THE PIAN OFORTE: W...the pianoforte. My pupils themselves suggested me, albeit unconsciously, that a new method was to be developed, that would allow anyone to fully and truly understand

THE PIANOFORTE:Study, Performance, Formal and Harmonic Analysis.

SCALES AND ARPEGGIOS, VOLUME 1.

Second edition.

L o r i s C e ro fo l i n i , L o re n zo G i o rg i a n d O rn e l l a C a m pa n i n o.

b y L o r e n z o G i o r g iO F F I C I A L T R A N S L A T I O N

A U T H O R E D B Y

PREV

I EW


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A PROGRESSIVE PIANO COURSE,WITH FINGERED AND ANALYZED SCORES.

A course intended and adapted for piano didactics in al l countries and all musical contexts.

SCALES AND ARPEGGIOS, VOLUME 1.

Second edition.

o f f i c i a l t r a n s l at i o n by L o re n zo G i o rgi .

A u t h o r e d b y

L o r i s C e r o f o l i n i , L o r e n z o G i o r g i , a n d O r n e l l a C a m p a n i n o .



Second edition.Title of the Book Series: The Pianoforte: Study, Performance, Formal and Harmonic analysis.Volume: Scales and Arpeggios, Volume 1.ISBN 978-1976296246© 2017 Copyright L. Cerofolini, L. Giorgi and O. Campanino.Copy forbidden.All translation rights are reserved. Nonetheless, anyone who wishes to translate these books and/or our website in a language other than Italian can contact us by e-mail (please, attach Curriculum Vitæ):[email protected]



TABLE OF CONTENTS.

Introduction ................................................................................................................ VIIOn the thumb passage ...................................................................................................... 1Handbook of scale practice................................................................................................ 3Major scales .................................................................................................................... 9Minor scales .................................................................................................................. 43Arpeggiated perfect chords (i.e. major and minor triads) ....................................................105The Musician's Rosetta Stone ........................................................................................109





INTRODUCTION.

these books Are intended for All those who study this mAgnificent instrument: the pianoforte. My pupils themselves suggested me, albeit unconsciously, that a new method was to be developed, that would allow anyone to fully and truly understand

both the musical language and the technique of pianoforte playing. Their needs were stimuli to me, which prompted me to look for new solutions: I wanted them not only to solve their problems, but also to acquire awareness.

I have noticed that musical (i.e. harmonic and formal) understanding is greatly needed by pupils since the very beginning of their studies: so that they were not asked to read a mere succession of graphic signs, to play a chain of « nicely sounding » tones, which the composer would have written haphazardly or according to some uneducated, inborn fine taste. On the contrary, they needed to be made aware of how orderly and reasoned the musical composition is, and of how feelings and thoughts are expressed through a knowledgeable employment of Form and Harmony.

Every score is part of a study plan in numerous volumes, which is shaped on a yearly subdi-vision of this method, as the Back Cover points out. Formal and harmonic analyses are provided for each score, which are essential for basic musical understanding.

It is my hope that our work will be of help for those who teach Pianoforte in all musical contexts.

Loris Cerofolini.

Undertaking instrumental studies with full harmonic and formal awareness is such a simple, yet splendid idea! How great and numerous opportunities would such a method reveal to young,



Viii — T h e P ianoforte, c e r o f o l i n i , g i o r g i , c A m pA n i n o .

future musicians! Their musical education would be deep and solid, if Composition and Perfor-mance were blended in oneness; for these two arts have been separated by History and to the benefit of Didactics, not by Nature!

Facile dictu. The difficulty of imparting theoretical knowledge to young pupils has to be over-come. Every experienced teacher knows that this is not an easy task; indeed, when I was first proposed this most fruitful collaboration, I asked: is it even possible?

