Working With the Russian Piano Method
The Russian School of Piano Playing represents one of the most systematic approaches to keyboard technique that emerged from Soviet-era pedagogy. Many students gravitate toward these methods because they address finger independence and tone production more directly than Western approaches. I spent considerable time with these materials when I was studying piano in the late nineties, and what struck me immediately was the relentless focus on physical mechanics before musical expression. This volume continues where the first book leaves off, taking students beyond basic finger exercises into more complex coordination patterns. The material assumes you have already worked through fundamental position concepts and developed consistent practice habits. What differentiates this approach is how it treats technical problems as physical challenges rather than purely musical ones. You will find detailed instructions on weight transfer, arm coordination, and the specific finger substitutions that Russian teachers consider essential for advanced repertoire. I encountered a particular difficulty with the two-note slurs in Exercise 47, measures 8 through 16. The notation suggests a smooth legato, but the physical execution requires a specific wrist rotation that the book does not explicitly describe. What I found working is to practice the slurs at half tempo while consciously rotating the wrist clockwise for right-hand passages and counterclockwise for left-hand. This creates the impression of effortless connection without the tension that comes from trying to press each key individually.
What Makes This Method Different
Unlike the Czerny approach that dominated American studios throughout most of the twentieth century, the Russian method prioritizes understanding the body's natural mechanics over mechanical repetition. Students learning from this tradition typically develop stronger finger independence within the first few months because the exercises are structured around actual piano technique requirements rather than abstract finger gymnastics. The second book specifically addresses contrapuntal texture and polyphonic playing. You will work extensively with Bach and early classical repertoire because these compositions require the type of independent voice control that Russian pedagogy emphasizes. The exercises progressively build from simple two-voice inventions to more complex three-voice passages found in fugues and sonatas. One counter-intuitive aspect of this method involves the treatment of the thumb. Western pedagogy often encourages thumb substitution as a quick solution for legato passages, but Russian teachers typically approach this differently. They emphasize keeping the thumb relaxed and allowing it to serve as a pivot point rather than an active finger in most situations. This produces a more even tone throughout the hand and reduces the tendency for certain fingers to dominate the sound.
The notation style in this method also deserves mention. Russian publications tend to include extensive fingering, which some students find helpful initially but may become dependent upon over time. I recommend working through passages without fingering after you have established the basic technique, then reapplying fingering only for particularly difficult sections that require specific hand positions.
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Practical Application and Common Problems
Students working through this book frequently encounter difficulties with the transition between positions. The exercises assume a certain level of wrist flexibility that many players have not yet developed. When you encounter resistance or tension during position changes, the solution usually involves reducing the speed until you can execute the movement smoothly, then gradually increasing tempo over several practice sessions. The piece selection in this method spans baroque through romantic repertoire, giving students exposure to various technical demands. You will encounter works by Bach, Mozart, Beethoven, and Russian composers like Glinka and Cui. Each piece presents specific technical challenges that align with the exercises in the preceding pages, creating a coherent learning progression. A common pitfall involves rushing through the earlier exercises in pursuit of more advanced material. The second book builds upon foundations established in the first, so students who skip foundational work often develop technical habits that limit their progress later. I typically advise students to spend at least two to three months on the basic exercises before moving to more complex material, depending on individual aptitude and practice consistency.
When This Method Falls Short
No pedagogical approach serves every student equally, and the Russian method has specific limitations that prospective students should understand. The emphasis on physical mechanics sometimes comes at the expense of musical interpretation, particularly in the earlier exercises where technical development takes priority over expressive considerations. Students seeking a more comprehensive musical education may want to supplement this method with materials that address theory, harmony, and musical analysis more thoroughly. The Russian School of Piano Playing excels at technique development but does not provide the same level of coverage for musical understanding that some curricula offer. Additionally, the method assumes access to a properly adjusted piano. Students practicing on poorly maintained instruments may develop technical habits that do not translate effectively to performance situations. The touch sensitivity and action response required for proper execution of these exercises demands reasonable instrument condition.
If your goals center primarily on sight-reading or jazz improvisation rather than classical repertoire performance, you might find alternative methods more suitable for your specific needs. The Russian approach serves classical piano study exceptionally well but does not address the technical requirements of other musical traditions.
