1

The Art of
Piano Technique
Workbook for Professional Pianists
Second Edition
A Tutorial by
E Leiuman mma
Published by Emma Leiuman Singapore, Singapore
2014
2
Dedicated to all seeking piano students and teachers
2014 Emma Leiuman
PianoWell is a registered trademark.
All rights reserved. No part of this book may be reproduced or transmitted in any form
or by any means, electronic or mechanical, including photocopying, recording, or by
any information storage and retrieval system, without permission in writing from the
publisher.
Published by Emma Leiuman, Singapore, Singapore.
This Workbook presents the analysis of 7 musical pieces. A student may use it as a
supplemental material for Textbook to better understand how to analyze position
change, full phrasing and form in the score.

Web: www.artofpianotechnique.com
E-mail: emma@artofpianotechnique.com
3
Contents
The Plan of Piece Analysis, Learning and Rehearsing ----------
L. Beethoven. Fur Elise ------------------------------------------
F. Schubert. Musical Moment -----------------------------------
F. Schubert. Serenade -------------------------------------------
R. Schumann. Dreams ------------------------------------------
A. Lyadov. Prelude -----------------------------------------------
A. Lyadov. Musical Snuffbox -----------------------------------
C. Debussy. The Little Negro -----------------------------------
4
6
26
38
54
62
78
98
4
The Plan of Piece Analysis, Learning and Rehearsing
Analysis
1. Mark fngering and position changes in the piece.
2. Imagine each hand in timbre with movement.
3. Play the piece with each hand using the correct technique and correct fngering.
4. Imagine both hands in timbre with movement.
5. Play the piece with both hands using the correct technique and correct fngering.
6. Play the piece with both hands with intonation and weight and articulations. Gather weight before
playing. Play the piece with intonation and weight from this moment on.
7. Listen attentively to harmonies of the piece.
8. Imagine both hands in timbre and harmony with movement.
9. Play the piece with both hands in timbre and harmony with movement intonating with weight each
interval and articulation.
10. Imagine both hands in timbre, harmony and dynamics with movement.
11. Play the piece with both hands in timbre, harmony and dynamics with movement.
12. Imagine both hands in timbre, harmony, dynamics and balance with movement.
13. Play the piece with both hands in timbre, harmony, dynamics and balance with movement.
14. Imagine both hands in sound texture with movement.
15. Play the piece with both hands in sound texture with movement and pedal. Play the piece with pedal
from this moment on. Pedal is marked in the Do-it-yourself Analysis section.
16. Imagine both hands in sound texture and harmony with movement.
17. Play the piece with both hands in sound texture and harmony with movement.
18. Imagine both hands in sound texture, harmony and dynamics with movement.
19. Play the piece with both hands in sound texture, harmony and dynamics with movement.
20. Imagine both hands in sound texture, harmony, dynamics and balance with movement.
21. Play the piece with both hands in sound texture, harmony, dynamics and balance with movement.
Play the piece in sound texture, harmony, dynamics and balance with movement from this moment on.
22. Play the piece with both hands (or with each hand frst if needed) with musical speech.
23. Analyze phrasing in the piece limits and types of motifs, phrases and sentences.
24. Play the piece with both hands (or with each hand frst) with musical speech and motifs.
25. Play the piece with both hands (or with each hand frst) with musical speech and phrases.
26. Play the piece with both hands (or with each hand frst) with musical speech and sentences.
27. Tune in to emotional image of the piece. Play the piece with both hands with phrasing (or without
phrasing frst) feeling how you express emotional image of the piece through musical speech.
28. Analyze form in the piece dramaturgic content of sentences.
29. Play the piece with both hands with phrasing feeling how you express image and form of the piece
through musical speech.
30. Analyze meter - the unit of pulse in the piece. Feel the internal pulsation while internally singing the
piece. Play the piece with both hands with phrasing feeling how you express emotional image, form and
meter of the piece through musical speech. Play only in slow tempo at this stage.
31. Play the piece with both hands with phrasing feeling how you express emotional image, form and
meter by the means of artistry through musical speech.
Always mark fngering, position change and pedal in the score.
5
Learning MEMs and Movements
Learning MEMs: play the piece by sentences (then by 2 sentences, 4, 8, etc.):
5 times in slow tempo;
5 times in moderate tempo;
5 times in fast tempo.
Learning movements: play the piece by sentences (then by 2 sentences, 4, 8, etc.) with each hand and
then with both hands:
5 times in slow tempo;
5 times in moderate tempo;
5 times in fast tempo.
Learning Diffcult Fragments
Separately play a diffcult fragment 5 times with each hand and then 5 times with both hands:
in slow tempo;
in moderate tempo;
in fast tempo.
Play a diffcult fragment within its context 5 times with each hand and then 5 times with both hands:
in slow tempo;
in moderate tempo;
in fast tempo.
Play the whole piece in order to reveal new diffcult fragments.
Preventing Overplaying the Piece. Creativity
Play the piece 11 times paying attention to:
sound texture with movement;
sound texture and harmony with movement;
sound texture, harmony, dynamics and balance with movement;
sound texture, harmony, dynamics and balance with movement, and musical speech;
sound texture, harmony, dynamics and balance with movement, musical speech and phrasing;
sound texture, harmony, dynamics and balance with movement, musical speech, phrasing and image-
inspiration;
sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, image-
inspiration and form;
sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, image-
inspiration, form and meter;
sound texture, harmony, dynamics and balance with movement, musical speech, phrasing, artistry,
image-inspiration, form and meter.
Rehearsing
While maintaining self-control and artistry, play the piece several times to:
1. Toys.
2. A well-wishing listener.
3. Several listeners.
4. On different instruments.
5. In different halls.
6
Fur Elise
Do-it-yourself Analysis
1.
2.
dim.
Poco moto
una corda
7
1. 2.
(legato)
8
9
3
3
3
/
trochaic motif inside the motif
10
dim.
poco rit.
11
Fur Elise
Fingering, Position Change

