Piano "exercises" ...accountabilty

[stephenv]

Having just finished practicing most of the Dohnanyi exercises and in a relective frame of mind, I began to wonder...what exactly did I accomplish by practicing all the major and minor scales in contrary motion followed IMMEDIATELY by an arrpegiated diminished 7th chord after each scale?  What is to be gained here?  I couldn't answer that question..NOR did Dohnanyi offer an explanation either!

We need a new approach in which an exercise..lets say 5 fingers..is preceded by some explanation as to what the student can gain from doing this exercise.  To me that gives the student definite cause to procede to use valuable time to practice the exercise..thus the author is accountable.

Playing the piano...the physical part....can be like practicing a sport...golf, basketball...where you need coordination, timing etc.  I can assure you there are specific exercises with specific goals associated with learning those sports. 

The one finger exercise with self evident results seems to be the trill.

Guy Maier was on the right track...however he spent a lot of time explaining HOW to do the exercises with minimal explanation as to what a student would gain by doing that exercise. His approach to octaves to my thinking and practicing is well worth every minute spent.  Without a doubt it will give you better control of playing octaves with accuracy and strength. Step by step, logical with results!  In the Piano Teacher's Companion, he does mention results but not in the volumes themselves.

I hope in the 21st century we will see a set of exercises with definite goals associated with each.

[nyiregyhazi]

"Having just finished practicing most of the Dohnanyi exercises and in a relective frame of mind, I began to wonder...what exactly did I accomplish by practicing all the major and minor scales in contrary motion followed IMMEDIATELY by an arrpegiated diminished 7th chord after each scale?  What is to be gained here?  I couldn't answer that question..NOR did Dohnanyi offer an explanation either!"

While I agree with the more general sentiment expressed by your post, I find this a very odd example. Isn't it rather self-evident what this exercise is for?

[b_nghiem]

Perhaps you will be more satisfied with Kullak's books of octave exercises and Leschetizky's Fundamental Principles of Piano Technique (written by his student.) Both contain lengthy explanations (the how AND the why) and the latter not only contains helpful drawings, but also goes beyond what exercises that you should do at the piano, but also how to be more cultured and gain more insight into the musical world.
Also remember that technique (scales in particular) is an important aspect of playing piano. While Richter claims to never have done these type of exercises, for the rest of us we should always try to go beyond just playing the correct notes of the scale and 'up to speed.' I am currently working on getting that even space between each of the notes and making each note sound ' well rounded,' that is to say a rich and full sound no matter how fast you may be going.
Too bad were not prodigious 'enigmas!'     

[stephenv]

I do not mean to down play the importance of "scales" because  we all know how vitally important it is to practice scales and arpeggios   My question is what benefit do I get from practicing this scale/arpeggio pattern given by Dohnanyi. 

Ok so we're doing every scale major first followed immediately by minor...so C maj/c min.  Followed immediately by dim 7th arpeggio.  all of these beginning on the same note.  Middle C to begin both hands.

Now ok playing in contrary motion challenges the mind /hand coordination I get that.   Hopefully we will be aware of the SOUND we are intending ala Matthay and the space between the notes ala Leschetizky.  Trying to change up hand positions smoothly and accomodate the awkward task of starting on the same note.   Then playing that dim 7th arpeggio smoothly without hesitation after playing the minor scale. 

What does all this do toward helping me play Beethoven Sonata Op. 7 in E flat?