Piano Piano Fundamentals & Technique Flashcards

24 sample cards from the Piano Fundamentals & Technique deck

Sampled from the end of the deck, so these are different cards from the ones shown on the syllabus page.

1. Define staccato, state its notation, and give the rule of thumb for how long a staccato note sounds.

   Staccato means short and detached, notated by a dot placed above or below the notehead. As a rule of thumb the note sounds for about $\frac{1}{2}$ of its written value, with silence filling the rest.

2. Describe the wrist staccato technique.

   The hand bounces quickly from a loose, flexible wrist: a fast down-up motion releases the key immediately after the attack while the forearm stays quiet. It is the standard technique for crisp staccato at moderate to fast speeds.

3. How does staccatissimo differ from staccato, and how is it notated?

   Staccatissimo is even shorter and more detached than staccato — the note sounds roughly $\frac{1}{4}$ of its written value — and it is notated with a small wedge (vertical stroke) above or below the notehead instead of a dot.

4. List the six standard dynamic markings from softest to loudest, with their meanings.

   pp (pianissimo, very soft) < p (piano, soft) < mp (mezzo-piano, moderately soft) < mf (mezzo-forte, moderately loud) < f (forte, loud) < ff (fortissimo, very loud).

5. What is the difference between crescendo and decrescendo (diminuendo), and how are they notated?

   Crescendo means gradually getting louder, shown by a hairpin opening to the right ( < ) or the abbreviation cresc. Decrescendo/diminuendo means gradually getting softer, shown by a hairpin closing to the right ( > ) or dim.

6. What is 'voicing' in piano playing?

   Deliberately playing one line of the texture — usually the melody — louder than the accompanying notes, even when both are played by the same hand (e.g., bringing out the top note of a chord), so the important voice sings above the rest.

7. What single physical variable determines how loud a piano note is, and how does the player control it?

   The velocity of the hammer at impact, which is set by how fast the key is depressed: a faster key descent gives a louder note, a slower descent a softer one. Pressing harder after the note sounds has no effect.

8. What is the 'arm weight' technique of tone production?

   Producing sound by releasing the relaxed weight of the arm into the key through a firm fingertip, rather than by striking with isolated finger force. It yields a fuller, rounder tone with far less muscular effort and tension.

9. Why is constant relaxation (release of tension) essential in piano technique?

   Because sustained muscle tension causes fatigue, limits speed and evenness, produces a harsh tone, and over time can lead to injury (e.g., tendinitis). Muscles should engage only for the instant of the attack and release immediately afterward.

10. How does weight transfer work in legato playing?

    The relaxed arm weight 'rolls' laterally from one fingertip to the next as each new key is played — like walking from foot to foot — so each finger supports the arm in turn and the line stays smooth without pressing or gaps.

11. What is a five-finger pattern (pentascale)? Give the C major example.

    The first five notes of a scale played with fingers $1$–$5$ resting on consecutive keys, one finger per key with no crossing. C major pentascale: C–D–E–F–G.

12. What is the interval pattern (in whole and half steps) of a major five-finger pattern?

    Whole – Whole – Half – Whole (W–W–H–W). Example in C: C$\to$D whole, D$\to$E whole, E$\to$F half, F$\to$G whole.

13. How do you convert a major five-finger pattern into a minor one?

    Lower the third note by a half step, giving the pattern W–H–W–W. Example: C major C–D–E–F–G becomes C minor C–D–E$\flat$–F–G.

14. Who was Hanon, and what is 'The Virtuoso Pianist'?

    Charles-Louis Hanon (1819–1900), a French pedagogue. 'The Virtuoso Pianist in 60 Exercises' is his famous technical book of 60 exercises in three progressive parts, played by both hands an octave apart, designed to build finger strength, independence, agility, and evenness.

15. What is the primary technical purpose of Hanon exercises, and which fingers do they especially target?

    To develop equal strength, independence, and evenness among all fingers — especially the naturally weak 4th and 5th fingers — and to build speed and endurance through repetitive patterns.

16. Describe the recommended way to practice a Hanon exercise.

    Start slowly with a metronome, hands together an octave apart, lifting fingers cleanly and keeping every note perfectly even in tone and rhythm; stay relaxed in the wrist and arm, and only increase the tempo gradually as accuracy is secure.

17. Who was Carl Czerny, and why is he important to piano pedagogy?

    Carl Czerny (1791–1857), an Austrian pianist-composer who was a student of Beethoven and the teacher of Liszt. He wrote hundreds of études that remain core progressive technical repertoire for pianists.

18. Name the standard Czerny study collections in order of difficulty, with opus numbers.

    Op. 599 'Practical Method for Beginners'; Op. 849 '30 Études de Mécanisme'; Op. 299 'The School of Velocity'; Op. 740 'The Art of Finger Dexterity' — progressing from beginner to advanced.

19. Compare Hanon exercises and Czerny studies as technical training.

    Hanon consists of short repetitive patterns aimed at pure mechanics (finger strength, independence, evenness) with little musical content; Czerny wrote genuine études — short musical pieces with melody, harmony, and dynamics — that train specific techniques (scales, arpeggios, velocity) in a musical context.

20. Describe the 'thumb-under' (thumb tuck) technique used in ascending scales.

    While fingers $2$ and $3$ (or $2$–$3$–$4$) play, the thumb passes smoothly under the palm to reach the next key, letting the hand shift position without breaking the legato line — e.g., in a right-hand ascending C major scale the thumb tucks under after finger $3$ to play F. The wrist stays level and the elbow leads slightly.

21. What is the 'finger-crossing' (crossover) technique used when a scale changes direction, e.g., descending in the right hand?

    Finger $3$ or $4$ crosses over the thumb to reach the next key — the mirror of thumb-under. In a descending right-hand C major scale, after the thumb plays F, finger $3$ crosses over it to play E, keeping the line smooth.

22. Give the standard one-octave C major scale fingerings for the right hand and the left hand (ascending).

    Right hand: $1$–$2$–$3$–$1$–$2$–$3$–$4$–$5$ (thumb under after finger 3). Left hand: $5$–$4$–$3$–$2$–$1$–$3$–$2$–$1$ (finger 3 crosses over after the thumb).

23. Why should a new piece first be practiced hands separately?

    Practicing each hand alone lets you master its notes, rhythm, fingering, and articulation without divided attention, building secure, error-free habits; the hands then combine much faster and with fewer mistakes than starting hands together.

24. What is the recommended strategy for putting hands together after hands-separate practice?

    Combine the hands at a very slow tempo in short sections (one or two measures at a time), aligning the two hands vertically on each beat so notes that sound together are played together; repeat each section until secure, then link sections and gradually raise the tempo.

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