5

2 4 3

1

1

4

5

1
3

5

1

2

4
5

4
5 4 2 4 3 1

1
4


5

1

2


1

4

5

4

4

2

1

2


2

1

4

5

2 4 3


5

1

2

5

2
1
2
1
1 1
4

1

3

4

5 4
5 2 4 3
5
1

2
1.
2.
dim.
m.s.
12

1
4
2

1

1/5 2/5 1/2/5

5
1

2

2/1

3/1

1 3 5-1

4

3

2

1

5

4

5

4

3

2

1

3

3

2
1

2

3

5
3

5 2

5

5/4/2

5 3

4 2 4 2 3 1 2 1
5
2 1
2

2

4

3 5

4/2
2/1

1

5

4

3

3

1

1

2

1

2

1

3

5/3

1

2/1

4/2

1 3 1 3 2 3

2
3
4

2/1
1. 2.
(legato)
13

5

4

5

4

5

2 4 3

5

1 2


1

4

1

5


4
5
1 2

5
1

2

4

2 1

4 5 4

5

2

2
1


2 4 3

1

2


1 2


4

5


1 1 1
14
3
3
3

2/4

1/3

2/5

1/4

5/1

1/2/3

1/3
1/5
1/4

4/1

3/1

3/2



2/4

2/5
1/4
3

1/2/3

1/2/4

1/2/3

1/2/4

2/5


2

1

2/1

1

2



4
1 3 5 4

1

2

4

1

3
5

1 2 4
1

2

4

3

2
1

5

4/2/1

15

4
3

2

1

3

1
2

1

3
1 4
2

1

3

1
4 5 2 4 3
1
4
2

1 2

1

5

4

4
5
1

2
2 1 4 5 4

5

1


2

2 1

2
1

5
4

2

4

dim.
16
Fur Elise
Phrasing
1.
2.
dim.
17
1. 2.
(legato)
18
19
3
3
3
20
dim.
21
Fur Elise
Form, Meter
beginning
development
rising to culmination
intensifcation
culmination
conclusion
Poco moto
1.
2.
dim.
22
beginning
development
rising to culmination
1. 2.
(legato)
23
beginning
culmination
conclusion
24
development
3
3
3
25
rising to culmination
culmination
conclusion
poco rit.
dim.
26
Musical Moment
Do-it-yourself Analysis
Allegro moderato
/
iambic motif inside the motif
27
28
dim.
dim.
trochaic motif inside the motif
29
Musical Moment
Fingering, Position Change

