PIANO
PEDAGOGY
FORUM
v. 1, no. 3/September 1, 1998


FORUM ON PIANO PERFORMANCE

Annemarie Schuessler maintains an active schedule as performer, lecturer, and clinician. In 1990, she was Lecture/Performer in Piano Pedagogy at the University of Kang Reung Summer School, South Korea, and returned to Teagu in 1993 for more workshops and performances sponsored by the Korean music journal, Musica de Pianoforte. As a participant in the first Russian-American Piano Seminar, she was one of four pianists selected to perform in Maly Hall, St. Petersburg, Russia. In 1997, she was reinvited to St. Petersburg where she gave a lecture-recital at the St. Petersburg Conservatory. In 1991, she was Lecturer Performer for the European Piano Teachers Association in London. Dr. Schuessler has served as Music Director for the United States Military Community in Kitzingen, Germany, where she received numerous awards from both the U.S and German communities for her work as cultural liaison. Dr. Schuessler received degrees from Manhattanville College (B.M.), Northwestern University (M.A. and D.M.), and the Artist Diploma with highest honors from the Hochschule fur Musik in Wuerzburg, West Germany where she was invited for a solo debut. Performance teachers have included Martin Canin, Kirsti Hjort and Donald Isaak. A frequent contributor to Clavier and other music journals, Dr. Schuessler has been a member of the keyboard faculties at Ball State University, DePaul University (Chicago), Louisiana State University-Baton Rouge, Ithaca College and the Eastman School of Music. She has held office with the College Music Society and currently serves as a board member of the Indiana Music Teachers Association.

Annmarie Schuessler
Parkwood Apartments
401 West Park Avenue
Tallahassee, FL 32301
850.222.3773

A Discussion of Left-Handed Literature for the Piano

by Annemarie Schuessler

I have been compelled to use my left hand because I've had a stroke. Much to my delight my playing has gradually improved to where I'm already at a different level from last year. If I had known that I would be dependent upon only my left hand for performing, I would have made my right hand and left hand equally proficient. Knowing what I do now, I recommend that teachers emphasize children's dexterity with left-handed abilities. For this reason, I would prefer to discuss left-handed literature in relationship to:

  1. Injury - As the field of sports medicine and injuries of the athlete has developed, so has the field of medical injuries of the performing artists. In fact, the journal Medical Problems of the Performing Artists focuses on this area, mostly for Carpel-Tunnel Syndrome and tendonitis, which may occur in one or both hands. Perhaps less talked about at present, stroke typically affects only one hand. Although such injuries do not apply to everyone, one can use the left-handed literature to strengthen left-handed playing skills and gain greater facility.

  2. Technical Development - An important capability for any young student is to be able to maintain the balance of chords, keeping the melody more resonant than the bass and the middle voices barely audible. This should be addressed at a young age as the ears become dull and students lose the ability to differentiate between the melody, the bass, and the accompaniment. One way to teach this skill (also facilitating left-handed skills) is to have three students play "Mary Had a Little Lamb" with only their left hand. Assign each student one part - melody, bass or supporting chords (accompaniment) - giving the individual student the opportunity to play each part. Increase the challenge further by giving each student more than one part to play. In addition to learning how to recognize textures the music, they are learning to maintain the balance of chords with their left hand only.

  3. Compositional Challenge - There are several important characteristics to note in left-handed literature. One is the monodic style where single-note passages are utilized. An example would be Saint-Saen's, Moto Perpetuo or Benjamin Britten's Diversions. The opposite of the monodic style would be the use of the contrapuntal style. Important techniques used in this style are the employment of polyrhythms, polydynamics, and polyphonics.

  4. Deportment - Let me describe the way in which one is sitting at the piano when one is performing left-handed literature. Normally, when one is playing the piano, one sits halfway between either side of the instrument. In left-handed literature one sits towards the right side of the piano.

Nine Pianists

Left-Handed Literature in the Baroque Period

Left-Handed Literature in the Classical Period

Left-Handed Literature in the Romantic Period

Left-Handed Literature in the Twentieth Century

The moment one arrives on stage, the music takes over, and it doesn't matter whether one is performing a one-handed composition or a two-handed work. It only matters if one makes music. With only the left hand, substantially more work is required to achieve the same level of musical excellence and quality. Here's hoping that your venture into the left-handed literature will be a fruitful and insightful journey.

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© 1998 University of South Carolina School of Music