How to Play and Teach Debussy

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How to Play and Teach Debussy

by Maurice Dumesnil

Endorsed by Madame Claude Debussy

"It is so rare to hear and interpretation so scrupulously exact and comprehensive"

Published by Schroeder and unther! Inc #ew $or% &'()



NOTE

The notation o* *in+erin+s in the examples ta%en *rom Debussy,s music is su++ested

merely *or re*erence Debussy said-

"To impose a fingering cannot logically adapt itself to the different formations of the

hand. The absense of fingerings is an excellent exercise, it supresses the spirit of

contradiction which prompts us to prefer not to use the author's fingering, and verifiesthese everlasting words: 'One is never better served than by one's self'."

Everywhere amon+ teachers and students there is mani*ested a desire *or a better

comprehension o* the music o* undoubtedly the +reatest contributor to the modern

pianistic repertoire..Claude Debussy

/ithout delvin+ into the realm o* musical history! I want to emphasise the captal

importance o* a master who! at the be+innin+ o* this century! brou+ht about a revolutionin the art o* writin+ *or the piano! comparable only in its conse0uences! to that which

Chopin had precipitated seventy years be*ore

Debussy is one +reat example o* a "national" composer who has become truly

"international" In the later years o* his li*e! he called himsel* "Claude Debussy! musicien

*rancais!" two words which describe! more accurately than lon+ descriptions could do! the

value which he attached to his nationality 1 "2rench musician" indeed! was Debussy He

brou+ht to us the luminous landscapes o* the Ile de 2rance! smilin+ sprin+ on the rollin+

hills! mysterious shadows o* venerable trees! *ountains in the +ardens under a starry s%y

/hy is it that x! many pianists and students reem to have such di**icully in understandin+

the proper "atmospheric" renderin+! so necessary *or an accurate interpretation o*

Debussy,s wor%s3 I* I analy4e the many examples I have seen! and cases I have had to

deal with! I believe this 0uestion is easy to answer In the *irst place! the student ou+ht to

ac0uire the proper technical and tonal e0uipment 5ust as athletes must carry on their

daily trainin+! so the student must continue the "old.school" way o* practisin+! the cut.

and.dry rollin+ o* scales! the slow exercisin+ o* hammer.li%e *in+ers 6ut in addition!

another more elusive! delicate and poetic way o* treatin+ the %eyboard must also be

evolved! without which the understandin+ and execution o* Debussy would never become

an open boo%

Ta%in+ *or +ranted that the student has ac0uired! or is ac0uirin+ the accepted

*undamentals o* techni0ue! he can also develop himsel* alon+ more intellectual! color*ul!

unrestrained lines 7nce thorou+hly mastered! the old standards o* *in+erin+! position o*

hands! arms! etc! can be modi*ied! as then it will be done with a bac%.+round o*

%nowled+e and *or a certain de*inte purpose Debussy himsel* showed us the way in

composition! when! studyin+ at the Paris Conservatory under Ernest uiraud! and already

expert in harmonic intricacies! he used to tease his master by usin+ such successions o*

chords as the *ollowin+-



statin+ that he "li%ed it very! very much!" and that "his ear was his +uide! and it,s

pleasure his rule"

The same must be observed concernin+ the interpretation o* his music Too many

students do not listen enou+h to themselves They +o alon+ the text! unaware o* the

treasures o* colorin+! the wealth o* li+ht and shade! the shimmerin+ resonance which

could sprin+ out o* the soundin+ board at their command! i* only their ima+ination!

coupled with an ade0uate e0uipment! too% the upper hand over mere *in+er action

However I believe that by settin+ *orth a *ew principles! both *or passa+e wor% and

chords! and *or the development o* pollyphonic touch and lateral action o* *in+ers 8and

conse0uently smoother! more polished playin+9! much can be accomplished in thatdirection within a short time

1s a *irst and all.important principle! I want to point out the absolute necessity o*

studyin+ the "pianissimo"

Everybody can play loud There is no di**iculty in doin+ that 6ut do you reali4e how

much more di**icult it is to play very so*tly: Have you ever made a special practice o* it!

and remained at the %eyboard! tryin+ to play the same chord so*ter and so*ter! at the same

time listenin+ to its 0uality o* tone:

