Nothing Left Behind: Pedagogical Benefits of Studying Piano Repertoire for the Left Hand Brenna R. Green – Jordan College of the Arts – Butler University

The surprisingly vast and stylistically diverse repertoire for left-hand piano provides more pedagogical insight than what is seen on the surface. Because the right hand frequently commands the melodic line, students tend to be less mindful of their left hand, especially in lyrical situations. Consistent integration of intermediate to advanced piano repertoire for the left hand alone is vital to developing a student’s awareness of left-hand technique and melodic projection within highly-controlled parameters. Analysis and discussion follow of the four main categories of left-hand repertoire – anatomy and injury, showmanship, compositional challenge, and technical development, as well as an outline of significant left-hand resources and collections for teachers to create their own approach.

Anatomy and Injury Often as a result of a melodic/pianistic focus on the right hand, the left hand unfortunately goes on autopilot; however, the left hand actually lends itself well to melodic and harmonic roles in left-hand writing. In these parameters, the smaller fingers are mostly relegated to harmonic accompaniment, while the pointer finger and the thumb are assigned melodic lines. The composer and virtuoso pianist Leopold Godowsky (1870-1938), often dubbed “the Apostle of the Left Hand,” strongly advocated the possibilities of the left hand:

In its application to piano playing the left hand has many advantages over the right hand ... it is a fallacy to deem the left hand less adaptable to training than the right hand. The left hand is favored by nature in having the stronger part of the hand for the upper voice of all double notes and chords and also by generally having the strongest fingers for the strongest parts of a melody… the left hand … has the incontestable advantage of enabling the player to produce with less effort and more elasticity a fuller and mellower tone, superior in quantity and quality to that of the right hand.i

As Godowsky notes, the thumb – the stronger part of the hand – has a natural tendency to project tone due to its inherent strength. With care, the thumb’s vertical movement can produce a rich tone quality, as affirmed by pianist and pedagogue Josef Lhevinne (1874-1944).ii Additionally, the composer York Bowen (1884-1961) described how an impulse of arm weight could support the thumb when projecting lyrical material.iii

While the thumb has latent power suitable for left-hand pieces, this finger often is untrained in younger pianists and can be unruly due to its position outside of the hand. When the fingers flex or move, the thumb also tends to flex. Nonetheless, the role of the thumb in most piano textures calls for an entirely different muscular function from other fingers, because inner voices (alto, tenor, or accompaniment textures) are generally more understated. It is essential for students to learn how to use the thumb to its advantage before they attempt to make it a supporting member. Pedagogue Thomas Fielden (1883-1974) wrote that the thumb should always operate from where it joins the wrist, and this is bolstered by pianist Irene Glasford’s observation that the thumb can act “as a lever within the pinpoint axis of the undulating, free- swinging, and rotational wrist.” Furthermore, to avoid the beginners’ tendency of producing a clumsy tone, Figure 1. Cast of Chopin's left hand. Nihil novi, Public pedagogue Beryl Rubenstein (1898-1952) wrote that domain via Wikimedia Commons the wrist should never be lowered so that the thumb can maintain the lightness and control of the other digits.iv

Common characteristics of piano study may lead to neglect of left-hand strength and development, particularly if repetitive accompaniments are frequently encountered. There are several methods to bolster left-hand technique. Here, the phenomenon of bilateral transfer may be applied, as described by researchers Burnsed and Humphries – “the ability to learn a particular skill more easily with one hand or foot after the skill has been learned with the opposite hand or foot.” The same authors compare this with another study: two-hand coordination “… interference in a limb, which includes both inhibition and facilitation effects, is directly proportional to the intensity of activity involved in the process controlling the contra lateral limb.”v In a pianist’s terms, the more training and agility in the right hand may inhibit the training and agility in the left.

