Symmetrical fingering: Etude #42 of Brahms with simple variations
It is typical for instrumental studies (études) to be constructed from a very limited number of physical gestures. Many such studies focus on one specific gesture, thereby demonstrating the intimate relationship between physical and musical gestures. These pieces make for a very economical approach to composition as well presenting highly focused technical exercises. By using only a small vocabulary of materials, they can sometimes demonstrate how resourcefulness in one aspect of may actually stimulate one’s musical invention.
This mono-motivic composing makes them most suitable for studying particular kinds of movements of the hands and fingers (and, for other instruments, movements of the arm, embouchure, breath, and other part). The piano études of Brahms often require the two hands to function in parallel motion, but pianists often find his symmetrically conceived studies (contrary motion) to be the most useful. Symmetrical playing brings the possibility of transferring the strength and agility of one hand to the weaker or less conscious hand.
Some composers have written concert études, created for their beauty as well as their technical challenges. The concert études of composers such as Debussy, Chopin, Liszt and Kapustin are stunning collaborations of high-level pianism with artistic musical expression. Brahms’ collection of 51 Exercises does not go this route because he chooses to engage in a focused study of the movement of the hands. Their sound is intriguing and attractive, but they are not intended as concert repertoire. However, this limitation makes them good material for your own musical elaboration. The linked score, Brahms Etude #42 with variations, shows a few ideas for varying your practice with the kind of material you experience in Brahms’ Étude #42a.
Head’s up: 1. The flatted sixth scale degree in the LH can be tricky, especially when you’re working in unaccustomed keys (and without notation). 2. When you’ve begun to memorize it, there’s a tendency to forget the final three eighth-notes of the 9/8 measure. That also produces a useful variant, but it’s a better workout to play all nine beats.
The Topography of the Piano Keyboard
If you’re not very familiar with all the major and minor scales, you might have difficulty sequencing the Brahms exercise through all twelve key centres. So if you need help with learning and ‘internalizing’ the structure of all the scales, the ‘topography’ link above should be very useful. This file is a study of the logic behind the placement of the black and white keys on the modern keyboard. It reveals the simplicity and intelligence of the design, making it easier to play in all the keys. Good for kids. Good for adults who still experience some anxiety about it all.