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Q & A with Terrence Rust
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A critical discussion of the books
Advanced Finger Exercises,
Virtuoso Piano Technique, and...
Intermediate Level Finger Exercises
Q. Why two more piano technique books?
A. I have looked at almost all of the piano technique books ever published, many of them now out of print. They seem to be mostly of two kinds: those which consist primarily of five-finger patterns, such as the first twenty Hanon exercises, and those of a more complicated nature, as are found in the Joseffy book, to name just one book of many. Five-finger exercises are helpful, but I have found it more beneficial to begin with patterns of two, three, and four notes. Without this, progress is often relatively slower, and bad habits can become more deeply ingrained. In books such as the one by Joseffy, one is placed in the position of having to decide which exercise to practice, with the efficacy of any particular exercise often in doubt. My series of Piano Technique books takes care of both of these problems.
Q. What is the basic idea?
A. With the advanced book there are two basic ideas. The first idea, to put it in simple terms, is to have exercises with both held notes and repeated notes. This will accomplish two things: the hand is forced into maintaining balanced position, and the weaker fingers are made to work with the stronger fingers. This assures rapid progress in the development of finger independence and facility. The other idea is that one is to begin with the first note of the first exercise and then learn each following exercise in strict order. This is an important concept because each exercise, or each group of exercises, or even each chapter builds upon skills learned earlier in the book and prepares for what is to follow. Let me give you an example. In the case of double-note thirds, double-note sixths, and octaves (octaves here are finger-legato octaves, since this is a book of finger exercises), these are introduced in Chapter I not as double-note exercises, but rather as single-note exercises. In Chapter III they appear as double-note exercises, and in Chapter V they appear as double-note exercises with a supporting (held) finger. Thus the difficulties inherent with double notes are introduced gradually, and are solved gradually, step by step.
Q. Why did you write this book?
A. As a pianist and teacher I have noticed that most pianists have difficulty in developing their technique. Only a lucky few do it naturally. Students practice in a practice room for many hours during the few years they are studying, and it is not easy for them to develop their technique during this time. I wanted a better and faster way for everyone to improve their technique, and to see the results. How wonderful it is that after a few years you can notice a real difference in your playing! So I wrote this book to help all pianists who want to have a truly artistic technique, with a deeper, fuller sound, and increased finger facility.
Q. What about scales and arpeggios?
A. There is a technical requirement which is a precursor to scales and arpeggios. That is one of the many things my book deals with. For example, a colleague of mine practiced the advanced book diligently for four months, and then one day sat down and played through some scales. She was amazed at the difference--the evenness and the smoothness.
Q. So who should practice your book, Piano Technique: Advanced Finger Exercises?
A. High school students during their formative years, piano majors in colleges and universities, teachers, and anyone who is actively performing who wants to keep their technique in the best possible condition. It has been said that technique is interpretation, and that the best musical ideas are useless unless one has the means to project them to an audience. I should also mention that the book has an uncanny ability to pinpoint technical weaknesses. Therefore students, teachers, and performers on any level of ability will be able to benefit from practicing these books.
Q. And who should practice your other new book, Piano Technique: Intermediate Level Finger Exercises?
A. This book has been written for students of all ages who are beginning to develop their technique. It is also of great benefit to teachers, not only for their own practicing, but as a highly effective teaching tool. Because the content is similar to the advanced book, but without the held-note exercises, the intermediate book is excellent preparation for its more difficult companion volume. The two books can be used together as part of a coordinated practice regimen. The result is a unique and original approach for developing piano technique.
Q. What if anyone has questions or wants to learn more about how to practice this book?
A. This is the most important question. We have all heard many times we should be relaxed and play with a beautiful sound. There are simple, specific ways to accomplish this. We can show how to do this, as well as explain the best way to practice and teach these books. For this and any other questions, people should write to us at information@tersunpress.com
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