3

2
2 3
2

1

2

3

5
1/4
2

5

4

4

4

3

1/3


2/1

4

3

2

3

4

3

5

1/2/5

2

3

2

1
3 4

3

2

3 2 1 2

3 4

5
4

3

4

4

3
30

3/5
4

5

2/4/5

1
2

3

4 2/1

5
4

3

5

5

4

3

5

3
3

4

2/5
1/4
3


2


5
4

3

31

4
3
5
4

3

2

3

2

1/3/5



4

3

4

3

2

4
3

4


5

1/5

4

3

2
3

4

3

3

3

4
4
3
2
3

4

3

3

4



2/1

dim.
dim.
32
Musical Moment
Phrasing
in motifs intonate small authors motifs shown in the Do-it-yourself Analysis section
33
34
dim.
dim.
35
Musical Moment
Form, Meter
introduction
beginning
development
intensifcation
rising to culmination
Allegro moderato
36
culmination
conclusion
rising to culmination
37
culmination
conclusion
dim.
dim.
38
Serenade
Do-it-yourself Analysis
3
3
3
3
3
3
3 3
espressivo
Moderato
sempre staccato
39
3
3
3
3
rall.
espressivo
non legato
40
3 3
3
3
3
3
3
3
3
3
smorzando
leggiero
41
3
3
poco a poco rall.
molto dim.
espressivo
rall.
smorzando
42
Serenade
Fingering. Position Change
3
3
3
3
3
3
3 3

1/2 2/4

1/2 2/4

1/2 2/4


2

1
2
1

3

2
1

2

4/2 2/1
5/2 2/1
4/2 2/1

4/2 2/1


5/3

5

1/4

2/3

1/4
2
2

1

5/3/2

3/2/1

5/2

2/1

2

3

1/5

1/4

2/3

3/5
2/4

4/2

2/1

5/3/2


2

1

4/2
43
3
3
3
3

3

4 2

1
3

4/2 2/1

3/2 1

4/2 4/1

3

5

1/4

2/3

1/4

3/5

1/3

1/2

3
4 2 1

4/2

4/2

4/2

3
4

5

4
3

1/4 1/3 1/4

2/5

1/4

2/5

5/4/2


3/2


3/2

1

3/2

1/3

5

1/3
2/4 3/4
1/4

2/4

3/4

5/3/2


1/3

5
3
2/4

3/4

1/4 2/4 3/4

4/2
2/1

3/2

1

44
3 3
3
3
3
3
3
3
3
3

1/2


5/4/1

2

3

2

1

2

3

3

2 1
2

3

1/2 2/4

3/5

1/4

2/3
1/4


1

5/3/2

1

4/2
2/1
1

2
3
1
4

1/5
1/4

2/3

3/5
1
2
3

1

2

1
1
2

3
1
2


2/4

2/3

2/3

2 5


3

1

4

3

1

3
2

1

2

2 4

1/2/4

2/5

1/4
1/3

2/3


2

5/3/2

3
1
2 5 3 5
45

2/3

4

3

5
5

5


1

2

3

5

1

3

2

2

5/1

2


3/2

4/2

3/2

3/2

1/2/4

1/3

5

3

2/4

3/4

1/4

2/4 3/4

4/2

3/2

4/2

3

5

3

2/4

3/4


2

4/2

3/5

1/2

2/4


2

2/3

3/5

1/2

2/3


3/2

3/2

2/1

5/3

3/2

2/1

5/3

3/2
3
3
molto dim.
46
Serenade
Phrasing
3
3
3
3
3
3
3 3
47
3
3
3
3
48
3 3
3
3
3
3
3
3
3
3
49
3
3
molto dim.
50
Serenade
Form, Meter
introduction
beginning
Moderato
3
3
3
3
3
3
3 3
espressivo
51
development
intensifcation
3
3
3
3
rall.
espressivo
52
rising to culmination
culmination
3 3
3
3
3
3
3
3
3
3
smorzando
53
deviation
conclusion
3
3
poco a poco rall.
molto dim.
espressivo
rall. smorzando
54
Dreams
Do-it-yourself Analysis
m.d.
m.s.
a tempo
ritard.
=80
55
a tempo
ritard.
ritard.
56
Dreams
Fingering, Position Change


