This book, published in 1937, is promoted as supplementary material for the John Thompson Modern Course for the Piano. It is a simplified edition of the Hanon Studies and the exercises are specially edited, annotated and arranged for the development of the fundamental touches in piano playing.
In the preface to the book, John Thompson states that it ‘is designed to promote agility, independence, strength and perfect evenness of fingers and to develop simultaneously the various fundamental touches used in playing the piano with expression’. He exhorts that ‘young pianists should be taught the same pianistic attacks in miniature that concert pianists use’. John Thompson believes that ‘once fundamental principles have been mastered and can be demonstrated with ease and relaxation, the numerous varieties of touch follow quite naturally’. He states that ‘phrasing attacks are used first - two-note, three-note and four-note phrases. The drop-roll motions employed tend to develop freedom and relaxation in the arm and wrist, making it possible for the hands later on to remain in a quiet position, without stiffness, while playing finger legato’. Lastly he adds that these touches should be taught by demonstration and imitation and that the tempo of the pieces should be set according to the ability of the student.
Throughout the book there are many photos showing the touches and gestures involved. The book begins with phrasing in twos. There is an excellent description of this touch along with step-by-step instructions as to how to accomplish this touch. All of the pieces have titles which help to describe the movement and gestures involved.
Number 4 exercise is entitled ‘The Old Mill Wheel’. This exercise is used to discuss the ‘quiet hand with high finger legato’. He states of ‘being sure that the tip of the finger always points to the spot where it will strike’. He says that the fingers should be raised and dropped with military precision and never so high that there is a feeling of cramp’. I have often suggested to students when employing this touch to imagine that their fingers are like a sewing machine needle.
Next, John Thompson covers wrist staccato and finger staccato. In finger staccato he suggests ‘that the key is ‘plucked’ instead of being struck’. In describing this touch, he recommends that the arm or hand does not move in the process and that the weight is moving away from the key at the point of impact. The title for the finger staccato exercise in ‘Machine Gun’, possibly not the best title for current players.
In the portamento touch, John Thompson advocates the use of forearm staccato and that each note has more resonance and is played for a longer duration. In exercise 9, the quiet hand is playing a close finger legato. He recommends ‘keeping the fingers close to the keys allowing the weight of the hand to be transferred from one finger to the other. DON’T PUSH. Both hand and arm remain perfectly quiet. Think of walking on the fingers’.
John Thompson has an interesting way in which to describe the use of rotary motion. He advises the player to ‘think of the hand as a wheel and the fingers are the spokes. When the hand (or wheel) is rolled in either direction, the fingers (spokes) play as they come into contact with the keys. Be sure to toss off the last note of the roll sharply, using the same inward and upward motion as that is applied to the last note (rolled) when finishing a phrase’.
Following these exercises are some suggestions for the rhythmic extension of them. The last ten exercises in the book are recommended to be played with a combination of the touches that have already been learnt. Not all have descriptive titles. The illustrations, although in black and white and in pencil, complement the titles of each piece well. For a book that is 83 years old it is in remarkable condition.