I* you wish to become a *ine interpreter o* Debussy! this is the *irst step I would su++est

Sit at your piano normally! hold down the two pedals! and start playin+ the chord o* C

ma;or-

Start "piano" <isten most care*ully and be sure that the three notes sound to+ether! not

one a*ter another 1lso! watch that the three have exactly the same volume o* tone! so that

none is heard more than the others

Play more and more pianissimo /hen you thin% you have reached the limit! try a+ain!

and play still more pianissimo $ou will *ind that your improvement will be very 0uic%



and that each wee%! or perhaps each day! will mar% a step *orward in your mastery o* a

lovely! elusive! mellow tone

Then! +ive this tone a series o* delicate shadin+s! increase sli+htly! diminish! increase

a+ain! play the chords slower in order to listen to the vibration produced! to the "wave" o*

this vibration-

In per*ormin+ the chords! %eep your *in+er tips always in contact with the sur*ace o* the

%eys! even between each chord

In order that the various notes should sound to+ether! too much relaxation is not

advisable The *in+ers must have a certain *irmness o* rubber! with no sti**ness

whatsoever

The little cushions at the *in+er tips should be extremely sensitive! and throu+h their

"*eel!" you should almost be able to *oretell the 0uality o* the tone which is +oin+ to

come out

This was one o* Debussy,s chie* instructions-

"Play with more sensitiveness in the *in+er tips Play chords as i* the %eys were bein+

attracted to your *in+er tips! and rose to your hand as to a ma+net"

radually! you can practise on other positions-

$ou will notice! i* you press a %ey down +ently and slowly! that ;ust be*ore it reaches the

bottom there is a sli+ht resistance! which releases under the pressure o* your *in+er This

part o* the action is called in 2rench! the "double escape" $ou can use this to +reatadvanta+e in "pianissimo" wor%! by +ettin+ your tone *rom this lower part o* the stro%e

More than ever! %eep your *in+ers in contact with the %eys! and do not allow these to

come bac% all the way up!..only about hal* way! %eepin+ the two pedals on all the time

2or the next step! we will proceed to practise the polyphonic production o* all the chords

previously used= that is! to brin+ out each sin+le note in turn



Modern music in +eneral! and Debussy,s in particular! ta%es its *ull si+ni*icance when

expressed throu+h the care*ully planned superposition o* tonal values

Start with the C ma;or chord-

8Practice in the same way on all possible chords o* (! > and ? notes! in various %eys and

position9

<ater on! wor% on a lon+er succession o* the same chord! repeatin+ it! let us say! sixteen

times! +ivin+ the crescendo on the sin+le note a wider ran+e! and combinin+ the use o* both pedals as explained in the *ollowin+ example-

8The passin+ *rom the "pianissimo" to the "*orte" must be very +radual- may I compare itto the steps o* a stairway! or the ascent o* a slow elevator The "diminuendo!" or descent!

should be treated in the same manner9

I have o*ten been as%ed by students! how this brin+in+ out o* a sin+le note can most

satis*actorily be done The *in+er! when attac%n+ it! must be held a little *irmer than the

others These must remain concentrated on the "pianissimo" tone as explained in the part

dealin+ with the C ma;or chord this is a wor% which re0uires patience! and care*ul



listenin+ 7ne must try a+ain and a+ain! until an improvement is audible! and so on until

complete results are reached

7nce more I want to emphasi4e the most important point o* havin+ all notes o* the chords

sound to+ether! and never one a*ter another! as i* "arpe++ioed"

1lso when practisin+ with one prominent note! %eep constantly in mind the necessity o*

playin+ the other "accompanyin+" notes on exactly the same tonal level

1ll thir re0uires a +reat deal o* minute wor% and close attention! but in the end the results

will be most +rati*yin+

1nother most important point in tone colorin+! has to deal with the playin+ o* octaves

enerally spea%in+! it will be o* +reat advanta+e to +ive distinct colorin+ to the two

notes-

8It will be a matter o* taste *or the interpreter! to discover which note has to be +iven

prominence9

/hen the two hands are pla+in+ octaves to+ether! this colorin+ can be more diversi*ied-