Even the role of left-handedness in performance may not be enough to allow skill to develop in the left hand under traditional instruction. Since the left hand alone is well-suited to pianistic techniques, pianists who experience injury or disability in their right hand often throw themselves into this repertoire, as in the case of the composer Alexander Scriabin, who developed tendonitis in his right hand from strained practice, solacing himself by composing left- hand works. More recently, pianists Leon Fleischer, , and Keith Snell, all affected by focal dystonia, reworked their performing careers using left-hand repertoire. The list goes on: composer Ludwig Berger suffered a stroke and lost facility of his right hand, performer Harriet Cohen irreversibly damaged her right hand when her drinking glass shattered inexplicably, while pianists Geza Zichy and Paul Wittgenstein both became right-arm amputees; all these musicians catalyzed their losses to focus on either developing and disseminating their own left-hand works or commissioning new repertoire.vi

Showmanship Historically, pianists’ desire to attain evenness between the hands fueled some of the most virtuosic pieces for the left hand. Florid left-hand passages were even more impressive in the age of Liszt, Gottschalk, and others, whose pieces featured excessively decorative passages for the right hand. During the second half of the 19th century and into the 20th, it became common to adapt repertoire pieces or themes from operatic or popular works for left hand.

Some of these are more virtuosic than others, such as Leopold Godowsky’s transcriptions of the landmark Chopin Etudes. These Etudes, seldom attempted by most pianists, are staggering technical displays. Godowsky published a manifesto with these Etude paraphrases, outlining his purpose “to develop the mechanical, technical, and musical possibilities of pianoforte playing, to expand the peculiarly adapted nature of the instrument to polyphonic, polyrhythmic and polydynamic work, and to widen the range of its possibilities in tone coloring.”vii

Another virtuoso in the circle of left- handed pianists, Paul Wittgenstein (1887- 1961) was a prolific commissioner and Figure 2. Paul Wittgenstein. By Unknown author - BFMI, CC BY transcriber of left-hand work. After he became 3.0 nl, a right-arm amputee, he focused on https://commons.wikimedia.org/w/index.php?curid=15859063 recapturing the repertory he was once able to execute – his style, aided by his advanced pedaling technique, had the effect of one hand accompanying itself.viii His School for the Left Hand includes transcriptions of Bach, including the famous Prelude No. 1 in C, which is a worthwhile study of voicing, polyphonic playing and finger pedaling.ix Composition As Theodore Edel noted in his 1994 compendium, over a thousand compositions exist for the left hand alone.x However, recent tallies from online databases dedicated to left-hand piano works project a number closer to 6,000.xi Many composers pursue this genre as it poses a unique challenge of harmony and demands the utmost limits of a single hand. Pianist Raymond Lewenthal epitomized the need for pieces meant for the left hand: “One of the surest ways to develop left-hand technique is by playing pieces written for it alone, because they allow complete scrutiny of the left hand uncamouflaged by right-hand activity—putting the left hand under a microscope, so to speak.”xii

In view of this extensive repertoire, it comes as a surprise that there does not seem to be a specific method book approach for the left hand, although there are many left-hand etudes available. Teachers may want to seek out left-hand pieces published in collections, particularly by composers who were prolific in the single-hand genre, rather than using a piece composed as a curiosity. For an example of a collection, Stephan Beneking, a prolific, neoclassical composer from Berlin, has published a collection of 24 “Valses melancholiques,” 12 of which are for the left hand, all suitable for the early advanced student. A chart outlining this and other recommended collections can be seen below in Table 1.

Table 1. Comparison of left-hand collections Many “schools” for the left hand have been written, but not all are for one hand only; for example, Czerny’s School for the Left Hand does not fit directly into the single-hand repertoire, as chords in the right hand occur throughout. Collections such as these, however, can serve as a springboard into hand independence, lending themselves well to single-hand pattern and voicing studies. The Etudes by Danish composer Ludvig Birkedal-Barfod (1850-1937) provide a particularly good starting point for left-hand etudes, as the collection is comprised of shorter pieces with interesting melody and rhythmic contrasts. Additionally, the Fand Left-Hand Piano Album: Contemporary Pieces for the Left Hand Alone features intriguing and well-written miniatures by various modern composers. For the musically-mature student who is new to left- hand repertoire, “Links” by the ambient music composer Roger Eno is a minimalistic but harmonically interesting piece, written across a single staff. “The Forgotten Temple" by Gary Higginson, another work in the Fand Album, will be appealing to the imaginative student at the late intermediate level, due to its expansive dynamics, unusual character, and use of mixed meter.