2 5

4
1
1/3
2/4

2


1

2
1
2
1
3

2

4/1

3/5

5
3
2 5
1
4


1/1


2/1

3/1

2 3 4

5

4

5

2/5

1/4

1

2/5
1/4
3

5

4

1
4/1
3/1

3/1

4/2

3

2 3 4

2

1/4

1/2
2/4
1/4

1/2

1

2

5/2 5/3 2

1

3



5/2

4/1

4

5/2

1

3

3

2

1
57

1

2

3

2

5

1/5

2

1/4

3 1
1/4


2/1

5/2

3

2

1

5/2

4/1

4

1/3

1/2

1

3/5

2

5

4

1

5

2

1

2

4

3

2

5
1 2

1/3

2/4

3/5

5

3

4

1
1
2
1
3

2

4/1
2/1
3/1

2

3
5
4

3

2

5

1/3

2/4

2/3

5

1/2/3

2/4

2

1

1

2/1

2

3

5/2

4/1

2/1
5/3
1

58
Dreams
Phrasing
in motifs intonate small authors motifs shown in the Do-it-yourself Analysis section
59
60
Dreams
Form, Meter
beginning
development
rising to culmination
Andante
a tempo
ritard.
61
culmination
ritard.
ritard.
a tempo
62
Prelude
Do-it-yourself Analysis
3 3
Moderato
63
/
iambic motif inside the motif
64
rit. a tempo
65
66

1 2

2


3

4

4

3

4


5


4 3 4

1
2

2


3 4 3 3

3

1

2

3
4
5


3 3
Prelude
Fingering, Position Change
67


4

2/5

5


5/2

4/1

5/2

4/1


2/5 5 4

2

5
5

5

4
3
2

5/2

1

3

4

5

4

1/3

4

1/2/3

5

2

3

5 4 2

3
1

2
3

2
4

3 2
2
1/4


3

4

5/2/1

2/1
1/2
1/3/5

1/2/5

2
2
2
2
1
2
3
4
1
2 4 3
68

3
5
5

4

3


5


2
3
4 3

5

3

4

3

3
3
3 3
1
1
69

3/5


4

5

3/5

5 4

5/2

4/1

5/2

4/1


4

2/4

1/3

4

5/2


5

4

3
5
4

2

3

1

2

3

2

4

3

5

5

2

3

2

2

2

2

1/4

1/2

3/5

3

4

5/2/1
3
4

5

3

4

3

2

5

2

1

1/5

5

2

1

5

2

1

2

1

5/2
m.s.
70
Prelude
Phrasing
3 3
71
72
73
m.s.
74
Prelude
Form, Meter
beginning introduction
development
Moderato
3 3
75
76
rising to culmination
culmination
a tempo rit.
rit. a tempo
77
78
Musical Snuffbox
Do-it-yourself Analysis
1. 2.
sempre staccato
Automaticamente
=80
79
80
81
82
83
Musical Snuffbox
Fingering, Position Change
1. 2.
sempre staccato

1

2

5

4

3

1

2
3
5

4

2

1

3

4

5

3

4

5

3

3

4

5

2

3

4

3

2

5

4

4

3

4

5

3

2

2/1

5/4/1
3/2
2

5

4

2

5
2
3 4

5

4

3
4
5
4

4

2

2

1

3

4

1

3

5/4/1
84

3

4

5

3
2
5

4

2

4

2

3

4

5

2

1

2

2

5

2

5

1

2

3

4

4

3

1
3

2

1

3
2

4

4

1

3
2

1
3

2

3

3

1 2 1

3

5/3

1

2
4

1


4/5

2

3

2

2

1

4

3

3

2

2

4

2

2 3

4
85

1

2

3

2

1

2

1 5 4 1



2

4

2

4

2
1 1
3

2

2

1

1

1

3/2/1

2

3

1

2

3
4 5
5

4

2

1

2

3

1

2
4
2

3

5

5

4

2

1

2

3

1

2

4

2

3

5


2

1

2

1

2

1

4

2/1

2-3

1

1

1

1

1

2

1
2

5

1

4

2

2

1

4

2

1

2

1

2

1

4

2/1

1

4

2

5

86

1

2

3

1

2

3

4

1

2

2

1

2

1


5/4

2
87
88
Musical Snuffbox
Phrasing
sempre staccato
89
90
91
92
93
Musical Snuffbox
Form, Meter
introduction
rising to culmination
beginning
development
=80. Pulsation by quavers
sempre staccato
94
culmination
beginning
95
development
96
culmination
deviation
rising to culmination
97
conclusion
98
The Little Negro
Do-it-yourself Analysis
marcato
dim.
cresc. molto dim.
Un peu retenu
a tempo
Allegro giusto
99
a tempo
rit.
dim.
cresc.
100
cresc. molto
a tempo
dim.
101
cresc.
a tempo
dim.
dim.
cresc. molto
rit.
102
The Little Negro
Fingering, Position Change