Yes, it is possible. The authors’ research and experience proved it.I strived to cut as short as possible the theorical lessons. Thanks to Cerofolini’s method, Scales

practice becomes (to our own surprise) a genuine pleasure for pupils. Moreover, this exercise instils tonal awareness in them, and prepares them for theorical knowledge, which will be im-parted to them bit by bit, devoided of all that pertains solely to composers. Analysis is the only objective: not Composition, nor Theory itself. I tried to do as English teachers in primary school do: they teach Grammar Analysis without Narratology, Poetry or Linguistics. It is truly possible!

Of course, every teacher is free to supplement or reduce the pupil’s theorical knowledge compared with my suggestions. As for me, I tried to comply with Leopardi’s teachings: a man

who has an abundance of what is superfluous, and lacks what is necessary, is not rich. And, if I may use some humour, I strived at the same time not to regard as necessary only what is superfluous, as Montesquieu admonished!

Lorenzo Giorgi.

Functional illustrations were designed to imprint on the pupil’s mind the positions of Scale practice through the power of visualisation and photographic memorization, thus making this part of the study easier and more enjoyable. On the contrary, ornamental drawings were born spontaneously in my mind when wondering at musical notation, in search of new points of view from which to make the pupil contemplate music. The ornamental drawings are allegorical, and serve as an introduction or a conclusion for each chapter.

Finally, inspirational quotes are present in all volumes of this method. They are meant to instil confidence in the pupil, and to support him in his studies; for I firmly believe that any dream nourished with Perseverance and Faith will eventually come true.

Ornella Campanino.







2 — T h e P i a n oforte, c e r o f o l i n i , g i o r g i , c A m pA n i n o .

on dynamics, resulting in a cleaner performance (i.e. in less mistakes) and a better musicality. Legato will be weaker, of course, than in «thumb under» technique, but this difference is very much attenuated by speed, and completely nullified in fast tempo.

Therefore, a good choice of thumb technique, based on tempo and on legato, benefits Scales performance. The same is true for arpeggios.



6 — T h e P i a n oforte, c e r o f o l i n i , g i o r g i , c A m pA n i n o .

Re bemolle, Sol bemolle, and Do bemolle, alias D flat, G flat, and C flat.

• these are the enharmonic Scales of Do diesis, Fa diesis, and Si; fingering is therefore the same.—

We suggest the pupil to practice Scales in chromatic succession (Do, Do diesis, etc.), as this, to our experience, has proven to be proficuous and delectable for students.

MINOR SCALES.

As this textbook is intended for courses in Pianoforte, we shall introduce two species of minor Scales: the melodic minor Scale and the harmonic minor Scale.

The melodic minor Scale is composed in ascending by the following succession of intervals:

tone,semitone,

tone,tone,tone,tone,

semitone.

In descending, the succession is the following:

tone,tone,

semitone,tone,tone,

semitone,tone.

Thus, for example, here is the melodic minor Scale of Do:



Thirds, two Octaves.

Sixth, two Octaves.

Similar motion,

four Octaves.

c e r o f o l i n i , g i o r g i , c A m pA n i n o , T he P ianoforte. — 13



Left hand. Right hand.

Similar motion,

two Octaves.

Contrarymotion.

14 — T h e P i a noforte, c e r o f o l i n i , g i o r g i , c A m pA n i n o .

SOL MAJOR SCALE.





Left hand, ascending. Right hand, ascending.

Left hand, descending. Right hand, descending.

Contrarymotion.

44 — T h e P i a noforte, c e r o f o l i n i , g i o r g i , c A m pA n i n o .

Similar motion,

two Octaves.

LA MELODIC MINOR SCALE.




Thirds, two Octaves.

Sixth, two Octaves.

Similar motion,

four Octaves.




Si(B)

Mi(E)

Fa diesis(F sharp)

Do diesis(C sharp)



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THE PIAN OFORTE: W...the pianoforte. My pupils themselves suggested me, albeit unconsciously, that a new method was to be developed, that would allow anyone to fully and truly understand