In light of these collections, categories can be organized by skill level to showcase a few worthwhile, stand-alone left-hand pieces. While this list is by no means comprehensive, it provides a steppingstone for those unfamiliar with left-hand territory. Jennifer Eklund's many compositions for the left hand, published by Piano Pronto, range from early beginner to intermediate levels, some featuring a teacher accompaniment -- a recommended piece is Out of the Fog. Nocturne for the Left Hand by Catherine Rollin, as well as Leftover Calypso by Judith Maggs, work well as an introduction to left hand works for the intermediate student, being written across the grand staff and with frequent changes of hand position. For a more advanced student, York Bowen’s Nocturne from his Curiosity Suite, Op. 42 has comfortable writing for the left hand with interesting harmony. Alexander Scriabin’s Prelude and Nocturne from Op. 9 may be considered as the culmination of study for a student (unless the student has a desire to continue with the more difficult repertoire of concerti); both are written idiomatically for the left hand, differently exploiting interesting textures without seeming thin or stagnant.

Technical Development It would be beneficial for the teacher to develop a methodological approach/list for the student in question before assigning a left-hand repertoire piece. Several assessments should be made when introducing young pianists to the study of left-hand repertoire. First, if the student encounters consistent difficulty reading in the bass clef, it may be best to focus on the left hand only. The teacher might assign pieces with chords in the right hand and the melody in the left, then transition to the left hand alone (playing first just in the bass clef, then in both clefs). When sole focus is given to coordination of left-hand fingers, more dexterity and strength will develop. Additionally, if finger coordination proves too difficult at the outset, the student can use both hands, later relearning the piece with the left hand. This will restart the muscle and visual memory while reviewing aural memory, providing a useful memory experience of learning a piece in multiple ways. Of course, the all-important compositional considerations should be borne in mind. If a piece is not idiomatic, it likely will be unhelpful to the developing student.

Considerations for what constitutes an instructive left-hand piece are manifold. Initial determinations should include: 1) whether the piece is physically and musically suited to the student, 2) if the melody and harmony are idiomatic, 3) whether the pedaling intent is clear, 4) and if the texture develops a certain technique or rhythm skill. Due to the nature of left-hand piano writing, careful and precise pedaling is necessary to obtain a clear sound and mimic traditional two-hand textures. This calls for attentive listening on the part of the student, in addition to providing a situation to discuss flutter pedaling and other nuances of pedaling with the fingers.

If a suitable piece cannot be located for a particular student, teachers are encouraged to transcribe an appropriate two-hand work. This can be further tailored to the student’s needs and handspan to ensure a more successful outcome. John W. Schaum’s left-hand transcriptions, including one of the Chopin B minor Prelude, are a helpful guide for this approach. Additionally, transcriptions can be made from pieces for other instruments – cello pieces work especially well due to their wide range. ’ own left-hand piano transcription of the famous Violin Chaconne in D minor by J.S. Bach serves as a virtuosic example. Upon playing this transcription, Clara Schumann wrote in a letter to Brahms: “The similar difficulties, the type of technique, the arpeggios, they all combine – to make me feel like a violinist!”xiii Below is an excerpt from an arrangement of the first Gavotte from Bach’s Cello Suite No. 6, transcribed for the left hand as faithfully as possible from the original score.

Figure 3. An excerpt of the Gavotte from Bach's Cello Suite No. 6, transcribed by K. Mechling. Full score included in handout, shared with arranger’s permission.