8To be practiced on both white and blac% %eys= in the latter case! use also the >th *in+er

instead o* the ?th9



CONCERNING PEDALING

Debussy seemed almost as reluctant to write down any indications in this direction! as he

was about the *in+erin+s He limited himsel* to a *ew mentions o* "les deux pedales" 8the

two pedals9! and his indications o* the damper pedal alone! are exceptionally scarce Most

o* his compositions have none at all 1nd! un*ortunately *or the student! this applies to

many pieces where they would be most necersary *or those not thorou+hly *amiliari4ed

with his style However! it is easy to set a *ew rules which will be a sure +uide-

1ll runs! arpe++ios and passa+es must alaways be treated *rom the "sonorous!" the

"harmonic!" and the "vibratin+" standpoint= never as a display o* *in+er velocity

There*ore the damper pedal must be used very much when playin+ them They must

never be per*ormed in a "neat and crisp" *ashion! but literally drowned into what mi+ht

be called a "wave o* tone"

Debussy was so particular about this mellow! li0uid tone production! that when! on rare

occasions! he played in public! he re0uested that the top o* the concert +rand remain

closed

There is a subtle way o* usin+ the damper pedal as a "tone modi*ier" instead o* usin+ it

merely to sustain the tone! or to suppres it entirely

1*ter stri%in+ a chord "*ortissimo!" with the damper pedal on! modi*y the tone twice! by a

very 0uic% action o* the an%le! 8;ust a sli+ht sha%in+9! li*tin+ the *oot only one *i*th o* an

inch or so-

/hen doin+ this! the dampers will be allowed to come and touch the vibratin+ strin+s

very 0uic%ly and li+htly 2or this reason! the contact will not be su**icient to eliminate the

vibration entirely It will only suppress part o* it 7nce thorou+hly mastered! this way o*

pedalin+ will enable the interpreter to model his tone in the same way as a sculptor

models his clay It will prove to be an invaluable asset *or the in*initesimal delicacy o*

colorin+! so characteristic o* Debussy,s music

In order to achieve certain "pianisimo e**ects 8on sin+le notes principally9! it is better to

replace the direct attac% at a ri+ht an+le 8as in Ex &>9 by an obli0ue! slantin+! indirect

attac%! which will brin+ the *in+er in contact with the %ey pro+sessively-



Moreover! in the "direct" attac%! the tone is produced by the extreme tip o* the *in+er!

whereas in the "indirect" attac%! the *in+er can be stretched out so that this position itsel*

cooperates in so*tenin+ the tone! since the pro+ressive attac% is done by the elastic little

cushion o* *lesh! which is under the *in+er tip

It is excellent practice to wor% on sin+le notes and octaves! startin+ the attac% with the

hand held hi+h! "inside the %eyboard" and almost touchin+ the lid! then brin+in+ it down

alon+ a line as shown above in #o I?! passin+ over the %eys as throu+h caressin+ them-

@ery lovely tonal e**ects will come *rom the above practice! which must be one o* entire

*lexibility! relaxation and sensitiveness

/hen studyin+ tone production! students should note the special 0uality produced by a

loud attac% o* the *in+ers! still with the so*t pedal on 1 melody mi+ht sound thin!

super*icial! i* its so*tness is obtained only throu+h li+hter wei+ht o* *in+er actlon

7n the other hand! i* one plays with deep pressure and "le+ato!" still +uardin+ the so*t

pedal! the tone will preserve a round! *ull! rich sin+in+ 0uality! but o* a lesser volume! due

to the *act that only two strin+s vibrate instead o* three

The *act that Debursy! in the "Serenade o* the Doll" 8Children,s Corner9 made a special

note that the so*t pedal be %ept even in the "*orte" passa+es! shows he %new the possibilities o* this tonal e**ect! and it was satis*actory to him



CONCERNING THE PIANO

1 *actor o* primary importance! *or the execution and study o* Debussy,s music! is the

piano used #o one can practise tone colorin+ e**iciently on an instrument with a

pounded.out action! worn.out hammers! and wabbly pedals /hile it is not always

possible *or students to play on a new piano at all times! still it is possible! and absolutely

necerrary! to have one that is %ept constantly in per*ect condition! with the action smooth!

the tone evenly voiced! and the pitch true

EXAMPLES

#o &A The ri+ht hand must remain very 0uiet! held rather low! and movin+ alon+ the