2

1

2

5/1 3/1 5/1 5/1 3/1

4 5 4
2

4

2 3

3 4

1



4/2 3/1 2/4 3/1

5/3
3/1

5/1

4/2

5/1

2/1

3/1

2

1

2

2

4
3

1

1

3

3
3 4
2/1

3/1

3

2
1

3

1 4
5
1/4
3
2 3/1 2 3 2

2

1
3
5 2 1

marcato
dim.
cresc. molto dim.
103

1 3/5 1 2 4
1

2
3 4
5
4
2-4
4


3
5 4 2 1 4
3

2

1

2

4

2

5

4
3
3
2 3 2 4 3 1 5/3 1

1

3
5 2 1
3
5


2 4 1
2
3 4
5

2

4

2

3
2
3

2

4

2

4

4 2 1 4

3

2

1

4 2

3 2

3 2

3
2

1

1 2 3
4
dim.
cresc.
104

2/1
3/1
cresc. molto
dim.
105

1/2

5/3
cresc.
dim.
dim.
cresc. molto
106
The Little Negro
Phrasing
dim.
cresc. molto dim.
in motifs intonate small authors motifs shown in the Do-it-yourself Analysis section
107
dim.
cresc.
108
cresc. molto
179
dim.
109
cresc.
dim.
dim.
cresc. molto
110
The Little Negro
Form, Meter
beginning
deviation
development
Allegro. Pulsation by quavers
dim.
cresc. molto dim.
Un peu retenu
a tempo
rhythmically
111
intensifcation
dim.
a tempo
rit. cresc.
112
rising to culmination
cresc. molto
a tempo
dim.
113
culmination
cresc.
a tempo
dim.
dim.
cresc. molto
rit.
114

The Art of
Piano Technique
Workbook for Professional Pianists
Second Edition
A Tutorial by
E Leiuman mma
Published by Emma Leiuman Singapore, Singapore
2014
115
I started music training at 5 as the majority of professional pianists. In the beginning of my studies I
had an incorrect hand position and sound production. So when I started learning diffcult pieces, I couldnt
manage them. I felt that I couldnt completely open up in my performance. The energy was accumulating
and it grew to muscular and psychological tension. All of my pleasure from music disappeared and fear
appeared instead. Fear not to play beautifully, but with a harsh sound, fear to be less technical than my
classmates. My competitions and tours stopped bringing me any pleasure, joy and contentment.
At 14 I began to intuitively search for things that could give me a greater comfort while playing.
Some of my teachers were giving me ideas that inspired me to create my own method my own system
of correct sound production and piece analysis. Despite of high level of my teachers, none of them could
answer questions that accumulated within me. I found the answers only due to the fact that I developed
each remark of my teachers, found something new in it for myself and checked by the following lessons.
Then I wrote down things that I had found and comprised it into my system. This is how my knowledge
about the frst several musical means of expression started to appear.
Now the biggest joy for me is to see how my system helps other pianists who struggle with the same
problems. To see how a student opens up and gets pleasure and joy from playing. And that is what I
aspired for earlier in the course.
Thanks to the PianoWell system appearance, each pianist who has a desire to become a true
professional now has an opportunity to realize his dream. By mastering the skills of correct sound
production, developing all types of musical ear, mastering all musical means of expression in full measure
and mastering the correct piece analysis and learning, the pianist fnally advances to a long-awaited
and qualitatively new level of performance. He becomes a true musician, true professional, competent
performer and smart interpreter.

While learning the system, a pianist masters virtuosic technique, independent and effcient studying,
free and confdent playing on stage. The system also successfully solves all problems related to an incorrect
hand position and sound production that cause arm strain, harm, playing-related injuries and ailments.
This system is designed for those pianists who consider the Truth to be most important in playing, who can
work smart and accomplish each step with patience and love.

The website www.artofpianotechnique.com is a true educational resource for pianists and teachers.
Here youll fnd information on professional piano education, such as online video course and available
study materials.
Emma Leiuman, the author of the system, is a talented
pianist and teacher, Moscow State Conservatory graduate,
prize winner of international competitions.
Published by Emma Leiuman Singapore, Singapore
2014
The system was under development
for 10+ years. Its based on the
authors performance experience,
studies with 20+ teachers and
professors and lessons with her
students.