Hummel Note
Research notes of composer Hummel
What Hummel wanted to convey —
From “A Comprehensive Treatise on the Theory and Practice of Piano Playing”
Based on the 1828 second edition, I will present Hummel’s own discussions on educational perspectives and performance practices of his time, focusing on aspects other than musical examples and playing techniques.
So then, what kinds of topics are discussed in this “A Comprehensive Treatise on the Theory and Practice of Piano Playing”?
To some extent, this can be anticipated by looking at the table of contents.
J. N. Hummel, “A Comprehensive Treatise on the Theory and Practice of Piano Playing” (1828)
Table of Contents
Volume I: Elementary Instruction
Part Ⅰ
Chapter 1: Sitting at the Piano
Chapter 2: Position of the Body, Arms, Hands, and Fingers
Chapter 3: The Staff and Clefs
Chapter 4: The Keyboard and Notes
Chapter 5: Note Forms, Note Values, and Corresponding Rests
(Preliminary practice examples)
Part II
Chapter 1: Accidentals
Chapter 2: Dots, Ties, and Various Divisions of Notes and Rests
(Examples and finger exercises)
Part III
Chapter 1: Scales, Keys, Key Signatures, and Intervals
Chapter 2: Meter and Tempo
Chapter 3: Conducting / Beating Time
Chapter 4: Repeat Signs and Performance Markings
Chapter 5: Terms Relating to Tempo, Expression, and Dynamics
60 Studies in All Keys
(for the practical application of the rules explained in Volume I)
Appendix
A selection of suitable compositions for the gradual progress of piano study
Volume II
Part I: On Fingering
Chapter 1: Execution of Even Passages with the Same Fingering and Related Exercises
Chapter 2: Thumb Passing and Crossing Over the Thumb (with exercises)
Chapter 3: Omitting One or More Fingers (with exercises)
Chapter 4: Changing Fingers on the Same Note (with exercises)
Chapter 5: Finger Stretching and Leaps (with exercises)
Chapter 6: Use of the Thumb and Fifth Finger on Black Keys (with exercises)
Chapter 7: Passing Long Fingers over Short Ones, or Short Fingers under Long Ones (with exercises)
Chapter 8: Substitution on the Same Key or Playing Consecutive Keys with the Same Finger (with exercises)
Chapter 9: Crossing, Passing Over, and Overlapping of the Hands (with exercises)
Chapter 10: Distribution of Voices and Freedom of Fingering in Legato Playing (with fugue examples)
Part II: On the Performance of Ornaments
Chapter 1: Ornaments and Ornamentation
Chapter 2: The Trill
Chapter 3: The Trill without After-Notes
Chapter 4: The Schneller (rapid ornament)
Chapter 5: The Doppelschlag (often called the mordent)
Chapter 6: Appoggiaturas, Passing Notes, and Other Ornaments
(Preliminary practice examples)
Volume III
Chapter 1: General Principles of Performance
Chapter 2: Fundamental Observations on Beautiful Playing and Expression
Chapter 3: Use of the Pedal
Chapter 4: Proper Treatment of Pianos with German or English Mechanisms
Chapter 5: Advantages and Use of Mälzel’s Metronome
Chapter 6: Tuning the Instrument
Chapter 7: Free Improvisation (Extempore Playing) and Preluding
The 60 studies and the exercises covering all ornaments are original works; however, the musical examples throughout each chapter include works by various composers up to Hummel’s time, as well as Hummel’s own compositions.