%eyboard in a "crawlin+" manner The *in+ers! streched out and *lattened! will move

"laterally!" as "le+ato" as possible! *rom one chord to the next

Play the le*t hand "bell.li%e" notes droppin+ *rom the *orearm! with the hand itsel*

han+in+ *rom a per*ectly relaxed wrist

Hold the two pedals all the way throu+h 1ny excess o* vibration on the *irst beat o* thesecond bar! will be eliminated throu+h sli+ht! 0uic% action o* the damper pedal! as

previously explained in Ex #o &(

"Tempo rubato" applies to the delivery o* the two bars as a whole! not to any individual

beats 7ne can start slowly! +et sli+htly *aster in the middle! "easin+ up" a+ain towards

the end



#umber &' is an example o* "crawlin+!" "+ropin+" le+ato chord wor% Beep hands very

low! the palm almost touchin+ the %eys

#o ) Play the ri+ht hand pianistic desi+n 8development o* the chords o* the be+innin+9with the same "lateral" *i+er action and low position o* hand= "bell.li%e" tone a+ain in the

le*t hand In the pa+es that *ollow! passa+e wor% must be treated in the same manner!

bathed in pedal! with *in+ers always close to the %eys! and never any dryness

#o )& Here! Debussy wanted the *irst measure all blurred in damper pedal 8no so*t

pedal9 The second measure with the so*t pedal 5one! as an echo heard *rom a*ar



#o )) "Slowly In harmonious sonority! as *rom a distance" The apre++iod notes rolled

*rom the top one downward Sli+ht accent on the top note

In the third bar! use "indirect!" "caressin+" touch! as explained in number &?

Compositions o* a similar character! in which the same methods can be used-

• "<es sons et par*umes tournent dans l,air du soir 8"Preludes" 6% & 6% ) in

ori+inal9

• "Cloches a travers les *euilles" 8"Ima+es" 6% )9

• "<a Soiree dans renade" 8"Estanpes"9 "Pa+odes" 8"Estampes"9

• "@oiles" 8"Preludes" 6% &9

#o )( "Sans ri+uer" means- "without sti**ness in rythm! not too metronoically"

Throu+hout this piece! be most care*ul to preserve the "line" Do not *all into anyexcesses o* either tempo o* shadin+s 1 common mista%e! *ound much too o*ten! is the

lac% o* accurate countin+ o* the beats 1ll ei+hth notes tied over into the next beat! must

be +iven their *ull value



#o )> 1nother stri%in+ example o* chord playin+! with hand +lidin+ laterally over the

%eys "Sans lourdeur"- without heaviness 6rin+ the upper voice sli+htly out o* the ha4y

resonance! by pressin+ the *i*th *in+er a little more *irmly

Compositions o* a similar character-

• "The <ittle Shepard" 8"Children,s Corner"9

•

"6ruyeres" 8"Preludes" 6% )9

#o )? 8/ith pro*ound calm So*tly sonorous! as in a ha4e9 6eware o* attac%in+ *rom

too hi+h This is a case when one is able to produce the tone *rom the "double escape!" or

lower portion o* the %ey stro%e

The action must be one o* "pushin+ the %eys down" *rom very close! usin+ both the

relaxed wrist and *in+er ;oints as so*t sprin+s! in order to secure as delicate a tone as

possible



#o )F These chords must not be attac%ed *rom too hi+h! as Debussy said- "sonorous

without hardness"

Gse much wei+ht! not only *rom the arms! but *rom the shoulders 1ttac%in+ *rom too

hi+h would produce a tome de*icient in 0uality! harsh and brittle

1n interestin+ pedal e**ect can be achieved by chan+in+ it ;ust a little too late! after each

chord This will convey the poetic su++estion o* a +reat or+an playin+ in a cathedral!when the chords travel throu+h the nave and the aisles! and +et sli+htly blurred

#o ) The le*t hand "*loatin+ and mu**led" <et the *in+ers "lin+er" on the %eys The

attac% must come more *rom a sli+ht swayin+ o* the wrist and hand! than *rom *in+er

articulation

6rin+ out! ;ust a little! the top note o* the ri+ht hand chords! thou+h remainin+ always

within a "mu**led" 0uality o* tone 81n echo o* the phrase heard be*ore in the

"*ortissimo"9

Compositions o* a similar character-

• "<a Terrasse des audiences du clair de lune" 8"Preludes" 6% )9

• "Et la lune descend sur le temple 0ui *ut" 8"Ima+es" 6% )9

• "Canope" 8"Preludes" 6% )9• "Homa+e a ameau" 8"Ima+es" 6% &9

• "2uilles mortes" 8"Preludes" 6% )9

• "@oiles" 8"Preludes" 6% &9



#os )A J )' The characteristic examples o* the "indirect!" "caressin+" attac% as

explained in number &?

