topics are also discussed: use of foreign objects inside the piano, percussive technique, vocal effects, and strategies to integrate various techniques into a unified musical context. Prepared piano techniques are excluded because they do not require the acquisition of performance skills, which form the essence of this monograph. Chapter 6 provides a suggested course schedule to organize the pianist’s study and practice time, and offers practical advice for the preparation of performances involving extended piano techniques. It is hoped that this document will play a positive role in helping pianists gain the knowledge, ability, confidence and enthusiasm to explore and perform extended piano repertoire. iv ACKNOWLEDGEMENTS I would like to offer my sincere thanks to the following people who have greatly contributed their time, energy and support for the successful completion of this project and my academic pursuit. Dr. Charles Abramovic, Dr. Cynthia Folio and Dr. Joyce Lindorff, whose outstanding musicianship and scholarship I admire greatly, and who inspired me by their example. Dr. Christine Anderson, with whom I had the privilege and pleasure to work as a vocal accompanist several years. Professor Harvey Wedeen, who provided me with countless opportunities since I came to Temple University, which helped my development as a musician and as a person. Professor Lambert Orkis, whose musicianship, enthusiasm and professionalism are simply beyond words, and a constant inspiration. Professors Maurice Wright and Richard Broadhead, for their teaching and their support of my endeavors as a composer. Dean Ed Flanagan, for his warm support during my years as a D.M.A. student. Rich Galassini and Cunningham Piano Co., for answering all my questions about pianos. Gerald Levinson, for the information he kindly provided about his compositions. Sandy James, for her friendly help with the amplification equipment at my Final Recital. Manena Contrera, for her continued friendship in the last ten years, and for suggesting the idea on which this monograph is based. Phyllis Rodríguez-Peralta, for her poof-reading and uplifting moral support. v Christopher Cordone, who, while I was working on this demanding project, supported me by being my proof-reader / motivator / chauffeur / chef / accountant / … and much more. My parents, godparents, grand-parents, brother and sister, who gave me unconditional love and support since I was born, and without whom I would not be here today. vi To my mother, Nicole, and my father, Carol, with all my love vii TABLE OF CONTENTS PAGE ABSTRACT .................................................................................................................... iii ACKNOWLEDGEMENTS.................................................................................................v DEDICATION.................................................................................................................. vii LIST OF EXAMPLES..................................................................................................... xiii LIST OF FIGURES ......................................................................................................... xiv LIST OF TABLE ...............................................................................................................xv LIST OF EXERCISES..................................................................................................... xvi CHAPTER 1. INTRODUCTION ..........................................................................................................1 Present Situation ......................................................................................................1 Purpose and Contents of this Monograph ...............................................................2 Pioneers....................................................................................................................4 Special keyboard techniques .......................................................................5 String piano techniques................................................................................7 Prepared piano and modified string techniques...........................................9 Bowed piano techniques ............................................................................11 Percussive, vocal and combined techniques ..............................................12 Conventional techniques............................................................................14 2. PRELIMINARY INFORMATION ..............................................................................15 Components of Grand Pianos ................................................................................15 Casework....................................................................................................16 viii Strung back ................................................................................................19 Strings ........................................................................................................21 Playing mechanism ....................................................................................22 Choosing a Piano for Practicing Extended Techniques.........................................23 Adaptation to different pianos ...................................................................23 String sections............................................................................................25 Primary piano.............................................................................................26 Secondary piano.........................................................................................27 Precautions.............................................................................................................28 Physical injuries.........................................................................................28 Damage to the piano ..................................................................................29 Cleaning .....................................................................................................30 Opposition to use a piano for extended techniques ...................................31 How to Practice the Exercises Contained in this Document..................................32 3. NATURAL STRING PIANO TECHNIQUES.............................................................33 The Pizzicato..........................................................................................................33 Pedaling......................................................................................................34 Position at the piano...................................................................................34 General pizzicato technique.......................................................................35 Moving by half and whole steps ................................................................38 Using different fingers in
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