Another approach to transcription considers whether the student already plays another instrument in addition to piano. If the student is familiar with an instrument that will translate well to left hand, the teacher may create arrangement of a non-piano piece they already know. The musical connection that is already present will provoke greater listening so the student can achieve what they are accustomed to hearing.

An additional source for left-hand material can be found in select art songs, assigning the voice part to the left-hand. This is in the same spirit as the virtuosic transcriptions of the 19th century, yet proves to be much more manageable for the student. The teacher may play the original accompaniment as a duet with the student, registers to accommodate, or on a second piano. One benefit to this approach is that students are introduced to a repertory with which they may not have familiarity. As shown in Figure 4, Schubert’s lied, “An die Musik,” features a straightforward accompaniment texture that lends itself well to a duet part as well as a melodic span that students can easily reach with one hand.

Figure 4. An excerpt from Schubert’s “An die Musik,” showing the suitability of the melodic line for the left hand. Public domain, Peters edition, p. 236.

Due to the geographically-scattered nature of many advanced left-hand pieces, adaptive considerations may be employed. Especially if the student has a smaller reach, the teacher may spend additional time discussing gestural movement, since every motion of the arm, hand, wrist, and fingers will come to bear in left-hand works. Representations of gestural movements, such as drop lifts, arcs, or ovals, can be notated directly in the score or on a separate “gestural map.”xiv An example of gestural mapping is shown below in Figure 5. Even if finger numbers are provided for a difficult passage, the inferred movement needed to execute a passage may be unclear to the student. Once notes are grouped into larger gestures and the movement is sketched into the score, the wide leaps and meandering arpeggios common to left-hand writing are more attainable.

Figure 5. An excerpt from Scriabin's Nocturne for the Left Hand Op. 9, with gestural shaping diagrams.

When explaining the context of one of his left-hand pieces, the Polish composer Avi Schönfeld struck upon the core substance of this unique repertoire: “Piano played by the left hand alone is another kind of instrument, which has its own language, its own dialects, and even its own kind of harmony and technique.” A commitment to teaching left-hand repertoire has intrinsic benefits and potential for technical development. All this is not to say that left-hand repertoire is just one large preparatory step to achieving left-hand agility and confidence. While that is certainly a goal, students will most importantly be able to apply their experience of voicing, fingering, and projecting the melodic line. A detailed, regular study of left-hand pieces beyond the standard two-handed fare will propel the student’s awareness of concepts and technique while offering musical variety and revitalization.

Score Suite for Cello Solo No. 6 in D, BWV 1012: Gavotte I-II for the left-hand J. S. Bach Kameron Zebadiah Mechling Gavotte I. # # c œ Piano & œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ (Left Hand) œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? # c J œ ‰ œ œ œ œ. ‰ œ œ # œ œ J J ° * ° 5 # & # œ œ œ œ œ œ œ ∑ ∑ ∑ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? # œ œ œ œ œ œ œ œ ˙ . # œ œ œ ˙ . ‰ J J ° ° 10 poco rall. # & # . œ œ œ œ œ œ œ œ œ œ œ gœ gœ #œ œ œ œ œ œ #œ œ œ œ œ œ g g j œ œ œ g g œ œ g g ? # œ œ œ œ œ œ œ œ œ gœ gœ # . ‰ œ œ Œ Œ ‰ œ œ Œ œ Œ gœ gœ J Ped.J sim. ° * * ° 15 # U # ∑ 9 c & gœ œ œ œ œ œ 8 œ œ œ œ œ œ œ g œ œ œ ˙ œ œ œ œ œ œ g j U œ œ œ gœ #œ œ œ œ j ? # œ gœ Œ Ó 9 œ œ c ˙ œ œ œ Œ Œ ‰ œ # œ g 8 œ ˙ œ œ # œ œ œ

20 ## œ & œ œ œ œ œ œ. œ ˙ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ## œ Œ Ó ∑ ‰ œ œ ‰ œ œ ˙ œ ‰ œ œ œ J œ œ œ J J