#o ( Here one can obtain an interestin+ e**ect o* colorin+ by brin+in+ out the two

thumbs! the le*t thumb predominantin+ sli+htly over the ri+ht thumb 8Ex number &9

The dotted octaves! under the "le+ato" si+n! must be played "mellow!" with so*t

"droppin+" e**ect *rom the wrist



#o (& Ta%e +reat care to use distinct ways o* attac% in the ri+ht hand The middle voice!

"le+ato!" must be played with a certain *irmness! while the chords! as well as the octaves

o* the bass! should be per*ormed in a so*t relaxed! and *loatin+ manner However! this

e**ect must be achieved only throu+h di**erence o* attac% and tonequality, not by playin+

the middle voice louder

#o () Here! a 0uic% shi*tin+ *rom *irm le+ato sin+in+ tone 8in the middle inside voices9!

to an "indirect! caressin+" attac% on the dotted notes is necessary 1t *irst! it must be

practised very slowly

Try and +ive di**erent colorin+ to the three sin+in+ voices! 8octaves in the ri+ht hand and

sin+le notes in the le*t9! by +ivin+ prominene- *irst! to the top notes o* the octave! ri+ht

hand= second to the bass= third! the lower note o* the octave ri+ht hand 8subdued9



#o (( J (> In these! and other compositions where "li+ht virtuosity" play a +reat part!

be most care*ul never to become mechanical 1lthou+h o* a rapid, running character! too

much evident articulation would produce dryness Here a+ain! a close attac% is necessary!

with extremely 0uic% and li+ht motion o* the *in+er tips

The use o* the two pedals will help produce the ade0uate sonority! which must be "so*t

and shimmerin+"

7ther compositions o* a similar character-

• "<a danse de Puc%" 8"Preludes" 6% &9

• "5ardins sous la pluie" 8"Estampes"9

• "<es *ee sont d,ex0uises danseuses" 8"Preludes" 6% )9

• "<es tierces alternees" 8"Preludes" 6% )9

In peices o* a rhythmic! humoristic character! such as-

• "olliwo+,s ca%e wal%" 8"Children,s Corner"9

• "Minstrels" 8"Preludes" 6% &9

• "eneral <avine! eccentric" 8"Preludes" 6% )9

one must be most care*ul not too exa++erate! not to over.emphasi4e a sense o* humor

which must always remain truly "allic"! discrete and re*ined



<i%ewise! ma%e it a point to respect a +eneral unity o* the rhythmic line This will avoid a

"chopped up"! ";er%y" interpretation

1s in all o* Debussy,s compositions! %eep the "*ortissimo" climaxes moderate

THE APPROACH TO DEBUSS

/hile the examples contained in this boo% have been selected *rom the "+reater

Debussy"! with the ob;ect o* a**ordin+ as many pro*itable hints o* practice as possible! I

thin% it is worthwhile to outline a reduced list o* ten compositions! that will simpli*y the

approach o* the student to the style o* Debussy-

• everie

• The little Shepherd

• 1rabes0ue #o &

• 1rabes0ue #o )

• The irl with the 2laxen Hair

• Claire de <une

• e*lections in the /ater

• 5ardins sous la pluie

• The Submer+ed Cathedral

• olliwo+,s Ca%e /al%

These are probably Debussy,s most popular piano compositions 1t the same time! they

cannot be counted amon+ the most di**icult ones he has written! but throu+h them the

student will +radually ac0uire and accurate conception o* the special techni0ues and tonal

e0uipment! so vitally necessary *or a *aith*ul renderin+ o* all other wor%s by the master

Documents

How to Play and Teach Debussy