26 ## & œ œ œ œ œ œ œ œ œ œ œ œ œ œ ∑ . œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ œ œ Uœ. ? # œ j œ œ j œ. 3 # œ Œ œ. œ œ Œ Ó œ . 4 œ œ œ

Handout 1. Shared with permission of the arranger

Suite for Cello Solo No. 6 in D, 2 BWV 1012: Gavotte I-II

Gavotte II. 31 œ œ œ œ œ œ œ œ œ ˙ œ œ œ œ œ. œ œ œ œ œ ? ## 43 . œ c œ œ. œ 45 œ œ œ 4 œ œ c ˙ . œ œ œ ° * ° * Ped. sim. ° *

36 œ œ œ œ œ ˙ œ œ œ ? # œ œ œ œ œ nœ œ œ œ˙ œ œ œ œ œ œ 3 œ œ # . œ œ œ œ œ . œ œ œ 4 œ œ c

42 . œ œ œ œ œ œ ˙ œ œ œ ? # œ œ œ œ 5 œ œ œ œ œ œ œ œ # c œ. œ 4 œ œ œ œ c œ ˙ ˙ œ œ œ

46 œ œ œ œ œ œ œ œ œ œ œ j œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ? ## œ œ œ œ œ œ ˙ ˙ w

50 œ œ œ œœ œ œ œ œœ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ œ ˙ ? ## œ œ œ œ œ œ ˙ ˙ ˙ 43

54 œ œ œ œ. œ œ œ œ œ œ œ œ ˙ ? # 3 œ œ œ œ œ 5 œ œ œ œ œ œ # 4 œ c . œ 4 œ œ œ œ c ˙ . œ œ œ Gavotte I. da Capo.

Handout 2. Shared with permission of the arranger

REFERENCES i Emma Scanlon. “Pianism Reimagined: An Analytical Inquiry of Left-hand Piano Through the Career and Commissions of Paul Wittgenstein” (PhD thesis, National University of Ireland Maynooth, 2017), 10. ii Josef Lhevinne, Basic Principles of Pianoforte Playing (Philadelphia: Theodore Presser Co.), 19. iii Terry McRoberts, “The Use of the Thumb in Piano Playing” (D.A. diss., Ball State University, 1984), 102-3. iv Ibid, 100-1. v C. Vernon Burnsed and Scott Humphries, “The Effects of Reversing the Roles of the Hands on the Development of Piano Performance Skills: A Preliminary Investigation,” Psychology of Music 26, no. 1 (1998): 90. vi Theodore Edel, Piano Music for One Hand (Bloomington: Indiana University Press, 1994), 5. vii Ibid, 8. viii Georg Predota, “Paul Wittgenstein’s Voice and ’s Music: Discovering the Musical Dialogue Between Composer and Performer,” Fontes Artis Musicae 61, no. 2 (2014): 128. ix Won-Young Kong, “Paul Wittgenstein's Transcriptions for Left Hand: Pianistic Techniques and Performance Problems, a Lecture Recital, Together with Three Recitals of Selected Works of R. Schumann, S. Prokofiev, F. Liszt, M. Ravel, and F. Chopin.” D.M.A. diss., University of North Texas, August, 1999, 36. x Edel, Piano Music for One Hand, vii. xi Scott Matthew Noriega, “Defining the Left-Hand Piano As ‘Another Kind of Instrument’ In the Music of Leopold Godowsky and ,” (PhD diss., Rutgers University, 2020), 13. xii Noriega, “Defining the Left-Hand Piano As ‘Another Kind of Instrument’ In the Music of Leopold Godowsky and Franz Schmidt,” 16. xiii Scanlon, “Pianism Reimagined: An Analytical Inquiry of Left-hand Piano Through the Career and Commissions of Paul Wittgenstein,” 12. xiv Lora Deahl and Brenda Wristen, Adaptive Strategies for Small-Handed Pianists (: Oxford University Press, 2017), 229.